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+FADE IN: 1 EXT. ROAD - DAY The TRACK is SILENT. The CAMERA looks at a sign. It reads: CAMP CRYSTAL LAKE Established 1935 Gradually we can begin to hear, in the BG, the SOUNDS of CHILDREN playing. CUT TO: 2 EXT. SOFTBALL FIELD - DAY In the BG a few dozen CHILDREN, in camp uniforms, are enjoying a game of softball. In the FG CLAUDETTE is looking for someone. CLAUDETTE is 17 years old. She is pretty. She wears a t-shirt with "Assistant Counsellor" written on it. She fills out the shirt very well. Failing to find whomever she is looking for, CLAUDETTE walks quickly in the opposite direction. The CAMERA holds on the game for a few seconds and we SUPERIMPOSE: JULY 4, 1958 The CHILDREN'S VOICES FADE slowly. CUT TO: 3 EXT. RIFLE RANGE - DAY ECU as a COUNSELLOR squeezes off a shot. The paper target is ripped in the black. The COUNSELLOR hands the weapon to a CAMPER who snaps in at the line. CLAUDETTE shouts up to the COUNSELLOR from the BG. CLAUDETTE Have you seen Barry? The COUNSELLOR smiles. Shrugs. COUNSELLOR He and Chloe were at the Lodge last time I saw him. CLAUDETTE leaves. The COUNSELLOR smiles. CUT TO: 4 EXT. MAIN LODGE - DAY Two CHILDREN run by carrying Indian headdresses. CLAUDETTE passes them impatiently as she sees BARRY and CHLOE. BARRY is leaning against the front rail of the porch, his arms behind his head--the better to show off his physique to CHLOE, and Assistant Counsellor, who is currently looking at him with cow eyes. In the BG we can hear a portable radio blaring out an Everly Brothers hit. BARRY is 17, handsome and out for all he can get. He is not ashamed for being caught with this other good-looking girl. CLAUDETTE We've got to talk. BARRY looks at CHLOE, then eases off the rail. Nods. BARRY Okay. 5 BARRY puts an arms around CLAUDETTE, looks over his shoulder at CHLOE, and saunters off with the former. The Everly Brothers continue as we: CUT TO: 6 EXT. LAKE - DAY From over the tops of a rack of canoes we see BARRY and CLAUDETTE walking along the shore. CLAUDETTE You said we were special. BARRY I meant everything. In the BG, CHILDREN leap into the water. BARRY (continuing) You know what I said, though. CLAUDETTE I can't, Barry... CUT TO: 7 EXT. FOREST - DAY The TRACK goes SILENT. BARRY & CLAUDETTE walk along a path. This is not an aimless walk, for BARRY knows exactly where he wants to go. He leaves the path and goes to sit on a log in a small clearing. CLAUDETTE hesitates, then goes to sit next to him. BARRY I care very much. He puts an arm around her and draws her close. They kiss. They separate. CLAUDETTE Does Chloe kiss as good as I do? BARRY decides to be politic. BARRY I wouldn't know. CLAUDETTE Oh, you... She kisses him and they are locked. A bird calls, wheels across the patch of sky above. The CAMERA shifts to ANOTHER ANGLE: Just beyond the thicket of lacy vines. It is a slow tracking shot which gives the impression that we are watching the action from the POV of another person, an unseen visitor...watching the two teen-aged Assistant Counsellors making their first sexual encounters. This unseen observer will be called the PROWLER. BARRY reaches up outside CLAUDETTE'S t-shirt to hold her breast. She reaches up to take his hand away. BARRY Claudette... CLAUDETTE Somebody'll see. BARRY No, they won't... He ends the argument by snaking his hand inside her t-shirt so that part of her bra is exposed. He seals her protesting lips by kissing her. From the PROWLER's POV, the CAMERA MOVES to get a better angle. A hand moves into FRAME and pulls back some branches to clear the field of vision. A branch pops. CLAUDETTE (in a thick whisper) Somebody's there, Barry. BARRY Come on, Claudette. A man's not made of stone. CLAUDETTE Let's go back, Barry... BARRY I need you so much, Claudette. BARRY leans in and unhooks her bra. They kiss again, passionately. The PROWLER pauses, then moves, never seen--except for a bit of foot or hand--from the POV of the CAMERA, closer and closer as the two TEENAGERS become more and more oblivious. Closer. The THEME has snuck in. It becomes discordant. It swells. Closer. QUICK CUT to BARRY & CLAUDETTE'S faces, their eyes closed, the perspiration streaking their flushed skin. Suddenly CLAUDETTE looks up into the CAMERA with terror. A hatchet flashes into FRAME and CLAUDETTE goes down under the blow. The CAMERA TURNS TO BARRY. The PROWLER's powerful hand has him by the throat. He backpeddles, trying to get away. ANOTHER ANGLE: as BARRY is stopped against a tree. A hunting knife soars against the leafy sky. BARRY grabs the knife-hand at the wrist. The knife falls to the mossy floor of the clearing. Two hands go for the free blade. BARRY's hand has it. There is a confused jumble of struggle. Onto the bed of moss falls the little finger of the PROWLER. REACTION SHOT: BARRY, horrified by the sight. The PROWLER's hand has the knife. It moves quickly forward. We can hear the blade strike. BARRY stares up at the sky in a soundless shriek. MCU the moss where the finger fell. The PROWLER reaches into FRAME, picks up the finger, and exits FRAME. QUICK CUT TO: CHLOE, out searching for the missing Counsellors. She stands at the edge of the clearing, her hands pressed on her temples, her throat filled with a scream of terror. The MUSIC has stopped abruptly. THE SCREEN BLEEDS TO WHITE. It is completely SILENT. CUT TO: 8 TITLE SEQUENCE The screen is completely black. A small white shape starts to ZOOMS towards the FG. The shape becomes a three-dimensional rendering of FRIDAY THE 13TH. Just as it gets to its final position, the FRIDAY 13 logo shatters a previously unseen pane of glass. There is a loud crash. The logo shifts to the upper left corner of the FRAME as we ROLLS TITLES, white on black. The THEME MUSIC is a reprise of the THEME we heard during the Forest sequence, now done in a childlike arrangement. TITLES END and the MUSIC fades out. DISSOLVE TO: 9 EXT. RURAL TOWN - EARLY MORNING The TRACK is SILENT. In a LONG SHOT we see the one main street. A newspaper delivery truck drives away from the CAMERA. A GIRL walks down the street. Superimposed title: THE PRESENT A MEDIUM SHOT in front of the bank reveals a day/date/time/temp sign which blinks: FRIDAY, 13 7:01 60 Degrees FRIDAY, 13 7:01 60 Degrees We can begin to hear a small-town DJ OVER as a pick-up truck moves down the street past the GIRL in her late teens. She has a knapsack, a freshly scrubbed face, jeans, and a plaid shirt. She wears her hair in a long braid. She wears Nike jogging shoes. This is ANNIE. DJ (V.O.) It's 7:01 on Friday the 13th of June. This is Big Dave and it's time for you lazy bones to GET OUT OF BED! It's black cat day in Crystal Lake. Don't forget the big drawing today to see who gets our FRIDAY THE 13TH Monster Surprise: either a man's digital continuous readout watch or a Panasonic color television set! CUT TO: 10 INT. DINER - MORNING In CU a hand moves to turn down an old brown plastic radio from which Big Dave is doing his morning-man routine. DJ (V.O.) Don't walk under a ladder! Don't spill any salt, don't... The radio is turned way down. We see that the hand belongs to TRUDY, a hefty waitress who wears her golden hair in a bun with a pencil stuck in it. BUDDY, the boss, is seen in the BG working the grill. The regulars are there: five MEN and two WOMEN who always come in for breakfast. They are the retailers, the oil delivery man, the switchboard operators, and the cop. ANNIE walks in the front door, crosses the past the cash register and walks down the counter. SALESMAN I'm sick of them repeats. TRUDY I musta seen that Kojak 82 times. ANNIE Excuse me. How far is Camp Crystal Lake? SALESMAN OPERATOR They gonna open that place Camp Blood? again? TRUDY COP What is it, Eddie? Forty I heard they were gonna try miles? it. EDDIE OIL MAN 'Bout that. Lotsa luck. SALESMAN (with a wink) Be an interesting summer. ANNIE Can I get a bus or something? TRUDY Not likely. Sam? You goin' out to the crossroads? The OIL MAN nods. TRUDY (continuing) Give her a lift? That's hallway. OIL MAN (paying up) No sweat, Trudy. Let's do it to it, kid. ANNIE Name's Annie. OIL MAN Okay, Annie. Let's go. ANNIE steps aside as the OIL MAN heads for the front door. He is smirking. He's fifty, strong, and balding. He makes no attempts to hide his appreciation for ANNIE's figure. They exits. TRUDY I wouldn't send my kids to that camp for all the tea in China. SALESMAN (kidding) I thought you hated your kids. TRUDY looks around, does a take, then laughs. CUT TO: 11 EXT. TOWN STREET - MORNING ANNIE walks a half step behind the OIL MAN, heading for his truck which is parked there on the street. OIL MAN All the girls up there gonna look as good as you? ANNIE I don't know. ANNIE wonders if she should accept the ride with this guy. Suddenly, from between two parked cars pops RALPH, a crazy hobo who has two dead rats in his mouth, their tails in his teeth; they swing from him like a strange beard. OIL MAN Goddamnit, Ralph! Get outta here. (to ANNIE) Don't worry about him. He's harmless. (back to Ralph) G'won. Git! RALPH It's Friday the 13th. He giggles and skulks away. OIL MAN Climb on up, Miss. The OIL MAN gives her a boost up and then climbs aboard the rig. CUT TO: 12 INT. OIL TRUCK - DAY As the truck pulls away, we see RALPH through the windshield, standing at the edge of the road. He is angry and upset now. He pats his rats. The OIL MAN shifts, looks over and smiles. His two front teeth are missing on top. OIL MAN Must be the fourth time somebody's tried to reopen that place. ANNIE Camp Crystal Lake? He nods. OIL MAN Something always happens up there. He turns on the radio in the cab and we hear the DJ again. DJ (V.O.) ...of bed. I'm gonna count to three and then you better get up. It's 7:24. A beautiful day. Weatherman Dr. Jim says it's gonna be a nine point five day. Here's Meatloaf from the Bat Out of Hell album. CUT TO: 13 EXT. RURAL ROADS - DAY The oil truck thunders along the road. CUT TO: 14 EXT. RURAL CROSSROADS - DAY The oil truck has stopped. ANNIE stands alongside the driver's side. OIL MAN Don't let the spooks getcha, Annie. ANNIE smiles. ANNIE No sweat. Thanks a lot for the lift. He nods and shakes his head with the sense of what might have been if he were thirty years younger. He puts it in gear and roars off. ANNIE looks around and sees an old gas station. It is closed. There's a sign which reads: "No Gas 'Til Sat." A mangey dog sits on the stoop watching ANNIE. ANNIE kneels down and calls the dog. The dog comes. ANNIE pets him and then heads off up the road. The dog watches her go. CUT TO: 15 EXT. RURAL HIGHWAY - DAY ANNIE is beginning to get worried about the time. It's hot and she's late. She looks up. From her POV a Jeep barrels along the road towards us. ANNIE puts out her numb. CUT TO: 16 INT. JEEP - DAY From the DRIVER'S POV, we see ANNIE waiting for a lift. The DRIVER, unseen, shifts down until ANNIE is alongside. The Jeep, an uncovered model, stops. ANNIE smiles a big delicious smile at us as we sit in the DRIVER's seat. ANNIE Hiya! I'm headed for Camp Crystal Lake. Can you help me out? Apparently the DRIVER nods, because ANNIE beams at us. She tosses her pack in the back and hops aboard. The DRIVER accelerates. CUT TO: 17 EXT. RURAL ROADS - DAY The Jeep roars along the road. The sun and shadows keep us from seeing the DRIVER. CUT TO: 18 INT. JEEP - DAY Still in the DRIVER's POV, the CAMERA watches as ANNIE looks around, admires the woods, the Jeep, the day. Things are going her way. ANNIE I can't remember being this excited about anything. I want to be a teacher when I finish at Southern State. I guess I've always wanted to work with children. I hate it when people call 'em kids. Sounds like little goats. The forest outside the speeding Jeep is deeper and signs of civilization have all but disappeared. ANNIE still turns and looks at the CAMERA when she speaks to the DRIVER. ANNIE (continuing) The job market for teachers is supposed to be the pits these days, but I don't care. When you have a dream as long as I have, you'll do anything... A look of surprise passes ANNIE's young face. ANNIE (continuing) Wasn't that Camp Crystal Lake? Just back there? CUT TO: 19 EXT. RURAL ROADS - DAY In the FG the sign for Camp Crystal Lake. In the BG, the Jeep roars off into the distance. CUT TO: 20 INT. JEEP/DRIVER'S POV - DAY ANNIE (frightened, confused) I think we better stop... Please stop... Please! Stop! The Jeep's speed increases. ANNIE (continuing) Please! ANNIE grabs for the ignition key, but the DRIVER's hand darts out and slaps ANNIE away. We see that this hand is missing its little finger! Panicked, without any other recourse, ANNIE looks about her and then leaps from the moving Jeep, aiming for the relatively soft underbrush alongside the narrow road. CUT TO: 21 EXT. ROADSIDE - DAY ANNIE lands, rolls, is upended, scratched by brambles, and flips. She scrambles to her feet and starts running towards the camp. CUT TO: 22 EXT. RURAL ROAD - DAY The Jeep stops, turns quickly, heads back for her. CUT TO: 23 INT. JEEP - DAY From the DRIVER's POV we see ANNIE run, looking back in fear. CUT TO: 24 EXT. ROADSIDE - DAY ANNIE's feet pound the hard-packed dirt. She looks over her shoulder to see the Jeep. The sun flares on the Jeep's windshield, keeping us from being able to see any details of the DRIVER. In a final desperate move, ANNIE drives into the underbrush to escape. The Jeep skids to a stop. CUT TO: 25 EXT. ROADSIDE/WOODS - DAY The CAMERA becomes the DRIVER and chases into the thicket. Branches and briars snap back at us. Just ahead, the terror- stuck ANNIE stumbles and falls. She screams as a knife flashes past her in a blur. When the knife has passed, all we can see is a look of surprise on ANNIE's face. The CAMERA PULLS BACK. Her throat has been cut. She collapses out of FRAME. A bird soars across the sky above. The TRACK is SILENT. CUT TO: 26 EXT. HIGHWAY - DAY A gaily decorated camper-van travels along the highway. We hear rock 'n roll OVER coming from a car radio as this much-in- need-of-repair vehicle passes a slower car. CUT TO: 27 INT. CAMPER VAN - DAY In the camper van are three young people. They are full of fun, fresh and expectant as they head towards Crystal Lake. They are instantly likeable. At the wheel is NED, a short 22-year-old whose well-developed upper body is a tribute to his weight-lifting. He is nice- looking, a joker who is always trying to get some attraction. He is funny and alert. Next to him is JACK, an athlete whose clean-cut look is as American as popcorn. He is quieter, two years younger and not as smart as NED. He has to think things through. MARCIE is JACK's girlfriend. She is leaning over the front passenger seat so she can messenger JACK's shoulders. She is a funny girl, pretty, and always looking for fun. She enjoys every minute of every day. She hasn't been touched by tragedy. MARCIE Sex is all you ever think of, Neddy. NED There you are dead wrong. JACK Ha! NED Sometimes I only think about kissing women. MARCIE finds a sore spot on JACK's back. JACK Ow! NED I was just wondering if you thought there'd by any other gorgeous women at Camp Crystal Lake. Besides yourself. MARCIE You are a true pierce of work, Ned. MARCIE hits NED on the arms, playfully. MARCIE (continuing) How about our last jay? JACK Good call. JACK reaches into the glove compartment and comes out with a joint. NED What about the dope paragraph in Mr. Christy's letter? JACK Quote: Controlled substances are expressly forbidden. Possession or use of marijuana or alcohol on campgrounds will means instant dismissal. Unquote. MARCIE We got two weeks before the kids even arrive. Then I'll act responsibly. Until then, hit me. She takes the lighted joint and tokes. CUT TO: 28 EXT. CAMP CRYSTAL LAKE ENTRANCE - DAY The van turns past the sign that reads: CAMP CRYSTAL LAKE--Established 1935 CUT TO: 29 INT. VAN - DAY MARCIE is wide-eyed, looking at the lush surroundings. MARCIE It's beautiful... NED Yeah, and it also look like it hasn't seen a coat of paint in six years. CUT TO: 30 EXT. CAMP DRIVE - DAY The CAMERA SEES what NED saw. The buildings are run down at the heels. It is the same camp we saw in the early scenes, but time has torn the place badly. The van passes the CAMERA and we see the three new ARRIVALS looking out the window. CUT TO: 31 EXT. MAIN CAMP AREA - DAY This is the main building. It is the building where Barry and Claudette met. Outside is a flagpole, a small parking area, a large overhanging tree. In the BG we can see part of the lake. In the FG there is a Jeep. CUT TO: 32 EXT. CAMP MAIN AREA - DAY An axe flashes through the FRAME and hacks apart the halves of a huge tree stump. The CAMERA PULLS BACK to reveal a middle-aged man in cut-offs, a bare chest, hiking boots and beat-up cowboy hat. This is STEVE CHRISTY. He is strong, charming, and engaging. He is animated, always in motion, impatient with how long it takes to do things. In the BG the van comes to a stop. No sooner has JACK hopped down, than STEVE is beckoning him over. STEVE Wanta give me a hand here? JACK smiles and comes quickly. STEVE (continuing) Alice? NED steps down from the van and now we can see that he has had polio when he was a kid. His upper body is strong, but his legs are slightly deformed. He and MARCIE hustle over to the big stump. STEVE (continuing) Wanta roll this sucker out of the way. Alice? ALICE comes into the MS. She is carrying a shovel and a bucket and has obviously been working for a couple of hours. ALICE Cabin B is ready. STEVE Push on this side. Alice, this is Jack, Marcie and Ned. Push. They exchange "hellos" as they bend to the work. STEVE (continuing) That's got her. Thanks. I'm Steve Christy. Welcome to Camp Crystal Lake. You got some grubby clothes? Climb into 'em. Alice, see if Bill has cleaned out the boathouse. I want him to start with the canoes. What happened to Brenda? ALICE You told her to sweep the courts. STEVE sets off. STEVE I'd rather she painted. Let's go, folks. As soon as he's gone, NED turns to ALICE. NED I thought we had two weeks... ALICE shrugs. ALICE You can changed in three. CUT TO: 33 EXT. EDGE OF LAKE - DAY The CAMERA looks down a long line of canoes, each with its hull up. A brush slaps into view. BILL is sweating while finishing a coat of paint on the last canoe. BILL is a thin, ascetic-looking college sophomore. He rubs his long thin rose with the back of his wrist as he hears someone call his name OS. He turns to see ALICE at the bottom of the trail. ALICE Steve said for you to start on the boats. BILL I finished the boats. ALICE nods slowly. ALICE I'll tell him. She turns away. BILL Alice? The others show up? ALICE Everybody except the girl who's supposed to handle the kitchen. Annie. BILL puts his brush in a coffee can of turps. ALICE look at him, then turns again. BILL You think you're gonna last all summer? ALICE I'm not sure I'll last all week. (pauses) I'll tell Steve. CUT TO: 34 EXT. GIRL'S CABIN - DAY STEVE and NED are rehanging a door. Next to them is BRENDA, a dark Eurasian girl who is trying to do a good job of painting the wall. On the other side MARCIE is scraping some flaking paint. STEVE Shim it up just a scooch. NED levers the door higher at the top. STEVE (continuing) Perfection. Hold it. STEVE uses a long ratchet screwdriver. STEVE (continuing) To answer your question, my parents once owned this camp. There were some tragic accidents and they went bankrupt. I promised them I'd reopen if I could. See if it closes right now. NED swings the door on its hinges. NED Looks good. STEVE Perfection. Did you meet Brenda? BRENDA turns and nods. STEVE (continuing) She's archery. He's rifle ranged. And I'm behind schedule. Let's go, Ned. They exit with the tool box. MARCIE stops and turns to BRENDA, who looks upward and blows the hair from her forehead. CUT TO: 35 EXT. EDGE OF THE LAKE - DAY STEVE, ALICE, BRENDA, MARCIE, NED, JACK and BILL are lugging a swimming float down to the water's edge. STEVE supervises as he carries the thing, which is quite heavy. They ad-lid as appropriate. ("There goes my hernia." "Are you sure you're lifting?" "Not so fast." "I'm walking backward.") They drop the things carefully. STEVE Come on back here and let's above the float in. They get behind it and shove it into the water. NED hops aboard for the ride, flipping into a handstand. CUT TO: 36 INT. EQUIPMENT SHED - DAY The screen has gone completely black. The door to the shed is whipped open quickly, letting in the full brightness of the sun. There is a shape. The CAMERA IRISES DOWN so that we can see that JACK has come in on an errand. As JACK looks around, we can take the time to see that there are a half-dozen lantern, a few cans of lantern fuel, a couple of hibachis, some entrenching tools packs, portable ice chests, etc. Up on the long side wall are a half-dozen hunting knives in sheathes, also hanging neatly. Suddenly a hand comes into FRAME and touches JACK on the shoulder as he is preoccupied with his task. JACK turns with a start. He looks into the CAMERA. REVERSE POV to see MARCIE standing in the doorway. MARCIE What are those for? An Indian raid? She points to the row of hatchets and knives. JACK Steve's got a woodlore program. You see any life rings? MARCIE looks behind some piled up equipment. She pulls out two rings. MARCIE Here. Meet me in my cabin after taps. Okay, Camper? She kisses him on the cheek and gives him a playful goose. JACK For sure. They exit together. CUT TO: 37 EXT. ARTS & CRAFTS CABIN - DAY STEVE CHRISTY comes upon ALICE, who is renailing floorboards on the porch of the Arts & Crafts cabin. On the railing is a sketch pad which Steve thumbs through. INSERT: ALICE'S SKETCH. It is a moody pierce, a sense of foreboding dominates it. Otherwise, it is the camp's central compound, featuring the tree that forms the central focus. STEVE You draw very well. ALICE Oh, thanks. I wish I could spend more time at it. ALICE misses a nail and hits her thumb. She reacts good- naturedly and keeps on working. STEVE bends down next to ALICE. STEVE This isn't your cup of tea, hunh? She shakes her head. STEVE (continuing) Any particular reason? ALICE Just a feeling. (pause) Nothing personal. STEVE (nodding) You want to leave? ALICE I don't know. Probably be best for everybody. STEVE You may not care a lot about this place, Alice, but I mean to make it my whole life. It's been my whole life. Gimme a chance. Stay a week. Help get it ready. Next Friday, if you're not happy, I'll put you on the bus myself. I'll be grateful. He puts out a hand and runs the back of it across her cheek. She looks up. She nods. ALICE Next Friday. STEVE Thanks, Alice. He stands up. STEVE (continuing) I've got to go to town and pick up the trailer and all that other stuff, but I'll be back around ten. If you're still up, we can talk, okay? ALICE Sure. She watches him cross out of FRAME. CUT TO: 38 EXT. MAIN CABIN AREA - DAY (LATER) STEVE is at the wheel of his Jeep. The COUNSELLORS are standing within earshot, huddled around the Jeep. JACK You want it listed separately? STEVE Yeah. Brenda, after lunch hit the archery range. If Annie gets here, have her start in on the kitchen. Do your best. Tomorrow we have a preliminary inspection by the state safety people. I'd like to look good. He wheels the car around and out the driveway. The others stand looking before NED breaks the silence. NED He neglected to mention this place is called "Camp Blood" downtown. They are all getting back to work. ALICE How come? NED Some campers drowned. Then some counsellors got killed. BILL No shit. When? NED Late fifties sometime. They never caught the guy who did it either. MARCIE Neddy collects weird facts. Next he is going to tell us that there are poisonous snakes in the outhouse and green lizards in the lake. As they laugh, the CAMERA HOLDS on ALICE. CUT TO: 39 EXT. ARCHERY RANGE - DAY BRENDA has her sleeves rolled up and is doing her job. She enjoys having the responsibility for the whole safe operation of this area. She likes to think of herself as more sophisticated than she is--or have others think her more sophisticated. BRENDA rolls a straw target out from under the lean-to shelter and heads for a tripod in the middle distance. There are already two such targets out, a product of her efforts so far. The targets are heavy. This isn't an easy one-person job. The CAMERA CLOSES IN tighter and tighter on her as she gets closer to setting up the target. In MCU, she lifts a target up. Her head is very close to the face of the target. She gets it up, lets the tripod take the weight, and then, just as she lifts her weight back, an arrow streaks into the center of the gold, missing her head by eighteen inches. BRENDA whips around. WE SEE WHAT SHE SEES: a very cocky NED, standing by the lean- to with a bow in his hands and three more arrows knocked simultaneously. He has a feather stuck in his hair. She grabs the arrow and storms at him. BRENDA You're crazy! She snaps the arrow in half. NED Did anyone ever tell you you're beautiful when you're angry? BRENDA (plussed) I don't believe you... NED Want to see my trick shot? It's even better. BRENDA still thinks he's a jerk, but he's so outrageous there's little she can do. She laughs. BRENDA (still laughing) You ever fire one of those bows again, and I'll tack you up on the wall to dry. NED God, but I love that sexy talk. BRENDA snatches the bow from him, shakes her head and puts the bow down next to a collection of wicked-looking arrows. CUT TO: 40 INT. ARTS & CRAFTS CABIN - DAY This is a fairly large single room. The walls are bare and uninsulated. There are a few easels, but for the most part, the room is dominated by long tables and rough-hewn benches. The light seeps through the streaked windows, making the grey wood interior appear silver-colored. ALICE, her hair in a bandana, has just finished sweeping up. The CAMERA picks up on ALICE's sketch of the central camp area on one easel. On a second easel she has done the preliminary sketch of the lake itself. It is also a moody picture. ALICE cocks her head to look at the sketches, shivers just a little, then goes on to her next task. There is a row of newly- arrived cardboard boxes. She opens the first in CU with a matte knife. She take out the invoice and checks it against the first items: gimp, the plastic string from which all the campers will make lanyards. CUT TO: 41 EXT. ARTS & CRAFTS CABIN - DAY We watch through one of the dusty panes, seeing the charcoal sketch in the FG, ALICE in the BG checking her materials against her invoice. CUT TO: 42 INT. ARTS & CRAFTS CABIN - DAY (INTERCUT) ALICE snaps around, sensing that she is being watched. In CU her frightened face looks at the sun-drenched dusty pane. Her face relaxes until BANG! The sound of a door slamming echoes through the room. The CAMERA ZOOMS BACK from her face to see someone standing in the doorway. It is BILL. BILL Sorry. How you doing? ALICE smiles, then turns back to her job of taking inventory. BILL watches her. ALICE Did you want something? She starts to take a box down from a high shelf. She doesn't realize that there is something on top of the box. BILL Steve said you were thinking of leaving. True? ALICE Un-hunh. ALICE lugs down the box and suddenly a bunch of leather-working tools clatters down, shattering the silence. ALICE fends off the flying implements and BILL rushes to her side. ALICE (continuing) Oh, my God... BILL You okay? She nods. BILL (continuing) You're lucky. They stoop down to pick up the fallen tools from the floor. BILL looks at her while they work. BILL (continuing) How come you're leaving? ALICE It's long and personal. It has nothing to do with you or the other kids. BILL Maybe I can help? ALICE looks at BILL and smiles. This really is a very nice, if naive, young man. ALICE And it's this place. It makes no sense, but it spooks me. BILL (smiling) You're right. It makes no sense. As ALICE nods, she is interrupted by a shrill scream outside. CUT TO: 43 EXT. ARTS & CRAFTS CABIN - DAY MARCIE is the source of the scream. She runs towards the CAMERA, dressed in cut-offs and a floral halter. Her feet are bare. When she get closer, we see that she is being chased by JACK and NED who have found two giant green bullfrogs. The screams were not serious and MARCIE is doing some of it for effect. BRENDA brings up the rear. They are all dressed more or less for a frolic in the lake. BILL and ALICE stand in front of the Arts & Crafts cabin. BILL is smiling, ALICE is a little bit amused. MARCIE Help me! Save me! The frog people are after me! It's swim time at Camp Crystal Lake. Come on, Alice, I need protection! CUT TO: 44 EXT. CRYSTAL LAKE - DAY A LONG WIDE SHOT reveals the cool, clear lake during the lull of a hot afternoon. At the edge of the lake, in the shallows, are the members of the group: MARCIE, JACK, NED, BRENDA, BILL and ALICE. They are sitting or paddling or diving off the float. There is no real attempt to exert too much energy. Gradually we become aware that this LONG WIDE SHOT is someone's POV. The CAMERA moves from its stable position, now hand-held, on a trajectory around the side of the lake, out of sight. Branches, brush, and twigs are butted through. Occasionally, we can see part of the PROWLER's arm fending off the underbrush. CUT TO: 45 EXT. WATER - DAY The group sits or lies in the cool water, more or less focused on NED, who is acting as moderator. NED What do you want to be when you grow up? BRENDA Dancer. MARCIE Cowboy. NED Girls can't be cowboys. MARCIE Okay, Fireman. NED goes to JACK. NED Jack? JACK Coach, athletic director somewhere. BILL Filmmaker. ALICE Artist. NED Doctor. Now, if you were a flavor of ice cream, what would you be? MARCIE Rocky Road. They laugh. CUT TO: 46 EXT. MAIN CAMP AREA - DAY The PROWLER looks in LONG SHOT down at the lake and we can just make out the COUNSELLORS. The CAMERA PANS and we move toward cabins. CUT TO: 47 EXT. LAKE - DAY ALICE is treading water, talking with BRENDA, as NED comes up out of nowhere. BRENDA Vitamin C's supposed to neutralize the nitrites or something. NED surfaces between them. He looks with googly eyes at ALICE. NED There are sand sharks in this lake and they can eat the bathing suit right off you. ALICE laughs. NED (continuing) See? I'm getting to you. Very slowly. NED does a porpoise drive and disappears. BRENDA is not laughing. She is looking off towards the cabin area. ALICE sees her and look where she looks. ALICE What'd you see? BRENDA I don't know. Marcie's got me paranoid. She smiles. CUT TO: 48 EXT. BEHIND ALICE'S CABIN - DAY The CAMERA, shooting from the PROWLER's POV, moves to a place alongside Alice's cabin. There is underbrush about two feet tall and all around that area. The PROWLER stops, leans down and reaches into FRAME with a gloved hand. The gloved hand reaches into the underbrush for the tip of a burlap bag which has been secreted there. The hand lifts the bag, which has something in it that moves. The CAMERA MOVES around to the side of the cabin right below the window. The window is open, making entry quite simple. The PROWLER's gloved hands untie the neck of the bag, reach in and haul out quickly a medium-sized snake. One hand has the animal firmly behind the jaws. The hand takes the snake and puts it through the open window, leaving it on the clean white coverlet. It slithers across the bed. The PROWLER's hand closes the window. The CAMERA MOVES towards one of the sheds. CUT TO: 49 EXT. EDGE OF LAKE - DAY BILL and ALICE are lying on the shore on their towels, watching the OTHERS in the water and grabbing some afternoon sun. ALICE is on her stomach, tracing angular designs in the sand. BILL is on his back, listening. BILL It still hurts? ALICE I walked into it knowing I'd get hurt, but I thought I could stand anything. (pause) I just wasn't ready for that kind of pain. We were supposed to meet in L.A. When I got back there, he sent a telegram saying he was going back to his wife. BILL turns over so he can look at her better. BILL What'll you do when you leave here? ALICE I don't know. Various feet enter the FRAME. BILL and ALICE look up to see JACK with his arm around MARCIE, NED toweling his head, and BRENDA putting on her blue workshirt. MARCIE Pistachio, fudge ripple, creme de menthe and I are going back to work. BILL gets up. BILL Speaking as black raspberry, I guess I'm ready. Frozen yogurt? ALICE smiles at the reference. ALICE I'll be along. NED (in a nelly voice) Don't burn that gorgeous body, or I'll scratch your eyes out... They head off. ALICE turns over to tan her front. CUT TO: 50 EXT. FOREST - DAY A machete rips through some vines. Again it hacks at the brush. PULLS BACK to reveal BILL clearing away the years of vine growth which have choked off a path. He wipes the perspiration from his eyes and continues along. CUT TO: 51 EXT. BEHIND THE MAIN CABIN - DAY Set up behind the cabin is a make-shift exercise area. There are chinning bars--pipeslashed between two trees--and there's an aging set of parallel bars. There is even a set of weights made from tin cans, pipes and assorted amount of cement. ECU of NEDS's face in a distorted, twisted expression. He explodes his breath. We PULL BACK to see BRENDA watching NED work out on the uneven parallel bars. He is really very good and there is no doubt about his strength. BRENDA Not bad. As NED moves off the apparatus, BRENDA comes in and does a neat little turn which is dazzling. NED does a take. NED Holy shit... BRENDA We wouldn't want you thinking you're the only show-off