diff --git a/unformated_scripts/Script_Frances.txt b/unformated_scripts/Script_Frances.txt new file mode 100644 index 0000000000000000000000000000000000000000..13a5e35e06954bf7ea4dfcc9545bcd9ee491a3e7 --- /dev/null +++ b/unformated_scripts/Script_Frances.txt @@ -0,0 +1 @@ + FRANCES Written by Eric Bergren, Christopher De Vore & Nicholas Kazan PROLOGUE BLACK. We HEAR the soft voice of Frances Farmer. FRANCES (V.O.) No one ever came up to me and said, 'You're a fool. There isn't such a thing as God. Somebody's been stuffing you.' FADE IN: EXT. PUGET SOUND - DAY On an expanse of water, calm and undisturbed. After a moment, it begins to ripple as something rises toward the surface. A girl's face breaks through. FRANCES (V.O.) It wasn't a murder. I think God just died of old age. And when I realized He wasn't any more, it didn't shock me. It seemed natural and right. The girl, FRANCES, is 16, blond, very pretty: she seems like the most persuasive proof imaginable of God's existence. She swims toward the shore with long graceful strokes... then climbs the steps of the old wood jetty on West Point Beach. FRANCES (V.O.) And yet I began to wonder what the minister meant when he said, 'God, the Father, sees even the smallest sparrow fall. He watches over all his children.' That jumbled it all up for me. EXT. PUGET SOUND - LATER The banks of Puget Sound, dotted with elm trees. Frances sits comfortably in the fork of a tree writing in her diary. Towel around her neck, her hair splayed out and drying golden in the sun. FRANCES (V.O.) But still sometimes I found that God was useful to remember, especially when I lost things that were important. 'Please God, let me find my red hat with the blue trimmings.' INT. FARMER HOME - FAMILY ROOM - EVENING Frances is now reading aloud from her diary, gently swaying back and forth in a rocking chair. An older woman, LILLIAN FARMER, sits opposite on the couch, listening and nodding from time to time. A small suitcase stands by the front door. FRANCES It usually worked. God became a superfather that couldn't spank me. But if I wanted a thing badly enough, He arranged it. ERNEST FARMER appears in the doorway and hesitates, listening to his daughter read. FRANCES But if God loved all of His children equally, why did He bother about my red hat and let other people lose their fathers and mothers for always? Ernest goes to Frances and kisses her softly on the top of her head. She looks at him briefly, smiling slightly. ERNEST Bye, baby. FRANCES See you next weekend, Dad. He goes to the door and picks up his suitcase, glances at Lillian. She doesn't look up. He leaves. FRANCES I began to see that He didn't have much to do about hats or people dying or anything. They happened whether He wanted them to or not, and He stayed in Heaven and pretended not to notice. DISSOLVE TO: INT. AUDITORIUM - DAY Frances stands at a podium. Other STUDENTS and TEACHERS sit to either side of her on folding chairs. Above the proscenium is engraved: West Seattle High School. Below that a banner hangs: "NATIONAL HIGH SCHOOL ESSAY COMPETITION, 1931." FRANCES I wondered a little why God was such a useless thing. It seemed a waste of time to have Him. After that He became less and less, until He was... nothingness. The AUDIENCE consists of parents, students, and local dignitaries. We SEE several shocked faces. Lillian is there also, smiling. Seated next to her is a distinguished-looking woman, ALMA STYLES. Ernest sits on the other side of the auditorium, looking a little worried. FRANCES I felt rather proud that I had found the truth myself, without help from anyone. It puzzled me that other people hadn't found out, too. God was gone. We had reached past Him. Why couldn't they see it? It still puzzles me. Frances closes her notebook and looks up, waiting for some response. There is a deep shocked silence, then a smattering of applause. Lillian claps enthusiastically, then rises to her feet. In the back a WOMAN also stands. WOMAN You're going straight to hell, Frances Farmer! A stately man sitting next to her, her husband JUDGE BENJAMIN HILLIER, puts a restraining hand on her arm. The woman continues to glare at Frances. Frances stares back, dumbfounded. SMASH CUT TO: EXT. SEATTLE STREETS - DAY The screen erupts into violence. A large unruly MOB skirmishes with POLICE in a cobblestoned square. On a truckbed addressing the crowd -- which carries placards reading: "Organize Now!", "Workers of the World Unite!", and "Elect Kaminski!" stands MARTONI KAMINSKI. By his side, leading the crowd's responses, stands a younger man with sharp piercing eyes, HARRY YORK. KAMINSKI And do you think it's radical for a man to have a job and feed a family? YORK & CROWD No! KAMINSKI Is it radical for you to have a hand in shaping your future, and the future of your children? YORK & CROWD No! KAMINSKI Is it radical for the wealth of this country to be turned back to the people who built the country? YORK & CROWD No! No! KAMINSKI Good! Because, Brothers, that's you! The crowd cheers. Harry York gives Kaminski the thumbs-up sign as a banner unfurls: "Today Seattle -- Tomorrow the World." FADE TO BLACK: FADE IN: A TITLE COMES ON SCREEN: GOD'S IN HIS HEAVEN AND ALL'S RIGHT WITH THE WORLD? 'NOT SO!' SAYS YOUNG FRANCES FARMER We realize we've been watching a newsreel. We SEE the SCHOOL SUPERINTENDENT presenting Frances with an award. ANNOUNCER Seattle is in the news again as a high school junior wins a national competition and a hundred dollar prize with an essay denying God. City Hall steps. Judge Hillier and other BIGWIGS speaking heatedly to reporters. ANNOUNCER This prompts civic officials to charge that left-wing politicians are encouraging atheism in the city's schools. Miss Frances Farmer was unavailable for comment, but her mother Lillian -- Lillian stands in front of her wood frame house addressing a small CROWD of reporters, photographers, and curious neighbors. ANNOUNCER Farmer, a well-known local dietician, stepped to her daughter's defense. LILLIAN (emphatically) Frances has not turned her back on the Lord, they're just having a momentary difference of opinion. What child hasn't questioned the Lord's mysteries in order to better understand them? To paraphrase Mr. Voltaire, I may not agree with what she says, but I'll defend to the death her right to say it. Freedom of speech, unlike in the dark countries to the east, still lives in America! And in my home. Among the AUDIENCE in the cinema, we SEE Frances and her father. Frances slinks down in her seat until she's hidden from sight. EXT. SUBURBAN STREET (SEATTLE) - DAY Frances carries library books and a small grocery bag. Her hair and skin gleam in the sun. People in their yards stare at her as she passes. She walks on, coming to a group of CHILDREN slightly younger than herself who are playing in front of a union hall. A girl, EMMA, 13, glances up. FRANCES Hi Emma. Emma looks away quickly, returns to her play. FRANCES Bye Emma. Frances shakes her head as she walks on. MAN'S VOICE Hey! Frances hesitates, then turns to look: A man in his twenties whom we recognize as Harry York, Kaminski's compatriot, leaves a group of men in front of the union hall and walks toward her. HARRY (friendly) C'mere. I wanna talk to you. Frances keeps walking. Harry hurries after her. HARRY Momma told ya not to speak to strangers, huh? (reaches her, grabs her arm) Hey! FRANCES Don't touch me. HARRY I'm not gonna hurt you. I just wanna talk. She stares at him. He's got a newspaper wedged under one arm. FRANCES (waiting) Okay then... HARRY Well... you're causin' trouble, you know that? FRANCES I'm causing trouble?! You're a pain in the butt! You newshounds've been after me and my folks ever since I won that dumb contest. I'm just sixteen, you know? Who the hell cares what I think? HARRY Not me. But other people seem to. FRANCES Yeah. Well if you didn't put it in the papers -- nobody'd even know about it. HARRY Now wait a minute, sweetie. Do I look like a newshound to you? FRANCES (examining him) No... Actually, you look more like a cop. Harry laughs. HARRY That's rich. Hey, if I was a cop, I'd be packing, right? (holding coat open) You see a gun? Go on, search me. Pat me down. Frances hesitates, leans toward him as though about to frisk him. Their eyes meet, and she pulls away, suddenly embarrassed. FRANCES I'll... take your word for it. So who are you, then? HARRY Harry York. I work for Martoni Kaminski, he's running for Congress here. FRANCES (smiles & points to him) Oh yeah! I saw you in the newsreel! HARRY (embarrassed) Yeah, well -- FRANCES You know, my Dad's done some work for Kaminski... HARRY Now you're catchin' on. Don't wanna get your Daddy in hot water, do you? FRANCES Whattaya mean? HARRY Well... see the papers've got us pegged as pinkos, then you come along, the friendly neighborhood atheist -- FRANCES But I'm not. The newspapers're -- HARRY Right again. You're no more an atheist than my man's a Red, but what they're doin', see, they're addin' up their version of your ideas with their version of ours. Could look bad for your Daddy. FRANCES Yeah. Could look bad for you and Kaminski too, I guess. Beat. HARRY Sure don't talk like you're sixteen. FRANCES Well aren't you the smoothie. Now you're going to ask for my number, I suppose. HARRY I suppose not. Gotta ask you this, though: for all our sakes, you better keep your trap shut. FRANCES Well... I'll give it a try, Mr. York. HARRY