in camp, would we? CUT TO: 52 EXT. LAKE - DAY The sun has dropped lower on the horizon. The CAMERA looks down on ALICE as she sleeps peacefully in the late sun. A shadow passes across her face, and she awakes with a start. CUT BACK to see BILL standing over her with a machete. ALICE I didn't know I was asleep...What time is it? BILL Almost five. ALICE gets up. ALICE Now I'm only eleven hours behind schedule. Steve is going to have a small cow. They walk away from the shore. CUT TO: 53 EXT. ALICE'S CABIN - DAY ALICE is walking quicker than BILL. We realize we have seen this cabin before--when the snake was placed in it. BILL You can only do what you can do. ALICE And then Steve looks at you with those hurt eyes--like you don't care about children... BILL laughs at her imitation. ALICE (continuing) I'll see you later. She turns to go up the steps to her front door. BILL Alice? She stops and look down at him. He is serious and he cares. ALICE appreciates what's she's just heard. She knows that it wasn't easy for BILL to say. ALICE You're very nice. They share a short silent moment. BILL Hope you will. BILL smiles and turns and jogs off, still carrying his long blade. ALICE watches him go. She shrugs. This might be a good place to stay. She turns and goes into her cabin. CUT TO: 54 INT. ALICE'S CABIN - DAY In the FG is the camp bed with its white coverlet. The snake is nowhere in sight--which means it could be anywhere. ALICE is humming to herself and is happier now than she has been since we met her. The room is small. There is the metal-frame cot, an old wooden dresser with a cloudy mirror on top. The walls are a light blue, freshly painted. The wall on the inside does not go all the way to the ceiling so that she can monitor what's going on in the campers' section of the cabin on the other side. ALICE looks at herself in the old cloudy mirror and likes what she sees. She pushes her hair so that she looks a little sexier. She smiles at herself. She reaches out in CU. Open a drawer. Takes out a towel. ALICE turns and goes to her footlocker. Bends down and opens it up. Takes out a terrycloth robe. She closes the footlocker, stands up and heads out the door. CUT TO: 55 EXT. ALICE'S CABIN - DAY ALICE heads from her cabin to the showers. CUT TO: 56 INT. SHOWER ROOM - DAY ALICE walks into her room wearing her bathrobe, her hair in a towel-turban. She flicks off her shower clogs, and looks for her hairbrush. She takes her towel off and lets her tangled hair fall down. She hums. Opens her top drawer. Nothing there. Opens the next drawer. Nothing there. Opens the next drawer. Nothing there. ALICE opens the fourth drawer and the snake strikes! It flails at her right wrist, a wrist which we have established earlier as having a Navajo bracelet on it. The snake strikes the bracelet, hangs on as ALICE tries to shake it free. The snake falls to the floor and recoils for another attack. There is no way that ALICE can get past the snake to run away. Her scream is loud. CUT TO: 57 EXT. MAIN CABIN - DAY BILL, returning from his last half hour of trail-blazing, hears ALICE. ALICE (O.S.) Help! BILL doesn't hesitate. Carrying his machete, he runs to ALICE's cabin. MARCIE and JACK follow in the BG. CUT TO: 58 INT. ALICE'S CABIN - DAY ALICE is backed against the wall. The snake could strike and get her. BILL runs into the room, still carrying his machete. He looks at ALICE. ALICE (a tight whisper) There's a fucking snake in here. BILL sees it. He freezes, then takes a step forward. Carefully, he winds up and smashes down with the edge of the machete, cutting the snake into two pieces. Blood spurts onto the floor. MARCIE and JACK enter. JACK carries a shovel as a weapon. MARCIE stops when she sees the embrace, but then looks further to see the blood and guts. MARCIE Steve never mentioned serpents. Jack, would you get some paper towels? JACK nods and exits. ALICE How the... did he get in there? BILL Slipped in. Probably liked the scent of your perfume. JACK return and tosses a roll to MARCIE. MARCIE Thanks. BILL You okay now? ALICE nods. BILL gives her an extra hug. Then steps back awkwardly, stepping on MARCIE's big toe. MARCIE Go ahead. I walk on 'em all the time. (to JACK) Would you shovel Mr. Snake outta here? JACK nods. He picks up his shovel and we see in CU as he gets underneath the wide-fanged snake. MARCIE begins to clean the blood off the floor with the paper toweling. CUT TO: 59 EXT. CAMP - LATE AFTERNOON Looking across the lake, we can see the camp, nestled in among the late afternoon rays of the sun. We can hear the sounds of the nocturnal animals beginning to rise and hunt. CUT TO: 60 INT. CAMP KITCHEN - LATE AFTERNOON The kitchen and the main meeting room are really one in the same room, cut off by a partition. The kitchen has a couple of sinks, a heavy old stove, long shelves, a pantry/larder, and some windows which look out on the rear. BRENDA is making a salad for herself. She is a vegetarian. MARCIE is making a guacamole dip. In the big room there is a fireplace and a ping pong table. JACK and BILL are playing. BRENDA JACK She all right? Get ready for the schneider. MARCIE BILL Yeah. Scared the hell out No chance. of her. JACK BRENDA Four zip. How'd it get in the drawer? ALICE walks into the kitchen. She has washed her face after getting her act together. She stands in the doorway to the kitchen. MARCIE How you doin'? ALICE Okay. Can I help? BRENDA It's catch as catch can. I'm making a salad. The guys are planning to cook greaseburgers for themselves. MARCIE There's a lot of dishes if you just want something to do. ALICE smiles. Nods. ALICE The way I feel, that's perfect. ALICE goes to the sink and begins to work her way through the dirty dish pan. NED comes flying through the door dressed in various bits and pieces of old Indian costumery. He does a bad dance. JACK and BILL quit their game and come to the doorway. JACK BILL What the hell? Where'd you get that stuff? MARCIE BRENDA Oh, Lord! Neddy! JACK It's gonna be a long summer. NED Wait, wait! When I was finding these goodies in the shed. I also found this letter which a camper never sent home. Listen. He takes a letter out of his breechclout. He pretends to read, when really we can see that the paper is blank. NED (improvising) Dear Mom and Dad, Camp Blood is real fine except for the strange man who flies at night and sucks our counsellor's body... ALICE leans against the sink and laughs. She is a very pretty girl, younger than she first appeared. NED (continuing) And, Mommy, we really love our counsellor. He says that whenever I'm scared, I can sleep in his bunk with him. JACK and BILL laugh. NED takes off his headdress. NED (continuing) No wonder they lost America. How could you sneak around in the bushes wearing that? What's to eat? BRENDA Whatever you make yourself. ALICE looks up from her dishes and cocks her head to the side. Does she sees something? The CAMERA PANS SLOWLY to look over her shoulder. The window pane is dirty and it's a bit difficult to see, but there is something standing there out by a cabin. But it stands, doesn't move... Is it a building? CUT AWAY to see ALICE using her dishcloth to clear the glass. When we CUT BACK, the shape is gone. REACTION SHOT: ALICE. Curious. A cold chill... ALICE looks around at the others who are still adlibbing about food. BRENDA JACK How can you eat that stuff? You like them rare? Looks like dead animals. BILL NED Too bad that Annie never Cannibals. It's old showed. She was supposed counsellor. to be a good cook. BRENDA MARCIE You can get all the protein No way I am gonna play chef you need if you mix them to all of you guys. It's right. women's lib from here on out. NED The squaws are revolting! ALICE looks up. Pulls the light cord in the middle of the room. The bulb does not light. ALICE pulls it again. BILL Trouble? ALICE Bad bulb or no power. It's getting a little gloomy in here. JACK Steve taught me how to use the emergency generator. The town power lines are supposed to be real shitty. NED God, but I love that macho talk! Emergency generators! The Indian used campfires. JACK turns to BILL. JACK Give me a hand? BILL For sure. CUT TO: 61 INT. GENERATOR SHED - LATE AFTERNOON JACK steps in and, in CU, we see there is a puddle where he is standing. The puddle is somehow significant. BILL leans over JACK's shoulder to see what he's doing. BILL This is almost like the one at my uncle's cabin in Maine. JACK Here we go. The CAMERA watches JACK's actions tightly. In a REVERSE POV we see JACK's tongue come out the side of his mouth as he concentrates. He bites down on it. ANOTHER ANGLE: as JACK pulls the starter cord. The engine roars into action. JACK (yelling) Now ya' close the switch. CU as JACK's hand reaches in and touches a heavy-duty metal switch. A spark arcs and we PULL BACK to see JACK with a perfect connection running through his body. There is a sparking sound, the little light in the shed blinks, JACK screams, the generator chugs roughly. Hundreds of volts are streaking through JACK's body and grounded through his wet shoes. BILL reacts quickly: knowing better than to touch him and continue the connection, he takes a half-step backwards, aims at an oblique angle and executes a perfect Bruce Lee-type drop- kick on his friend, severing the contact. JACK stumbles out of the shack and the light goes dead. The machine stops. CUT TO: 62 EXT. GENERATOR SHED - LATE AFTERNOON JACK lands, almost unconscious. BILL kneels into FRAME and cheeks JACK's vital sign: his eyes, his carotid pulse, his breathing. JACK shakes his head. JACK I'll be okay. Holy shit... BILL Don't get up. Take a second... JACK lies back down. Covers his eyes with his arm. JACK You saved my life. BILL I had to. JACK Thanks. BILL I figured if I didn't save you. I'd have to give you mouth-to-mouth and that would have ruined my appetite. JACKS looks up and smiles. BILL give him a hand and the groggy athlete gets to his feet. JACK Whew. Satisfied that JACK won't fall down, BILL goes to the shed and looks in. We can look in over BILL's shoulder and see a smoke-scarred switch and a now-silent generator. BILL This puddle was enough to ground you all the way to China. JACK looks in, too. JACK Floor probably leaks. This area is full of springs. BILL A short somewhere. BILL leans down and sees a smokey-colored wire that touches another wire. BILL (continuing) There's the problem, Jack. Wire worked itself loose. He starts to wind it round a set-screw in CU. JACK Just in cause this bugger goes bad. I'm gonna pick up some lanterns from the equipment shack. JACKS walks away. CUT TO: 63 INT. EQUIPMENT SHED - DUSK The door opens at us, letting in the limited light. JACK comes in and goes to pick up a fluorescent lamp. He flicks it on. As he bends down to pick up two Coleman lanterns, the CAMERA slowly moves toward the wall where once we saw all the hatchets and knives. They are all missing. JACK takes his booty and exits. The light is gone and we are alone in the dark. CUT TO: 64 INT. KITCHEN - DUSK ECU of the lightbulb over the kitchen area. It flickers on as we hear in the BG the sound of the generator start up. The bulb glows, goes down, glows cheerily. NED What hath God wrought? BRENDA That was the telephone. NED Ha! You wily oriental! The phone was "Mr. Watson, come in here, I need you." "What hath God wrought" was the telegraph. JACK comes in with his lanterns followed by BILL. MARCIE Last line of Gone With the Wind? NED Frankly, Scarlet, I don't give a damn! ALICE listens as she washes the dishes. It looks as if things will be okay. BRENDA Shows how much you know. It's something about tomorrow. ALICE Tomorrow is another day. BRENDA Right! Right! MARCIE is finishing up making her green California dip. Suddenly ALICE cries out. Everybody whips around to see. ALICE holds up a piece of broken glass--the bottom half of a bottle. She has cut her finger. It is not a serious cut, but the blood is visible. ALICE This just plain ain't my day. BILL reaches into a cupboard and pulls out a BandAid. MARCIE NED You okay? Those things can be nasty. BRENDA Wash it out real good. BILL comes up to ALICE. BILL Lemme see. Doesn't look too bad. That said, the OTHERS go back to what they were doing. BILL and ALICE are featured even though we can hear the others. BILL takes great care and puts the BandAid on ALICE's finger. They share this moment with soft smiles as the trivia contest continues. NED Who played the role of Gorgon in Star Trek? BILL BRENDA I don't want you getting Melvin Belli. hurt. NED ALICE Aaaargh! That my I was careless. guaranteed winner! BILL MARCIE How'd it get in there? Melvin Belli? ALICE Somebody probably dropped something too hard. NED Alice, you're just lucky there are no snakes in the dishwater here. NEDDY is hovering over a bowl of California dip which MARCIE has just made. He dips a chip as soon as she steps back. MARCIE Soooooeeeeey, piggy, piggy. Suddenly NED's face goes red. His eyes bulge out. He grabs his throat and gags. Coughs, can't clear it. JACK What is it? BILL Is it stuck? NED points to the dip and slumps down on the floor where he writhes about. MARCIE ALICE Help him! Oh, my God! BILL JACK Roll him over! Get behind him more. As BILL and JACK flip him over to try to give him the Heimlich, NED stops his act and grins from ear to ear. It's a big finish: NED Ta-da! REACTION SHOTS: as it sinks in that NED has been putting them on. JACK Not funny, Ned... BILL stands up, angry, but willing to keep his mouth shut. MARCIE Wait'll you're really in trouble and see what happens... NED But it's in the brochure! "Camp Crystal Lake has a full drama program." You just saw it. NED tries to laugh it off. They shake their heads. MARCIE walks away. JACK looks at BILL. BILL Chance to get even? JACK I'll spot you five points. NED Hey, look, I'm sorry. I'll never do it again. NED turns and heads for the door. ALICE comes up next to him. The OTHERS are out of earshot now. BILL and JACK play a little ping-pong. NED is a little embarrassed by his play-acting stunt. NED (continuing) I'm sorry. ALICE Ned? We're gonna be working together for a while. You're a nice guy without all the entertainment, okay? NED relaxes. Nods. He knows what she means. He turns to look at the others. NED Tell 'em I'm sorry? ALICE nods. ALICE Sure. NED I'm gonna go lie down and catch some z's. Today wiped me out. (pause) Thanks, Alice. ALICE You're welcome. The CAMERA stays on ALICE's face as NED exits. In the BG, MARCIE speaks. MARCIE I hope that's the last time we see the Camp Crystal Lake Drama Program. CUT TO: 65 EXT. MAIN CAMP AREA - EVENING We watch NED come away from the main cabin and walk moodily toward his cabin. The CAMERA stays with the troubled child as he stops, leans down, picks up a pebble and skips it off into the brush. It cuts through. He flips a few stones in his hand. NED looks off. Sees something. WE SEE WHAT HE SEES: a shape--a human shape--standing by a cabin. NED walks towards it. NED Hello? Can I help you? CUT TO: 66 INT. KITCHEN AREA - EVENING ALICE is just drying her hands. She stands next to a giant stack of clean dishes and pots. BRENDA is reading a magazine while picking at some cauliflower and cucumber slices. BILL and JACK saunter in. JACK You just had some lucky shots. BILL Where's Ned? ALICE He went to bed early. MARCIE I don't blame him. BRENDA He's probably setting up another one of his practical jokes. MARCIE Yeah, like draining the lake! They laugh. JACK (to MARCIE) Hey, how about a walk by the lake? The OTHERS all go "Ooooooooh." JACK (continuing) Just a walk, for Chrissakes. MARCIE (kidding) Boy, we sure do have a lot of filthy small-minded people around here. (to JACK) Wait a minute, I'll get my diaphragm and be right with you. MARCIE puts an arm through JACK's arm and they exit. The OTHERS laugh. CUT TO: 67 EXT. EDGE OF LAKE - NIGHT JACK and MARCIE walk across the pint needles towards the lake. There is the low rumble of thunder preceeded by a faint glow on the horizon. JACK and MARCIE walk along the shore to the lake. They have turned on the flashlights which they carry with them. JACK Wind's up. It's shifted a good hundred and eighty degrees. MARCIE Makes me want to hold on and never let go. JACK I love you. MARCIE I love you. They kiss. MARCIE pulls back. MARCIE (continuing) What about Neddy? JACK I don't love Neddy. MARCIE He keeps on acting like such an asshole! JACK (yelling) Ned! MARCIE Don't call him. JACK I thought you wanted to give him one of your motherly lectures. Ned is gonna do whatever he wants to do, you know. MARCIE I guess... The moon is victim of a blank cloud which cuts off the light. JACK Looks like a storm. MARCIE I'm a little scared of storms. Always have been. Since I was a kid. JACK You? The brick? JACK shines the flashlight so that we can see her face in eerie shadows. She flashes hers at him. MARCIE I've dreamed this dream. Maybe half a dozen times. There is a thunderstorm. The rain comes down like pebbles. I can hear the sound. I try to close my ears off. It doesn't work. The sounds gets louder. The rain turns to blood and the blood washes down in little rivers. And the sound stops. A loud crack of heat lightning slices the sky apart. MARCIE is startled and reaches out for her lover. JACK It's just a dream. MARCIE I call it my shower dream. They look at one another in the two lights. They grin. Rain drops begin to fall on their faces and on the lake behind them. JACK This is no dream. Want to escape for a while? MARCIE Lead the way! JACK turns and jogs toward the nearest cabin. MARCIE is only a half step behind, laughing. FROM A DISTANT ANGLE we watch them run. There is no theme, just the rumble of thunder... CUT TO: 68 INT. BOY'S CABIN - NIGHT The door bursts open, a flashlight pierces the shadows, and JACK and MARCIE rush in and plop on the bottom bunk of the nearest bed. MARCIE Are you wet? JACK Just a little. Wait a minute, woman. He reaches down and put his flashlight on its end so it points straight up and gives them some light to see by. They go into a long passionate kiss which is broken by MARCIE's hand coming up from behind JACK and tugging his t-shirt up towards his head. He leans back and takes it off, and tosses it at the CAMERA. CUT TO: 69 EXT. FRONT OF MAIN CABIN - NIGHT The rain has gathered in intensity. ALICE comes up to the front door and looks out. BILL comes up behind her. ALICE Jack and Marcie are gonna be drenched. BILL Not if they're where I think they are. ALICE laughs. ALICE I'm not always this stupid. She turned back into the cabin. CUT TO: 70 INT. BOY'S CABIN - NIGHT TIGHT on JACK and MARCIE as they make love under a camp blanket. Their breathing and noises are heard just above the sounds of the rain outside. The CAMERA becomes interested in a droplet which appear to have leaked from the ceiling, hit the vertical member of the bed and dribbled down. As the bed shakes with its love-making, the CAMERA PANS up the bunk's strut to trace the droplet's course. As the CAMERA PANS UPWARD, it pulls back slightly and we see NED lying in the upper bunk. In a flash of lightning we realize he is dead: his throat has been slashed. ANOTHER ANGLE: JACK and MARCIE lie completely still beneath their blanket. The CAMERA PANS along their quiet bodies. MARCIE's face is contented. JACK is ready to doze off. MARCIE Mmmmmmmph? JACK Mmmmmmmph. MARCIE Best over... JACK Umhummmmph. MARCIE Like waves. It's never been likes waves before. JACK Whassamatta? MARCIE Gotta pee. You're lying on my bladder. She rolls over and grabs her underpants and t-shirt. While still on the bottom bunk, she puts herself into her limited clothing. JACK gives her room. MARCIE (dressing) I know this ain't very romantic, but what can I say? I don't want to explode. She grabs a flashlight, scoots to the door and is gone. JACK lies back and puts his hands under his hand. CUT TO: 71 EXT. CAMP GROUNDS - NIGHT MARCIE runs across the now-wet central area towards the bathroom facility. She tries to skip between the raindrops, but she knows she'll get a drenching. CUT TO: 72 INT. BOY'S CABIN - NIGHT JACK rolls to his side, picks up a small hand-rolled cigarette and lights it. He inhales deeply, rolls on his back. Something overhead catches his eye. Across the way from the row of toilet stalls is a row of shower stalls, and further down is a row of several sinks and mirrors. We hear the toilet flush. We CUT INSIDE the toilet booth as MARCIE stands reading the graffiti to herself. We can only see her from the chest up. MARCIE (reading) "Forty yards to the outhouse by Willie Makit." "The Yellow Stream by I.P. Daley." Not the most original stuff, kids. There is a noise outside the stall. MARCIE (continuing) Jack? She hears no response and assumes that her imagination is playing tricks with her. MARCIE picks up the flashlight and exits the stall. 73 MARCIE crosses to the row of sinks, stops, puts the flashlight down and turns on the water faucet. There is no water. CUT TO: PROWLER'S POV: of MARCIE. From the end of the row of showers, we watch MARCIE bend under the sink and turn on one of the spigots. Water rushes into the sink. 74 MCU MARCIE: She rinses her hands, shakes them dry and turns off the water. Again she hears a noise. She looks to the row of showers and smiles. MARCIE Jack? The screen door to the shower room is swinging open and shut. MARCIE looks over, smiles. She thinks someone is trying to scare her. MARCIE (continuing) Jack? Neddy? Don't put me on. There is a dripping sound. MARCIE stops at the first shower, hesitates. Throws back the first curtain. There is no one there. She reaches in and makes sure the spigot is really off. She goes to the second shower, looks over her shoulder to the empty toilet. Then reaches in to the shower curtain. MARCIE (continuing) Allee allee infree! She throws back the curtain. Again no one is there. She breathes a sigh of disappointment. MARCIE (continuing) Must be my imagination. In CU she turns back toward the sink area when suddenly the TRACK explodes with a MUSICAL STINGER. It happens in a flash. A shape lunges from the toilet booth across from the first shower. A hatchet glints. MARCIE screams. The hatchet strikes. The flashlight clatters to the floor. CUT TO: 75 EXT. DINER - NIGHT The sound of a cash register ringing up a sale hangs over an establishing shot of the diner. Through the window, which are being pelted with rain, we can see a WAITRESS and some CUSTOMERS seated on stools at the counter. CUT TO: 76 INT. DINER - NIGHT The WAITRESS is different from the morning woman, slightly older, but still attractive. She says good night to her CUSTOMER, who finishes paying his bill and crosses down the counter. Seated there is STEVE CHRISTY, finishing his cup of coffee. The waitress, SANDY, picks up his empty pie plate and tosses it in a pan of other dirty dishes. SANDY Anything else you want? STEVE No, thanks. I'm fine. Sandy. SANDY You can't go back there tonight. Not in that stuff. 'Less you wanta get drownded. STEVE (drinking quickly) I got to. SANDY Aw. SANDY likes STEVE and enjoys flirting with him. STEVE I have six new counsellor up there. They're all babes in the woods in every sense of the word. SANDY They'll be okay if they know enough to stay in outta the rain. How much do I owe you? SANDY One night on the town. STEVE I mean... SANDY ...I know what you mean. Two and a quarter. Plus fifteen percent tip to make up for me spending the night alone. STEVE pays up and walks to the cash register. SANDY (continuing) You got a roof for that Jeep? She rings up the money. Gives him his change. He hands her a tip. STEVE Yeah. I got it on before this-- (indicates the storm outside) --all started. SANDY That's thirty percent. STEVE For two lonely nights. She smiles and is really kind of pretty underneath all that extra makeup. SANDY Drive careful and don't drownd your dumb self. STEVE smiles and leaves. She watches, then counts her changes and sticks it her pocket with the rest of her tips for the day. CUT TO: 77 EXT. DINER - NIGHT The rain continues as STEVE exits the diner, gets in his Jeep and starts it up. He roars off through a big puddle, splashing water towards the CAMERA. The Jeep pulls a small equipment trailer. CUT TO: 78 EXT. HIGHWAY - NIGHT The Jeep plows through the rain, leaving the town lights behind. A sign off to the side reads: CRYSTAL LAKE 45 Mi. CUT TO: 79 EXT. MAIN CABIN - NIGHT PROWLER'S POV: From outside the cabin, we can see some activity in the big meeting room. The CAMERA moves slightly from left to right as the shot is established. Then an unseen hand releases a branch which partially blocks the shot. CUT TO: 80 INT. BIG MEETING ROOM - NIGHT ALICE enters from the kitchen, carrying two cups of coffee. She hands one to BRENDA, who is curled up on the couch in front of the fire. BILL stands to the left of the hearth, picks up a couple of pieces of dry woods and puts them on to burn. BRENDA You think they fell asleep? BILL Anything's possible. My parents taught me to leave sleeping lovers alone. ALICE It wouldn't matter except Steve should be getting back pretty soon. It wouldn't look so great if he fell over them. BILL Good point. ALICE Well, it hasn't been that long. BRENDA smiles. BRENDA Long enough for me. They laugh. ALICE I think we should go wake them up. Just in case. BRENDA Give them a little while longer. It's still early, anyway. ALICE I guess... CUT TO: 81 EXT. RURAL ROAD - NIGHT The rain is very heavy. Steve's Jeep drives past the CAMERA. The tires squish in the muddy roadway. CUT TO: 82 INT. STEVE'S JEEP - NIGHT Lighted by dash panel, STEVE tries to concentrate on seeing the road. He leans forward, rubs a cloth on the windshield to get rid of the condensation. From his POV we watch the windshield wipers struggle to stay ahead of the rain. Beyond them the headlights make a slight dent in the night. In the BG we hear a country station on the radio, but it is bringing in more static than music, owing to the electrical storm. STEVE's hand reaches in and shuts off the radio. CUT TO: 83 INT. BIG MEETING ROOM - NIGHT ALICE has finished her coffee. BILL enters, shakes the rain off his poncho and stamps his feet. BILL Got to it just in time. The generator was running on fumes. I filled it up. That should keep it humming until Steve gets back. BRENDA gets up. BRENDA Good night, Alice. ALICE Good night, Brenda. BRENDA takes her lantern, and, throwing the slicker over her head like a portable tent, she races off into the night. ALICE watches her go. A glimmer of lightning outlines her as she heads off. BILL walks back into the big room, followed by ALICE. BILL Help you clean up? ALICE Absolutely. She walks with him as he carries the tray of empty coffee cups into the kitchen. CUT TO: 84 INT. CAMP BATHROOM - NIGHT The door opens and BRENDA comes in with her lantern and slicker. Her actions are direct and business-like. BRENDA goes first to the row of sinks and looked at herself in the mirror, holding up a propane Coleman lantern like an examination lamp. She takes out a toothbrush and some other toilet articles. She flips on both faucets and nothing comes out. She put her lantern down on the floor and turns on the water valves. She stands up, and washes her hands and face. She turns off the faucets and now we hear the dripping sound that Marcie had heard. BRENDA looks off at the shower stalls, shrugs, picks up her lantern and makes her exit. CUT TO: 85 EXT. RURAL ROAD - NIGHT STEVE's Jeep coughs, sputters, stalls. OVER we can hear him trying to re-start his dead engine. R-r-r-r... CUT TO: 86 INT. STEVE'S JEEP - NIGHT STEVE angrily steps on the gas again and hits the starter. R-r-r-r-rrr... nothing... He looks up to see headlights coming at him in his rear view mirror. STEVE, wearing a yellow slicker, gets out of the Jeep to try to flag down the oncoming car. CUT TO: 87 EXT. RURAL ROAD - NIGHT STEVE smiles to see that the oncoming car is the local police car, driven by a middle-aged cop named TIERNEY. TIERNEY has the window down already. TIERNEY I told you not to buy that hunk of junk! STEVE I think water got into the electrical system. You ride me back to camp? I'll get one of my counsellors to drive me back tomorrow morning. TIERNEY Why not? STEVE is around the car and hopping in almost before TIERNEY can answer. TIERNEY (continuing) "To serve and protect" don't mean to chauffeur. He puts the car in gear and roars into the night. CUT TO: 88 INT. GIRL'S CABIN/COUNSELLOR'S SECTION - NIGHT Under a single hanging lightbulb, BRENDA finishes writing at a small table. The weather howls outside. There's a tapping sound. BRENDA looks up. Listens, yawns, then gets up and starts to take off her clothes. CUT TO: 89 EXT. GIRL'S CABIN - NIGHT Through her window we can see BRENDA changing into her soft yellow pajamas. CUT TO: 90 INT. GIRL'S CABIN - NIGHT The tapping returns. BRENDA That could drive a person bug-city. The SOUND is apparently coming from the front of the cabin; perhaps she can fix it without getting too wet. BRENDA grabs her slicker and heads out. The CAMERA FOLLOWS BRENDA through the darkened cabin to the front door. CUT TO: 91 EXT. GIRL'S CABIN - NIGHT There is a small roof overhang like a porch, affording some protection from the wind and wet. ANOTHER ANGLE, CLOSER: as BRENDA hears the tapping sound closer by. She looks and sees. WE SEE WHAT SHE SEES: somebody has ties a kitchen knife to a string and left it dangling from the eaves. The wind blows, making the knife tap against the building. BRENDA Neddy? Cut the screwing around, Neddy! She grabs the knife, breaking the string. BRENDA (continuing) This isn't even half funny. Angry, BRENDA turns and goes back inside the cabin. CUT TO: 92 INT. GIRL'S CABIN - NIGHT BRENDA comes in shaking off her slicker, carrying the knife. BRENDA Christ, what a jerk. The single bulb goes out. BRENDA (continuing) Great. Now what? BRENDA crosses to the table, puts down her knife and strikes a match. She fires up the propane lantern. BRENDA (continuing) Looks like I turn in early. She moves the lamp and gets ready to climb into her bed. She reaches down and takes the coverlet and tugs it clear, revealing something that has been left there. REACTION SHOT: Fear spreads across her face. REVERSE POV: WE SEE WHAT SHE SEES: A camp hatchet lies across her pillow. The shiny blade is marked with blood. BRENDA turns and runs from her room. CUT TO: 93 EXT. PATHWAY/CAMP - NIGHT BRENDA runs through the rain, her flimsy pajamas drenched. Her bare feet slip in the mud. She heads for a small rise that leads to the softball field. CUT TO: 94 EXT. SOFTBALL FIELD - NIGHT WIDE SHOT of BRENDA running across the softball diamond. CUT TO: 95 EXT. ELECTRICAL JUNCTION BOX - NIGHT CLOSE UP: a hand reaches in and slams on a circuit breaker. CUT TO: 96 EXT. SOFTBALL FIELD - NIGHT CLOSE UP: Two large spot lights on a telephone pole light up. CUT TO: 97 EXT. SOFTBALL FIELD - NIGHT The softball field is now lit. BRENDA is confused. She looks off behind the backstop. Then to center field. Confused, she runs out of the light into the darkness and underbrush behind third base. The CAMERA slowly zooms in on the darkness where BRENDA exited. We hold on that spot for several seconds. Finally the silence is broken by a terrified scream. Then another. CUT TO: 98 INT. BIG MEETING ROOM - NIGHT ALICE is at one of the windows. ALICE I don't here it anymore. BILL Can't hear anything through that wind and rain. ALICE It sounded like Brenda. BILL I'll go take a look. ALICE Did somebody leave the lights on at the softball field? We are looking over at her shoulder. The distant glimmer suddenly goes dark. BILL joins her and looks. BILL Where? ALICE They're off now. BILL heads for the door. BILL I'll go check on Brenda. ALICE Okay. ALICE turns. BILL is halfway out the door. ALICE (continuing) I'll go with you. BILL shrugs. BILL If it'll make you feel better. CUT TO: 99 INT. POLICE CAR - NIGHT The rain continues as they drive along. TIERNEY Bad enough we got a full moon; it's Friday the 13th. They keep statistics. We get more accidents, more robberies, more rapes, more homicides, more of everything when there's a full moon. It affects people. Makes 'em nuts. STEVE You've made a science out of coincidence. The police radio, which has been on "squelch," comes on. DISPATCHER #1 (V.O.) (filtered) Sgt. Tierney, Report. DISPATCHER #2 (V.O.) (filtered) Need a clear frequency... DISPATCHER #1 (V.O.) (filtered) Sgt. Tierney, car niner. TIERNEY takes the mike. TIERNEY This is Tierney. DISPATCHER #2 (V.O.) (filtered) Rescue squad with jaws of life... near mile marker 17... possible fatals... three, maybe more... head on... at least one trapped... DISPATCHER #1 (V.O.) (filtered) Sgt. Tierney, there's a bad accident. One fatality known, several possibles near mile marker 17 on the Interstate. Bus, tractor trailer. Over. TIERNEY Roger. Acknowledge receipt. Estimate arrival time fifteen minutes. How copy? TIERNEY has jammed on his brakes and swung the car around. DISPATCHER #1 (V.O.) (filtered) 100%. I'll tell 'em you'll be there in fifteen minutes. Out. TIERNEY bangs the mike down on the holder. He stops the car. TIERNEY Have to drop you here, Steve. STEVE Sure. STEVE gets out quickly. STEVE (continuing) Good luck. TIERNEY Another coincidence. STEVE Yeah. CUT TO: 100 EXT. RURAL ROAD - NIGHT STEVE turns as the cop's car door slams. TIERNEY peels out on the wet road. CU as STEVE watches the lights grow dim in the distance. ANOTHER ANGLE: as STEVE turns and jogs the other way. Low thunder rolls in the distance. CUT TO: 101 EXT. GIRL'S CABIN - NIGHT BILL and ALICE have made their way to BRENDA's cabin. From the outside they can see the Coleman lantern burning on the table within. ALICE Brenda? Brenda? You there? There is no response. The CAMERA stays in a MCU of ALICE as she and BILL cross up the stairs and into the cabin. CUT TO: 102 INT. GIRL'S CABIN - NIGHT The SHOT continues on ALICE as she looks about the empty cabin. Finally she stops, looking down. The CAMERA continues to hold on her face. ALICE Bill. BILL crosses over to ALICE. They are both looking down, past the CAMERA LENS. ANOTHER ANGLE: WE SEE WHAT THEY SEE: the bloody hatchet left on Brenda's pillow. ANGLE on BILL and ALICE: (as before). Their faces are serious. ALICE (continuing) What the fuck is going on here? CUT TO: 103 EXT. JACK'S CABIN - NIGHT The rain slants down as BILL and ALICE make their way towards Jack's cabin. They go to the door. BILL knocks. BILL Jack? ALICE Marcie? BILL Hey, guys! BILL opens the door to the cabin. CUT TO: 104 INT. JACK'S CABIN - NIGHT The door opens at us. We see the silhouetted figures of BILL and ALICE. BILL flips on the light switch. The cabin is empty. Jack's backpack lies on the bed, the contents neatly laid out. CUT TO: 105 INT. CAMP BATHROOM - NIGHT It is dark inside. The door slams open at us as BILL and ALICE make their way inside. ALICE Marcie? Brenda? Jack? BILL walks slowly towards the row of toilets and showers. ALICE (continuing) I think we should call the police, Bill. BILL, who was just about to open one of the toilet stalls, nods and turns back to ALICE. BILL Okay. They exit. There is a beat... and then a slickered shape passes between us and the night sky light which comes through the windows. The shape is dragging something. CUT TO: 106 EXT. OFFICE CABIN - NIGHT ALICE and BILL are on the porch of one of the cabins. To the left of the door is a small sign that reads: "Office." BILL tries the door, but cannot open it. BILL Sucker's locked. Who's got the key? ALICE ignores the question, bends down beside the cabin and comes up with a short 2x4. She crosses to the door and smashes through one of the window panes. She puts her arm through the broken glass, unlocks the door and enters. BILL follows. The CAMERA continues to watch them from outside the cabin. They turn on a light and cross to a phone on Steve Christy's desk. BILL picks up the receiver, listens, clicks the switch on the desk set several times. BILL (continuing) It's dead. Try the pay phone. ALICE Do you have a dime? A quarter? BILL No. There must be some in the desk somewhere. They fumble through the desk to find some change. BILL finds some in the postage drawer. He then crosses over to a pay phone mounted on the wall. The CAMERA moves to the cornice of the building where the phone line exits. It follows the link up the side of the cabin to the junction where the power and phone lines come in from the pole. Here we see a dangling phone cable which has been recently cut. OVER, we hear the sound of a quarter dropping in the dead telephone. ALICE (V.O.) Hello? Hello? This damn thing's dead, too. CUT TO: 107 EXT. PARKING LOT - NIGHT BILL and ALICE comes out into the rain, heading for the camper van. They hop in. CUT TO: 108 EXT. VAN/PARKING LOT - NIGHT BILL slides behind the wheel. The keys are in the ignition. ALICE hops in on the passenger side. BILL turns over the engine. It grinds away but does not catch. From an ANGLE behind the outside mirror, we hear the engine fail to catch. We look in the mirror and see someone standing in the distance, watching. BILL gets out of the driver's side. Slams the door. The CAMERA TRUCKS with him as he opens the door to the engine. ALICE joins him as he shines his light on the engine. ALICE What's the matter with it? BILL Wet. I don't know. He tries a few more times. ALICE Why don't we run? Just run now? BILL It's over twenty miles to the crossroads. Steve'll be back in an hour. Things will straighten out then. We'll take his Jeep and get help. He goes to her and cradles her face in his hands. BILL (continuing) Don't worry. There is probably some really stupid explanation for all this. When the sun comes up tomorrow, you'll smile. (pause) Promise. ALICE nods. CUT TO: 109 EXT. CAMP ENTRANCE - NIGHT In the FG we see a camp sign. In the BG we see a figure running towards us. The figure reaches our vantage point and is revealed as STEVE CHRISTY. Just as he's about to make the turn into the driveway, he looks up and smiles. He stops and catches his breath as the other person catches him in the light of a flashlight. STEVE Hi. What are you doing out in this mess? He shields his eyes from the light. CUT TO: 110 EXT. LAKE - NIGHT From across the lake, the lights from the camp twinkle through the rain drops. CUT TO: 111 EXT. GENERATOR SHED - NIGHT The CAMERA as PROWLER moves to the shed. The noise of the generator grows louder as the door is opened. CUT TO: 112 INT. BIG MEETING ROOM - NIGHT BILL sits on the chair, a rifle across his lap. In the BG, ALICE sits on the couch, dozing. On the coffee table in front of her is a large machete. BILL's eyes are closing. He jerks himself awake, then starts to doze again. The bulb overhead grows yellow, orange, and then goes out. BILL snaps awake. He grabs a flashlight by his feet and flicks it on. BILL Oh, shit.... He goes to the ping-pong table where he has placed some lanterns. He fires up a Coleman and places it on the pong table. BILL checks on ALICE, makes sure she's asleep, then exits, carrying his rifle and a battery-operated fluorescent lamp. HOLD on ALICE's peaceful face as she slumbers. CUT TO: 113 EXT. GENERATOR SHED - NIGHT The rain has lessened a bit. BILL approaches the shed with his fluorescent lamp and rifle. He has the rifle at the ready. CU on his hand on the door handle. He pulls it open. CUT TO: 114 INT. GENERATOR SHED - NIGHT The generator stands there quietly. BILL comes into view, spraying the interior with lamplight. In the FG a broken sparkplug which BILL does not see immediately. It has been smashed by the blow of a hammer. BILL goes to the gas tank and unscrews the top. He looks in--there is enough gas. He puts the cap back on. Then his eye catches something. He looks at the broken plug. He shakes his head and looks around for a wrench to fix it. He puts the rifle down on the floor of the shed. CUT TO: 115 INT. BIG MEETING ROOM - NIGHT ALICE sits up into the CAMERA, startled and afraid. ALICE Bill?! She gets her bearings and looks around. Stands up. She looks at the bulb overhead. Pulls its string. No light. She sees the lanterns which have been placed around. ALICE (continuing) The generator... Now that she has figured out where Bill must be, she relaxes a little. Smiles. She goes to the mantelpiece, takes the lantern, and walks into the kitchen. CUT TO: 116 INT. KITCHEN - NIGHT ALICE puts down the lamp and goes about filling a big old tea kettle with water. She puts it on the stove and pops on a burner and prepares two cups of instant coffee. Impatient and curious, she walks to the front door of the cabin and looks out. ALICE Bill? Bill? The calm which she had grasped a few moments before is beginning to desert her. CUT TO: 117 INSERT: Whistling tea kettle on the kitchen stove. CUT TO: 118 INT. KITCHEN - NIGHT ALICE takes the kettle off the flame. The whistling stops abruptly. ALICE pours water into the two cups. She stirs the coffee. Unable to contain her impatience any longer, ALICE picks up her lantern, grabs a slicker, and heads out the door. CUT TO: 119 EXT. MAIN CABIN AREA - NIGHT ALICE walks very quickly around the side of the cabin, headed for the generator shed. ALICE Bill! CUT TO: 120 EXT. GENERATOR SHED - NIGHT The door to the shed is closed. ALICE looks around and then puts a hand on the hand. In CU we see the hand pull. The door doesn't budge. REACTION SHOT: ALICE decides to pull harder. She puts down her lamp and uses both hands and tugs. She pulls until she finally wrenches the door open. The lamp casts long shadows upwards. The generator sits silent. ALICE leans into the shed to look. The CAMERA TRACKS very slowly around behind her so that we can see behind the right-hand corner of the building. As we clear the edge, we see something hanging from a rope which runs down from a branch above. The something turns slowly in the wind. It is BILL--dead--in a travesty of the martyrdom of St. Sebastian, shot with arrows. ALICE comes out of the shed, distraught. ALICE Bill? She closes the door, and turns in the direction of the body. REACTION SHOT: ALICE. She is riveted with horror, unable to move or turn or run. The SOUNDTRACK screams with the THEME, the insistent STINGER, a shriek and a thunderclap. ALICE finally gives voice to her terror--again and again. She turns, leaving the lantern, and runs back towards the main cabin. ALICE (continuing) Help! Help! CUT TO: 121 INT. MAIN CABIN - NIGHT ALICE bursts through the front door into CAMERA. ALICE Jack! Marcie! Help me! CUT TO: 122 INT. BIG MEETING ROOM - NIGHT ALICE races to the coffee table, looking for BILL's machete. It is not there. ALICE The knife! She gets down on her hands and knees to look for it. LOW ANGLE: as she scrabbles on all fours. Nothing under the couch. ALICE gets back up and rushes to the ping-pong table to get the lamp. Just as she reaches the table--which is more or less against a window--a figure swings, pendulum-like, into the glass, shattering the pane in the window opposite ALICE. It is BRENDA, long-since dead, dripping wet, white-faced. ALICE sees her, turns and runs as fast as she can for the front door. ALICE flings open the wooden door and runs into a rain-suited figure. ALICE screams. The figure holds ALICE in a strong grasp. When ALICE focuses, she sees a kindly woman in her early forties. She is strong, fairly tall, and very nice-looking. This is MRS. VOORHEES. She wants ALICE to stop shrieking long enough to tell her what the matter is. ALICE sobs incoherently, pointing back to the rear window. MRS. VOORHEES There now, my dear. Please. I can't help you if you can't talk to me. There, there now... ALICE allows the woman to lead her back into the room. MRS. VOORHEES leads ALICE to the couch. In the BG we can see the broken window, but BRENDA is not visible. ALICE He's dead... She's dead... all dead... Please save me... oh... poor Bill... Oh my God, oh my God... oh God... MRS. VOORHEES It will be all right. I'll take care of you. ALICE Jack? Marcie? Ned? MRS. VOORHEES comforts her with a strong arm. MRS. VOORHEES It's just this place. The storm. That's why you're all upset. ALICE No, no, they're all dead... ALICE points over her shoulder towards the ping-pong table without looking. MRS. VOORHEES looks, shrugs. MRS. VOORHEES I'll go look. ALICE's face registers the new terror. ALICE They'll kill you! Don't leave me! MRS. VOORHEES smiles warmly. MRS. VOORHEES I'm not afraid. ALICE waits by the couch as MRS. VOORHEES crosses the room to the back window. ALICE All dead? Neddy? Oh, Marcie... ALICE stands close to the fireplace. MRS. VOORHEES reaches the window and looks out. BRENDA's body sways just out of reach. MRS. VOORHEES is shocked. MRS. VOORHEES Oh, my lord... MRS. VOORHEES turns back and, as she passes the ping-pong table, she picks up the lantern. ALICE waits at the fireplace. MRS. VOORHEES (continuing) So young, so pretty. What monster could have done such a thing? ALICE Bill--Bill--Bill is out there... She lets MRS. VOORHEES take her in her arms. MRS. VOORHEES We shall go straight to the police. ALICE backs up. ALICE The killer is still out there. MRS. VOORHEES I will protect you. MRS. VOORHEES looks around the room. MRS. VOORHEES (continuing) Oh, this place... It should never have been a camp. Not for children. They had so much trouble here. The fire glimmers slightly in the fireplace. A log burns through and rolls off, throwing up a small shower of sparks. MRS. VOORHEES (continuing) Camp Blood. MRS. VOORHEES has almost completely calmed the girl down. Strokes her soft hair. MRS. VOORHEES (continuing) You know a boy drowned the year before those two others were killed? An accident? It was inadequate supervision. The counsellors were not paying enough attention... They were making love when that boy drowned. ALICE looks up as the WOMAN strokes her hair. ANOTHER ANGLE: MCU as the OLDER WOMAN's hand strokes the YOUNGER WOMAN's hair. The hand is missing its little finger! The THEME enters upon the TRACK in a lyrical, child-like version, echoing back to another era, pretty and light. MRS. VOORHEES (continuing) We should go now. ALICE Maybe we should wait for Mr. Christy. MRS. VOORHEES shakes her head gently. MRS. VOORHEES No. That won't be necessary. As she speaks, MRS. VOORHEES reaches into her slicker in a surreptitious manner and very slowly slips out a long hunting knife. ALICE I don't understand. MIXED on the TRACK, filtered, echoed and distant, is the SOUND of a ten year old boy, JASON, crying for help in a fantasy version of what might have happened when he drowned in 1957. JASON (V.O.) (filtered) Help me, mommy... save me... please, mommy... please, mommy... help me, mommy... save me.... MRS. VOORHEES (cocking her hand to listen) I am, Jason. I am. ALICE (a little confused) Why shouldn't we wait for Mr. Christy? MRS. VOORHEES has gone through some subtle changes. While her voice remains warm and comforting, her face has started to slip into her other manifestation. All of this is in concert with the visibility of her weapon. MRS. VOORHEES It was my son they killed. They said he drowned, but I know it was inadequate supervision... ALICE starts to become increasingly anxious. She can't see the knife rise behind her. ALICE Mr. Christy will be back soon. MRS. VOORHEES shakes her head from side to side. MRS. VOORHEES No, he won't. I killed him as well.... The shock of recognition hits ALICE. In CU her eyes look up and see the knife which MRS. VOORHEES now has poised and ready to strike. ALICE bolts off the couch and stumbles backwards into the fireplace, scattering ashes and sparks. MRS. VOORHEES stands and steps forward. MRS. VOORHEES (continuing) I couldn't let them start this camp again, could I? ALICE, in panic, looks for an escape. She grabs the fireplace poker. ALICE I won't let you! ALICE swings the poker back and forth. ALICE (continuing) No! No! No! MRS. VOORHEES raises her arm to slash downward with the knife. ALICE swings the poker hard to MRS. VOORHEES' other arm and rib cage. MRS. VOORHEES is in pain, her face a mask of rage. ALICE drops the poker to run for the door. MRS. VOORHEES hesitates for a moment, then follows ALICE deliberately. Lightning goes off followed quickly by thunder. CUT TO: 123 EXT. MAIN CABIN/TREE - NIGHT ALICE gets to the door and stops. She fiddles with the side of the screen... somebody has latched it. CLOSER on ALICE, taking one look over her shoulder, kicks at the door, snapping the latch. ANOTHER ANGLE: as ALICE runs out into the rain, the mud, the thunder and the lightning. The THEME is going full-tilt as ALICE makes a quick turn to run towards the road. TWO-SHOT: as ALICE bumps into an object which swings from above. A slice of lightning reveals it to be the dead body of STEVE CHRISTY hanging from the tree. A rope is looped under his arms, his head is down on his chest, and a long blade protrudes from his heart. REACTION SHOT: ALICE in terror. ANOTHER ANGLE: ALICE runs and suddenly bumps into another pair of legs which swing from the same big tree. STROBE SHOT: of JACK, dead. ANOTHER ANGLE: ALICE runs for the Arts & Crafts. In the BG we see can the yellow-slickered MRS. VOORHEES closing the distance between herself and ALICE. CUT TO: 124 EXT. ARTS & CRAFTS CABIN - NIGHT ALICE runs for the door, slams through it. The CAMERA waits for MRS. VOORHEES, but she does not appear. CUT TO: 125 EXT. GENERATOR SHACK - NIGHT MRS. VOORHEES runs to the door and opens it quickly. CUT TO: 126 INT. ARTS & CRAFTS CABIN - NIGHT ALICE is hiding in the shadows behind a table. We hear the SOUNDS of the generator starting outside and suddenly three bright overhead lights come on. ALICE looks across the room to the light switch, afraid to reveal her hiding place. She looks for an escape. There's a window. She starts for it, then stops and turns and dives under an arts & crafts table. ANOTHER ANGLE: MRS. VOORHEES opens the door and walks in a few feet. She carries a machete in her hand. We see this instrument in CU as we hear OVER the sound of her son, JASON, calling to her. JASON (V.O.) Help, mommy, I'm drowning! Oh, mommy, please.... The CAMERA PANS UP to her face and we see that the voice of JASON is coming from within her in LIP SYNC. She is both characters--though the child's voice is authentically dubbed. ALICE can just make out what is happening and can hear the VOICE OF JASON. ALICE is very still. Her eyes widen as she listens to MRS. VOORHEES rave. JASON (Lipsync) Don't let me die, mommy... I can't breathe... Help me, breathe... MRS. VOORHEES is having trouble catching her own breath. She strokes her throat with her free hand and the voice of the child stops. MRS. VOORHEES (in her own voice) I can't let them kill any more children. Come out now. She wades through table after table, pushing them out of her way with the strength she has demonstrated throughout as the PROWLER. When MRS. VOORHEES is too quick for her, shoving a table across her path like a barred door. Before ALICE can think twice, MRS. VOORHEES has shoved a second table in behind her so that now ALICE is sandwiched between them. She can duck down or climb over or come out the only open end-- the end where MRS. VOORHEES is standing. ALICE looks behind her and sees a shelf. On the shelf is a box. MRS. VOORHEES is coming down the aisle between the two tables. Her machete is coming up in an attack. ALICE reaches into the box in CU and pulls out a handful of leather-working tools. She hurls them at MRS. VOORHEES as hard as she can. MRS. VOORHEES has to put her arms up to ward off the spinning knives. One cuts her under the eye and she lets out a low animal bellow. ALICE leaps up, climbs over the table and runs for the door. MRS. VOORHEES shoves the tables over and hurries after her. ALICE gets to the door, shuts off the light switch and runs out. We can hear JASON'S VOICE. JASON (V.O.) Kill her, mommy! Kill her! CUT TO: 127 EXT. CAMP GROUNDS/EQUIP. SHED - NIGHT The central area is bathed in light. The rain has stopped. MRS. VOORHEES has turned on all the flood-lights. ALICE runs to the corner of one of the cabins. She stops to look back. MRS. VOORHEES is gaining on her. ALICE runs to the equipment shed. ANOTHER ANGLE: The door is thrown back. ALICE goes in. Looks for a weapon. Nothing is available. ALICE sobs with fear. She runs. MRS. VOORHEES passes the equipment shed. CUT TO: 128 EXT. RIFLE RANGE SHACK - NIGHT A single bulb outside the building shows ALICE as she bursts through the door. CUT TO: 129 INT. RIFLE RANGE SHACK - NIGHT It is a small cabin. On the walls are five .22 calibre rifles. ALICE runs into the dimly lit cabin and takes one of the rifles from the wall. She rummages in a drawer. It's empty. She tries another. Empty. ALICE Where are the goddamned bullets? The next drawer has a lock and hasp on it. ALICE looks around. CUT TO: 130 EXT. RIFLE RANGE SHACK - NIGHT MRS. VOORHEES is on her way, charging through the night. CUT TO: 131 INT. RIFLE RANGE SHACK - NIGHT ANGLE ON ALICE: She whacks the hasp with the butt of the rifle. The hasp doesn't give. She gives it another butt stroke. It won't give. A shadow covers ALICE's back. She turns. ANOTHER ANGLE: MRS. VOORHEES is standing in the doorway, blocking the light. Still carrying the machete, MRS. VOORHEES steps slowly toward ALICE. ALICE, with an almost useless .22 in her hands, does the only thing she can. She takes the weapon by the barrel and, swinging it like a baseball bat, whacks MRS. VOORHEES on the arm/shoulder, knocking the killer off balance and into the wall. MRS. VOORHEES slams through a flimsy table, crushing it, and drops to the floor. ALICE runs out the door. CUT TO: 132 EXT. MAIN CABIN FRONT - NIGHT ALICE huffs past the dead camper van, through the mud to the front door of the main cabin. She runs in quickly. There is no sign of MRS. VOORHEES. She turns off the lights and runs into the kitchen. CUT TO: 133 INT. KITCHEN AREA - NIGHT ALICE looks from side to side, hoping to find a place to hide. She spots the half-open door to the larder, looks inside and then hides there, closing the door behind her. CUT TO: 134 INT. LARDER - NIGHT There is some light that comes through the cracks and crevices. ALICE's hands fasten onto the inside lock--the dead bolt type which requires a key to unlock it from the other side. ALICE relaxes a little bit now that she is locked inside. As soon as she relaxes, we hear the front screen door slam. Then we hear some shuffling around outside. The lights are turned on. JASON (V.O.) Please kill her, mommy... Help me, please. Kill her, mommy. There is the sound of pots being rustled through. Then the sound of another door being slammed. ALICE relaxes again. Then there is a silence. ALICE thinks about unlocking the door now. She reaches out for the lock. Then thinks better of the idea. She cases down the door frame to the floor. On all sides are the cans of food and cooking implements. There is a large skillet, some bags of flour, etc. ALICE covers her head with her arms. The doorknob above her head (a few inches away) turns very slowly. We see it, but she does not. MRS. VOORHEES' hand finishes turning and now starts to push gently. There is almost no give, but we see that the door is being tested. The voice on the other side is very young, very sing-song. JASON (O.S.) Come out, come out, wherever you are... ALICE jerks back and stands up on the far side of the small room. Fists bang in a rage on the floor. ALICE Please... ALICE folds her hands at the side of her face. The fist-banging gives way to a short silence. The silence is interrupted by a new sound: MRS. VOORHEES has begun to use her machete to chop away at the outside of the door to the larder. REACTION SHOT: ALICE... oh, my God... At first we see nothing on our side. Then, gradually, we see little slivers of lights admitted by the blade's chops. ALICE's eyes race around the larder to try to find a weapon, a defense, anything... Larger holes are now made. MRS. VOORHEES stops just long enough to take a peck inside. We can see her eye at the largest hole. She goes back to whacking away at the door. The hole is near the lock. It is soon big enough for MRS. VOORHEES to reach inside with her hand and turn the rachet. ALICE realizes she must defend herself. She reaches down and picks up a heavy skillet and, as the door opens, ALICE raises her weapon and, screaming, charges the woman who is trying to come through the entrance. MRS. VOORHEES chops down with the machete. ALICE fends off the blow with the skillet that she holds with both hands above her head. As the machete blade bounces off the skillet, ALICE is able to swing the skillet downward and hit MRS. VOORHEES with a solid blow on top of her head. MRS. VOORHEES sprawls sideways across the table and then collapses in a heap on the floor. ALICE raises the skillet again to strike. She crosses carefully to MRS. VOORHEES and pushes her gently with her foot, the way she might poke a dead animal in the roadway. ANOTHER ANGLE: MRS. VOORHEES lies totally inert. There is a small puddle of blood under her head. ANGLE ON ALICE: She relaxes, puts down her weapon and crosses slowly out of the room. CUT TO: 135 EXT. LAKE - NIGHT The moon comes out from behind a cloud. ALICE pushes a canoe into the water and paddles, as rapidly as her tired body will permit, out in the lake to safety. CUT TO: 136 EXT. LAKE - NIGHT Exhausted, ALICE puts her paddle across her lap and falls forward, slumped across a thwart. CUT TO: 137 EXT. CAMP - DAWN The first rays of sunlight streak the sky from beyond the horizon, promising a hot and sunny summer's day. The birds are up, foraging for food. As the CAMERA scans the peaceful scene, we see the sky reflected in the calm waters of Crystal Lake. The canoe holding ALICE is drifting in big slow circles across the surface of the lake. CUT TO: 138 EXT. LAKE - DAWN ALICE lies, in MCU, in the canoe, sleeping. She has not changed her position since collapsing a few hours before. The water laps gently against the side of the canoe. Very slowly, she wakes. She opens her eyes. The canoe has drifted into the shade of some enormous tree boughs that overhang the edge of the lake. They shade ALICE from the bright rays of the sun. The canoe rocks gently. ALICE is still, listening to the sound of the lapping water. Suddenly there is a blood-curdling scream, a MUSICAL STINGER, and the screen is filled with the flying, whirling form of MRS. VOORHEES, who leaps from the overhanging boughs into the canoe, barely missing ALICE's slumped form! The canoe immediately overturns and both MRS. VOORHEES and ALICE try to find their footing in the shallow water. MRS. VOORHEES is covered in mud and blood. She sees ALICE struggling to get up and move toward her, brandishing her blood-spattered machete. ALICE turns, sees MRS. VOORHEES coming. ALICE grabs a paddle floating near her. MRS. VOORHEES pushes the canoe to one side, wading through the waist-high water as fast as she can. She screams with rage. Her face goes through a horrifying transformation. From her mouth comes the VOICE OF JASON. JASON (Lipsync) Mommy! Mommy! Mommy! ALICE can't move fast enough to get away from MRS. VOORHEES, who is slashing the air with her big knife trying to hit ALICE. ALICE slips, falls in the water, gets her footing back and has to turn and block the blow of the machete with the paddle, using it like a staff to ward off the blow. The machete cuts the paddle nearly in half. MRS. VOORHEES raises the knife for another blow and ALICE lunges for her knees and succeeds in throwing MRS. VOORHEES into the water. The machete flies out of her hand and lands in the water. The two women roll in the water. MRS. VOORHEES is trying to strangle ALICE, her hands stretching to reach around her throat. They roll over and under the water. We cannot see who is winning. Suddenly MRS. VOORHEES finds her footing and stands up, looking for ALICE. She is screeching madly. JASON (Lipsync) (continuing) Kill her, mommy! Kill her, mommy! ALICE shoots up out of the water holding the machete, and in one, wild swing, decapitates MRS. VOORHEES, whose head flies off into the water. The body stands for a minute, then falls heavily into the lake. ALICE drops the machete into the water and starts to wade to shore. CUT TO: 139 EXT. CAMP ROAD/SIGN - MORNING ALICE walks slowly down the road away from the camp. We hear the sound of a car approaching. Now it comes into view. It is a state vehicle, black and white, with an emblem on the door that says "State Department of Health and Safety". There are two middle-aged bureaucrats inside. ALICE waves down the car, which pulls up beside her. 1st INSPECTOR Good morning, miss. 2nd INSPECTOR (Leaning across the front seat) Are you all right, ma'am? ALICE Help me. The CAMERA PANS BACK while the two men get out of their vehicle and come around to help ALICE. CUT TO: 140 EXT. CAMP - MORNING LONG SHOT of the camp with the sun sparkling on the waters of Crystal Lake. The canoe lies half sunken in the shallows. One paddle drifts in the current. The lake has swallowed its secret. ROLL CREDITS.

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+GLENGARRY GLEN ROSS by David MametSCENE ONEA booth at a Chinese restaurant, Williamson and Levene areseated at the booth. LEVENE John...John...John. Okay. John. John. Look: (pause) The Glengarry Highland's leads, you're sending Roma out. Fine. He's a good man. We know what he is. He's fine. All I'm saying, you look at the board, he's throwing...wait, wait, wait, he's throwing them away, he's throwing the leads away. All that I'm saying, that you're wasting leads. I don't want to tell you your job. All that I'm saying, things get set, I know they do, you get a certain mindset... A guy gets a reputation. We know how this...all I'm saying, put a closer on the job. There's more than one man for the... Put a...wait a second, put a proven man out...and you watch, now wait a second--and you watch your dollar volumes...You start closing them for fifty 'stead of twenty- five...you put a closer on the... WILLIAMSON Shelly, you blew the last... LEVENE No. John. No. Let's wait, let's back up here, I did...will you please? Wait a second. Please. I didn't "blow" them. No. I didn't "blow" them. No. One kicked out, one I closed... WILLIAMSON ...you didn't close... LEVENE ...I, if you'd listen to me. Please. I closed the cocksucker. His ex, John, his ex, I didn't know he was married...he, the judge invalidated the... 2. WILLIAMSON Shelly... LEVENE ...and what is that, John? What? Bad luck. That's all it is. I pray in your life you will never find it runs in streaks. That's what it does, that's all it's doing. Streaks. I pray it misses you. That's all I want to say. WILLIAMSON (pause) What about the other two? LEVENE What two? WILLIAMSON Four. You had four leads. One kicked out, one the judge, you say... LEVENE ...you want to see the court records? John? Eh? You want to go down... WILLIAMSON ...no... LEVENE ...do you want to go downtown...? WILLIAMSON ...no... LEVENE ...then... WILLIAMSON ...I only... LEVENE ...then what is this "you say" shit, what is that? (pause) What is that...? WILLIAMSON All that I'm saying... 3. LEVENE What is this "you say"? A deal kicks out...I got to eat. Shit, Williamson, shit. You...Moss... Roma...look at the sheets...look at the sheets. Nineteen eighty, eighty-one...eighty-two...six months of eighty-two...who's there? Who's up there? WILLIAMSON Roma. LEVENE Under him? WILLIAMSON Moss. LEVENE Bullshit. John. Bullshit. April, September 1981. It's me. It isn't fucking Moss. Due respect, he's an order taker, John. He talks, he talks a good game, look at the board, and it's me, John, it's me... WILLIAMSON Not lately it isn't. LEVENE Lately kiss my ass lately. That isn't how you build an org...talk, talk to Murray. Talk to Mitch. When we were on Peterson, who paid for his fucking car? You talk to him. The Seville...? He came in, "You bought that for me Shelly." Out of what? Cold calling. Nothing. Sixty-five, when we were there, with Glen Ross Farms? You call 'em downtown. What was that? Luck? That was "luck"? Bullshit, John. You're burning my ass, I can't get a fucking lead...you think that was luck. My stats for those years? Bullshit...over that period of time...? Bullshit. It wasn't luck. It was skill. You want to throw that away, John...? You want to throw that away? WILLIAMSON It isn't me... 4. LEVENE ...it isn't you...? Who is it? Who is this I'm talking to? I need the leads... WILLIAMSON ...after the thirtieth... LEVENE Bullshit the thirtieth, I don't get on the board the thirtieth, they're going to can my ass. I need the leads. I need them now. Or I'm gone, and you're going to miss me, John, I swear to you. WILLIAMSON Murray... LEVENE ...you talk to Murray... WILLIAMSON I have. And my job is to marshal those leads... LEVENE Marshal the leads...marshal the leads? What the fuck, what bus did you get off of, we're here to fucking sell. Fuck marshaling the leads. What the fuck talk is that? What the fuck talk is that? Where did you learn that? In school? (pause) That's "talk," my friend, that's "talk." Our job is to sell. I'm the man to sell. I'm getting garbage. (pause) You're giving it to me, and what I'm saying is it's fucked. WILLIAMSON You're saying that I'm fucked. LEVENE Yes. (pause) I am. I'm sorry to antagonize you. WILLIAMSON Let me... 5. LEVENE ...and I'm going to get bounced and you're... WILLIAMSON ...let me...are you listening to me...? LEVENE Yes. WILLIAMSON Let me tell you something, Shelly. I do what I'm hired to do. I'm...wait a second. I'm hired to watch the leads. I'm given...hold on, I'm given a policy. My job is to do that. What I'm told. That's it. You, wait a second, anybody falls below a certain mark I'm not permitted to give them the premium leads. LEVENE Then how do they come up above that mark? With dreck...? That's nonsense. Explain this to me. 