Harry. FRANCES (hesitates, nods) Harry. They half-smile, awkwardly, as if neither really wants this encounter to end. Then Harry doffs his hat. HARRY Bye. She nods shyly and starts up the path toward the house. HARRY (admiring her) Sure don't walk like sixteen, neither. INT. COURTROOM - LATE AFTERNOON CLOSE ON Judge Hillier in his robes, identified by a nameplate on the bench. HILLIER These are perilous times. With the economic collapse comes hopelessness and desperation; and people turn to dangerous ideas -- WOMAN'S VOICE I know. The CAMERA PULLS SLOWLY BACK. We SEE that the courtroom is empty. HILLIER Those of us who represent law and order must be vigilant. Who's behind this, her mother? Now we SEE who he's talking to: Alma Styles, the woman who sat with Lillian at the school auditorium. STYLES Impossible. As her attorney, I've known her for years. HILLIER What about the father, he's a little pink. Maybe he wants to show our schools in a bad light, shift some support to Kaminski and those jackals. STYLES (shaking her head) He's no influence; he doesn't even live at home. No, I think Frances wrote that essay with no mischief intended. It was her teacher who entered it in the competition. HILLIER Well, the publicity must stop. It's no good for Seattle and no good for the country. (sternly) Keep an eye on this, will you, Alma? STYLES Of course, your honor. He nods with satisfaction. Two right-thinking people fighting for what they believe in. INT. FARMER HOUSE - DINING ROOM - NIGHT Ernest Farmer sits alone, motionless, at the table. Between two candles, facing him, is Frances' check for a hundred dollars. We HEAR bustle from behind the kitchen door, then Lillian and Frances enter juggling several hot dishes. Ernest rises. They set down the dishes, Frances intentionally placing the bread between the check and her father. ERNEST It always amazes me, Lil, how you can whip up a hot, hearty meal out of thin air. LILLIAN I can thank you for that. It was a hard-earned talent. She moves the bread so Ernest again faces the check. As Lillian slices the bread, father and daughter eat grimly. LILLIAN (offering to Ernest) Bread? ERNEST (taking a piece) Thank you. LILLIAN When's the last time you saw a hundred dollars, Ernest Farmer? FRANCES Mama... LILLIAN (pushing back her plate) I'm not hungry. You two just enjoy yourselves. After all, this is a celebration. She leaves. A long silence. They both glance slightly awkwardly at the check. Frances takes it, folds it, and puts it in her pocket, out of sight. ERNEST I'm... I'm really proud of you, Frances. FRANCES Thanks, Dad. ERNEST An essay contest... a national contest. That's pretty impressive. FRANCES I didn't have much to do with it. ERNEST You wrote it, didn't you? FRANCES Yeah, I suppose... Dad, who's Harry York? ERNEST Well, Harry York is a guy who... well, he does a lot of things. Why do you ask? FRANCES He talked to me today. Told me to keep my mouth shut or I'd get everybody in trouble. ERNEST Yeah... well... it's possible. Harry York and I both work for Mr. Kaminski right now, and... well... There are lots of folks in this country who never got a square break. That's the way of things, but Mr. Kaminski wants to change it, and when it comes to new ideas, the people in power get nervous. FRANCES Is Kaminski a Communist? ERNEST No, no, no. All he wants to do is see the common man get a little representation. FRANCES He's a socialist, then? INT. STUDY - LILLIAN - NIGHT Sitting at a rolltop desk. She's looking through a large scrapbook. We SEE articles about nutrition and diet, some featuring Lillian's picture, others with her name in the heading. She listens to the conversation in the other room. ERNEST (V.O.) The label's not important, Francie. What's important is: this country's got nine million unemployed and something's gotta be done about it. Besides: left-wing, right-wing, up- wing, down-wing... they don't mean much. All a label is usually is a way to call somebody a dirty name. Lillian's face becomes set. She looks down at the book. An article titled "Girl Denies God" is there, freshly pasted. She lays a hand on the blank page opposite. FRANCES (V.O.) It's already started, Dad... with me. ERNEST (V.O.) I know. INT. DINING ROOM - NIGHT FRANCES And I can't understand how it can hurt to be honest, but the more I tried to explain -- (what I meant) Lillian appears in the doorway. LILLIAN Don't listen to him, little sister. When you're proud of what you are, you don't refuse the label, understand? FRANCES Yes, Ma. LILLIAN And you... should be proud. You won that contest and made a name for yourself. She stomps out. Frances and Ernest push back their plates. EXT. BACK GARDEN - NIGHT Lillian is watering tomatoes in the dark and talking to them quietly. As Ernest approaches, she senses him and grows silent. She speaks without turning around. LILLIAN You're poisoning that child's mind. ERNEST I have a right to talk to her. She's my daughter, and she's beginning to understand why I've sacrificed so much in order to achieve... LILLIAN You've sacrificed?! If you'd practice law for decent folk instead of Communists and indigents -- ERNEST They need help, Lil. They pay me back in other ways. LILLIAN How? What do they do for you, Kaminski and his friends? They're all anarchists! Traitors! ERNEST (sadly) No, Lil. It's just you can't understand their brand of patriotism. LILLIAN That's right. I can't understand a man who puts strangers over his family, a man who gives up a good career to become a shiftless inkhorn failure. Beat. ERNEST I'm going back to the hotel. LILLIAN Good. ERNEST See you next weekend? LILLIAN As usual. Everything as usual, Mr. Farmer. Just give me my due. Ernest starts back toward the house. He sees Frances watching them and slows down, turns... ERNEST Lillian... I'm more than willing to meet you halfway. LILLIAN Don't make me sick. I'd sooner drown myself in Puget Sound. ERNEST (under his breath) That's a thought, Lil. That sure is a thought. He trudges back toward the house under Frances' eye. A WOMAN'S VOICE comes from behind the fence. NEIGHBOR'S VOICE Are you all right, dear? LILLIAN I'm fine, perfectly fine. OMITTED EXT. FRONT PORCH - NIGHT Ernest stands on the porch holding his little bag. FRANCES Dad, please, don't leave early. Just because of Mama -- ERNEST Francie, you'll learn that sometimes it's best to stay low and just walk away. He trudges out and down the walk. Frances watches him, shaking her head. That is not a lesson she wants to learn. FADE TO BLACK: OMITTED INT. THEATRE LOBBY - NIGHT Opening night. Harry is reading a playbill displayed in a theatre lobby: "1934 Spring Production... University of Washington Players Present: 'Uncle Vanya' by Anton Chekhov." Frances is playing Sonia. Harry turns and enters the theatre. OMITTED INT. UNIVERSITY THEATRE STAGE - NIGHT Frances on stage seen from a distance. FRANCES What can we do, we must live! We shall live, Uncle Vanya... Frances is acting with a nervous young man, CHET. As her speech progresses, the camera moves in nearer and nearer, ending with a close-up. It is as if we are being drawn in by her emotion. FRANCES And then we shall rest, we shall rest. We shall hear the angels, we shall see the whole sky all diamonds, we shall see how all earthly evil, all our sufferings, are drowned in the mercy that will fill the whole world. And our life will grow peaceful, tender, sweet as a caress... (wipes away tears) Poor, dear Uncle Vanya, you are crying... (through her tears) In your life you haven't known what joy was; but wait, Uncle Vanya, wait... We shall rest... (embraces him) We shall rest! Curtains close. AUDIENCE bursts into applause. As the curtain opens and the players take their bows, we SEE in the audience: Lillian and Ernest, Lillian clapping madly, crying, nudging Ernest to clap harder. And in the back stands Harry York. HARRY (to himself) Not bad, Farmer. Not half bad. INT. UNIVERSITY READING ROOM - NIGHT A celebration in progress. Masks of Comedy and Tragedy hang on the walls. DRAMA STUDENTS lounge about: eating, drinking, talking noisily. Bing Crosby is on the record player, singing "I've Got The World on a String." The Drama Teacher is holding court to a group of attentive students. DRAMA TEACHER Art is a constant struggle. Some of you have the will but not the ability. For others, the opposite. I don't wish to be harsh, but only one of you on stage tonight combined the two... The front door opens. Frances and Chet enter. DRAMA TEACHER On cue. The young men rush over to congratulate her. Frances takes a mock bow. She laughs as people cheer. TWO GIRLS observe from the back. GIRL #1 I could really learn to hate her. GIRL #2 Stand in line. INT. UNIVERSITY READING ROOM - SEVERAL HOURS LATER Things have quieted down. The Drama Teacher has cornered Frances and is gesticulating drunkenly, waving a copy of "Voice of Action." Frances is also tipsy, but pays close attention to her mentor. DRAMA TEACHER This is the answer: a subscription drive to "Voice of Action!" First prize is a trip to Moscow! You could visit the art theatre, maybe even meet Stanislavski! FRANCES But I'll never win that. DRAMA TEACHER Yes, yes, it's all arranged. Everyone's collecting subscriptions in your name. And the best part is: the trip returns you to New York. FRANCES (intrigued) Really? DRAMA TEACHER New York, Frances! Broadway! This is your chance! You belong on the stage! FRANCES (flattered/embarrassed) Thank you. A door opens quietly and Harry slips in. He smiles at Frances, who disentangles herself from her teacher and rushes over. FRANCES Hi, Harry. Did you see the play? HARRY You think I'd miss it? FRANCES Well? What'd you think? HARRY (shrugs) I just wanted to see how you looked. FRANCES How'd I look? HARRY (teasing) Enh. FRANCES (smiling) Don't be a rat, Harry. HARRY You looked okay. (glances around) Joint's pretty dead. How 'bout I take you home? She hesitates, looks around and sees Chet passed out, snoring in a chair. She takes Harry's arm. EXT. WEST POINT BEACH - NIGHT The beach is very dark, but the sweep of the lighthouse picks up an old Chevrolet parked near the shore. FRANCES (V.O.) You really think so? INT. CHEVROLET - NIGHT Frances and Harry are sitting in the back seat. HARRY Honest. When you were up there, you were really... there, know what I mean? Everyone else looked stupid. FRANCES I don't know... I did... feel different... Alive. HARRY Yeah, it's a gift. You gotta do something with it. FRANCES Yeah, but if I win this trip, Mama'll kill me. She hates Russians. I do want to go, though... to New York, especially... but I wanted to do it... HARRY What? FRANCES Quietly. HARRY You're not the quiet type, Frances. They are silent for a while. HARRY You know, my old man was an inventor. Spent his whole life down in the basement trying to design transcontinental underground railroads, stuff like that. Well, I was supposed to be his partner. When I told him the smell of his workshop made me sick, I thought he was going to die right there. FRANCES What happened to him? HARRY He retired to Florida... made a killing in vending machines. He grins ironically and Frances laughs. HARRY I kick myself sometimes, but the thing is, I would have been miserable living his life. FRANCES ...So you think I should go. HARRY Sure. Try this acting thing. You can make good money at it. FRANCES I don't know, Harry. I... I want so many... HARRY You don't know what you want. FRANCES Yeah. She looks at him, smiles wistfully. FRANCES Not in the long run, anyway. She starts to unbutton her blouse. Harry is pleasantly surprised, but unnerved. HARRY Frances... FRANCES What? HARRY Well... don't you think it's up to me to... FRANCES Come on, Harry. This is America, land of the free. (whispers) I thought we might go skinny dipping. (pregnant pause... smile...) For starters. Harry can't believe his good fortune. INT. FARMER HOUSE - DAY Lillian's face, distorted. LILLIAN Communists?! No daughter of mine is going to Communist Russia! Lillian is in her apron, canning peaches. FRANCES You act like I'm a bomb-thrower, Mama. It's just a trip. She leaves. Lillian follows her down the narrow -- almost institutional -- hallway. LILLIAN But they're using you! FRANCES Oh Ma, they're not using me. It's just a chance to travel, see things. Besides, it's the only way I can get to New York. They've reached Frances' room. She puts on her coat. LILLIAN I'll pay your way to New York. I'll work, I'll slave. I'll sell my vegetables to the truck farmers, or -- FRANCES (sighs) Oh, Mama, don't you understand? She stares out the window. We see Ernest mowing the lawn. FRANCES I have to do this on my own. You see, I've learned your lesson very well. To do what I think is right and everyone else be damned. Frances turns and heads back down the hall. Lillian follows. LILLIAN I never taught you that! Frances keeps walking. LILLIAN Little sister, if you don't wise up soon, it's going to be out of my hands! They've reached the kitchen. Ernest is there, sweating, drinking water. FRANCES It isn't in your hands, Mama. It's my life. LILLIAN Yes, but important people are concerned about this. Judge Hillier spoke to Alma Styles -- FRANCES I don't care. LILLIAN (grimacing) ...You will. She storms outside. Frances sighs, looks at her father. FRANCES What do I do, Dad? ERNEST You really want to go? FRANCES Of course. ERNEST And you think it's worth all this? FRANCES If I didn't, I wouldn't put you through it. ERNEST ...Then go. EXT. SEATTLE BUS STATION - DAY Lillian has a few reporters drawn off to one side. Alma Styles and a MINISTER stand nearby. A CROWD has gathered. Inside the station, more reporters are milling around Frances. LILLIAN (almost conspiratorial) The authorities tell me there's no legal way I can stop her, but the way I see it, it's bigger than me or my family... (the following is heard faintly as b.g. to the scene below) American integrity, that's what's at stake here. They're sending my daughter to the heartland of darkness. . .the dark forces that would overthrow our country. Your country. My country. INT. BUS STATION - FRANCES AND REPORTERS - DAY Ernest and the Drama Teacher stand at Frances' side. REPORTER #1 Has your earlier denial of God led you to Communism? FRANCES I'm not a Communist. REPORTER #2 But Frances, you said -- FRANCES I said all countries are of cultural interest. Besides, Russia has the greatest theatre company in the world. REPORTER #2 Better than any American company? REPORTER #1 What do you think of Stalin? FRANCES Not much. Ask me about Stanislavski. REPORTER #2 Who? LILLIAN (suddenly frantic, loud) Help me save my daughter! Save the children of America. A TALL SPECTRAL MAN dressed in black adds: TALL SPECTRAL MAN Repent, Frances, Repent! CROWD Repent! Repent! Their cries seem weird, almost deranged, and Lillian is taken aback. EXT. BUS STATION - DAY Passengers climb onto the bus. As Frances is hugged by her Drama Teacher, the Tall Spectral Man approaches her. In his arms he carries a potted plant, a Bible, and a flashlight. TALL SPECTRAL MAN Bless you, sister, bless you. (dignified, as though conducting some bizarre ceremony) Here is a Bible for solace... and this plant to remind you of the eternal seed in all of us... and finally, a flashlight to illuminate your path through darkest Russia. Frances accepts the gifts, bewildered. The Tall Spectral Man stares at her through hollow eyes. She staggers on toward the bus, looking like a bedraggled Statue of Liberty. The Tall Spectral Man sings an ethereal hymn. Lillian blocks Frances' path. Frances looks at her tearfully. FRANCES I love you, Mama. (turns to her father) I love you, Dad. ERNEST (hugging her) Be careful, Francie. As Frances climbs on board. LILLIAN Frances, I'm warning you. I'm gonna throw myself beneath the wheels. I'll do it, Frances. Frances! Inside the bus, Frances stares out the window and shakes her head sadly. The bus starts. Everyone looks at Lillian. She is motionless... Furious. Frances sighs, and the bus moves off unimpeded. There is a homicidal rage in Lillian's eyes as she stares after the vehicle. Then the Reporters rush toward her. FIRST REPORTER What do you say now, Mrs. Farmer? She looks down, her lip quivering. Humiliated, crumbling... As the reporters shout unanswered questions, Ernest puts his arm around his wife and leads her away. FADE TO BLACK: FADE IN: INT. FARMER STUDY - DAY Lillian is happily thumbing through her scrapbook. Her hand runs down the page, and we SEE a series of headlines, with photos: MOTHER UNABLE TO HALT GIRL'S TRIP TO RUSSIA (Photo Lillian & Frances) Then: MOTHER WARNS AGAINST REDS IN SCHOOLS (Photo Lillian) Next is a SNAPSHOT of Frances on board on ocean liner. Then TWO SNAPSHOTS of her in what is clearly Moscow. She wears a Russian hat. The Kremlin stands behind her. Then SNAPSHOTS of her in New York, with a small clipping from the "New York Times": Visits Moscow Art Theatre... YOUNG ACTRESS RETURNS FROM RUSSIA, ASPIRES TO THE BROADWAY STAGE Below this is a magazine advertisement showing Frances in a glossy Chesterfield ad. Her hair is swept up off her head, and she looks glamorous, artificial, very different from how we've seen her. Lillian takes up the paste brush and liberally swabs the opposite -- blank -- page of her scrapbook. A handwritten letter from Frances lies beside her. She removes a clipping from the letter and spreads it out. The clipping says: "STARS OF TOMORROW" and shows a semi-circle of girl's faces inside garish stars. Lillian circles Frances' photo and sits back to admire it. EXT. HOLLYWOOD - DAY We SEE the Hollywood sign in the distance... then CHANGE FOCUS to see the front of the studio... INT. PHOTOGRAPHY STUDIO - HOLLYWOOD - DAY Frances' hair is tightly curled. She is dressed in a grotesquely ruffled white gown and seated on a small stool. Behind her TWO ASSISTANTS fuss with bunches of white carnations hanging on a grid. A seasoned PUBLICIST kneels nearby and a woman with a coffee cup, CLAIRE, surveys the scene. PHOTOGRAPHER (O.S.) One more time. Frances stares dramatically off into space. PUBLICIST Hobbies? The camera clicks. FRANCES Oh, I swim some... play the piano badly... and I read like a fiend: I like history. PUBLICIST No, no, people don't want that. Now listen: you spend lots of time at the beach. You're crazy about dancing. And you're the kind of girl who's just a little in love with love. Get it? Now try again? Hobbies? FRANCES Look, I... PUBLICIST (writing in notepad) Beach... dancing... in love with love. FRANCES (ironically) That's me. The camera clicks again. MR. BEBE -- a tall, brooding, well- dressed man -- ENTERS. CLAIRE Good morning, Mr. Bebe! BEBE Who's this? CLAIRE Frances Farmer, contract player, six- month option. BEBE (an assessment) Okay. Good tits. Can't we show them off a little more? CLAIRE I guess so, sir. BEBE (nods, stares again at Frances) Very fine bone structure. He leaves. Claire stares after him with profound contempt. PUBLICIST (coming up to Claire) Not much to work with. How's this: (reading) 'The most interesting thing about Frances Farmer is that her road to Hollywood was 12,000 miles long. After winning a beauty contest, the first prize of which was a trip to Europe...' She made some deal with the Commies and went to Moscow, but I'm not going to say that, am I? CLAIRE Heavens no. Go on. PUBLICIST Um... 