'Cause it's a waste, and it's a stupid waste. I want to tell you something... WILLIAMSON You know what those leads cost? LEVENE The premium leads. Yes. I know what they cost. John. Because I, I generated the dollar revenue sufficient to buy them. Nineteen senny-nine, you know what I made? Senny-nine? Ninety-six thousand dollars. John? For Murray... For Mitch...look at the sheets... WILLIAMSON Murray said... LEVENE Fuck him. Fuck Murray. John? You know? You tell him I said so. What does he fucking know? He's going to have a "sales" contest...you know what our sales contest used to be? (MORE) 6. LEVENE (CONT'D) Money. A fortune. Money lying on the ground. Murray? When was the last time he went out on a sit? Sales contest? It's laughable. It's cold out there now, John. It's tight. Money is tight. This ain't sixty-five. It ain't. It just ain't. See? See? Now, I'm a good man--but I need a... WILLIAMSON Murray said... LEVENE John. John... WILLIAMSON Will you please wait a second. Shelly. Please. Murray told me: the hot leads... LEVENE ...ah, fuck this... WILLIAMSON The...Shelly? (pause) The hot leads are assigned according to the board. During the contest. Period. Anyone who beats fifty per... LEVENE That's fucked. That's fucked. You don't look at the fucking percentage. You look at the gross. WILLIAMSON Either way. You're out. LEVENE I'm out. WILLIAMSON Yes. LEVENE I'll tell you why I'm out. I'm out, you're giving me toilet paper. John. (MORE) 7. LEVENE (CONT'D) I've seen those leads. I saw them when I was at Homestead, we pitched those cocksuckers Rio Rancho nineteen sixty-nine they wouldn't buy. They couldn't buy a fucking toaster. They're broke, John. They're cold. They're deadbeats, you can't judge on that. Even so. Even so. Alright. Fine. Fine. Even so. I go in, FOUR FUCKING LEADS they got their money in a sock. They're fucking Polacks, John. Four leads. I close two. Two. Fifty per... WILLIAMSON ...they kicked out. LEVENE They all kick out. You run in streaks, pal. Streaks. I'm... I'm...don't look at the board, look at me. Shelly Levene. Anyone. Ask them on Western. Ask Getz at Homestead. Go ask Jerry Graff. You know who I am...I NEED A SHOT. I got to get on the fucking board. Ask them. Ask them. Ask them who ever picked up a check I was flush. Moss, Jerry Graff, Mitch himself...Those guys lived on the business I brought in. They lived on it...and so did Murray, John. You were here you'd of benefited from it too. And now I'm saying this. Do I want charity? Do I want pity? I want sits. I want leads that don't come right out of a phone book. Give me a lead hotter than that, I'll go in and close it. Give me a chance. That's all I want. I'm going to get up on that fucking board and all I want is a chance. It's a streak and I'm going to turn it around. (pause) I need your help.Pause. WILLIAMSON I can't do it, Shelly. 8.Pause. LEVENE Why? WILLIAMSON The leads are assigned randomly... LEVENE Bullshit, bullshit, you assign them... What are you telling me? WILLIAMSON ...apart from the top men on the contest board. LEVENE Then put me on the board. WILLIAMSON You start closing again, you'll be on the board. LEVENE I can't close these leads, John. No one can. It's a joke. John, look, just give me a hot lead. Just give me two of the premium leads. As a "test," alright? As a "test" and I promise you... WILLIAMSON I can't do it, Shel.Pause. LEVENE I'll give you ten percent.Pause. WILLIAMSON Of what? LEVENE And what if you don't close. LEVENE I will close. WILLIAMSON What if you don't close...? 9. LEVENE I will close. WILLIAMSON What if you don't? Then I'm fucked. You see...? Then it's my job. That's what I'm telling you. LEVENE I will close. John, John, ten percent. I can get hot. You know that... WILLIAMSON Not lately you can't... LEVENE Fuck that. That's defeatist. Fuck that. Fuck it...Get on my side. Go with me. Let's do something. You want to run this office, run it. WILLIAMSON Twenty percent.Pause. LEVENE Alright. WILLIAMSON And fifty bucks a lead. LEVENE John. (pause) Listen. I want to talk to you. Permit me to do this a second. I'm older than you. A man acquires a reputation. On the street. What he does when he's up, what he does otherwise...I said "ten," you said "no." You said "twenty." I said "fine," I'm not going to fuck with you, how can I beat that, you tell me?...Okay. Okay. We'll...Okay. Fine. We'll...Alright, twenty percent, and fifty bucks a lead. That's fine. For now. That's fine. A month or two we'll talk. A month from now. Next month. After the thirtieth. (pause) We'll talk. 10. WILLIAMSON What are we going to say? LEVENE No. You're right. That's for later. We'll talk in a month. What have you got? I want two sits. Tonight. WILLIAMSON I'm not sure I have two. LEVENE I saw the board. You've got four... WILLIAMSON (snaps) I've got Roma. Then I've got Moss... LEVENE Bullshit. They ain't been in the office yet. Give 'em some stiff. We have a deal or not? Eh? Two sits. The Des Plaines. Both of 'em, six and ten, you can do it...six and ten...eight and eleven, I don't give a shit, you set 'em up? Alright? The two sits in Des Plaines. WILLIAMSON Alright. LEVENE Good. Now we're talking.Pause. WILLIAMSON A hundred bucks.Pause. LEVENE Now? (pause) Now? WILLIAMSON Now. (pause) Yes...When? 11. LEVENE Ah, shit, John.Pause. WILLIAMSON I wish I could. LEVENE You fucking asshole. (pause) I haven't got it. (pause) I haven't got it, John. (pause) I'll pay you tomorrow. (pause) I'm coming in here with the sales, I'll pay you tomorrow. (pause) I haven't got it, when I pay, the gas...I get back the hotel, I'll bring it in tomorrow. WILLIAMSON Can't do it. LEVENE I'll give you thirty on them now, I'll bring the rest tomorrow. I've got it at the hotel. (pause) John? (pause) We do that, for chrissake? WILLIAMSON No. LEVENE I'm asking you. As a favor to me? (pause) John. (long pause) John: my daughter... WILLIAMSON I can't do it, Shelly... 12. LEVENE Well, I want to tell you something, fella, wasn't long I could pick up the phone, call Murray and I'd have your job. You know that? Not too long ago. For what? For nothing. "Mur, this new kid burns my ass." "Shelly, he's out." You're gone before I'm back from lunch. I bought him a trip to Bermuda once... WILLIAMSON I have to go... (gets up) LEVENE Wait. Alright. Fine. (starts going in pocket for money) The one. Give me the lead. Give me the one lead. The best one you have. WILLIAMSON I can't split them.Pause. LEVENE Why? WILLIAMSON Because I say so. LEVENE (pause) Is that it? Is that it? You want to do business that way...?Williamson gets up, leaves money on the table. LEVENE You want to do business that way...? Alright. Alright. Alright. Alright. What is there on the other list...? WILLIAMSON You want something off the B list? LEVENE Yeah. Yeah. 13. WILLIAMSON Is that what you're saying? LEVENE That's what I'm saying. Yeah. (pause) I'd like something off the other list. Which, very least, that I'm entitled to. If I'm still working here, which for the moment I guess that I am. (pause) What? I'm sorry I spoke harshly to you. WILLIAMSON That's alright. LEVENE The deal still stands, our other thing.Williamson shrugs. Starts out of the booth. LEVENE Good. Mmm. I, you know, I left my wallet back at the hotel.SCENE TWOA booth at the restaurant. Moss and Aaronow seated. Afterthe meal. MOSS Polacks and deadbeats. AARONOW ...Polacks... MOSS Deadbeats all. AARONOW ...they hold on to their money... MOSS All of 'em. They, hey: it happens to us all. AARONOW Where am I going to work? 14. MOSS You have to cheer up, George, you aren't out yet. AARONOW I'm not? MOSS You missed a fucking sale. Big deal. A deadbeat Polack. Big deal. How you going to sell 'em in the first place...? Your mistake, you shoun'a took the lead. AARONOW I had to. MOSS You had to, yeah. Why? AARONOW To get on the... MOSS To get on the board. Yeah. How you goan'a get on the board sell'n a Polack? And I'll tell you, I'll tell you what else. You listening? I'll tell you what else: don't ever try to sell an Indian. AARONOW I'd never try to sell an Indian. MOSS You get those names come up, you ever get 'em, "Patel?" AARONOW Mmm... MOSS You ever get 'em? AARONOW Well, I think I had one once. MOSS You did? AARONOW I...I don't know. 15. MOSS You had one you'd know it. Patel. They keep coming up. I don't know. They like to talk to salesmen. (pause) They're lonely, something. (pause) They like to feel superior, I don't know. Never bought a fucking thing. You're sitting down "The Rio Rancho this, the blah blah blah," "The Mountain View--" "Oh yes. My brother told me that..." They got a grapevine. Fuckin' Indians, George. Not my cup of tea. Speaking of which I want to tell you something: (pause) I never got a cup of tea with them. You see them in the restaurants. A supercilious race. What is this look on their face all the time? I don't know. (pause) I don't know. Their broads all look like they just got fucked with a dead cat, I don't know. (pause) I don't know. I don't like it. Christ... AARONOW What? MOSS The whole fuckin' thing...The pressure's just too great. You're ab...you're absolu...they're too important. All of them. You go in the door. I..."I got to close this fucker, or I don't eat lunch," "or I don't win the Cadillac..." We fuckin' work too hard. You work too hard. We all, I remember when we were at Platt...huh? Glen Ross Farms... didn't we sell a bunch of that..." AARONOW They came in and they, you know... MOSS Well, they fucked it up. 16. AARONOW They did. MOSS They killed the goose. AARONOW They did. MOSS And now... AARONOW We're stuck with this... MOSS We're stuck with this fucking shit... AARONOW ...this shit... MOSS It's too... AARONOW It is. MOSS Eh? AARONOW It's too... MOSS You get a bad month, all of a... AARONOW You're on this... MOSS All of, they got you on this "board..." AARONOW I, I...I... MOSS Some contest board... AARONOW I... MOSS It's not right. 17. AARONOW It's not. MOSS No.Pause. AARONOW And it's not right to the customers. MOSS I know it's not. I'll tell you, you got, you know, you got...what did I learn as a kid on Western? Don't sell a guy one car. Sell him five cars over fifteen years. AARONOW That's right? MOSS Eh...? AARONOW That's right? MOSS Goddamn right, that's right. Guys come on: "Oh, the blah blah blah, I know what I'll do: I'll go in and rob everyone blind and go to Argentina cause nobody ever thought of this before." AARONOW ...that's right... MOSS Eh? AARONOW No. That's absolutely right. MOSS And so they kill the goose. I, I, I'll...and a fuckin' man, worked all his life has got to... AARONOW ...that's right... MOSS ...cower in his boots... 18. AARONOW (simultaneously with "boots") Shoes, boots, yes... MOSS For some fuckin' "Sell ten thousand and you win the steak knives..." AARONOW For some sales pro... MOSS ...sales promotion, "You lose, then we fire your..." No. It's medieval... it's wrong. "Or we're going to fire your ass." It's wrong. AARONOW Yes. MOSS Yes, it is. And you know who's responsible? AARONOW Who? MOSS You know who it is. It's Mitch. And Murray. 'Cause it doesn't have to be this way. AARONOW No. MOSS Look at Jerry Graff. He's clean, he's doing business for himself, he's got his, that list of his with the nurses...see? You see? That's thinking. Why take ten percent? A ten percent comm...why are we giving the rest away? What are we giving ninety per...for nothing. For some jerk sit in the office tell you "Get out there and close." "Go win the Cadillac." Graff. He goes out and buys. He pays top dollar for the... you see? AARONOW Yes. 19. MOSS That's thinking. Now, he's got the leads, he goes in business for himself. He's...that's what I... that's thinking! "Who? Who's got a steady job, a couple bucks nobody's touched, who?" AARONOW Nurses. MOSS So Graff buys a fucking list of nurses, one grand--if he paid two I'll eat my hat--four, five thousand nurses, and he's going wild... AARONOW He is? MOSS He's doing very well. AARONOW I heard that they were running cold. MOSS The nurses? AARONOW Yes. MOSS You hear a lot of things...He's doing very well. He's doing very well. AARONOW With River Oaks? MOSS River Oaks, Brook Farms. All of that shit. Somebody told me, you know what he's clearing himself? Fourteen, fifteen grand a week. AARONOW Himself? 20. MOSS That's what I'm saying. Why? The leads. He's got the good leads... what are we, we're sitting in the shit here. Why? We have to go to them to get them. Huh. Ninety percent our sale, we're paying to the office for the leads. AARONOW The leads, the overhead, the telephones, there's lots of things. MOSS What do you need? A telephone, some broad to say "Good morning," nothing...nothing... AARONOW No, it's not that simple, Dave... MOSS Yes. It is. It is simple, and you know what the hard part is? AARONOW What? MOSS Starting up. AARONOW What hard part? MOSS Of doing the thing. The dif...the difference. Between me and Jerry Graff. Going to business for yourself. The hard part is...you know what it is? AARONOW What? MOSS Just the act. AARONOW What act? 21. MOSS To say "I'm going on my own." 'Cause what you do, George, let me tell you what you do: you find yourself in thrall to someone else. And we enslave ourselves. To please. To win some fucking toaster...to...to... and the guy who got there first made up those... AARONOW That's right... MOSS He made up those rules, and we're working for him. AARONOW That's the truth... MOSS That's the God's truth. And it gets me depressed. I swear that it does. At MY AGE. To see a goddamn: "Somebody wins the Cadillac this month. P.S. Two guys get fucked." AARONOW Huh. MOSS You don't ax your sales force. AARONOW No. MOSS You... AARONOW You... MOSS You build it! AARONOW That's what I... MOSS You fucking build it! Men come... AARONOW Men come work for you... 22. MOSS ...you're absolutely right. AARONOW They... MOSS They have... AARONOW When they... MOSS Look look look look, when they build your business, then you can't fucking turn around, enslave them, treat them like children, fuck them up the ass, leave them to fend for themselves... no. (pause) No. (pause) You're absolutely right, and I want to tell you something. AARONOW What? MOSS I want to tell you what somebody should do. AARONOW What? MOSS Someone should stand up and strike back. AARONOW What do you mean? MOSS Somebody... AARONOW Yes...? MOSS Should do something to them. AARONOW What? 23. MOSS Something. To pay them back. (pause) Someone, someone should hurt them. Murray and Mitch. AARONOW Someone should hurt them. MOSS Yes. AARONOW (pause) How? MOSS How? Do something to hurt them. Where they live. AARONOW What? (pause) MOSS Someone should rob the office. AARONOW Huh. MOSS That's what I'm saying. We were, if we were that kind of guys, to knock it off, and trash the joint, it looks like robbery, and take the fuckin' leads out of the files...go to Jerry Graff.Long pause. AARONOW What could somebody get for them? MOSS What could we get for them? I don't know. Buck a throw...buck-a- half a throw...I don't know...Hey, who knows what they're worth, what do they pay for them? All told...must be, I'd... three bucks a throw...I don't know. 24. AARONOW How many leads have we got? MOSS The Glengarry...the premium leads...? I'd say we got five thousand. Five. Five thousand leads. AARONOW And you're saying a fella could take and sell these leads to Jerry Graff. MOSS Yes. AARONOW How do you know he'd buy them? MOSS Graff? Because I worked for him. AARONOW You haven't talked to him. MOSS No. What do you mean? Have I talked to him about this?Pause. AARONOW Yes. I mean are you actually talking about this, or are we just... MOSS No, we're just... AARONOW We're just "talking" about it. MOSS We're just speaking about it. (pause) As an idea. AARONOW As an idea. MOSS Yes. AARONOW We're not actually talking about it. 25. MOSS No. AARONOW Talking about it as a... MOSS No. AARONOW As a robbery. MOSS As a "robbery"?! No. AARONOW Well. Well... MOSS Hey.Pause. AARONOW So all this, um, you didn't, actually, you didn't go talk to Graff. MOSS Not actually, no.Pause. AARONOW You didn't? MOSS No. Not actually. AARONOW Did you? MOSS What did you say? MOSS Yes. (pause) I said, "Not actually." The fuck you care, George? We're just talking... AARONOW We are? 26. MOSS Yes.Pause. AARONOW Because, because, you know, it's a crime. MOSS That's right. It's a crime. It is a crime. It's also very safe. AARONOW You're actually talking about this? MOSS That's right.Pause. AARONOW You're going to steal the leads? MOSS Have I said that?Pause. AARONOW Are you?Pause. MOSS Did I say that? AARONOW Did you talk to Graff? MOSS Is that what I said? AARONOW What did he say? MOSS What did he say? He'd buy them.Pause. AARONOW You're going to steal the leads and sell the leads to him? 27.Pause. MOSS Yes. AARONOW What will he pay? MOSS A buck a shot. AARONOW For five thousand? MOSS However they are, that's the deal. A buck a throw. Five thousand dollars. Split it half and half. AARONOW You're saying "me." MOSS Yes. (pause) Twenty-five hundred apiece. One night's work, and the job with Graff. Working the premium leads.Pause. AARONOW A job with Graff. MOSS Is that what I said? AARONOW He'd give me a job. MOSS He would take you on. Yes.Pause. AARONOW Is that the truth? 28. MOSS Yes. It is, George. (pause) Yes. It's a big decision. (pause) And it's a big reward. (pause) It's a big reward. For one night's work. (pause) But it's got to be tonight. AARONOW What? MOSS What? What? The leads. AARONOW You have to steal the leads tonight? MOSS That's right, the guys are moving them downtown. After the thirtieth. Murray and Mitch. After the contest. AARONOW You're, you're saying so you have to go in there tonight and... MOSS You... AARONOW I'm sorry? MOSS You.Pause. AARONOW Me? MOSS You have to go in. (pause) You have to get the leads.Pause. AARONOW I do? 29. MOSS Yes. AARONOW I... MOSS It's not something for nothing, George, I took you in on this, you have to go. That's your thing. I've made the deal with Graff. I can't go. I can't go in, I've spoken on this too much. I've got a big mouth. (pause) "The fucking leads" et cetera, blah blah blah "...the fucking tight ass company..." AARONOW They'll know when you go over to Graff... MOSS What will they know? That I stole the leads? I didn't steal the leads, I'm going to the movies tonight with a friend, and then I'm going to the Como Inn. Why did I go to Graff? I got a better deal. Period. Let 'em prove something. They can't prove anything that's not the case.Pause. AARONOW Dave. MOSS Yes. AARONOW You want me to break into the office tonight and steal the leads? MOSS Yes.Pause. AARONOW No. 30. MOSS Oh, yes, George. AARONOW What does that mean? MOSS Listen to this. I have an alibi, I'm going to the Como Inn, why? Why? The place gets robbed, they're going to come looking for me. Why? Because I probably did it. Are you going to turn me in? (pause) George? Are you going to turn me in? AARONOW What if you don't get caught? MOSS They come to you, you going to turn me in? AARONOW Why would they come to me? MOSS They're going to come to everyone. AARONOW Why would I do it? MOSS You wouldn't, George, that's why I'm talking to you. Answer me. They come to you. You going to turn me in? AARONOW No. MOSS Are you sure? AARONOW Yes. I'm sure. MOSS Then listen to this: I have to get those leads tonight. That's something I have to do. If I'm not at the movies...if I'm not eating over at the inn...If you don't do this, then I have to come in here... 31. AARONOW ...you don't have to come in... MOSS ...and rob the place... AARONOW ...I thought that we were only talking... MOSS ...they take me, then. They're going to ask me who were my accomplices. AARONOW Me? MOSS Absolutely. AARONOW That's ridiculous. MOSS Well, to the law, you're an accessory. Before the fact. AARONOW I didn't ask to be. MOSS Then tough luck, George, because you are. AARONOW Why? Why, because you only told me about it? MOSS That's right. AARONOW Why are you doing this to me, Dave. Why are you talking this way to me? I don't understand. Why are you doing this at all...? MOSS That's none of your fucking business... 32. AARONOW Well, well, well, talk to me, we sat down to eat dinner, and here I'm a criminal... MOSS You went for it. AARONOW In the abstract... MOSS So I'm making it concrete. AARONOW Why? MOSS Why? Why you going to give me five grand? AARONOW Do you need five grand? MOSS Is that what I just said? AARONOW You need money? Is that the... MOSS Hey, hey, let's just keep it simple, what I need is not the...what do you need...? AARONOW What is the five grand? (pause) What is the, you said that we were going to split five... MOSS I lied. (pause) Alright? My end is my business. Your end's twenty-five. In or out. You tell me, you're out you take the consequences. AARONOW I do? MOSS Yes. 33.Pause. AARONOW And why is that? MOSS Because you listened.SCENE THREEThe restaurant. Roma is seated alone at the booth. Lingkis at the booth next to him. Roma is talking to him. ROMA ...all train compartments smell vaguely of shit. It gets so you don't mind it. That's the worst thing that I can confess. You know how long it took me to get there? A long time. When you die you're going to regret the things you don't do. You think you're queer...? I'm going to tell you something: we're all queer. You think that you're a thief? So what? You get befuddled by a middle-class morality...? Get shut of it. Shut it out. You cheated on your wife...? You did it, live with it. (pause) You fuck little girls, so be it. There's an absolute morality? May be. And then what? If you think there is, then be that thing. Bad people go to hell? I don't think so. If you think that, act that way. A hell exists on earth? Yes. I won't live in it. That's me. You ever take a dump made you feel you'd just slept for twelve hours...? LINGK Did I...? ROMA Yes. LINGK I don't know. 34. ROMA Or a piss...? A great meal fades in reflection. Everything else gains. You know why? 'Cause it's only food. This shit we eat, it keeps us going. But it's only food. The great fucks that you may have had. What do you remember about them? LINGK What do I...? ROMA Yes. LINGK Mmmm... ROMA I don't know. For me, I'm saying, what is is, it's probably not the orgasm. Some broads, forearms on your neck, something her eyes did. There was a sound she made...or, me, lying, in the, I'll tell you: me lying in bed; the next day she brought me café au lait. She gives me a cigarette, my balls feel like concrete. Eh? What I'm saying, what is our life? (pause) It's looking forward or it's looking back. And that's our life. That's it. Where is the moment? (pause) And what is it that we're afraid of? Loss. What else? (pause) The bank closes. We get sick, my wife died on a plane, the stock market collapsed...the house burnt down...what of these happen...? None on 'em. We worry anyway. What does this mean? I'm not secure. How can I be secure? (pause) Through amassing wealth beyond all measure? No. And what's beyond all measure? That's a sickness. That's a trap. There is no measure. Only greed. How can we act? (MORE) 35. ROMA (CONT'D) The right way, we would say, to deal with this: "There is a one-in- a-million chance that so and so will happen...Fuck it, it won't happen to me..." No. We know that's not the right way I think. (pause) We say the correct way to deal with this is "There is a one-in-so-and- so chance this will happen...God protect me. I am powerless, let it not happen to me..." But no to that. I say. There's something else. What is it? "If it happens, AS IT MAY for that is not within our powers, I will deal with it, just as I do today with what draws my concern today." I say this is how we must act. I do those things which seem correct to me today. I trust myself. And if security concerns me, I do that which today I think will make me secure. And every day I do that, when that day arrives that I need a reserve, [a] odds are that I have it, and [b] the true reserve that I have is the strength that I have of acting each day without fear. (pause) According to the dictates of my mind. (pause) Stocks, bonds, objects of art, real estate. Now: what are they? (pause) An opportunity. To what? To make money? Perhaps. To lose money? Perhaps. To "indulge" and to "learn" about ourselves? Perhaps. So fucking what? What isn't? They're an opportunity. That's all. They're an event. A guy comes up to you, you make a call, you send in a brochure, it doesn't matter, "There're these properties I'd like for you to see." What does it mean? What you want it to mean. (MORE) 36. ROMA (CONT'D) (pause) Money? (pause) If that's what it signifies to you. Security? (pause) Comfort? (pause) All it is is THINGS THAT HAPPEN TO YOU. (pause) That's all it is. How are they different? (pause) Some poor newly married guy gets run down by a cab. Some busboy wins the lottery. (pause) All it is, it's a carnival. What's special...what draws us? (pause) We're all different. (pause) We're not the same. (pause) We are not the same. (pause) Hmmm. (pause, sighs) It's been a long day. (pause) What are you drinking? LINGK Gimlet. ROMA Well, let's have a couple more. My name is Richard Roma, what's yours? LINGK Lingk. James Lingk. ROMA James. I'm glad to meet you. (they shake hands) I'm glad to meet you, James. (pause) I want to show you something. (pause) It might mean nothing to you...and it might not. (MORE) 37. ROMA (CONT'D) I don't know. I don't know anymore. (pause. He takes out a small map and spreads it on a table) What is that? Florida. Glengarry Highlands. Florida. "Florida. Bullshit." And maybe that's true; and that's what I said: but look here: what is this? This is a piece of land. Listen to what I'm going to tell you now:The real estate office. Ransacked. A broken plateglasswindow boarded up, glass all over the floor. Aaronow andWilliamson standing around, smoking.Pause. AARONOW People used to say that there are numbers of such magnitude that multiplying them by two made no difference.Pause. WILLIAMSON Who used to say that? AARONOW In school.Pause. Baylen, a detective, comes out of the inner office. BAYLEN Alright...?Roma enters from the street. ROMA Williamson...Williamson, they stole the contracts...? BAYLEN Excuse me, sir... ROMA Did they get my contracts? WILLIAMSON They got... 38. BAYLEN Excuse me, fella. ROMA ...did they... BAYLEN Would you excuse us, please...? ROMA Don't fuck with me, fella. I'm talking about a fuckin' Cadillac car that you owe me... WILLIAMSON They didn't get your contract. I filed it before I left. ROMA They didn't get my contracts. WILLIAMSON They--excuse me...He goes back into inner room with the Detective. ROMA Oh, fuck. Fuck. (he starts kicking the desk) FUCK FUCK FUCK! WILLIAMSON!!! WILLIAMSON!!! (goes to the door Williamson went into, tries the door; it's locked) OPEN THE FUCKING...WILLIAMSON... BAYLEN (coming out) Who are you?Williamson comes out. WILLIAMSON They didn't get the contracts. ROMA Did they... WILLIAMSON They got, listen to me... ROMA The... 39. WILLIAMSON Listen to me: They got some of them. ROMA Some of them... BAYLEN Who told you...? ROMA Who told me wh...? You've got a fuckin', you've...a...who is this...? You've got a board-up on the window...Moss told me. BAYLEN (looking back toward the inner office) Moss...Who told him? ROMA How the fuck do I know? (to Williamson) What...talk to me. WILLIAMSON They took some of the con... ROMA ...some of the contracts...Lingk. James Lingk. I closed... WILLIAMSON You closed him yesterday. ROMA Yes. WILLIAMSON It went down. I filed it. ROMA You did? WILLIAMSON Yes. ROMA Then I'm over the fucking top and you owe me a Cadillac. WILLIAMSON I... 40. ROMA And I don't want any fucking shit and I don't give a shit, Lingk puts me over the top, you filed it, that's fine, any other shit kicks out you go back. You...you reclose it, 'cause I closed it and you...you owe me the car. BAYLEN Would you excuse us, please. AARONOW I, um, and may...maybe they're in... they're in...you should, John, if we're ins... WILLIAMSON I'm sure that we're insured, George... (going back inside) ROMA Fuck insured. You owe me a car. BAYLEN (stepping back into the inner room) Please don't leave. I'm going to talk to you. What's your name? ROMA Are you talking to me?Pause. BAYLEN Yes.Pause. ROMA My name is Richard Roma.Baylen goes back into the inner room. AARONOW I, you know, they should be insured. ROMA What do you care...? 41. AARONOW Then, you know, they wouldn't be so ups... ROMA Yeah. That's swell. Yes. You're right. (pause) How are you? AARONOW I'm fine. You mean the board? You mean the board...? ROMA I don't...yes. Okay, the board. AARONOW I'm, I'm, I'm, I'm fucked on the board. You. You see how...I... (pause) I can't...my mind must be in other places. 'Cause I can't do any... ROMA What? You can't do any what?Pause. AARONOW I can't close 'em. ROMA Well, they're old. I saw the shit that they were giving you. AARONOW Yes. ROMA Huh? AARONOW Yes. They are old. ROMA They're ancient. AARONOW Clear... ROMA Clear Meadows. That shit's dead. 42.Pause. AARONOW It is dead. ROMA It's a waste of time. AARONOW Yes. (long pause) I'm no fucking good. ROMA That's... AARONOW Everything I...you know... ROMA That's not...Fuck that shit, George. You're a, hey, you had a bad month. You're a good man, George. AARONOW I am? ROMA You hit a bad streak. We've all... look at this: fifteen units Mountain View, the fucking things get stole. AARONOW He said he filed... ROMA He filed half of them, he filed the big one. All the little ones, I have, I have to go back and...ah, fuck, I got to go out like a fucking schmuck hat in my hand and reclose the... (pause) I mean, talk about a bad streak. That would sap anyone's self confi... I got to go out and reclose all my... Where's the phones? AARONOW They stole... ROMA They stole the... 43. AARONOW What. What kind of outfit are we running where...where anyone... ROMA (to himself) They stole the phones. AARONOW Where criminals can come in here... they take the... ROMA They stole the phones. They stole the leads. They're...Christ. (pause) What am I going to do this month? Oh, shit... (starts for the door) AARONOW You think they're going to catch... where are you going? ROMA Down the street. WILLIAMSON (sticking his head out of the door) Where are you going? ROMA To the restaura...what do you fucking...? WILLIAMSON Aren't you going out today? ROMA With what? (pause) With what, John, they took the leads... WILLIAMSON I have the stuff from last year's... ROMA Oh. Oh. Oh, your "nostalgia" file, they's fine. No. Swell. 'Cause I don't have to... 44. WILLIAMSON ...you want to go out today...? ROMA 'Cause I don't have to eat this month. No. Okay. Give 'em to me... (to himself) Fucking Mitch and Murray going to shit a br...what am I going to do all...Williamson starts back into the office. He is accosted byAaronow. AARONOW Were the leads... ROMA ...what am I going to do all month... AARONOW Were the leads insured? WILLIAMSON I don't know, George, why? AARONOW 'Cause, you know, 'cause they weren't, I know that Mitch and Murray uh...Pause. WILLIAMSON What? AARONOW That they're going to be upset. WILLIAMSON That's right. (going back into his office. Pause. To Roma) You want to go out today...?Pause. Williamson returns to his office. AARONOW He said we're all going to have to go talk to the guy. ROMA What? 45. AARONOW He said we... ROMA To the cops? AARONOW Yeah. ROMA Yeah. That's swell. Another waste of time. AARONOW A waste of time? Why? ROMA Why? 'Cause they aren't going to find the guy. AARONOW The cops? ROMA Yes. The cops. No. AARONOW They aren't? ROMA No. AARONOW Why don't you think so? ROMA Why? Because they're stupid. "Where were you last night..." AARONOW Where were you? ROMA Where was I? AARONOW Yes. ROMA I was at home, where were you? AARONOW At home. 46. ROMA See...? Were you the guy who broke in? AARONOW Was I? ROMA Yes. AARONOW No. ROMA Then don't sweat it, George, you know why? AARONOW No. ROMA You have nothing to hide. AARONOW (pause) When I talk to the police, I get nervous. ROMA Yeah. You know who doesn't? AARONOW No, who? ROMA Thieves. AARONOW Why? ROMA They're inured to it. AARONOW You think so? ROMA Yes.Pause. AARONOW But what should I tell them? 47. ROMA The truth, George. Always tell the truth. It's the easiest thing to remember.Williamson comes out of the office with leads. Roma takesone, reads it. ROMA Patel? Ravidam Patel? How am I going to make a living on thses deadbeat wogs? Where did you get this, from the morgue? WILLIAMSON If you don't want it, give it back. ROMA I don't "want" it, if you catch my drift. WILLIAMSON I'm giving you three leads. You... ROMA What's the fucking point in any case...? What's the point. I got to argue with you, I got to knock heads with the cops, I'm busting my balls, sell you dirt to fucking deadbeats money in the mattress, I come back you can't even manage to keep the contracts safe, I have to go back and close them again...What the fuck am I wasting my time, fuck this shit. I'm going out and reclose last week's... WILLIAMSON The word from Murray is: leave them alone. If we need a new signature he'll go out himself, he'll be the president, just come in, from out of town... ROMA Okay, okay, okay, gimme this shit. Fine. (takes the leads) WILLIAMSON Now, I'm giving you three... 48. ROMA Three? I count two. WILLIAMSON Three. ROMA Patel? Fuck you. Fuckin' Shiva handed him a million dollars, told him "sign the deal," he wouldn't sign. And Vishnu, too. Into the bargain. Fuck that, John. You know your business, I know mine. Your business is being an asshole, and I find out whose fucking cousin you are, I'm going to go to him and figure out a way to have your ass... fuck you--I'll wait for the new leads.Shelly Levene enters. LEVENE Get the chalk. Get the chalk...get the chalk! I closed 'em! I closed the cocksucker. Get the chalk and put me on the board. I'm going to Hawaii! Put me on the Cadillac board, Williamson! Pick up the fuckin' chalk. Eight units. Mountain View... ROMA You sold eight Mountain View? LEVENE You bet your ass. Who wants to go to lunch? Who wants to go to lunch? I'm buying. (slaps contract down on Williamson's desk) Eighty-two fucking grand. And twelve grand in commission. John. (pause) On fucking deadbeat magazine subscription leads. WILLIAMSON Who? 49. LEVENE (pointing to contract) Read it. Bruce and Harriett Nyborg. (looking around) What happened here? AARONOW Fuck. I had them on River Glen.Levene looks around. LEVENE What happened? WILLIAMSON Somebody broke in. ROMA Eight units? LEVENE That's right. ROMA Shelly...! LEVENE Hey, big fucking deal. Broke a bad streak... AARONOW Shelly, the Machine, Levene. LEVENE You... AARONOW That's great. LEVENE Thank you, George.Baylen sticks his head out of the room; calls in, "Aaronow."Aaronow goes into the side room. LEVENE Williamson, get on the phone, call Mitch... ROMA They took the phones... LEVENE They... 50. BAYLEN Aaronow... ROMA They took the typewriters, they took the leads, they took the cash, they took the contracts... LEVENE Wh...wh...Wha...? AARONOW We had a robbery. (goes into the inner room) LEVENE (pause) When? ROMA Last night, this morning.Pause. LEVENE They took the leads? ROMA Mmm.Moss comes out of the interrogation. MOSS Fuckin' asshole. ROMA What, they beat you with a rubber bat? MOSS Cop couldn't find his dick two hands and a map. Anyone talks to this guy's an asshole... ROMA You going to turn State's? MOSS Fuck you, Ricky. I ain't going out today. I'm going home. I'm going home because nothing's accomplished here...Anyone talks to this guy is... 51. ROMA Guess what the Machine did? MOSS Fuck the Machine. ROMA Mountain View. Eight units. MOSS Fuckin' cop's got no right talk to me that way. I didn't rob the place... ROMA You hear what I said? MOSS Yeah. He closed a deal. ROMA Eight units. Mountain View. MOSS (to Levene) You did that? LEVENE Yeah.Pause. MOSS Fuck you. ROMA Guess who? MOSS When... LEVENE Just now. ROMA Guess who? MOSS You just this morning... ROMA Harriet and blah blah Nyborg. 