'Miss Farmer returned to New York City and had a brief fling with the Broadway stage before coming west to seek stardom.' CLAIRE 'Brief fling?' PUBLICIST Well, actually she couldn't get hired, but lucky for her, some guy in our New York office saw her. She says soon as she gets a stake, she's going back. Claire rolls her eyes. She's heard this before. The Camera clicks again. Frances is frozen in time. INT. STUDIO ACTING CLASS - DAY TWO STUDENTS are doing a scene from "Design For Living." Others sit around watching, whispering, flirting, sleeping... but Frances is paying very close attention, making notes. The MAN next to her rubs her arm and whispers something. She grimaces and pays no attention. Then she notices, two rows in front, a young handsome student, DICK, who's also making notes. She stares at him for a second, then back at the stage. EXT. LAUREL CANYON COTTAGE - DAY A tiny rustic cottage, dogs everywhere. Two identical old Fords are parked out front. INT. COTTAGE - DAY Frances sits on the couch talking on the phone. FRANCES Did you get the check?... Oh my God, it opened?!, what'd you think? Water lands on her face. She grimaces playfully. FRANCES Well, I hope I get bigger parts, they don't come much smaller. The last line is garbled as water streams in her mouth. She fumbles for something on the floor. FRANCES No, I'm fine. I just have water in my mouth. She finds a water pistol on the floor, picks up the phone, and starts searching for her assailant. FRANCES No, Mama, I'm not changing my name. They can't actually make you, you know? Most people don't realize that. (playfully, covering receiver) Oh Dick... She flings open the bathroom door and finds him: Dick from drama class. A furious water battle ensues. FRANCES No, no, nothing's going on. (fast) I love you too, Mama. Give my love to Dad. Bye! She hangs up, lowers her gun as Dick squirts her. She's getting wet. Her shirt clinging to her breasts. She likes it. FRANCES Okay, handsome. You win. INT. HOLLYWOOD SCREENING ROOM On the small screen we SEE Frances in the arms of a MAN IN FIRE CHIEF'S HAT. FRANCES Kurt! FIRE CHIEF Oh, Angela! Go with these trappers! They'll lead you safely down the mountain... FRANCES But, Kurt, I... FIRE CHIEF No, No arguments. Be my good girl and go. There's a forest, a burning forest, and you know what I have to do! FRANCES Oh, Kurt! FIRE CHIEF Oh Angela, my own... Angela! ON SCREEN the corners of Frances' mouth begin to tremble, but her eyes remain wide and innocent. The Fire Chief slowly inclines his head toward hers. The brim of his hat hits her forehead. Frances covers her face with her hands and bursts out laughing. The Fire Chief looks stunned. She tries to control herself. FRANCES I'm sorry... (looking into camera) I'm sorry, let's go back. Laughter inside the screening room. A small light flicks on, and from behind we dimly SEE TWO MEN. MAN #1 (irate) What the hell is that? What's she doing? LAUGHING MAN That's talent, Andy. MAN #1 (after a beat) Oh. EXT. CATWALK - DAY Frances smiles and eases shut the screening room door. We HEAR the Laughing Man inside shout: "Let's see that again!" Frances puts a cigarette in her mouth and fishes for a match. A man's hand appears, holding a lighter. She looks up: It's Harry, wearing a garish Hawaiian shirt and a Panama hat. FRANCES Harry! Harry-god-damn-York! A real person! Frances throws her arms around him. They hug warmly. HARRY How ya doin', Farmer? FRANCES Me? Look at you! What're you doing in Hollywood? HARRY Came to get a tan. They compare forearms. FRANCES Not bad. But come on, Harry; what's the real reason? HARRY (staring out) Kaminski. FRANCES Yeah, I read about that. Terrible business, suicide. HARRY Since when do you believe the papers? They killed him, kid. FRANCES What? HARRY They killed him. They threw him out that window. FRANCES Oh no... HARRY Eight stories. She stares down two stories to the ground, imagining: FRANCES Jesus. HARRY (also staring down) Yup. Poor bastard lay there on the sidewalk and he couldn't die. Too god damn much heart. He just didn't want to die. FRANCES (walking on) But... but why, Harry...? Why'd they do it? HARRY (shrugs) He wouldn't play ball. What can I tell ya... it's done. (brightening) Anyway, I didn't want to be next, so I skipped town; came down here to work for some big-wig. Tail and nail job. (confidentially) I'm sort of a non-gentleman's non- gentleman. (turns around, displaying his shirt) How d'ya like the camouflage? FRANCES You jackass! (pushing him down the stairs) C'mon, let's get out of here. EXT. STUDIO LOT - DAY Harry and Frances walking arm in arm. FRANCES Not bad. It was slow at first, but I'm doing bits now. HARRY I always told ya, Frances. You got real ability. FRANCES (smiling) I know what ability you're interested in. HARRY Hey, I'm a man, aren't I? Whattaya say we have dinner, then maybe head out to the beach, rub some of this tan off each other. (off her sober expression) For old time's sake. FRANCES (serious) Harry... I met someone. HARRY (stiffens slightly) Yeah? What is he -- muscleman? Lifeguard? Frances shakes her head. HARRY Actor? She nods. HARRY Good. Then it's temporary. (whispers) All actors are phonies. He's joking, but she doesn't respond. HARRY Serious, huh? FRANCES Yeah. HARRY Hey that's great, Farmer, just great. She smiles wistfully, seeing him cover up his disappointment. She squeezes his arm and they continue walking. INT. SOUND STAGE - SET (RHYTHM ON THE RANGE) - DAY Lights being adjusted, cameras set, actors walking through their blocking. In the midst of this we SEE Frances, dressed in western attire, making a point to the WARDROBE MISTRESS, who is listening without enthusiasm. FRANCES (spreading her arms) These creases... I look like I just came from the laundry! I'm supposed to be hiding out in boxcars, sleeping on floors. WARDROBE MISTRESS (cool) This is the suit we fitted on you, Miss Farmer. FRANCES (friendly) Oh, I know that. But it could look more realistic, don't you think? WARDROBE MISTRESS (looking her over) It'll do. No one will notice. FRANCES I'll notice. We HEAR a man conspicuously clearing his throat. Both women turn as Mr. Bebe steps forward. WARDROBE MISTRESS Oh, Mr. Bebe, good morning. He nods imperceptibly. BEBE Come along with me, Fanny. She hesitates, then goes. FRANCES That's Frances. I'm not the cookbook. BEBE (leading her off) You see: We've got to change that name. EXT. STUDIO LOT - DAY Frances and Bebe come through the sound stage door into the light. He gestures to indicate what direction they're going, but remains silent, watching her. She's uncomfortable, blinking like a bird. BEBE I like your looks. You have the classical bone structure of the very great beauties... Garbo, Dietrich -- FRANCES Thank you -- BEBE I intend to make a great deal of money off you. Frances is taken aback. This is all rather blunt. BEBE Since we have you on a seven year contract, I'm planning long-range. I'm going to loan you out to Sam Goldwyn to make a picture called "Come and Get It." FRANCES Really? That's a very good book. It'd make a terrific -- BEBE Never mind that. I'm concerned about you. Your attitude. They hear a ruckus in the distance and turn and look: PICKETERS are fighting with POLICE. It is raucous, brutal. Bebe turns back to her with a stern look: BEBE Society is falling apart, Miss Farmer, and people have to buckle down, do their jobs. You see, I view myself as the Henry Ford of motion picture industry, and I can't have the fellow who puts on the wheels arguing with the man who installs head-lights, now can I? FRANCES But I'm concerned with everything, Mr. Bebe. BEBE (fierce but very muted) No, I'm concerned with everything. FRANCES But I'm the one up there on the screen. BEBE That's right. You're an actress, Miss Farmer and your job is to act. She's about to reply, but he quickly takes her hand and raises it to his lips. Kisses it very formally, like a suitor. Then turns and walks into the sumptuous executive office building. She watches him go. FADE OUT: OMITTED FADE IN: EXT. THEATRE MARQUEE - NIGHT Brightly colored bulbs flashing, causing the wisps of fog around them to glow. The bulbs spell: "COME AND GET IT" WITH SEATTLE'S OWN FRANCES FARMER A noisy CROWD is gathered outside the theatre, straining against velvet cordons. Big black limos disgorge couples in formal evening wear, to the applause of the crowd. All slightly small-town, off-key. Harry, now sporting a mustache, hat pulled down over his face, stands across the street. HARRY (puffing his cigarette) Not bad, Farmer. EXT. STREETS - NIGHT Two limousines streaking through the night. INT. SECOND LIMOUSINE - NIGHT Frances sits next to a faceless STUDIO EXECUTIVE. She's all dolled up. She looks uncomfortable. Silence. She glances up at the limo ahead of them. INT. FIRST LIMOUSINE - NIGHT Dick sits between Lillian and Ernest A REPORTER and PHOTOGRAPHER crouch in front of them. LILLIAN I guess it's no secret