52. MOSS You did that? LEVENE Eighty-two thousand dollars.Pause. MOSS Those fuckin' deadbeats... LEVENE My ass. I told 'em. (to Roma) Listen to this: I said... MOSS Hey, I don't want to hear your fucking war stories... ROMA Fuck you, Dave... LEVENE "You have to believe in yourself... you"--look--"alright...?" MOSS (to Williamson) Give me some leads. I'm going out... I'm getting out of... LEVENE "...you have to believe in yourself..." MOSS Na, fuck the leads, I'm going home. LEVENE "Bruce, Harriet...Fuck me, believe in yourself..." ROMA We haven't got a lead... MOSS Why not? ROMA They took 'em... 53. MOSS Hey, they're fuckin' garbage any case...This whole goddamn... LEVENE "...You look around, you say, 'This one has so-and-so, and I have nothing..." MOSS Shit. LEVENE "'Why? Why don't I get the opportunities...?" MOSS And did they steal the contracts...? ROMA Fuck you care...? LEVENE "I want to tell you something, Harriet..." MOSS ...the fuck is that supposed to mean...? LEVENE Will you shut up, I'm telling you this...Aaronow sticks his head out. AARONOW Can we get some coffee...? MOSS How ya doing?Pause. AARONOW Fine. MOSS Uh-huh. AARONOW If anyone's going, I could use some coffee. 54. LEVENE "You do get the..." (to Roma) Huh? Huh? MOSS Fuck is that supposed to mean? LEVENE "You do get the opportunity...You get them. As I do, as anyone does..." MOSS Ricky?...That I don't care they stole the contracts?Pause. LEVENE I got 'em in the kitchen. I'm eating her crumb cake. MOSS What does that mean? ROMA It means, Dave, you haven't closed a good one in a month, none of my business, you want to push me to answer you. (pause) And so you haven't got a contract to get stolen or so forth. MOSS You have a mean streak in you, Ricky, you know that...? LEVENE Rick. Let me tell you. Wait, we're in the... MOSS Shut the fuck up. (pause) Ricky. You have a mean streak in you... (to Levene) And what the fuck are you babbling about...? (MORE) 55. MOSS (CONT'D) (to Roma) Bring that shit up. Of my volume. You were on a bad one and I brought it up to you you'd harbor it. (pause) You'd harbor it a long long while. And you'd be right. ROMA Who said "Fuck the Machine"? MOSS "Fuck the Machine"? "Fuck the Machine"? What is this. Courtesy class...? You're fucked, Rick--are you fucking nuts? You're hot, so you think you're the ruler of this place...?! You want to... LEVENE Dave... MOSS ...Shut up. Decide who should be dealt with how? Is that the thing? I come into the fuckin' office today, I get humiliated by some jagoff cop. I get accused of...I get this shit thrown in my face by you, you geniune shit, because you're top name on the board... ROMA Is that what I did? Dave? I humiliated you? My God...I'm sorry... MOSS Sittin' on top of the world, sittin' on top of the world, everything's fucking peachfuzz... ROMA Oh, and I don't get a moment to spare for a bust-out humanitarian down on his luck lately. Fuck you, Dave, you know you got a big mouth, and you make a close the whole place stinks with your farts for a week. "How much you just ingested," what a big man you are, "Hey, let me buy you a pack of gum. (MORE) 56. ROMA (CONT'D) I'll show you how to chew it." Your pal closes, all that comes out of your mouth is bile, how fucked up you are... MOSS Who's my pal...? And what are you, Ricky, huh, what are you, Bishop Sheean? Who the fuck are you, Mr. Slick...? What are you, friend to the workingman? Big deal. Fuck you, you got the memory a fuckin' fly. I never liked you. ROMA What is this, your farewell speech? MOSS I'm going home. ROMA Your farewell to the troops? MOSS I'm not going home. I'm going to Wisconsin. ROMA Have a good trip. MOSS (simultaneously with "trip") And fuck you. Fuck the lot of you. Fuck you all.Moss exits. Pause. ROMA (to Levene) You were saying? (pause) Come on. Come on, you got them in the kitchen, you got the stats spread out, you're in your shirt- sleeves, you can smell it. Huh? Snap out of it, you're eating her crumb cake.Pause. LEVENE I'm eating her crumb cake... 57. ROMA How was it...? LEVENE From the store. ROMA Fuck her... LEVENE "What we have to do is admit to ourself that we see that opportunity...and take it. (pause) And that's it." And we sit there. (pause) I got the pen out... ROMA "Always be closing..." LEVENE That's what I'm saying. The old ways. The old ways...convert the motherfucker...sell him...sell him... make him sign the check. (pause) The...Bruce, Harriet...the kitchen, blah: they got their money in government bonds...I say fuck it, we're going to go the whole route. I plat it out eight units. Eighty- two grand. I tell them. "This is now. This is that thing that you've been dreaming of, you're going to find that suitcase on the train, the guy comes in the door, the bag that's full of money. This is it, Harriett..." ROMA (reflectively) Harriett... LEVENE Bruce..."I don't want to fuck around with you. I don't want to go round this, and pussyfoot around the thing, you have to look back on this. I do, too. I came here to do good for you and me. For both of us. Why take an interim position? (MORE) 58. LEVENE (CONT'D) The only arrangement I'll accept is full investment. Period. The whole eight units. I know that you're saying 'be safe,' I know what you're saying. I know if I left you to yourselves, you'd say 'come back tomorrow,' and when I walked out that door, you'd make a cup of coffee...you'd sit down...and you'd think 'let's be safe...' and not to disappoint me you'd go one unit or maybe two, because you'd become scared because you'd met possibility. But this won't do, and that's not the subject..." Listen to this, I actually said this. "That's not the subject of our evening together." Now I handed them the pen. I held it in my hand. I turned the contract, eight units eighty-two grand. "Now I want you to sign." (pause) I sat there. Five minutes. Then, I sat there, Ricky, twenty-two minutes by the kitchen clock. (pause) Twenty-two minutes by the kitchen clock. Not a word, not a motion. What am I thinking? "My arm's getting tired?" No. I did it. I did it. Like in the old says, Ricky. Like I was taught... Like, like, like I used to do...I did it. ROMA Like you taught me... LEVENE Bullshit, you're...No. That's raw... well, if I did, then I'm glad I did. I, well. I locked on them. All on them, nothing on me. All my thoughts are on them. I'm holding the last thought that I spoke: "Now is the time." (pause) They signed, Ricky. It was great. It was fucking great. It was like they wilted all at once. No gesture...nothing. Like together. (MORE) 59. LEVENE (CONT'D) They, I swear to God, they both kind of imperceptibly slumped. And he reaches and takes the pen and signs, he passes it to her, she signs. It was so fucking solemn. I just let it sit. I nod like this. I nod again. I grasp his hands. I shake his hands. I grasp her hands. I nod at her like this. "Bruce...Harriet..." I'm beaming at them. I'm nodding like this. I point back in the living room, back to the sideboard. (pause) I didn't fucking know there was a sideboard there!! He goes back, he brings us a drink. Little shot glasses. A pattern in 'em. And we toast. In silence.Pause. ROMA That was a great sale, Shelly.Pause. LEVENE Ah, fuck. Leads! Leads! Williamson! (Williamson sticks his head out of the office) Send me out! Send me out! WILLIAMSON The leads are coming. LEVENE Get 'em to me! WILLIAMSON I talked to Murray and Mitch an hour ago. They're coming in, you understand they're a bit upset over this morning's... LEVENE Did you tell 'em my sale? 60. WILLIAMSON How could I tell 'em your sale? Eh? I don't have a tel...I'll tell 'em your sale when they bring in the leads. Alright? Shelly. Alright? We had a little... You closed a deal. You made a good sale. Fine. LEVENE It's better than a good sale. It's a... WILLIAMSON Look: I have a lot of things on my mind, they're coming in, alright, they're very upset, I'm trying to make some sense... LEVENE All that I'm telling you: that one thing you can tell them it's a remarkable sale. WILLIAMSON The only thing remarkable is who you made it to. LEVENE What does that fucking mean? WILLIAMSON That if the sale sticks, it will be a miracle. LEVENE Why should the sale not stick? Hey, fuck you. That's what I'm saying. You have no idea of your job. A man's his job and you're fucked at yours. You hear what I'm saying to you? Your "end of month board..." You can't run an office. I don't care. You don't know what it is, you don't have the sense, you don't have the balls. You ever been on a sit? Ever? Has this cocksucker ever been...you ever sit down with a cust... WILLIAMSON I were you, I'd calm down, Shelly. 61. LEVENE Would you? Would you...? Or you're gonna what, fire me? WILLIAMSON It's not impossible. LEVENE On an eighty-thousand dollar day? And it ain't even noon. ROMA You closed 'em today? LEVENE Yes. I did. This morning. (to Williamson) What I'm saying to you: things can change. You see? This is where you fuck up, because this is something you don't know. You can't look down the road. And see what's coming. Might be someone else, John. It might be someone new, eh? Someone new. And you can't look back. 'Cause you don't know history. You ask them. When we were at Rio Rancho, who was top man? A month...? Two months...? Eight months in twelve for three years in a row. You know what that means? You know what that means? Is that luck? Is that some, some, some purloined leads? That's skill. That's talent, that's, that's... ROMA ...yes... LEVENE ...and you don't remember. 'Cause you weren't around. That's cold calling. Walk up to the door. I don't even know their name. I'm selling something they don't even want. You talk about soft sell... before we had a name for it...before we called it anything, we did it. ROMA That's right, Shel. 62. LEVENE And, and, and, I did it. And I put a kid through school. She...and...Cold calling, fella. Door to door. But you don't know. You don't know. You never heard of a streak. You never heard of "marshaling your sales force..." What are you, you're a secretary, John. Fuck you. That's my message for you. Fuck you and kiss my ass. You don't like it, I'll go talk to Jerry Graff. Period. Fuck you. Put me on the board. And I want three worthwhile leads today and I don't want any bullshit about them and I want 'em close together 'cause I'm going to hit them all today. That's all I have to say to you. ROMA He's right, Williamson.Williamson goes into a side office. Pause. LEVENE It's not right. I'm sorry, and I'll tell you who's to blame is Mitch and Murray.Roma sees something outside the window. ROMA (sotto) Oh, Christ. LEVENE The hell with him. We'll go to lunch, the leads won't be up for... ROMA You're a client. I just sold you five waterfront Glengarry Farms. I rub my head, throw me the cue "Kenilworth." LEVENE What is it? ROMA Kenilw...Lingk enters the office. 63. ROMA (to Levene) I own the property, my mother owns the property, I put her into it. I'm going to show you on the plats. You look when you get home A-3 through A-14 and 26 through 30. You take your time and if you still feel. LEVENE No, Mr. Roma. I don't need the time, I've made a lot of investments in the last... LINGK I've got to talk to you. ROMA (looking up) Jim! What are you doing here? Jim Lingk, D. Ray Morton... LEVENE Glad to meet you. ROMA I just put Jim into Black Creek...are you acquainted with... LEVENE No...Black Creek. Yes. In Florida? ROMA Yes. LEVENE I wanted to speak with you about... ROMA Well, we'll do that this weekend. LEVENE My wife told me to look into... ROMA Beautiful. Beautiful rolling land. I was telling Jim and Jinny, Ray, I want to tell you something. (to Levene) You, Ray, you eat in a lot of restaurants. I know you do... (MORE) 64. ROMA (CONT'D) (to Lingk) Mr. Morton's with American Express... he's... (to Levene) I can tell Jim what you do...? LEVENE Sure. ROMA Ray is director of all European sales and services for American Ex... (to Levene) But I'm saying you haven't had a meal until you've tasted...I was at the Lingks' last...as a matter of fact, what was that service feature you were talking about...? LEVENE Which... ROMA "Home Cooking"...what did you call it, you said it...it was a tag phrase that you had,,, LEVENE Uh... ROMA Home... LEVENE Home cooking... ROMA The monthly interview...? LEVENE Oh! For the magazine... ROMA Yes. Is this something that I can talk ab... LEVENE Well, it isn't coming out until the February iss...sure. Sure, go ahead, Ricky. 65. ROMA You're sure? LEVENE (nods) Go ahead. ROMA Well, Ray was eating at one of his company's men's home in France...the man's French, isn't he? LEVENE No, his wife is. ROMA Ah. Ah, his wife is. Ray: what time do you have...? LEVENE Twelve-fifteen. ROMA Oh! My God...I've got to get you on the plane! LEVENE Didn't I say I was taking the two o'... ROMA No. You said the one. That's why you said we couldn't talk till Kenilworth. LEVENE Oh, my God, you're right! I'm on the one... (getting up) Well, let's scoot... LINGK I've got to talk to you... ROMA I've got to get Ray to O'Hare... (to Levene) Come on, let's hustle... (over his shoulder) John! Call American Express in Pittsburgh for Mr. Morton, will you, tell them he's on the one o'clock. (MORE) 66. ROMA (CONT'D) (to Lingk) I'll see you...Christ, I'm sorry you came all the way in...I'm running Ray over to O'Hare...You wait here, I'll...no. (to Levene) I'm meeting your man at the bank... (to Lingk) I wish you'd phoned...I'll tell you, wait: are you and Jinny going to be home tonight? (rubs forehead) LINGK I... LEVENE Rick. ROMA What? LEVENE Kenilworth...? ROMA I'm sorry...? LEVENE Kenilworth. ROMA Oh, God...Oh, God... (Roma takes Lingk aside, sotto) Jim, excuse me...Ray, I told you, who he is is the senior vice- president American Express. His family owns 32 per...Over the past years I've sold him...I can't tell you the dollar amount, but quite a lot of land. I promised five weeks ago that I'd go to the wife's birthday party in Kenilworth tonight. (sighs) I have to go. You understand. They treat me like a member of the family, so I have to go. (MORE) 67. ROMA (CONT'D) It's funny, you know, you get a picture of the Corporation-Type Company Man, all business...this man, no. We'll go out to his home sometime. Let's see. (he checks his datebook) Tomorrow. No. Tomorrow, I'm in L.A....Monday...I'll take you to lunch, where would you like to go? LINGK My wife...Roma rubs his head. LEVENE (standing in the door) Rick...? ROMA I'm sorry, Jim. I can't talk now. I'll call you tonight...I'm sorry. I'm coming, Ray. (starts for the door) LINGK My wife said I have to cancel the deal. ROMA It's a common reaction, Jim. I'll tell you what it is, and I know that that's why you married her. One of the reasons is prudence. It's a sizable investment. One thinks twice...it's also something women have. It's just a reaction to the size of the investment. Monday, if you'd invite me for dinner again... (to Levene) This woman can cook... LEVENE (simultaneously) I'm sure she can... 68. ROMA (to Lingk) We're going to talk. I'm going to tell you something. Because (sotto) there's something about your acreage I want you to know. I can't talk about it now. I really shouldn't. And, in fact, by law, I... (shrugs, resigned) The man next to you, he bought his lot at forty-two, he phoned to say that he'd already had an offer...Roma rubs his head. LEVENE Rick...? ROMA I'm coming, Ray...what a day! I'll call you this evening, Jim. I'm sorry you had to come in...Monday, lunch. LINGK My wife... LEVENE Rick, we really have to go. LINGK My wife... ROMA Monday. LINGK She called the consumer...the attorney, I don't know. The attorney gen...they said we have three days... ROMA Who did she call? LINGK I don't know, the attorney gen... the...some consumer office, um... ROMA Why did she do that, Jim? 69. LINGK I don't know. (pause) They said we have three days. (pause) They said we have three days. ROMA Three days. LINGK To...you know.Pause. ROMA No, I don't know. Tell me. LINGK To change our minds. ROMA Of course you have three days.Pause. LINGK So we can't talk Monday.Pause. ROMA Jim, Jim, you saw my book...I can't, you saw my book... LINGK But we have to before Monday. To get our money ba... ROMA Three business days. They mean three business days. LINGK Wednesday, Thursday, Friday. ROMA I don't understand. LINGK That's what they are. Three business...I wait till Monday, my time limit runs out. 70. ROMA You don't count Saturday. LINGK I'm not. ROMA No, I'm saying you don't include Saturday...in your three days. It's not a business day. LINGK But I'm not counting it. (pause) Wednesday. Thursday. Friday. So it would have elapsed. ROMA What would have elapsed? LINGK If we wait till Mon... ROMA When did you write the check? LINGK Yest... ROMA What was yesterday? LINGK Tuesday. ROMA And when was that check cashed? LINGK I don't know. ROMA What was the earliest it could have been cashed?Pause. LINGK I don't know. 71. ROMA Today. (pause) Today. Which, in any case, it was not, as there were a couple of points on the agreement I wanted to go over with you in any case. LINGK The check wasn't cashed? ROMA I just called downtown, and it's on their desk. LEVENE Rick... ROMA One moment, I'll be right with you. (to Lingk) In fact, a...one point, which I spoke to you of which (looks around) I can't talk to you about here.Detective puts his head out of the doorway. BAYLEN Levene!!! LINGK I, I... ROMA Listen to me, the statute, it's for your protection. I have no complaints with that, in fact, I was a member of the board when we drafted it, so quite the opposite. It says that you can change your mind three working days from the time the deal is closed. BAYLEN Levene! ROMA Which, wait a second, which is not until the check is cashed. BAYLEN Levene!! 72.Aaronow comes out of the Detective's office. AARONOW I'm through, with this fucking meshugaas. No one should talk to a man that way. How are you talking to me that...? BAYLEN Levene!Williamson puts his head out of the office. AARONOW ...how can you talk to me that... that... LEVENE (to Roma) Rick, I'm going to flag a cab. AARONOW I didn't rob...Williamson sees Levene. WILLIAMSON Shelly: get in the office. AARONOW I didn't...why should I..."Where were you last..." Is anybody listening to me...? Where's Moss...? Where...? BAYLEN Levene? (to Williamson) Is this Lev...Baylen accosts Lingk. LEVENE (taking Baylen into the office) Ah. Ah. Perhaps I can advise you on that... (to Roma and Lingk, as he exits) Excuse us, will you...? 73. AARONOW (simultaneous with Levene's speech above) ...Come in here...I work here, I don't come in here to be mistreated... WILLIAMSON Go to lunch, will you... AARONOW I want to work today, that's why I came... WILLIAMSON The leads come in, I'll let... AARONOW ...that's why I came in. I thought I... WILLIAMSON Just go to lunch. AARONOW I don't want to go to lunch. WILLIAMSON Go to lunch, George. AARONOW Where does he get off to talk that way to a working man? It's not... WILLIAMSON (buttonholes him) Will you take it outside, we have people trying to do business here... AARONOW That's what, that's what, that's what I was trying to do. (pause) That's why I came in...I meet gestapo tac... WILLIAMSON (going back into his office) Excuse me... 74. AARONOW I meet gestapo tactics...I meet gestapo tactics...That's not right... No man has the right to..."Call an attorney," that means you're guilt... you're under sus..."Co...," he says, "cooperate" or we'll go downtown. That's not...as long as I've... WILLIAMSON (bursting out of his office) Will you get out of here. Will you get out of here. Will you. I'm trying to run an office here. Will you go to lunch? Go to lunch. Will you go to lunch? (retreats into office) ROMA (to Aaronow) Will you excuse... AARONOW Where did Moss...? I... ROMA Will you excuse us please? AARONOW Uh, uh, did he go to the restaurant? (pause) I...I... (exits) ROMA I'm very sorry, Jimmy. I apologize to you. LINGK It's not me, it's my wife. ROMA (pause) What is? LINGK I told you. ROMA Tell me again. 75. LINGK What's going on here? ROMA Tell me again. Your wife. LINGK I told you. ROMA You tell me again. LINGK She wants her money back. ROMA We're going to speak to her. LINGK No. She told me "right now." ROMA We'll speak to her, Jim... LINGK She won't listen.Detective sticks his head out. BAYLEN Roma. LINGK She told me if not, I have to call the State's attorney. ROMA No, no. That's just something she "said." We don't have to do that. LINGK She told me I have to. ROMA No, Jim. LINGK I do. If I don't get my money back...Williamson points out Roma to Baylen. 76. BAYLEN Roma! (to Roma) I'm talking to you... ROMA I've...look. (generally) Will someone get this guy off my back. BAYLEN You have a problem? ROMA Yes, I have a problem. Yes, I do, my fr...It's not me that ripped the joint off, I'm doing business. I'll be with you in a while. You got it...? (looks back. Lingk is heading for the door) Where are you going? LINGK I'm... ROMA Where are you going...? This is me...This is Ricky, Jim. Jim, anything you want, you want it, you have it. You understand? This is me. Something upset you. Sit down, now sit down. You tell me what it is. (pause) Am I going to help you fix it? You're goddamned right I am. Sit down. Tell you something...? Sometimes we need someone from outside. It's...no, sit down...Now talk to me. LINGK I can't regotiate. ROMA What does that mean? LINGK That... 77. ROMA ...what, what, say it. Say it to me... LINGK I... ROMA What...? LINGK I... ROMA What...? Say the words. LINGK I don't have the power. (pause) I said it. ROMA What power? LINGK The power to negotiate. ROMA To negotiate what? (pause) To negotiate what? LINGK This. ROMA What, "this"?Pause. LINGK The deal. ROMA The "deal," forget the deal. Forget the deal, you've got something on your mind, Jim, what is it? LINGK (rising) I can't talk to you, you met my wife, I... 78.Pause. ROMA What? (pause) What? (pause) What, Jim: I tell you what, let's get out of here...let's go get a drink. LINGK She told me not to talk to you. ROMA Let's...no one's going to know, let's go around the corner and we'll get a drink. LINGK She told me I had to get back the check or call the State's att... ROMA Forget the deal, Jimmy. (pause) Forget the deal...you know me. The deal's dead. Am I talking about the deal? That's over. Please. Let's talk about you. Come on. (pause. Roma rises and starts walking toward the front door) Come on. (pause) Come on, Jim. (pause) I want to tell you something. Your life is your own. You have a contract with your wife. You have certain things you do jointly, you have a bond there...and there are other things. Those things are yours. You needn't feel ashamed, you needn't feel that you're being untrue...or that she would abandon you if she knew. This is your life. (pause) Yes. Now I want to talk to you because you're obviously upset and that concerns me. Now let's go. Right now.Lingk gets up and they start for the door. 79. BAYLEN (sticks his head out of the door) Roma... LINGK ...and...and...Pause. ROMA What? LINGK And the check is... ROMA What did I tell you? (pause) What did I say about the three days...? BAYLEN Roma, would you, I'd like to get some lunch... ROMA I'm talking with Mr. Lingk. If you please, I'll be back in. (checks watch) I'll be back in a while...I told you, check with Mr. Williamson. BAYLEN The people downtown said... ROMA You call them again. Mr. Williamson...! WILLIAMSON Yes. ROMA Mr. Lingk and I are going to... WILLIAMSON Yes. Please. Please. (to Lingk) The police (shrugs) can be... 80. LINGK What are the police doing? ROMA It's nothing. LINGK What are the police doing here...? WILLIAMSON We had a slight burglary last night. ROMA It was nothing...I was assuring Mr. Lingk... WILLIAMSON Mr. Lingk. James Lingk. Your contract went out. Nothing to... ROMA John... WILLIAMSON Your contract went out to the bank. LINGK You cashed the check? WILLIAMSON We... ROMA ...Mr. Williamson... WILLIAMSON Your check as cashed yesterday afternoon. And we're completely insured, as you know, in any case.Pause. LINGK (to Roma) You cashed the check? ROMA Not to my knowledge, no... WILLIAMSON I'm sure we can... 81. LINGK Oh, Christ... (starts out the door) Don't follow me...Oh, Christ. (pause, to Roma) I know I've let you down. I'm sorry. For...Forgive...for...I don't know anymore. (pause) Forgive me.Lingk exits. Pause. ROMA (to Williamson) You stupid fucking cunt. You, Williamson...I'm talking to you, shithead...You just cost me six thousand dollars. (pause) Six thousand dollars. And one Cadillac. That's right. What are you going to do about it? What are you goin to do about it, asshole. You fucking shit. Where did you learn your trade. You stupid fucking cunt. You idiot. Whoever told you you could work with men? BAYLEN Could I... ROMA I'm going to have your job, shithead. I'm going downtown and talk to Mitch and Murrray, and I'm going to Lemkin. I don't care whose nephew you are, who you know, whose dick you're sucking on. You're going out, I swear to you, you're going... BAYLEN Hey, fella, let's get this done... ROMA Anyone in this office lives on their wits... (to Baylen) I'm going to be with you in a second. (to Williamson) What you're hired for is to help us--does that seem clear to you? (MORE) 82. ROMA (CONT'D) To help us. Not to fuck us up...to help men who are going out there to try to earn a living. You fairy. You company man...I'll tell you something else. I hope you knocked the joint off, I can tell our friend here something might help him catch you. (starts into the room) You want to learn the first rule you'd know if you ever spent a day in your life...you never open your mouth till you know what the shot is. (pause) You fucking child...Roma goes to the inner room. LEVENE You are a shithead, Williamson...Pause. WILLIAMSON Mmm. LEVENE You can't think on your feet you should keep your mouth closed. (pause) You hear me? I'm talking to you. Do you hear me...? WILLIAMSON Yes. (pause) I hear you. LEVENE You can't learn that in an office. Eh? He's right. You have to learn it on the streets. You can't buy that. You have to live it. WILLIAMSON Mmm. LEVENE Yes. Mmm. Yes. Precisely. Precisely. 'Cause your partner depends on it. (pause) I'm talking to you, I'm trying to tell you something. 83. WILLIAMSON You are? LEVENE Yes, I am. WILLIAMSON What are you trying to tell me? LEVENE What Roma's trying to tell you. What I told you yesterday. Why you don't belong in this business. WILLIAMSON Why I don't... LEVENE You listen to me, someday you might say, "Hey..." No, fuck that, you just listen what I'm going to say: your partner depends on you. Your partner...a man who's your "partner" depends on you...you have to go with him and for him...or you're shit, you're shit, you can't exist alone... WILLIAMSON (brushing past him) Excuse me... LEVENE ...excuse me, nothing, you be as cold as you want, but you just fucked a good man out of six thousand dollars and his goddamn bonus 'cause you didn't know the shot, if you can do that and you aren't man enough that it gets you, then I don't know what, if you can't take some thing from that... (blocking his way) you're scum, you're fucking white- bread. You be as cold as you want. A child would know it, he's right. (pause) You're going to make something up, be sure it will help or keep your mouth closed.Pause. 84. WILLIAMSON Mmm.Levene lifts up his arm. LEVENE Now I'm done with you.Pause. WILLIAMSON How do you know I made it up? LEVENE (pause) What? WILLIAMSON How do you know I made it up? LEVENE What are you talking about? WILLIAMSON You said, "You don't make something up unless it's sure to help." (pause) How did you know that I made it up? LEVENE What are you talking about? WILLIAMSON I told the customer that his contracts had gone to the bank. LEVENE Well, hadn't it? WILLIAMSON No. (pause) It hadn't. LEVENE Don't fuck with me, John, don't fuck with me...what are you saying? 85. WILLIAMSON Well, I'm saying this, Shel: usually I take the contracts to the bank. Last night I didn't. How did you know that? One night in a year I left a contract on my desk. Nobody knew that but you. Now how did you know that? (pause) You want to talk to me, you want to talk to someone else...because this is my job. This is my job on the line, and you are going to talk to me. Now how did you know that contract was on my desk? LEVENE You're so full of shit. WILLIAMSON You robbed the office. LEVENE (laughs) Sure! I robbed the office. Sure. WILLIAMSON What'd you do with the leads? (pause, points to the Detective's room) You want to go in there? I tell him what I know, he's going to dig up something...You got an alibi last night? You better have one. What did you do with the leads? If you tell me what you did with the leads, we can talk. LEVENE I don't know what you are saying. WILLIAMSON If you tell me where the leads are, I won't turn you in. If you don't, I am going to tell the cop you stole them, Mitch and Murray will see that you go to jail. Believe me they will. Now, what did you do with the leads? I'm walking in that door--you have five seconds to tell me: or you are going to jail. LEVENE I... 86. WILLIAMSON I don't care. You understand? Where are the leads? (pause) Alright.Williamson goes to open the office door. LEVENE I sold them to Jerry Graff. WILLIAMSON How much did you get for them? (pause) How much did you get for them? LEVENE Five thousand. I kept half. WILLIAMSON Who kept the other half?Pause. LEVENE Do I have to tell you? (pause, Williamson starts to open the door) Moss. WILLIAMSON That was easy, wasn't it?Pause. LEVENE It was his idea. WILLIAMSON Was it? LEVENE I...I'm sure he got more than the five, actually. WILLIAMSON Uh-huh? LEVENE He told me my share was twenty-five. WILLIAMSON Mmm. 87. LEVENE Okay: I...look: I'm going to make it worth your while. I am. I turned this thing around. I closed the old stuff, I can do it again. I'm the one's going to close 'em. I am! I am! 'Cause I turned this thing a...I can do that, I can do anyth...last night. I'm going to tell you, I was ready to Do the Dutch. Moss gets me, "Do this, we'll get well..." Why not. Big fuckin' deal. I'm halfway hoping to get caught. To put me out of my... (pause) But it taught me something. What it taught me, that you've got to get out there. Big deal. So I wasn't cut out to be a thief. I was cut out to be a salesman. And now I'm back, and I got my balls back...and, you know, John, you have the advantage on me now: Whatever it takes to make it right, we'll make it right. We're going to make it right. WILLIAMSON I want to tell you something, Shelly. You have a big mouth.Pause. LEVENE What? WILLIAMSON You've got a big mouth, and now I'm going to show you an even bigger one. (starts toward the Detective's door) LEVENE Where are you going, John?...you can't do that, you don't want to do that...hold, hold on...hold on... wait...wait...wait... (MORE) 88. LEVENE (CONT'D) (pulls money out of his pockets) Wait...uh, look... (starts splitting money) Look, twelve, twenty, two, twen... twenty-five hundred, it's...take it. (pause) Take it all... (pause) Take it! WILLIAMSON No, I don't think so, Shel. LEVENE I... WILLIAMSON No, I think I don't want your money. I think you fucked up my office. And I think you're going away. LEVENE I...what? Are you, are you, that's why...? Are you nuts? I'm...I'm going to close for you, I'm going to... (thrusting money at him) Here, here, I'm going to make this office...I'm going to be back there Number One...Hey, hey, hey! This is only the beginning...List...list... listen. Listen. Just one moment. List...here's what...here's what we're going to do. Twenty percent. I'm going to give you twenty percent of my sales... (pause) Twenty percent. (pause) For as long as I am with the firm. (pause) Fifty percent. (pause) You're going to be my partner. (pause) Fifty percent. Of all my sales. WILLIAMSON What sales? 89. LEVENE What sales...? I just closed eighty-two grand...Are you fuckin'...I'm back...I'm back, this is only the beginning. WILLIAMSON Only the beginning... LEVENE Abso... WILLIAMSON Where have you been, Shelly? Bruce and Harriet Nyborg. Do you want to see the memos...? They're nuts... they used to call in every week. When I was with Webb. And we were selling Arizona...they're nuts...did you see how they were living? How can you delude yours... LEVENE I've got the check... WILLIAMSON Forget it. Frame it. It's worthless.Pause. LEVENE The check's no good? WILLIAMSON You stick around I'll pull the memo for you. (starts for the door) I'm busy now... LEVENE Their check's no good? They're nuts...? WILLIAMSON Call up the bank. I called them. LEVENE You did? 90. WILLIAMSON I called them when we had the lead... four months ago. (pause) The people are insane. They just like talking to salesmen.Williamson starts for door. LEVENE Don't. WILLIAMSON I'm sorry. LEVENE Why? WILLIAMSON Because I don't like you. LEVENE John: John:...my daughter... WILLIAMSON Fuck you.Roma comes out of the Detective's door. Williamson goes in. ROMA (to Baylen) Asshole... (to Levene) Guy couldn't find his fuckin' couch in the living room...Ah, Christ... what a day, what a day...I haven't even had a cup of coffee...Jagoff John opens his mouth he blows my Cadillac... (sighs) I swear...it's not a world of men... it's not a world of men, Machine... it's a world of clock watchers, bureaucrats, officeholders...what it is, it's a fucked-up world...there's no adventure to it. (pause) Dying breed. Yes it is. (pause) We are the members of a dying breed. That's...that's...that's why we have to stick together. Shel: I want to talk to you. (MORE) 91. ROMA (CONT'D) I've wanted to talk to you for some time. For a long time, actually. I said, "The Machine, there's a man I would work with. There's a man..." You know? I never said a thing. I should have, don't know why I didn't. And that shit you were slinging on my guy today was so good...it...it was, and, excuse me, 'cause it isn't even my place to say it. It was admirable...it was the old stuff. Hey, I've been on a hot streak, so what? There's things that I could learn from you. You eat today? LEVENE Me. ROMA Yeah. LEVENE Mm. ROMA Well, you want to swing by the Chinks, watch me eat, we'll talk? LEVENE I think I'd better stay here for a while.Baylen sticks his head out of the room: BAYLEN Mr. Levene...? ROMA You're done, come down, and let's... BAYLEN Would you come in here, please? ROMA And let's put this together. Okay? Shel? Say okay.Pause. LEVENE (softly to himself) Huh. 92. BAYLEN Mr. Levene, I think we have to talk. ROMA I'm going to the Chinks. You're done, come down, we're going to smoke a cigarette. LEVENE I... BAYLEN (comes over) ...Get in the room. ROMA Hey, hey, hey, easy friend. That's the "Machine." That is Shelly "The Machine" Lev... BAYLEN Get in the goddamn room.Baylen starts manhandling Shelly into the room. LEVENE Ricky, I... ROMA Okay, okay, I'll be at the resta... LEVENE Ricky... BAYLEN "Ricky" can't help you, pal. LEVENE ...I only want to... BAYLEN Yeah. What do you want? You want to what?He pushes Levene into the room, closes the door behind him.Pause. ROMA Williamson: listen to me: when the leads come in...listen to me: when the leads come in I want my top two off the list. For me. My usual two. Anything you give Levene... 93. WILLIAMSON ...I wouldn't worry about it. ROMA Well I'm going to worry about it, and so are you, so shut up and listen. (pause) I GET HIS ACTION. My stuff is mine, whatever he gets for himself, I'm talking half. You put me in with him.Aaronow enters. AARONOW Did they...? ROMA You understand? AARONOW Did they catch...? ROMA Do you understand? My stuff is mine, his stuff is ours. I'm taking half of his commissions-- now, you work it out. WILLIAMSON Mmm. AARONOW Did they find the guy who broke into the office yet? ROMA No. I don't know.Pause. AARONOW Did the leads come in yet? ROMA No. AARONOW (settling into a desk chair) Oh, God, I hate this job. ROMA (simultaneous with "job," exiting the office) I'll be at the restaurant.