that I'm proud. Only twenty-one years old, and look at all she's done. (confidentially) As for her looks, I flatter myself that she gets them from me. DICK Obviously. He winks at the reporters. LILLIAN And not only has Frances come home a star; she's also brought me this big handsome lug of a son-in-law! REPORTER Mr. Farmer, what was your reaction when Frances told you she had married... DICK Dwayne. Dwayne Steele. ERNEST What...? Oh. Well, I was pleased, of course. Richard... uh, Dwayne, is a real gentleman. Dick smiles and hugs them both. DICK Well, all I can say is: I feel like I've known these two for years! LILLIAN (girlishly) Oh, Dwayne! (overcome) This is like a fairy tale! They're stopped at a light. Outside their window we SEE DERELICTS, casualties of the depression, huddled in the night. INT. FRANCES' LIMO - NIGHT She's staring at the derelicts. We feel her sympathy for them. Almost like she'd rather be out there. A MAN WITH HOLLOW EYES shouts something at them. FRANCES What'd he say? She rolls down her window. The Studio Executive beside her looks at her like she's crazy. STUDIO EXECUTIVE (to Driver) Let's go. We'll be late. The limousine lurches forward. Frances settles back in her seat, letting the night air sweep over her face. EXT. THEATRE - NIGHT The two limos pull up, the second emptying first. As Frances gets out, the CROWD cheers wildly. She walks past them, eyes glazed. She doesn't see Harry, who is held back by cordons. Lillian is posing and signing autographs. In her tight, formal dress, Frances looks radiant but constricted. As she walks, voices assault her: LILLIAN There she is! REPORTER #1 (O.S.) How does it feel to be back in Seattle, Frances? FRANCES A little strange. WOMEN'S VOICES Isn't she gorgeous? STUDIO EXECUTIVE (O.S.) This way. REPORTER #2 (O.S.) How's the movie, Frances? FRANCES It's okay. LILLIAN (O.S.) Smile, little sister, smile. Frances sees her mother smiling nervously. They have entered the: INT. LOBBY - NIGHT Again there is a cordoned area in the center where Seattle luminaries are sipping champagne. Reporter #1 lurches forward: REPORTER #1 Can you make some statement about Seattle, how the city helped you, or the schools -- FRANCES Well, the truth is the city had nothing to do with it. I was lucky. And what wasn't luck was hard work. REPORTER #1 (disappointed) Oh. Judge Hillier's Wife, whom we recognize as the Woman who shouted at Frances in the auditorium, steps forward in a garish gown. She's holding a large key. JUDGE HILLIER'S WIFE Miss Farmer, I can't tell you how proud I am to meet you. She embraces and kisses Frances, who's more than a little put off. After the kiss, she takes firm hold of Frances' hand and won't let go. Judge Hillier steps to his wife's side. Lillian also approaches. JUDGE HILLIER'S WIFE On behalf of the Seattle Ladies Club, as a token of our vast admiration -- FRANCES Excuse me. JUDGE HILLIER'S WIFE (startled) Yes...? FRANCES Don't I know you? JUDGE HILLIER'S WIFE I don't believe so. FRANCES Sure. You shouted at me in the auditorium when I read my essay. JUDGE HILLIER'S WIFE No, my dear. You must be mistaken. FRANCES (barely audible) Oh bullshit. JUDGE HILLIER I beg your pardon? FRANCES (to the dignitaries) Listen, I'm still the same girl that wrote that essay, the same girl who went to Russia, and you people aren't proud to meet me at all. A hideous silence. Judge Hillier is fuming. His wife is aghast, the key to the city extended awkwardly in front of her. She shoves it into Frances' arms. Frances moves to leave, but her arm is taken by the Studio Executive, who escorts her into the theatre. The crowd follows. Lillian is utterly mortified. EXT. THEATRE - NIGHT We TRACK along the side of the theatre. An exit door is thrown open, and Frances storms out. As she does, she trips over an OLD INDIAN BEGGAR. She stops and looks at him. He peers up at her with large forlorn eyes... then holds out his hand. A connection is made. All the anger drains out of her. She gives him money, several bills. He breaks into a wonderful crooked grin. She starts away, hesitates, then hands him the key to the city. He stares at it, bewildered. She strides away toward her limousine, which is now parked with several others at the end of the alley. The CHAUFFEURS are talking and smoking a cigarette. Her chauffeur sees her and hurries to his limo. As it pulls into the street, we see Harry drift back to the curb and stare after it. OMITTED EXT. WEST POINT BEACH - NIGHT Frances sits on the old wood jetty staring out at the water, the lighthouse... Harry approaches. HARRY ...It's one thing to marry the guy, but did you have to sleep with him? She cracks up. Harry laughs at his mistake. HARRY Shit. I meant the other way around. FRANCES (still laughing) Well, the studio told me not to. HARRY Is that why you did it? FRANCES Who ever thought they'd be right for once? Jesus, Harry... it's a zoo back there -- HARRY You're telling me. FRANCES Dick... and my mother! She acts like she's on Mars or something -- HARRY Well, she's back to earth now. They're all pretty huffed up about your leaving. I think you better go back, kid. FRANCES Forget it. He looks at her thoughtfully, then sits. FRANCES You know, the funny thing is: it's not a great movie. I mean it could've been, but they screwed it up, gave it a happy ending. And all my friends, I know they're going to smile and say they loved it. HARRY If they say they love it, they'll probably love it. Not everybody lies, you know? FRANCES (warmly, to him) No, they don't, do they? Beat. HARRY Frances, you're a movie star now. If you give them what they want, you can get anything. FRANCES I don't have what they want, Harry. (stares at the water) Harry, will you tell me something? How can I keep making movies when people in the streets are starving? HARRY Some people starve, kid. Until we can do something about it, they might as well see a movie. Makes 'em feel better. FRANCES But I don't want to be like that. I want to do something... (important) HARRY What're you gonna do, waste your talent? Why not use it to make something worthwhile. You can do that, you know? FRANCES (laughs) Yeah, if I don't make too big an ass of myself. They start to walk now along the beach. We see Harry's car and the chauffeured limousine parked above. HARRY Tell you what. Let's ditch the limo. Let me drive you up to that red carpet in my beat up Chevy. FRANCES The hell you will, Harry York. HARRY Come on, Cinderella, your pumpkin awaits. She shakes her head mischievously... moves backward unbuttoning her coat. FRANCES (like a clock striking) Bong... bong... bong... The coat falls. HARRY Don't start, Farmer. FRANCES (dropping her scarf) It's midnight, Harry. My glittering raiments are dissolving. HARRY (nervously) The chauffeur. He's watching. FRANCES He deserves a show. He missed the movie. HARRY I'm serious, Frances. This is important. FRANCES (kicking off a shoe) I know. She kicks off another shoe, sailing it into the water. Frances is zipping off her dress. Harry bends to pick up the first shoe. FRANCES A single glass slipper left glittering on the pearly sands. Who was that girl, anyway? Harry watches her, mesmerized. The dress is off. FRANCES 'Come and get it,' Harry. She skips off down the beach, her dress strewn on the sands. After a moment, from the darkness, we SEE her underclothes fly into view. Harry can restrain himself no longer. HARRY (excited) Hot damn! He drops the shoe and runs after her, tearing off his clothes. After a moment, from the darkness, we hear her squeals of laughter. EXT. STUDIO - HOLLYWOOD - DAY The street outside the Studio Main Gate. Actors, directors, etc. arrive in their shiny expensive autos. Among them is Frances in her old battered Ford. She waves to the Guard and drives through. EXT. STUDIO LOT - DAY As Frances pulls into her parking space, Claire, the woman from the photo session, strolls up. CLAIRE Hi Frances, got a minute? FRANCES Sure, Claire. If you don't mind walking my way. They walk toward the dressing room. CLAIRE (nervous) Well, I suppose I should just say it. It's your clothes. FRANCES (bewildered) My clothes? CLAIRE Yeah, I mean slacks... and work clothes... and that awful car -- FRANCES It's a perfectly good car. It runs. CLAIRE Yes, but... Really, I hate to sound... it's just that the public expects something different from its stars. People won't take you seriously. FRANCES I don't care if my clothes are taken seriously. Or my car. CLAIRE You know what I mean. FRANCES Uh-huh. You mean what if the public finds out I perspire? And wear slacks. And drive an old jalopy? What if they find out I'm a real person. Oh no! Say it ain't so! Not a real person! Claire is laughing. They go inside. INT. FRANCES' DRESSING ROOM - DAY Posh, fit for a star. Frances smiles at the MAKEUP MAN. FRANCES Morning, Eddie. As Frances sits at the table and Eddie goes to work: CLAIRE That's not all, Frances. Mr. Bebe is very concerned about your politics. He hears you've been donating money, speaking at rallies. FRANCES Yup. Claire... please, please tell Mr. Bebe that if he worried half as much about his scripts as he does about my private life, we'd make a lot better movies. CLAIRE I'm sorry, Frances. It's my job, you know? FRANCES I know. (imitating Bebe) 'This is a factory and we each have our jobs. The writer writes, the director directs, and the actress...' CLAIRE (laughing) ...acts. I'll relay your message. INT. FRANCES AND DICK'S COTTAGE - NIGHT Dick is talking on the phone in the living room. DICK Yes, of course she'll make a statement on women's rights. Call back tomorrow, okay? He hangs up. Immediately the phone rings again. He stares at it wearily, then answers: DICK (pointedly) Dwayne Steele's residence. Through the half-open door to the bedroom we see Frances dozing, an open script laid out beside her. DICK Yes. (confused) What...? (hurt) Yes. Yes, I'll tell her. He hangs up. Stares off. Slowly enters the bedroom. Frances looks up. DICK You learn your lines? FRANCES (nods drowsily) Sort of. DICK There've been some calls. FRANCES Who? DICK Well... about half an hour ago that woman from the talent department called, what's her name? FRANCES Claire? DICK Yeah, Claire. She said she was fired. Too bad, huh? FRANCES (apprehensively) Fired? DICK Yeah. She said she delivered your message and that you'd understand. Frances looks stricken. Dick presses on. DICK There was another call too. From your agent. He says your summer stock deal is all set. So you're going back east, huh? FRANCES ...Yes. DICK Without me. FRANCES (sighing) Showdown. DICK You weren't going to tell me, were you? Just pack up and leave, is that it? FRANCES Dick, we need some time apart -- DICK Hey, I'm not a complete fool, you know. I can see you're going sour on me, and when I try to do something about it, you turn your back and say it's nothing. FRANCES Dick, I can't even breathe here... DICK Dwayne! I'm Dwayne now! And you damn well better get used to it! FRANCES (softly, remembering) Dick... DICK I don't suppose it occurred to you that I might want to leave too, that I might want to do theatre? No, 'cause you don't want me along, do you? And the reason has nothing to do with summer stock. FRANCES No? DICK No. It's all about that night, isn't it? FRANCES (bewildered) What night? DICK The premiere. I never pressed you about it but god damn it, you're gonna tell me right here and right now what happened and where the hell you were! FRANCES (quietly) You want his name? Dick is crumbling inside. DICK What...? We watch it sink in. Confusion... self-pity... building gradually to resentment and rage. He starts to throw a tantrum. Hurling things around the room. Frances just sits there. FRANCES My God... I think you're overplaying this a bit...? He hurls a pillow against the wall and rushes out. Frances looks after him, then turns. She's now facing the bureau. FRANCES Goodbye, Dick. A mirror sits on top of the bureau. She looks into it. Doesn't like her expression. Turns the mirror away. FADE OUT: OMITTED FADE IN: INT. THEATRE LOBBY - NIGHT A playbill in a theatre lobby reads: "Mt. Kisco Playhouse, 1937 Summer Season: 'THE PETRIFIED FOREST'." Among the names listed is: "Frances Farmer, the 'Come And Get It' Girl. Suddenly we HEAR an eruption of applause. INT. THEATRE - AUDIENCE - NIGHT TIGHT SHOT on two men: HAROLD CLURMAN -- a thoughtful aristocratic man -- and CLIFFORD ODETS, who is taller, slimmer, with black hair and intense dark eyes. Around them we see (mostly HEAR) the AUDIENCE going crazy, leaping to its feet, yelling "Bravo! Bravo!" Clurman and Odets sit impassively. As the hurrahs die down and the audience files out, the two men sit there. Finally Clurman turns to Odets. Odets nods very slightly. INT. DRESSING ROOM - NIGHT Frances sits in the cramped room, listening intently to Clurman. Occasionally she sneaks a glance at Odets, who is pacing like some caged beast. CLURMAN The Group is more than a theatre company. It's the embodiment of an ideal. Our approach allows the actor to be an artist in the fullest sense, a creative individual and an instrument of change. You see -- FRANCES (watching Odets) Really, Mr. Clurman, you don't have to sell me. CLURMAN Forgive my indulgence. Seems we always lecture those who are on time for those who are tardy. The point is, Mr. Odets here has written a wonderful play. Most of the roles are cast, but we haven't found our female lead... FRANCES Who is she? ODETS She's a tramp from Newark. CLURMAN Forgive me, but I think you'd be perfect for the part. Odets is pacing furiously, seizing their attention. He stops, looks at her, then resumes. ODETS Miss Farmer, for me this is not a play: it's an assault... a seduction... a plea for understanding. I think we live in a time when new art works should shoot bullets... and you make very attractive ammunition. He stops. Tentatively, almost boyishly, he smiles. She returns it. She's charmed. FRANCES And what's the title of this seduc... assault? ODETS (mysterious, intimate) 'Golden Boy.' EXT. BELASCO THEATRE MARQUEE - NIGHT It reads "Golden Boy". Crowds of people streaming out of the lobby. A sign over the box office reads: "Tomorrow's performances sold out." Odets sits on the curb. Behind him the lights in the theatre lobby flicker off. PEDESTRIANS stroll by: an odd mix of affluent theatre crowd and 1930s bums. Frances emerges from the theatre, sees him sitting there. Sits beside him. FRANCES Hi. He nods. FRANCES You wanted to talk? Another nod. He's silent. He peers up the street. A GIRL, 16, selling pencils catches his eye. ODETS You see that girl? She looks like a waif: tough, vulnerable, pleading with a WEALTHY COUPLE, following them down the street. A drama being played out in the distance, out of earshot. ODETS That's who my play is about. Frances watches the girl. FRANCES That's me, Clifford. ODETS (strong) I know, but I'm not seeing it. It's there, Frances, the fire is there, but it's not coming through. You're lazy -- INT. WORKING CLASS BAR - LATER The same conversation continuing: FRANCES I'm not! ODETS Yes, you win them, you bring them into your heart, touch them, but you don't set them on fire! FRANCES But I want to. I'm trying! ODETS I need an incendiary! An arsonist! FRANCES Then show me! That's what I'm here for, to learn, to grow! ODETS Good. Then it's very simple. You have to stop being afraid, Frances. It's in you. EXT. PLATFORM - SPANISH EMBASSY - DAY Clurman is delivering a speech in the background as PHOTOGRAPHERS snap pictures. Behind them on the platform Frances and Odets continue their conversation in whispers: ODETS I can see it. You just have to let it out. Trust it. No one will quash you here, but it's still a fight, a struggle! Being true to your art, being honest, is always a struggle! We now HEAR Clurman's speech. The initial words below were background to the above. What we HEAR now is underlined: CLURMAN ...Not only an artist, but an instrument of change. We must look to the world around us, not content to observe, but to take an active hand in redressing its wrongs. We will not stand idly by as Fascist bombs obliterate democracy. We contribute our profits, for if fascism is not stopped in Spain, it will spread across Europe, jeopardizing the struggle of civilized man to survive. (presenting check to SPANISH CONSUL) The artist, to be vital, must be a soldier too. FRANCES I'm not afraid of struggle, Clifford. CLIFFORD Yes you are. We all are. The first step is to acknowledge our fear. EXT. NEW YORK CITY STREETS - NIGHT They're walking. The conversation continues. CLIFFORD Face it! Confess it! You're weak! FRANCES I'm not! CLIFFORD You're afraid! FRANCES I'm not! CLIFFORD You don't want to show your whole soul -- ugly, mis-shapen, and pitiful -- you don't want to show it -- FRANCES (angry) God damn it, Clifford, will you shut up! I tell you, I want to give these things! I want to give them to the audience, and I can give them, I will give them, so shut up! She is seething. Gorgeous. Alive. He smiles, watching her. CLIFFORD Good, good. Give them that. FRANCES What? As she feels the anger coursing through her body she realizes what he's talking about. She looks at him, still breathing heavily. Gradually her face turns toward a smile. He reaches out and, with exquisite tenderness, kisses her. INT. ODETS' APARTMENT - NIGHT Later. They enter slightly drunk, laughing. He takes her coat. CLIFFORD Madam...? FRANCES Thank you. She's looking at the apartment. He sees her. A dark thought flickers across his face, and he breaks into an exaggerated act: CLIFFORD Oh my God! Frances, I'm such a cad. I can't go through with this. My wife is in Europe, but this is her house... (gesturing off) her bedroom. I can't ask you to... FRANCES (playing along) Oh well. I guess I better leave then. She starts to put on her coat. He watches her. CLIFFORD Okay, but come here first. FRANCES Huh. CLIFFORD (Leading her down hall) Come here. I want to show you something. He opens the bedroom door. INT. BEDROOM - NIGHT The bed is drawn back, and the sheets are sprinkled with rose petals. Frances' eyes are large. The kiss is very hungry now. INT. BEBE'S PANELLED OFFICE - HOLLYWOOD - DAY Bebe's huge desk. Variety Headline: "ACTRESS FIGHTS FASCISM!" Next to the newspaper are a dozen pencils which Bebe is lining up precisely parallel. His expression is totally obsessive, crazed. Behind him a woman (TORA) is cutting his hair. A STUDIO LAWYER paces nearby. LAWYER And on top of her political activities, now she's got a lawyer. She wants out of her contract, Mr. Bebe. She says she's through with motion pictures. BEBE (muttering) I'm sure it wasn't me, it wasn't me... LAWYER Excuse me, sir? BEBE I don't know who she fucked to get where she is, but I don't think it was me. Tora is massaging the back of Bebe's neck. He's oblivious. LAWYER (startled) Well... you