unformated_scripts/Script_Good Girl, The.txt

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+                                 THE GOOD GIRL                                 Written by                                 Mike White                                     JUSTINE                         (v.o.) As a girl, you see the world                          like a giant candy store, filled with                          sweet candy and such. But one day you                          look around and see a prison and you're                          on death row. You wanna run, or scream                          or cry. But something's locking you                          up. Are the other folks cows, chewing                          cud till the hour come and their heads                          roll? Or are they just keeping quiet,                          like you... Planning their escape?                (Camera zooms on Holden/Tom)                                     GWEN                         On your left, honey.                                     JUSTINE                         What's that cashier's name?                                     GWEN                         Can't say.                                     JUSTINE                         When did he start working here?                                     GWEN                         Don't know. Yesterday?                                     JUSTINE                         Who is he?                                     GWEN                         Don't know. Can't say.                                     JUSTINE                         What are you doing?                                     GWEN                         It's called work, princess. Kind of                          fun. You might want to give it a go                          someday.                <hr />                                     CHERYL                         Attention, shoppers. There's a Retail                          Rodeo special on aisle three. Liquid                          drain cleaner. Two 12-ounce cans for                          $5. Liquid drain cleaner has churning                          power and will churn right through your                          pipes. Ladies, shove something clean                          and new up your filthy pipes. Liquid                          drain cleaner on aisle three. Have a                          good day and thank you for shopping                          at Retail Rodeo.                                      CORNY                         Hey, Justine. Can I talk to you for                          a second?                                      JUSTINE                         Yeah.                                     CORNY                         I was just curious. Have you ever been                          to a Bible study?                                      JUSTINE                         Yeah.                                     CORNY                         We got a good one going on every Wednesday                          at the First Church of Nazarine. Rodney                          comes, Benita comes. You got any interest                          in reading the Bible?                                      JUSTINE                         I have my own, you know, beliefs.                                     CORNY                         We don't preach fire and brimstone.                          Just the Ten Commandments. Weíre not                          interested in scaring people. Weíre                          about loving Jesus.                                      JUSTINE                         I kinda like my nights to myself.                                     CORNY                         Well, maybe you'll have nights of eternal                          hellfire to yourself. Just kidding you.                          Drive safe.                                      JUSTINE                         Bye-bye.               <hr />                                     BUBBA                         Hey, Justine.                                     PHIL                         Hey, Teeny. How was your day?                                     JUSTINE                         The same. How was yours?                                     BUBBA                         The wind was flipping paint in our eyes.                                                               PHIL                         Paint stings. Feel like I've been attacked                          by hornets in my eyeballs.                                      JUSTINE                         Bubba, stand up.                                     BUBBA                         Why?                                     JUSTINE                         For Christ's sakes. Look at that couch,                          Phil. Y'all got paint all over it. This                          ain't gonna come off. Damn it, Phil.                                         <hr />                                     TV REPORTER                         ...including this gorgeous eggplant...                                                               PHIL                         I think we got most of it out.                                     JUSTINE                         You two were stoned. You, keep frying                          your brain liike that, you'll slip off                          a ladder and crack open your head bone.                          You do really stupid things when you're                          high, Phil.                                      PHIL                         Like what?                                     JUSTINE                         Like sitting on my couch with your big                          blue ass. Everything just turns to shit.                          You finally get nice things, then everything                          just gets messed up. Why is this TV                          buzzing?                                      PHIL                         It's the wind doing that. They the wind's                          coming in different lately.                                      JUSTINE                         Different from what?               <hr />                                     JUSTINE                         What you reading?                                     HOLDEN                         Catcher in the Ryeí I'm named after                          it.                                      JUSTINE                         What's your name? Catcher?                                     HOLDEN                         Holden. After Holden Caulfield. He's                          the main character.                                      JUSTINE                         What's he do?                                     HOLDEN                         He's put upon by society. Hypocrisy                          of the world.                                      JUSTINE                         I notice that you're, uh, not very social.                                                               HOLDEN                         I'm a writer.                                     JUSTINE                         What do you write?                                     HOLDEN                         Novels, plays, screenplays, stories,                          poetry.                                      GWEN                         (to costumer) That's good. Justine will                          be right with you. Where is she?                                      JUSTINE                         I better go. What happens at the end                          of your book?                                      HOLDEN                         Oh, he has a nervous breakdown. Goes                          to a mental hospital.                <hr />                                     GWEN                         You don't get paid to pick your crack.                          You get paid to work.                                      JUSTINE                         I'm not sure I can do makeovers.                                     GWEN                         Oh, come on! A little pancake, eyeliner,                          mascara, rouge on the cheeks and powder                          it up. Then you take a moist tissue,                          roll it in a ball and toss it in their                          face! Jeez, Louise... I'm talking to a                          tree stump! Girl, where are you?!                                                               JUSTINE                         Sorry, Iím just a little tired.                                     GWEN                         It's the food you eat, Justine. Look                          at me. I am 10 years older than you                          and have 10 times your energy. Cause                          I don't eat meat and I don't eat dairy.                          It's probably why you can't get pregnant,                          honey. And why you have that hung-jaw                          look on your face. It's the cheese in                          your pizza and the chicken in your salad.                                                               JUSTINE                         I went to the doctor. He says I'm fertile.                          He says I could repopulate the entire                          planet.                                      GWEN                         Then what's the deal here? Did he say                          you get enough vitamins?                                      JUSTINE                         He didn't say.               <hr />                                     PHIL                         You could make paint where, at different                          angles, the house is different colours.                          You stand at the front door and the                          house is red. You stand at the street                          and the house is green. Or you could                          make, like, an invisible paint. Make                          the whole house disappear.                                      BUBBA                         What would be really neat is a paint                          that could change the molecular structure                          of a house, like a chemical acid deal.                                                               PHIL                         What do you think, Teeny?                                     JUSTINE                         I think you two are a pair of potheads.                                         <hr />                                     CHERYL                         You getting a whole one of these or                          a half?                                      CUSTOMER                         That oneright there.                                     CHERYL                         You didn't bring this into the store?                                                               CUSTOMER                         No.                                     CHERYL                         Well then, I'll charge you for it. This                          is a hand lotion. So don't put it anywhere                          else, even if you need lubrication.                          We try to keep frivolous lawsuits to                          a minimum, unless, ofcourse, the customer                          is at fault. Here's your change and                          Fuck you very much.                                      CUSTOMER                         Excuse me?                                     CHERYL                         Thank you very much.               <hr />                                     GWEN                         Good as new, I'll tell ya, good as new.                                                               JUSTINE                         Now, you might be interested in purchasing                          some of the products I used today...                                                               CUSTOMER                         Oh, I'm not buying anything today.                                                               GWEN                         Well, that'd be a mistake. These are                          bargain prices.                                      CUSTOMER                         I didn't bring my purse.               <hr />                                     JUSTINE                         I hate my job.                                     HOLDEN                         That makes two of us.                                     JUSTINE                         I hate everyone here. I hate Gwen. I                          don't know what the hell she's so happy                          about. I'm sorry I don't understand                          why maniacs get shotguns and shoot everybody                          to pieces.                                      HOLDEN                         Maybe you're a maniac.                                     JUSTINE                         Maybe so. You know you're lips are real                          pouty, like a woman. And how your eyes                          droop off to the side. How old are you?                                                               HOLDEN                         Twenty two.                                     JUSTINE                         I'm an old lady next to you.                                     HOLDEN                         How old are you?                                     JUSTINE                         How old do you think?                                     HOLDEN                         I don't know.                                     JUSTINE                         I am thirty years old.                                     HOLDEN                         How long you been workin' here for?                                                               JUSTINE                         Forever and a day!               <hr />                                     JUSTINE                         You don't have a car?                                     HOLDEN                         Oh, I live right down the street.                                     JUSTINE                         Well, you can ride in here, there's                          room.                <hr />                                     HOLDEN                         You wanna come in?                                     JUSTINE                         I don't know. I'm in a funk.                                     HOLDEN                         Well, I'm not gonna beg ya.               <hr />                                     HOLDEN                         I'll be in my room.                                     MOTHER                         Okay, Tom.               <hr />                                     JUSTINE                         They call you Tom?                                     HOLDEN                         It's my slave name. Holden's what I                          call myself. This is my room.                                      JUSTINE                         Not aolt to look at. What are your folks                          like?                                      HOLDEN                         They're okay. They don't get me. I mean,                          they're alright.                                      JUSTINE                         My husband doesn't get me.                                     HOLDEN                         Since when do you have a husband?                                     JUSTINE                         Since seven years. He's a painter.                                                               HOLDEN                         What's he paint?                                     JUSTINE                         Houses. He's a pig. He talks but he                          doesn't think. You go to college?                                                               HOLDEN                         Um, I had to drop out. I had a problem                          with drinkin' and stuff. I'll go back.                          I just gotta prove to my parents that                          I can fly staright. You go to college?                                                               JUSTINE                         No, I was afraid I'd lose Phil if I                          went. Now that'd be reason enough to                          go. I saw you in the store and I liked                          how you kept to yourself. I can see                          in your eyes that you hate the world.                          I hate it too. You know what I'm talkin'                          about?                <hr />                                     JUSTINE                         After livin in the dark for so long                          a glimspe of the light can make you                          giddy. Strange thought come into your                          head and you'd better think 'em. Has                          a special fate been callin' you and                          you not listenin? Is there a secret                          message right in front you, and you're                          not reading it? Is this your last, best                          chance? Are you gonna take it? Or are                          you goin' to the grave with unlived                          lives in your vains?                (TV conversation)                                     PHIL                         Teeny, you're pretty. Bubba, isn't Teeny                          pretty?                                      BUBBA                         I've seen better, I've seen worse. Nah.                          That's why I ain't never married. You                          got yourself the best fish in the sea.                                                               PHIL                         I wonder what it'd be like to be a woman.                          All that smooth skin and long hair.                                                               BUBBA                         If I was a woman, I'd be a slut. A lesbian                          slut.                                      JUSTINE                         Gwen says smokin' marijuana lowers your                          sperm.                                      PHIL                         Lowers it to where?                                     JUSTINE                         Maybe you're the infertile one 'round                          here. Maybe every time you smoke a little                          dooby, you're killin' our unborn children.                                         <hr />                                     GWEN                         Alright, close.                                     JUSTINE                         Why you limping.                                     HOLDEN                         I twisted up my ankle on the stairs.                          I was wonderin', maybe you could give                          me a ride home?                                      JUSTINE                         Yeah, sure okay.                                     HOLDEN                         Alright I'll talk to you about it later.                                                               GWEN                         All I know is, everyone should have                          one beau, before anyone has two beaus.                                                               JUSTINE                         He's not my beau, he's my friend.                                     CHERYL                         Happy Halloween Retail Rodeo shoppers!                          There's a Retail Rodeo special on all                          bulk candy on aisle four. Ghouls and                          goblins, witches and warlocks, wandering                          these aisles, day after day. I'll put                          a Halloween curse on you.                <hr />                                     GWEN                         Night Corny. Happy Halloween.                                     CORNY                         Well I'm not a pagen but thanks all                          the same.                                      GWEN                         Which ankle did you twist, Holden?                                                               HOLDEN                         My, uh, left.                                     GWEN                         Maybe you should put some cold water                          on it so it doesn't sweel up and inflame.                                                               HOLDEN                         Okay.               <hr />                                     JUSTINE                         You're a writer so you have yourself                          a goal. I used to lie in bed and imagine                          other cities, other jobs I could have.                          Other husbands. Now I don't even know                          what to imagine anymore. Holden, I have                          a husband.                                      HOLDEN                         You said he was a pig.                                     JUSTINE                         Well, Holden. I don't want to hurt anybody.                                         <hr />               (TV sounds)                                     PHIL                         I was thinking about what you were sayin'                          about my sperm bein' low. I mean, I                          know I got good sperm. It's baby-makin                          sperm. I suppose it couldn't hurt to                          have it confirmed by an expert.                                      JUSTINE                         Oh who gives a shit, who needs a F&$%'                          baby around here anyways? If you wanna                          make yourself useful, why don't you                          get that goddamn TV fixed?!                                      PHIL                         What the hell?                                     JUSTINE                         It sounds like a helicopter is landin'                          in here.                <hr />                                     GWEN                         You want a blackberry, honey? A man                          was sellin' 'em on the road.                                      JUSTINE                         No thank you.                                     CORNY                         This is for you Justine. It's from Holden.                                                               JUSTINE                         Well where is he?                                     CORNY                         He's got the day off. He came by this                          morning with it.                                      JUSTINE                         Thanks.                                     CORNY                         Don't mention it. Hey, Gwen.                                     GWEN                         Hey sugar.                                     HOLDEN                         Dear Justine. Because of you I'll be                          quitting the Retail Rodeo. The last                          two days have been the most god-awful                          days of my life. I've not been able                          to get rid of you in my head. I never                          wanted anything so bad, and I have wanted                          many things. I'd given up long ago on                          being gotten by someone else, and then                          you came along. The idea of being gotten,                          because of circumstance, will never                          get got is the worst feeling I've ever                          felt, and I have felt many bad feelings.                          I'm sorry I can never see you again,                          Justine, forgive me for being so weak,                          but that is who I am. Goodbye, Holden                          Wurther. If for some reason, you could                          change your mind and want to be with                          me, body and soul, meet me after work.                          I will be waiting for you at five PM                          outside Chuck E.Cheese. If you are not                          there at five, you will never see me                          in your lifetime.                                      JUSTINE                         Gwen? What's wrong?               Gwen I'm okay. I feel a little sick.               <hr />                                     JUSTINE                         Gwen? Gwen you sick?                                     JACK                         Justine? Justine what's goin' on in                          here? Gwen, you sick? We gotta get her                          to a hospital. Justine you drive her.                                                               JUSTINE                         Well what time is it?                                     JACK                         It's aquarter to five. Why, you gotta                          be somewhere?                <hr />                                     JUSTINE                         Gwen?                                     GWEN                         Oh, I had a dream. I had dream that                          I sprouted a beard made of bean sprouts.                                                               JUSTINE                         I'm gonna let you off here, okay?                                     GWEN                         Okay,You'll meet me inside?                                     JUSTINE                         Yeah, you know what I'm gonna do? I'm                          gonna park the car, then I'm gonna meet                          you inside.                                      GWEN                         Okay. Your a doll.               <hr />                                     HOLDEN                         Hey. Oh god, I'm really glad you came.                                                               JUSTINE                         I just ditched Gwen at the hospital.                                                               HOLDEN                         Oh god, thank god.                                     JUSTINE                         Where are we goin'?                                     HOLDEN                         Let's go to my house.                                     JUSTINE                         No, with your folks there?                                     HOLDEN                         Let's just park somewhere.                                     JUSTINE                         This isn't well planned.                                     HOLDEN                         Look. I don't know. I don't care I just                          wanna hold you.                <hr />                                     HOTEL GUY                         That's fourty five dollars even. And                          I need you to fill this out for me.                                         <hr />               (Justine and Holden are in the hotel room and make love.)               <hr />               (after the made love)                                     JUSTINE                         I can't do it.                                     HOLDEN                         We'll be back here before you know it.                                                               JUSTINE                         I don't wanna... I don't wanna go.                                                               HOLDEN                         Justine. I'm yours. I'm all yours.                                         (they kiss)               <hr />                                     PHIL                         Hey.                                     JUTSINE                         Hey.                                     PHIL                         Were you been?                                     JUSTINE                         Gwen got real sick today. She was throwin'                          up all over the store. I had to take                          her to the hositpal, and sat with her.                                                               PHIL                         Did she sick up on you?                                     JUSTINE                         No.                                     PHIL                         Did she sick up on anybody? (chuckles)                                                               JUSTINE                         It's not funny, Phil, this is serious.                          I'm gonna go up there tomorrow too.                          And the next day.                <hr />                                     JACK                         Justine? What happened to you?                                     JUSTINE                         What?                                     JACK                         I went down to St. Catherine's to check                          up on Gwen. I looked all over for you,                          she was askin' for you.                                      JUSTINE                         Well, how is she?                                     JACK                         She was heavin' up until there was nothin'                          left to heave. Doctor said she must've                          eaten somethin' with some kind of parasite                          in it or somethin'.                                      