could always dump her, Mr. Bebe. Teach her a lesson. There are a million beautiful girls out there who don't give a damn about politics. BEBE That's not the point. Frances Farmer has the world by the tit because of this studio, and now she thinks she can waltz off without a thank you. No. No, that young lady has a contract, and she's going to honor it. LAWYER Oh. I mean, good. BEBE I think it's time to take the gloves off. (scowls, speaks into intercom) Get me some reporters. (afterthought) Particularly Louella Parsons! During this conversation, Bebe has been drawing on the Variety. We now see his work. Beneath the headline was a photo of Frances, on whom Bebe has drawn a mustache. CUT TO: OMITTED EXT. BELASCO THEATRE - NIGHT The marquee for "Golden Boy" reads "Held Over". USHERS are opening the glass doors from the empty lobby onto the street. We HEAR thunderous applause from the inside. EXT. BACKSTAGE DOOR - ALLEY - NIGHT Frances emerges from the stage door to a throng of AUTOGRAPH SEEKERS. She smiles tiredly, but good-naturedly complies. A little ways back stands a boyish YOUNG MAN holding a single red carnation. When the Autograph-seekers are satisfied and all but a few have trailed away, the Young Man steps forward. YOUNG MAN Miss Farmer... I've never done this before... but... I had to tell ya' you're great! He shyly hands her the flower. FRANCES Thank you very much. I'm glad you liked the play. She smiles and begins to walk away. The Young Man follows her. YOUNG MAN I'm really sad it's closing. Now what am I gonna do on Tuesday nights? FRANCES You can always come see it in London. YOUNG MAN Only if you were in it. Are you? FRANCES I wouldn't miss it. YOUNG MAN Boy, I'd love to... but I'm going to Hollywood. FRANCES (smiling) Are you an actor? YOUNG MAN Hell yes!... well, okay, I'm still in school. But as soon as I graduate... California, here I come! FRANCES (after a pause) Are you really serious? About acting? YOUNG MAN Why... yes. FRANCES Then don't go to Hollywood. YOUNG MAN Why? FRANCES I'm telling you straight, if you have any serious ambitions, stay clear of the place. It'll crush you. YOUNG MAN You sound as if you hate it. FRANCES No, I don't hate it. Again she walks on. He follows. YOUNG MAN Aren't you ever going back? FRANCES ...Not if I can help it. YOUNG MAN Gosh! You'll break a lot of hearts. FRANCES They'll mend. YOUNG MAN (after a pause) What about your husband? Frances stops walking, her eyes shoot to the Young Man's face. FRANCES What? YOUNG MAN Will you be getting back together? When you quit Hollywood, I mean. FRANCES What is this? The Young Man suddenly seems much older, and there is no sign of the awkward boyishness. YOUNG MAN Is it true you're getting a divorce? Comrade? FRANCES Why, you... you little bastard! The Young Man grins. YOUNG MAN Thanks for our chat, Miss Farmer. Be seeing you. He begins to walk away. FRANCES Just one minute... YOUNG MAN (turning) You're wasting your time, lady. Nothing's off the record with me. He is gone. OMITTED INT. WORKING CLASS BAR - NIGHT Odets sits at a table in back, drinking and writing in a notebook. Frances comes up to him. He smiles, draws her to him for a hug. ODETS How'd it go? She hesitates, still affected by the incident outside the theatre. FRANCES 'But how do I know you love me?' ODETS Your big speech? FRANCES 'How do I know it's true? You'll get to be the champ. They'll all want you, all the girls! But I don't care. I've been undersea a long time. When they'd put their hands on me I used to say, "This isn't it! This isn't what I mean!" It's been a mysterious world for me! But Joe, I think you're it! I don't know why, I think you're it. Take me home with you.' ODETS (smiling) I already have. She nods, turns her back to him. FRANCES How's it sound? ODETS The speech? Real good. FRANCES You think I got it? ODETS You got it. FRANCES Yeah. Yeah, tonight I think I got it. She is crying. OMITTED INT. ODETS' APARTMENT - DAY Frances comes in the front door with a bag of groceries, removes her key. Walks into the living room, stops short. Clurman is sitting on the couch, a bottle and two glasses in front of him. FRANCES Hello, Harold. CLURMAN (nodding) Frances. FRANCES (looking around) Where's Clifford? CLURMAN He's not here. FRANCES Oh. She sits. CLURMAN Bourbon? He pours. She drinks hers, watching him. FRANCES What's up? CLURMAN I hear you're meeting with the studio lawyers to get out of your contract. FRANCES That's right. I don't want them breathing down my neck while we're in London. CLURMAN Well... well, you see, that's the point. You won't be opening in London. Frances looks like she's been punched in the stomach. FRANCES (insecure) You don't think I'm good enough? CLURMAN What?! Good Lord no, it's just... It's money. We needed backing and... well, we found it. FRANCES Who? CLURMAN An actress. FRANCES A rich actress. CLURMAN Yes. That's the deal. She plays Lorna. FRANCES (growing angry) But... but wait a minute. We're supposed to be different, right? Clifford says... This theatre is supposed to be different! And this play... this play is all about what greed and money do to people! CLURMAN I know, but -- FRANCES (over his line) What does Clifford say? CLURMAN Right now we have to be practical. FRANCES Does Clifford even know? (off his silence) You didn't tell him, did you? (standing) I'm gonna tell him. Where is he? CLURMAN He knows, Frances. She collapses back into her seat. Her head is swirling. CLURMAN (gently) He approved it. She's glaring at him. He hands her a letter. CLURMAN I'm very sorry, but... well, Hollywood wants you back, right? Her eyes fill with rage. She hurls her drink in his face. FRANCES Prick! He stands and, with as much dignity as he can muster, leaves. Frances is shaking. She rips open the letter he gave her. Stares at it in horror... OMITTED INT. BOOKIE JOINT - DAY Plain room. A few tables with phones, men on the phones writing down numbers. Behind them are blackboards with horses' names and prices. Off to one side Harry is conferring with the OWNER. HARRY Of course it can be done, "Mr. Jones," but it's how you do it. There's a way to pay off L.A. cops and a way to get yourself arrested. First you gotta know who to approach -- A Man at one of the phones looks up, calls. MAN AT PHONE You Harry York? Harry nods, startled. The Man at the table holds up the phone and goes to his next call. Harry takes the phone. OMITTED INT. ODETS' APARTMENT - NEW YORK - NIGHT Frances on the phone. A half-packed bag lies on the bed. A bottle and glass sit beside her. She's been crying and drinking. FRANCES Harry? Harry, where are you?! HARRY (V.O.) Jesus, Frances, how'd you find me? FRANCES I called your god-damned office! I want you to kill him, Harry. You'll do that for me, won't you? I loved him, I loved him... that bastard. OMITTED INT. BOOKIE'S OFFICE - NIGHT HARRY Calm down, Frances. FRANCES (V.O.) Don't tell me what to do, just give me his head on a platter! OMITTED INT. ODETS' APARTMENT - NEW YORK - NIGHT Frances unfolds the crumpled letter Clurman gave her. FRANCES Two lines! Two fucking lines! 'My wife returns from Europe tomorrow. I can't see you any more.' Just like that! HARRY (V.O.) Frances... FRANCES (sobbing) Harry, I hate being in love. I don't ever want to be in love again. I just hate it! OMITTED INT. BOOKIE JOINT - DAY With the patter of the bookie taking bets beside him, Harry listens to Frances' sobs. HARRY I know, Frances... I know. He HEARS a CLICK on the other end. He hangs up and heaves a long slow sigh. FADE OUT: FADE IN: INT. SOUND STAGE - FLOWING GOLD SET - DAY Frances, in a pair of overalls, falls face down into mud. INT. SOUND STAGE - FLOWING GOLD SET - LATER We SEE the slate: 'Flowing Gold', Scene 31A, Take 11... then the same action is repeated from a slightly different angle. Next to her is an old car, its wheels mired in mud. INT. SOUND STAGE - FLOWING GOLD SET - LATER Slate: Take 12. She falls again, this time splattering mud all over her face and hair. She lies still for a moment, gritting her teeth. Sitting comfortably in a nearby director's chair is a DIRECTOR reading Daily Variety. The headline reads: "STUDIO WINS FARMER WAR ON HOLLYWOOD." Behind the Director, off to one side, stands Bebe. The A.D. tugs on the Director's sleeve: A.D. How was that? DIRECTOR (looking up) Good, good. One more time. FRANCES (standing) For God's sake... why? DIRECTOR Because we want to get it perfect... just the right combination of fury and confusion. You can understand that, can't you, Miss Farmer? We're serious artists here, right? Right. The Director glances toward Bebe, who nods with satisfaction. Frances watches this interaction. She hesitates, then approaches Bebe. She wipes some mud from her face and drops it at her feet. FRANCES Look, Mr. Bebe, you can hold me to my contract, but you can't break me. I'm back, and I'm gonna make the best of it. BEBE (somewhat snidely) I'd like nothing better. She turns and walks, with an air of pride, to her wardrobe trailer. EXT. ELEGANT BEACHFRONT HOME - NIGHT Lights everywhere. Cars line the driveway. We HEAR the SOUND of a large party. A car pulls up. BOB BARNES gets out, goes around to open the door for Frances. She's exhausted. She doesn't move. BARNES Well... come on. FRANCES This is a mistake. No. This is a disaster. BARNES Come on, it's just what you need! Let everyone see you. Talk to them, live it up! FRANCES (tiredly) But we've been at it since