JUSTINE                         I bet it was those blackberries.                                     JACK                         They're gonna keep her in there until                          she gets better so you're gonna have                          to supervise cosmetics.                <hr />               (there they go again)                                     JUSTINE                         Stop it, somebody's gonna see!                                     HOLDEN                         Who cares, I don't care. I crave you.                          I wanna know everything about you. Who                          are you?                                      JUSTINE                         I'm just this woman. I moved to Texas                          when I was eleven. My daddy was in the                          Air Force.                                      HOLDEN                         I wanna knock open your head and see                          what's inside. I've had so much pain                          in my life. I know you have too, I can                          see it.                <hr /> (at the hotel, in bed,                probably after they made love)                                      JUSTINE                         Holden gave me two of his stories to                          read. It's like what a story would be.                          I was about a boy who was put upon,                          his mother was cold and selfish, and                          his father wanted him to play football.                          Other people didn't get him, especially                          girls. Then the boy comes to believe                          no one can ever really know him. So                          he starts actin' out, drinkin', and                          doin' all kinds of drugs. At the end                          the boy kills himself but jumpin' over                          abridge. The second story was pretty                          much the same as the first. Except at                          the end, the boy kills himself by drinkin'                          a bottle of bug poison.                                      JUSTINE                         Your stories are intense.                                     HOLDEN                         I just wanna leave some kind of legacy.                          Somethin' great. After that I don't                          care what happens to me.                                      JUSTINE                         Don't say that. I wish there was a story                          about me. I don't know who would read                          it though.                                      HOLDEN                         I would.                                     JUSTINE                         I like this. I like havin' a secret.                          You gave me a secret Holden.                                      HOLDEN                         Seee, now that you met me you're mysterious.                          And dark and twisted.                                      JUSTINE                         I'm going to hell, aren't I?                                     HOLDEN                         Yes, you are.               (she rolls on top of him and they kiss)               <hr />               (they exit the hotel and Justine sees a car)                                     JUSTINE                         That's Bubba's truck. Get in the car.                          Phil takes that truck to work everyday.                          Bubba picks him up, and drops him off.                          Why, why would that truck be parked                          there?                                      HOLDEN                         I don't know.                                     JUSTINE                         If he finds out about us....                                     HOLDEN                         I won't let him hurt you.                                     JUSTINE                         He's big, Holden. He'll kill you. He'll                          beat me, but he'll kill you.                                      HOLDEN                         You can't worry about somethin' that                          hasn't even happened yet.                                      JUSTINE                         I gotta go to the hospital.                                     HOLDEN                         Okay. (leans in to kiss her; she pulls                          away)                                      JUSTINE                         Don't! I mean he could be followin'                          us.                <hr />                                     CORNY                         Justine! Poor lady. She just passed.                                                               JUSTINE                         Who?                                     CORNY                         Gwen! She just passed away.                                     JUSTINE                         What do you mean? I thought she had                          a stomach ache?                                      CORNY                         It got worse. She was on life support                          all day.                                      JUSTINE                         I don't understand.                                     CORNY                         It's God's will, Justine. No one can                          understand it. It was just Gwen's time                          to fly away home.                (Justine looks guilty and shocked)               <hr />                                     JUSTINE                         Gwen died today.                                     PHIL                         What? Are you kiddin? What for?                                     JUSTINE                         Parasite. Somethin' she ate.                                     PHIL                         You okay?                                     JUSTINE                         Where were you this afternoon?                                     PHIL                         Paintin' on Bovery. Why?                                     JUSTINE                         What time did Bubba bring you home?                                                               PHIL                         We knocked off early 'bout four. Bubba                          had a date with a stewardess, why?                                                               JUSTINE                         Oh. I can't believe she's dead. I wasn't                          a very good friend to her.                                      PHIL                         Don't say that, Teeny. 'Course you were.                          'Course you were.                <hr />                                     JACK                         Retail Rodeo employees this is Jack                          Fields, your store manager. Before we                          open today, I just want to share some                          terrible and shocking news. One of our                          best employees, Gwen Jackson, died yesterday.                          Gwen was a real class act. She had a                          good attitude, she had ideas. We're                          all gonna miss her. Now, if any of y'all                          need to collect you thoughts and remember                          Gwen. GWEN, then today's the day. You'll                          be excused from work and we'll just                          have to do without you. Gwen, this one's                          for you.                (music comes over PA)               <hr />                                     JUSTINE                         Holden had the notion to go to Gabler's                          Creek, skinny dippin' and makin' love.                          He said we'd be like Adam and Eve, rollin'                          around around in the sticks and the                          dirt and bein' one with nature. He was                          so fixed on the idea thateven when the                          clouds started rollin' in, and the sky                          was gettin; dark, he kept on swimmin'.                          All my thoughts turned to death. I thought                          of Gwen's body, rottin' away. I thought                          of how nice a person she was, so full                          of life and good will. If there was                          a heaven, Gwen would be there. Givin'                          makeovers and offerin' up helpful advice.                          I thought if I died today, what would                          happen to me? A hateful girl. A selfish                          girl. An adultress. A liar.                <hr />               (Justine and Holden are running towards the car and get in)                               <hr />               (Next scene they're in the car; back seats, kissing)                                     JUSTINE                         What are we doin'?                                     HOLDEN                         Makin' one out of two.                                     JUSTINE                         (sighs) I haven't thought this through.                                                               HOLDEN                         Justine, will you leave him?                                     JUSTINE                         And go where?                                     HOLDEN                         Away. With you on my arm, my folks'll                          think I've changed. They'll stop thinkin'                          I'm suck a loner, I got a girlfriend,                          a pretty one, who knows me and likes                          me. And they'll be so happy, they'll                          give me money to write my novel.                                      JUSTINE                         But where will we GO?                                     HOLDEN                         We'll be like... Catcher in the Rye.                          Only by me. I'll be immortal and then                          like JD Salinger I'll just vanish.                                         <hr />                                     PHIL                         Hey, Teeny. We've been up to no good.                          We got the day off on account of the                          rain.                                      JUSTINE                         I thought you might.               (TV sounds)                                     BUBBA                         So I heard about your friend bein' dead,                          and all. I'm sorry.                                      JUSTINE                         Yeah. She was real healthy too.                                     BUBBA                         Well, at least you were with her when                          she went. (intense voice and look) Ain't                          that right? You were... with her, when                          she went?                                      JUSTINE                         Yeah.                                     PHIL                         Oh, I wish it would rain every day from                          here on out. Never have to paint again.                                         <hr />                                     JACK                         Hey Justine. How you holding up?                                     JUSTINE                         Fine.                                     JACK                         Real shocker. I decided to move Cheryl                          over to cosmetics. She got a little                          too creative on the P.A. Maybe she'll                          watch her P's and Q's over here. If                          not she's out on her but. Now you listen                          to Justine, sister.                <hr />                                     HOLDEN                         You want me to help you get stuff out                          of storage?                                      JUSTINE                         Not right now, maybe later.                                     HOLDEN                         Well, are you gonna give me a ride home?                          My ankle's actin' up.                                      JUSTINE                         I gotta get home. Maybe Cheryl can.                                                               CHERYL                         What, you need a ride?                                     HOLDEN                         Forget it.               <hr />                                     JUSTINE                         I think we gotta take a breather. I'm                          nervous.                                      HOLDEN                         Well, can't we go to the motel?                                     JUSTINE                         Not today.                                     HOLDEN                         Well, let's go in the store room.                                     JUSTINE                         Just be patient, Holden!               (Holden looks freaky; sort of like he's losing his mind not being                able to be close to her)                <hr />                                     JUSTINE                         I was wonderin', when was that, uh,                          bible study?                                      CORNY                         Tomorrow night at eight. We'd love to                          have ya.                                      JUSTINE                         Can I bring my husband?                                     CORNY                         'Course! A couple that prays together                          stays together.                <hr />                                     PHIL                         What's this?                                     JUSTINE                         The Holy Bible. There's one for you,                          and one for me.                                      PHIL                         Not very light is it?                                     JUSTINE                         We're goin' to Bible study. A couple                          that prays together, stays together.                                                               PHIL                         I heard it was the couple that lays                          together stays together.                                      JUSTINE                         Well you heard wrong.               <hr />                                     JUSTINE                         Cheryl? You think you can take this                          one?                                      CHERYL                         Sure... Sit right down here ma'am, we're                          gonna make you pretty. Now how do you                          like your hair?                                      CUSTOMER                         Wait, you gonna do my hair?                                     CHERYL                         No, I just need to know if that's your                          usual way of wearing it all big and                          high. If it is then I'll just put more                          makeup on your chin to off-set. Now,                          you're gonna want to take a whole bottle                          of this home wtih you. It's got quite                          alot of ingredients in it so you're                          getting a good deal. It's got Ginco                          extract in it, do you know what that                          is?                                      CUSTOMER                         No.                                     CHERYL                         It's extract of the Ginco and it makes                          your skin real slick so that any liquid                          will roll right off, be it water or                          lemon juice or urine. I'll put that                          in a bag for you.                <hr />                                     JUSTINE                         Phil, what the hell are you doin'? We're                          gonna be late for Bible study. You're                          stoned, you got paint in your hair,                          would you just get in the shower?                                                               PHIL                         I completely didn't remember...                                     JUSTINE                         Get in the shower.                                     BUBBA                         Workin' on your spiritual life?                                     JUSTINE                         Yeah, I guess.                                     BUBBA                         Ain't that a hoot and a holler.                                     JUSTINE                         What do you mean?                                     BUBBA                         I saw you, Justine.                                     JUSTINE                         Saw me what?                                     BUBBA                         I saw you. We got some things to talk                          about, you and me. You come by my place                          after work. If you knwo what's good                          for ya.                <hr />                                     PHIL                         Hey. Where's Bubba?                                     JUSTINE                         He left.                                     PHIL                         Well, I'm ready. Let's go.               <hr />                                     PHIL                         I don't know what to say about Jesus.                          I'm stoned.                                      JUSTINE                         Just let the other people do the talking.                                                               PHIL                         Jeez. We forgot the Bibles, Justine.                                                               JUSTINE                         Well, that's alright, they'll forgive                          us.                                      CORNY                         Hi. Welcome. Hey there people! Glad                          you could make it!                                      JUSTINE                         Hi Corny. This is my husband, Phil.                                                               CORNY                         Y'all are in for a treat. We got a good                          discussion going tonight. If man is                          made in God's image, what does that                          say about God?                                      PHIL                         Yeah, that sounds like a good one.                                         (Justine recognizes one of the people. It's the guy who works                at the motel where she and Holden have been going to.)                                      JUSTINE                         Phil, come with me to the car.                                     PHIL                         What?                                     JUSTINE                         Come with me to the car, I gotta get                          somethin'.                                      PHIL                         What's goin' on?                                     JUSTINE                         Just get in the car. Get in the car,                          Phil.                                      PHIL                         What the hell?                                     JUSTINE                         I don't want to go to Bible study.                                                               PHIL                         Why not?                                     JUSTINE                         Because I don't want to. Now, can we                          please just get out of here?                                      PHIL                         Justine, this is embarassing. We're                          runnin' away from Bible study like a                          couple of Devil worshippers.                                      JUSTINE                         I don't care. I'm not in the mood.                                                               PHIL                         You are freakin' me out, man. Why?                                                               JUSTINE                         Why? Beacause we forgot our Bibles is                          why.                                      PHIL                         You just said a few minutes ago they'll                          forgive us.                                      JUSTINE                         Yeah, well, they may not, alright. So                          can we please just get the shit outta                          here?                                      PHIL                         I'm never goin' back to Bible study                          again.                                      JUSTINE                         I don't care, fine by me.               <hr />                                     CUSTOMER                         I think I look too white, don't you                          think?                                      CHERYL                         I'm just tryin' to match your face with                          your hair, I was thinkin' you're not                          white enough.                                      CUSTOMER                         I think I look kinda wierd.                                     CHERYL                         Well, the first rule of fashion is that                          you have to look wierd. What I'm doing                          here has come straight from France.                                                               CUSTOMER                         Oh.                                     CHERYL                         It's called circ du face, meaning circus                          of the face and it's all the rage with                          the Frenchies.                                      CUSTOMER                         Well, you're the professoinal.                                     CHERYL                         That's right.                                     CORNY                         Justine, what happened to you? I looked                          up and I saw you two drivin' off like                          vampires in the night.                                      JUSTINE                         Oh geez, we forgot our Bibles.                                     CORNY                         You coulda looked off your neighbor.                          It's a church, you know. You can't make                          water without bumpin' your nut on a                          bible.                                      JUSTINE                         Oh. Well, we felt bad.                                     CORNY                         (looks at the customer) What in blazes?!                                                               CUSTOMER                         Do you like it?               <hr />                                     JUSTINE                         I can't go.                                     HOLDEN                         What?                                     JUSTINE                         I can't go today. There's something                          important I need to tend to.                                      HOLDEN                         I thought you said we'd go today.                                     JUSTINE                         Well, something came up.                                     HOLDEN                         What came up?                                     JUSTINE                         Um, okay. I think, maybe, somebody's                          found out about us.                                      HOLDEN                         I'm starting to wonder if you even want                          to go. I'm startin' to think you don't                          get me.                                      JUSTINE                         Well, maybe I don't get you.                                     HOLDEN                         You do, you do get me you just don't                          want to me 'cause I'm too intensified                          for you! Justine, who cares, who cares                          if someone finds out. We don't have                          to live like this, Justine. I know what                          it's like to go home every night and                          feel like you're hidin' out. We can                          leave all this behind...                                      JUSTINE                         That's easy for you to say, Holden,                          you are not married.                                      HOLDEN                         You just, you just gonna give up?! You                          gonna go crawlin' back?!                                      JUSTINE                         Holden, you are gonna get us caught!                                                               HOLDEN                         You're so fucking afraid it makes me                          sick. Don't give up on us.                                      JUSTINE                         I won't.               <hr />               (Justine goes out of the backdoor of Retail Rodeo, takes a few                deep breaths, trying not to freak out)                <hr />                                     JUSTINE                         I'll see you tomorrow, okay? Okay?                                                               HOLDEN                         Okay. Good luck on your important thing.                                                               JUSTINE                         Thanks.               <hr />               (Justine arrives at Bubba's. He opens the door and his dog, Bitz,                is barking.)                                      BUBBA                         Easy Bitz, easy Bitz. Back in your corner!                          Back in your corner! Back in your corner,                          Bitz! Come on in. I wanna show you somethin'.                          Sit. (Yells at dog again) I'm in shock.                                                               JUSTINE                         Why?                                     BUBBA                         You know why.                                     JUSTINE                         Bubba sat like that for what seemed                          like ten years before he began to speak.                          Finally, when he opened his mouth, he                          talked a blue streak about the ruin                          that was his life. He talked about how                          he loved Phil, and how he loved me.                          And how he always wanted a girlfriend                          just like me, and to be a guy like Phil,                          to this imaginary girl like me, that                          he never found. Then he wen on about                          givin' up your dreams and how it's all                          a part of gettin' older. Bubba had given                          up on his dream to be like Phil, and                          accepted his fate as Bubba, always and                          forever. Then, last week, a door that                          remained shut swung wide open. Bubba                          thought this no chance coincidence,                          a cosmic force was at work. The sounds                          of me makin' love to a man that wasn't                          Phil was like a shout in Bubba's ear                          from the creator himself. What it meant,                          or what to do, or why Bubba didn't know.                          All he knew was that he hated me for                          poisoning the well of idealism that                          he had drunk from for so long. I was                          no longer Bubba's image of perfection.                          To him I was just a liar, and a whore,                          and that sickened him. But on the other                          hand he loved me for opening his eyes                          and releasing him from the bitter chains                          of evny that bound him to Phil. Phil                          was no superman, just a cuckhold, and                          a foll, and that was beautiful. Bubba                          felt that there was just one thing left                          for us to do. Something that would solve                          both our problems and end this whole                          tragic cycle.                                      JUSTINE                         Bubba, I am not gonna sleep with you.                                                               BUBBA                         But don't you see? This is my chance,                          for liberation.                                      JUSTINE                         But, one person's liberation is another                          person's, well, badness. There's just                          no way.                                      BUBBA                         I'm gonna have to tell Phil then.                                     JUSTINE                         Why?                                     BUBBA                         He's my best friend. I can't keep him                          in the dark about somethin' this big.                          He's a cuckhold.                                      JUSTINE                         You wanna cuckhold him yourself!                                     BUBBA                         Well that's different. That isn't about                          him. That's about my salvation. Look,                          you've got your choice to make. Either                          destroy your marriage, and break your                          husband's heart. Or have sex with me                          right now.                <hr />               (Bubba is yelling at the dog again, and saying Justine's name)                                                     JUSTINE                         Oh god! There was someone in the window!                          Did you not see?                                      BUBBA                         You're paranoid.                                     JUSTINE                         I gotta go.                                     BUBBA                         Phil is never gonna find out about any                          of this. Don't fret. (the dog is still                          barking)                                      JUSTINE                         Get this damn dog away from me!               <hr />                                     BUBBA                         You're lookin' at a free man, Justine.                          A free man.                                      JUSTINE                         Great. Good for you.                                     BUBBA                         Thank you. (Yelling at dog again.)                                         <hr />               (TV sounds as Phil comes out of the bathroom, still brushing                his teeth)                                      PHIL                         I'm nervous.                                     JUSTINE                         You're nervous? Why?                                     PHIL                         'Cause I gotta go to that doctor tomorrow                          and jism into a cup, that's why. What                          if I can't do it?                                      JUSTINE                         You can do it.                                     PHIL                         You know, If you said you'd help me                          I'd feel alot less nervous. It's gonna                          be on your lunch hour anyway.                                      JUSTINE                         Okay.                                     PHIL                         You didn't even say nothing about the                          TV bein' fixed.                                      JUSTINE                         Oh. Is it? Thanks.                                     PHIL                         You're welcome.               <hr />                                     JACK                         Well aren't you a fright? Justine, you                          talked to Holden lately? He didn't show                          up for work today, I wanna know what                          gives. I know you two are friends.                                                               JUSTINE                         We're not friends.                                     JACK                         You eat lunch together every day.                                     JUSTINE                         No, we don't.                                     JACK                         Well, if you see him, tell him Jack                          Fields is lookin' for him.                <hr />               (Justine gets in the car and is shocked when she sees Holden                in the car, more depressed than ever.)                                      JUSTINE                         Oh my god. What are you doin'?                                     HOLDEN                         You're a hooker, you hooker.                                     JUSTINE                         I saw you. You followed me.                                     HOLDEN                         So, how many guys you gettin' with?                          You gettin' with every guy in the state?                                                               JUSTINE                         No, Holden, this is all because of you.                          He had me over a barrel. If I didn't                          sleep with him he was gonna tell Phil                          about us!                                      HOLDEN                         I'm so alone!                                     JUSTINE                         You've gotta get a hold of yourself!                          Are you drunk?                                      HOLDEN                         Yes, I'm drunk! And I'll be drunk every                          day until the day I die! What do you                          care?! You jump on any pecker that's                          put in front of you!                                      JUSTINE                         It's not what you think.                                     HOLDEN                         I saw everything. Oh god. Oh god.                                     JUSTINE                         Look, go home. Sober up. And meet me                          after work.                                      HOLDEN                         Where you goin'?                                     JUSTINE                         I gotta help Phil with his sperm.                                     HOLDEN                         What?                                     JUSTINE                         Just go. Go!                                     HOLDEN                         I can't share you, Justine! Maybe with                          one man but not with a whole bunch of                          'em!                <hr />                                     JUSTINE                         Great.               <hr />                                     NURSE                         Mr. Last? Would you come with me?                                     PHIL                         Wish me luck.                                     JUSTINE                         Good luck, honey.                                     BUBBA                         Knock 'em dead, partner. (Justine and                          Bubba watch Phil walk into one of the                          rooms) You look nice.                                      JUSTINE                         No, I don't.                                     BUBBA                         I know you're angry and I can figure                          why. But, from where I stand, what happened                          yesterday was a wonderful thing.                                      JUSTINE                         Nothin' happened yesterday, so drop                          it.                                      BUBBA                         Well, I'm awful grateful to ya, Justine.                                                               JUSTINE                         Bubba, I mean it.                                     BUBBA                         Let me just ask you one thing. How do                          I stack up against Phil? You know, how                          do I stack up where it counts?                                      NURSE                         Ma'am? Your husband asked me to request                          for your presence.                <hr />               (Justine knocks on the door.)                                     PHIL                         Who's there?                                     JUSTINE                         It's Justine. (gets into the room)                                                               PHIL                         C'mon. I can't do this on my own. I                          need help.                                      JUSTINE                         You've never done it on your own?                                     PHIL                         Not in a place like this! Not where                          I have to hand over the results! Just,                          let me hold your boob.                (holds her boob; Justine's face is full of pain)                                     JUSTINE                         Ah, they're sore. (Justine looks fed                          up with everything)                <hr />                                     CHERYL                         What's wrong with you? You look like                          death.                                      JUSTINE                         My stomach's crampin'. I feel sore.                                                               CHERYL                         Is it your period?                                     JUSTINE                         Nah, it's stress.                                     CHERYL                         This job is stressful. I'm breaking                          out.                                      JUSTINE                         You're breakin' out 'cause you put so                          much makeup on your face.                                      CHERYL                         Maybe you're pregnant.                                     JUSTINE                         What?... No... (thinks about it)               <hr />                                     HOLDEN                         You know, sometimes, I think to myself,                          at least it can't get any worse. But                          it can. I can worse. As long as you                          can say you've hit rock bottom you can.                                                               JUSTINE                         Oh my god, Blackberries.                                     HOLDEN                         A blind man can go deaf. A widow can                          lose her children. Babies starve and                          they never get food. They never get                          any food. They just come into the world                          and they die.                                      JUSTINE                         Calm down, Holden!                                     HOLDEN                         I can't calm down! I'd be easy if I                          was a hooker like you. I could calm                          down all over town.                                      JUSTINE                         Hey, hey! I am not a hooker.                                     HOLDEN                         I know you're not. I'm in agony.                                     JUSTINE                         Why?                                     HOLDEN                         What do you mean 'why'? I thought you                          hated your life.                                      JUSTINE                         I do. I mean I'm depressed but... You                          are really depressed.                                      HOLDEN                         I'll kill him. I'll murder him in his                          sleep. I'll kill my parents, I'll steal                          the money whatever it takes. You just,                          just whatever you want as long as it's                          you and me. Please don't forsake me                          Justine.                                      JUSTINE                         Oh... I, I promise. (car is parked somewhere;                          Justine and Holden are sitting on the                          car, Holden's smoking)                                      JUSTINE                         I realized then that Holden was at best                          a child, and at worst a demon. If I                          was ever gonna go straight I'd have                          to ditch him. Sometimes, to get back                          on the road to redemption, you have                          to make a few pit stops.                <hr />               (Justine goes up to the "Blackberry Man")                                     JUSTINE                         How much are the blackberries?                                     BLACKBERRY MAN                         A tin for two dollars, miss. (gives                          her the blackberries) There you go.                                                               JUSTINE                         Thank you.               <hr />               (Holden and Justine are in the car again, Justine's driving)                                                     JUSTINE                         Have a blackberry.                                     HOLDEN                         We need a plan. We can't keep livin'                          day to day. We gotta chart a course                          and we just gotaa stick....                                      JUSTINE                         Have a blackberry, Holden!                                     HOLDEN                         But, they're dirty. (hesitating, he                          eats a blackberry and then smiles) They're                          sweet. If I could only get my hands                          on some money, someone could just tell                          me the answer. I gotta do. But If I                          ever do, I end up thinking about it                          instead. I gotta do. But do what? (Justine                          pushes the blackberry he's about to                          eat away from his mouth) What...? What                          was that for?                                      JUSTINE                         They looked dirty. I, I think I saw                          a bug in them or something.                <hr />               (Jack talking to Holden about something)               <hr />               (Justine's talking to Holden's parents.)                                     JUSTINE                         I'm worried about Holden. Tom. I'm worried                          about Tom. I just befriended Tom, recently,                          and now, well, I think he's mentally                          ill. He has this idea in his head that                          we've had some sort of affair. Which                          is crazy because I'm, I'm married. He's                          been sayin' all sorts of strange things,                          and makin' threats. And drinkin'. And,                          and I just think he would be better                          off in a place where people, professionals,                          could take care of him. Otherwise, he's                          just gonna get himself in trouble.                                         <hr />                                     PHIL                         What are you doin' in here? What's that?                                                               JUSTINE                         It's a home pregnancy test.                                     PHIL                         Why you takin' it?                                     JUSTINE                         'Cause I still haven't gotten my period.                                                               PHIL                         What's it say?                                     JUSTINE                         Well, I haven't taken it yet. Could                          you give me a minute please?                                      PHIL                         I wanna be here when you find out.                                                               JUSTINE                         Okay.               <hr />                                     PHIL                         The little plastic doohickey's turnin'                          blue. What's that mean?                                      JUSTINE                         Blue?                                     PHIL                         Bright blue.                                     JUSTINE                         It means I'm pregnant.                                     PHIL                         ALRIGHT!               <hr />                                     PHIL                         I knew it. Waste of time going to that                          sperm doctor. We did it. We're gonna                          have ourselves a baby.                                      JUSTINE                         Maybe.                                     PHIL                         And tomorrow, we're gonna celebrate                          at Senor Tuna. Yes we are. I'm gonna                          bring Bubba. You can bring some of your                          friends from work. Or Bible study guy.                          Whoever. Too bad Gwen's dead.                                      JUSTINE                         The test could be wrong, Phil. It's                          a little early to be havin' a party.                                                               PHIL                         Let's do it mellow then. You sure don't                          seem too excited.                                      JUSTINE                         No, I'm excited. It's just, a lot of                          worries come with havin' a baby...                                                               PHIL                         Don't think negative. Think positive.                          We could have ourselves a tiny Phil.                          Or a tiny Teeny. Teeny's gonna have                          a tiny weeny Teeny.                                      JUSTINE                         Do you think anything's gonna change                          havin' a baby?                                      PHIL                         What do you mean? Everything's gonna                          change.                                      JUSTINE                         Yeah, but I mean, do you think anything's                          really gonna change?                                      PHIL                         What do ya mean?               <hr />               (Holden and his parents sit on the couch and watch TV when the                phone rings. Holden gets it.)                                      HOLDEN                         (picks up the phone) Hello?                                     WOMAN                         Hi, this is Dr. Williams returning the                          call of Jean Worther. I'm calling from                          the Holland County psychiatric hospital.                          (Holden hangs up)                                      MOTHER                         Who was it, Tom?                                     HOLDEN                         It was a wrong number.               <hr />               (Holden goes into his room with a crazy smile on his face. He                starts to laugh. When he hears the phone ring again, he stops                smiling and starts to look like he's thinking of something.)                               <hr />                                     JACK                         Either of you seen Holden? Boy is out                          on his ass!                                      CHERYL                         Justine, somethin's goin' on. Something                          is definately happening.                                      JUSTINE                         Go find out.                                     CHERYL                         It's big. It's very big.                                     JUSTINE                         C'mon Cheryl, I'm gonna kill you.                                     CHERYL                         Someone stole fifteen thousand dollars                          from the safe. They blew the thing open                          with a gun.                                      JUSTINE                         Oh my god.                                     CHERYL                         Not only that but the cops know who                          did it.                                      JUSTINE                         Who?                                     CHERYL                         Somebody who works here.                                     JUSTINE                         Cheryl!                                     CHERYL                         Holden, Holden did it. Fool left his                          cashier key in the door.                                      JUSTINE                         Oh my god.                                     CHERYL                         They can't find him though. They say                          he robbed his folks too. You in on it?                                                               JUSTINE                         What?! No!                                     CHERYL                         I know you two played hookie in the                          store room. I never rat on ya, I've                          done some things myself. But, still.                          You in on it?                                      JUSTINE                         I don't know what you're talkin' about.                                                               CHERYL                         Suit yourself.                                     CORNY                         Justine. Can we talk to you for a second?                                         <hr />                                     JACK                         Hi, Justine. Go ahead and have a seat.                                                               CORNY                         Justine, you like workin' at the Retail                          Rodeo don't you? Like the company, like                          the people? You wouldn't want to jeopardize                          that by makin' some silly error in judgement                          would ya?                                      JACK                         Holden stole fifteen thousand dollars                          from the safe last night. Did you have                          anything to do with it?                                      JUSTINE                         No. I don't know anything.                                     CORNY                         'Cause we know you're pretty tight with                          Holden.                                      JUSTINE                         I hardly know him.                                     CORNY                         I've seen you in the store room with                          him Justine. On many the occasion. I                          think you know him pretty well.                                      JUSTINE                         I don't know anything.               <hr />                                     HOLDEN                         Justine! Justine!               <hr />                                     HOLDEN                         I did it! I finally did somethin'!                                                               JUSTINE                         Holden, the police are lookin' for you!                                                               HOLDEN                         Oh, who cares? I'm proud of myself.                          Fuck them, Fuck all of them!                                      JUSTINE                         Hey! They think that I'm in on it, too!                          Corny's got a camera in that storage                          room. That Bible thumpin' pervert's                          been watchin' us the whole time.                                      HOLDEN                         Well, we're outta here! Justine, I got                          over twenty thousand dollars! I got                          a gun, what else?!                                      JUSTINE                         I'm gettin' all goosey. I think I'm                          gonna crash. (takes a right turn and                          stops the car) I'm pregnant, Holden.                                                               HOLDEN                         It's my baby.                                     JUSTINE                         Not necessarily.                                     HOLDEN                         Yes, it is. You know it is.                                     JUSTINE                         Even if it is, you cannot raise a baby                          on the run.                                      HOLDEN                         Yes, you can. I mean, you can't raise                          a baby here. You know that. Justine.                          You hate your husband. You hate your                          job. You love me, so let's go.                                      JUSTINE                         I can't go tonight. I gotta pack my                          things and I'd have to get more money.                                                               HOLDEN                         Well, then tomorrow. I'll go to the                          motel and wait for you. Just be there                          by noon.                                      JUSTINE                         This is all going too fast.                                     HOLDEN                         Justine, what have you got to lose?                                                               JUSTINE                         Nothin'.                                     HOLDEN                         So be there by noon.                                     JUSTINE                         Okay.                                     HOLDEN                         I love you, Justine. This is all gonna                          work out. I know it. I almost forgot.                          This is a story of your life. You inspired                          me. (they kiss and Holden gets out of                          the car)                <hr />                                     PHIL                         Hey Teeny!                                     JUSTINE                         Hey.                                     PHIL                         We were gettin' worried about ya!                                     JUSTINE                         Sorry.                                     BUBBA                         Justine, this is Liberta. Liberta, this                          is Justine.                                      JUSTINE                         Hi.                                     LIBERTA                         Hi.                                     BUBBA                         Congratulations, on your expectation.                                                               JUSTINE                         Thanks.                                     LIBERTA                         Do you think it's a girl or a boy?                                                               PHIL                         Doesn't matter. As long as it plays                          quarterback for the Cowboys.                                      BUBBA                         Well, I hear Senor Tuna callin'. (phone                          rings)                                      PHIL                         (picks up the phone) Hello. Yeah. Well,                          that's not right. What's that supposed                          to mean? Hey look. No. You don't know                          shit okay. Justine's pregnant. You got                          that? Well, look you better check your                          records again, pal, then call me! (hangs                          up) Some doctor says my sperm's no good.                          Does that mean Justine's not pregnant?                                                               BUBBA                         No. That just means they got it wrong,                          is all. They don't know everything.                                                               JUSTINE                         They just got it wrong, so...               <hr />               (Justine and Phil are in bed together.)                                     PHIL                         Looks like that wind's pickin' up again.                                         <hr />               (Justine is packing her things, she seems to be in a hurry. She                drives down the street with her car and stops because of the                red lights.)                                      JUSTINE                         How it all came down to this, only the                          devil knows. Retail Rodeo was at the                          corner on my left, the motel was down                          the road to my right. I closed my eyes                          and tried to peer into the future. On                          my left I saw days upon days of lipstick                          and ticking clocks. Dirty looks and                          quiet whisperings. and burning secrets                          that won't ever die away. And on my                          right, what could I picture? The blue                          sky, the desert earth streching out                          into the eerie infinity. A beautiful,                          never ending nothing.                                      CHERYL                         Hey Justine.                                     JUSTINE                         I know where you can find him.                                     JACK                         Holden?                                     JUSTINE                         He's at the Hotel Glen Capri, and he'll                          be there till noon.                                      JACK                         You done good. You're a good girl.                                         <hr />                                     PHIL                         Hey.                                     JUSTINE                         Hey.                                     PHIL                         What's going on in the bedroom? Looks                          like a twister hit it.                                      JUSTINE                         Oh yeah. I was doin' laundry.                                     PHIL                         I thought we were robbed. Why aren't                          you at work?                                      JUSTINE                         They gave me the day off.               (TV reporter talking about Holden killing himself at the hotel)                                                     PHIL                         Retail Rodeo? You know that guy?                                     JUSTINE                         No.               <hr />                                     JACK                         Attention Retail Rodeo employees this                          is JAck Fields, your store manager.                          As most of you all know by now, We lost                          another employee yesterday. Holden was                          a thief and a disturbed young man, and                          what happened was a sad thing. Perhaps                          we can learn a lesson from this tragedy,                          like don't steal and don't be disturbed.                          The important is to move on. Like dozens                          of those who quit. This one's for you                          Holden.                                      CHERYL                         I thought we were gonna get a day off                          and go to the movies....                <hr />                                     JUSTINE                         What?                                     BUBBA                         I was just at your house and the mail                          came. Phil was opening letters, and                          he opened this bill from the credit                          card company. And F&$%. Please don't                          tell him about us, Justine. Please.                          Please. I love Phil. I love him more                          than myself. Please have mercy on me.                                         <hr />                                     JUSTINE                         Hey Phil.                                     PHIL                         Have you been sleepin' around behind                          my back?                                      JUSTINE                         What?                                     PHIL                         I said, have you been sleepin' around                          behind my back?                                      JUSTINE                         Yes. (he slaps her)                                     PHIL                         Why? Why?                                     JUSTINE                         I don't know why.                                     PHIL                         Don't you love me? Don't you love me                          at all?                                      JUSTINE                         You're the only man alive that I love.                                                               PHIL                         Oh god. Please don't tell me it's not                          my baby.                                      JUSTINE                         It's your baby.                                     PHIL                         Are you sure?                                     JUSTINE                         It is. I swear. I swear to God.                                     PHIL                         Who is he?                                     JUSTINE                         It doesn't matter.                                     PHIL                         Yes, it does. Was it some guy from work?                                                               JUSTINE                         Yes.                                     PHIL                         Yeah, I know who it was. It was that                          Bible guy, wasn't it? The Nazarine.                          That's why you were actin' so spooked.                                                               JUSTINE                         Yeah, yeah.                                     PHIL                         I'm gonna beat his ass.                                     JUSTINE                         Don't.                                     PHIL                         You're gettin' all swollen. I'm sorry                          I hit you, baby.                                      JUSTINE                         I'm sorry, Phil.                                     PHIL                         I need to get stoned.                                     JUSTINE                         Okay. Get stoned.                                     PHIL                         I just gotta escape, you know. You ever                          feel like that? Like you gotta escape?                                         <hr />                                     JUSTINE                         What are those?                                     CHERYL                         Fake eyelashes. Extra long.                                     JUSTINE                         Just do it normal for once?                                     CHERYL                         You want me to make the other cheek                          purple to even it out?                                      JUSTINE                         No.                                     CHERYL                         D'you hear about Corny? He was goin'                          home after Bible study last night and                          two beefy guys with painted faces pulled                          up in a truck and jumped him.                                      JUSTINE                         That's terrible.               (shot of Justine in the bathroom of Retail Rodeo. She's sitting                on one of the toilets, she's wearing fake eyelashes and just                looks trashy.)                                      JUSTINE                         That day I read the story Holden wrote                          for me. It was kinda different from                          the other one, but kinda the same. It                          was about a woman who was put upon.                          Whose job was a prison, and whose life                          had lost all meaning. Other people don't                          get her, especially her husband. One                          day she meets a boy who is also put                          upon, and they fall in love. After spending                          their whole lives not getting got, with                          one look they get eachother completely.                          In the end, the boy and the girl run                          away together in the wilderness, never                          to be heard from again.