six this morning. At least you could've let me go home and change. BARNES Look, Frances, I didn't want this job. Think I'm crazy? But you begged me: improve your image. So please... lemme try, huh? FRANCES (getting out) You're right. I'm sorry. (sighs) Okay, let's go get 'em. BARNES (taking pills from pocket) Here, take a few of these. Studio makes 'em in the basement. They keep the fat off. FRANCES (joking) So not only am I a troublesome bitch, but I'm fat too? BARNES Come on. They make you feel nice and peppy. She nods, takes a few. They head for the door. INT. HOUSE - ENTRY HALL - NIGHT The DOORBELL CHIMES. The hostess, CONNIE, a pleasant-looking woman, answers the door. BARNES Hi! Bob Barnes! Looks like a swell party! CONNIE (pleased) Frances! As they embrace, Frances looks around with trepidation: FRANCES (whisper) God, who's here? CONNIE (also whispering) The usual vermin, I'm afraid. Barnes tries to pull Frances inside. She sees a flurry of waiting faces. Everyone's watching her. FRANCES (sotto voice) Get me a drink. Barnes nods, concerned, and crosses to the bar. FRANCES Hi everybody. Some people seem amused, some curious, some scornful. The Director from the mud scene nods to her. Connie is at her side for support. A voice from somewhere pierces the chatter: SNIDE VOICE So nice to have you back, Frances. As Barnes returns with her drink, she turns to Connie: FRANCES Connie, can I use the upstairs bathroom? CONNIE Sure. INT. UPSTAIRS BATHROOM - NIGHT Later. Frances lies in a bubblebath, relaxing, sipping her drink. She obviously feels a lot better. Someone knocks. FRANCES Come in. A FAT MAN ENTERS, stares at her. FRANCES (relaxed) Hi. He is dumbfounded. He slowly retreats into the hall. INT. DOWNSTAIRS LIVING ROOM - NIGHT Barnes is talking to a Young Man whom we recognize as the reporter who tricked Frances in New York. BARNES You wouldn't believe the offers! Just piling in. I mean piling. Some of the best scripts I've read in years! YOUNG REPORTER (sarcastic) Yes? My employer will be glad to hear that. BARNES Louella? Is she here? YOUNG REPORTER How could you miss her? He nods toward a hard-faced OLDER WOMAN surrounded by admirers. BARNES Louella's here and I'm talking to you? INT. UPSTAIRS BEDROOM - NIGHT We SEE the open door to the bathroom. Frances, with a towel around her, is going through Connie's closet. Barnes KNOCKS. BARNES Frances? (enters, sees her) Oh no. FRANCES Refill my drink, will you, Bob? BARNES (aghast) What're you doing? FRANCES Putting on my armor. BARNES Come on, Frances. Louella Parsons is here. She wants to talk to you, help you out. FRANCES (musing) Louella... didn't she call me a spoiled little bitch? BARNES Come on, she's an important columnist! What's the matter? I thought you wanted these people to forgive you. FRANCES (darkly) 'Forgive'...? For What? BARNES I'm sorry... that was an unfortunate choice of words. Frances pulls down a dress and inspects it. FRANCES You're not kidding. (firmly) Get me a refill, Bob. I'll be down in a minute. He nods and retreats out the door. INT. DOWNSTAIRS LIVING ROOM - NIGHT Everyone chattering away... then hushing slightly. Heads turn: Frances is descending the stairway in one of Connie's dresses. She looks absolutely radiant... like some kind of goddess. Barnes, looking very pleased at her appearance and the others' reaction, hands her the drink. FRANCES Thank you. Then the Young Reporter steps forward. YOUNG REPORTER (his callow youth act) Gee, awful good to see ya again, Miss Farmer. Frances bristles. Barnes looks on nervously: It's all becoming unravelled again. YOUNG REPORTER My employer would like to know something very important: is it true your friend Clifford sleeps in the nude? Frances is broiling. She stares at him. Under her steady gaze, the snide smile gradually fades from his face. FRANCES You seem like an intelligent young man. YOUNG REPORTER Huh? FRANCES Can't you find a more dignified way to make a living? He blanches. This hits home. Frances turns on her heel and leaves. EXT. HOUSE - NIGHT Frances rushes out, followed by Barnes and a few curious partygoers. She is very upset. Tight. Holding it in. Barnes pleads with her, tries to stop her, but she leaps in the car and speeds off, spewing gravel over him. The partygoers salute her with their drinks. EXT. A CLIFFSIDE COCKTAIL LOUNGE - NIGHT In the pale moonlight we SEE the dim outline of a poster tacked to the outside wall. The highway disappears down to the sea glittering dully in the distance. We HEAR the RISING SOUND of an approaching car. Its headlights crest the hill, illuminating the poster, showing a woman driving an open car, seated beside the outline of a familiar mustached figure. The poster reads, "When You're Riding Alone, You're Riding with Hitler." The lights grow brighter, almost blinding. The car, accelerating furiously, flashes by. Then we HEAR a motorcycle start up. It emerges from the blackness and speeds off in pursuit. A roadsign reads: "Dimout Zone." Frances drives fast, tears running her face. The MOTORCYCLE COP pulls up alongside and shouts, "Pull over!" She hesitates. He waves insistently. Gradually she slows. He gets off his bike and walks over, preparing the usual lecture. COP Okay... He leans over the car and sees Frances, her hair wild and tangled. COP (a come-on) Hey, where's the fire, sister? FRANCES (sarcastic) In my eyes, officer. COP Cool off, beautiful. Didn't you see the sign says "Dimout Zone?" (switching off her lights) There's a war on, you know? FRANCES Come on. You're seriously trying to tell me the Japs can't find Los Angeles without my headlights? COP (testy) I didn't make the law, lady. I just enforce it. She switches her headlights back on. FRANCES God, you bore me. She starts the car. The Cop, angry now, lunges in and grabs the keys. FRANCES Don't touch me! She leaps out of the car. The Cop turns off the car lights. As Frances passes his motorcycle, she switches on its lights. COP Hey! He runs after her, turning off the motorcycle lights on the way. When he catches her, he grabs her arm. She struggles, grabs the flashlight from his belt. She switches it on and holds it high, its beam spearing wildly out to sea. He lunges for it, knocks her down. They struggle. He rolls on top of her, pinning both her arms with one hand... trying to handcuff her. She writhes, knees him in the balls. She crawls away, desperately clawing at loose stones. The Cop, angry now, hurls her down again and manages to get the cuffs on. As they dig into her wrists, she tries to bite him. The Cop, winded from the battle, yanks her to her feet and drags her, kicking and screaming, to his motorcycle. He pulls out his radio mike. COP (panting) Santa Monica, this is motor six-sixty- six. I got a live one here. FADE OUT: FADE IN: OMITTED EXT. BEACH HOUSE BALCONY - DAY CLOSE ON front page of the Los Angeles Times, October 1942. The headlines read: "24 Jap Ships Sunk", "Errol Flynn Sex Trial Delayed", "Frances Farmer Arrested on Drunk Driving Charge -- Actress Gets $250 Fine and Six Months Probation." CAMERA PULLS BACK to show several newspapers spread out on the balcony of Frances' beach house. As the papers ruffle in the wind, a little kitten swipes at them. Frances sits in the sun writing in her diary, the same one we saw at the opening of the film. A man's shoes COME INTO VIEW. HARRY (O.S.) Got any ginger beer? She turns, surprised and pleased to see him. FRANCES Take a look. He walks off into the kitchen. She puts her diary away. FRANCES (calling) How the hell do you find me anyway? HARRY (O.S.) Animal magnetism! (she laughs) No ginger beer. What's this red stuff? FRANCES What's left of my blood. HARRY (O.S.) Think I'll have a glass. FRANCES Help yourself. Everyone else has. Harry returns, sipping the drink. HARRY Very tasty. She smiles. HARRY (looking around) Nice joint. Can you afford it? FRANCES Nope. The studio pays. Thank you, Harry. HARRY What for? FRANCES For not chopping off his head and serving it to me on a platter. HARRY Well, I would have, you know? I just didn't know how to cook it. She laughs. HARRY Six months' probation...? You gotta learn when to do battle, Farmer. You're not going to win many bouts with 200 pound cops. FRANCES I took the early rounds. HARRY (laughs) I'll bet. FRANCES I don't know. It hurts, Harry. Some things, no matter what you do with them, they just hurt. HARRY So you drink, and you fight with a cop...? FRANCES Yeah, and you look at people and you wonder who the hell they are, what's going on inside their heads. Sometimes you can hear it, like a buzzing, the things that happen in their heads. And you wonder: does anybody ever love anybody, really? HARRY Beats me. Beat. FRANCES I gotta get outta here. I gotta get out of this town. We see a thought come to him. HARRY Hey look, I got some business down in San Diego. Whattaya say you come with me, stay a few days? FRANCES No, Harry, I can't -- (right now) HARRY You're coming. OMITTED INT. SAN DIEGO BAR - NIGHT Waterfront bar, full of SAILORS, WHORES, and HEAVY DRINKERS. Hanging over the bar is San Diego paraphernalia. Frances and Harry sit at a table. Heavy boozing has led to philosophizing: FRANCES You know... when I started acting, you know what I wanted? He grunts: what? FRANCES I just wanted to be part of something... one thing, one play or one movie, something that was really fine... memorable. And I could say: I did that, I made something good. HARRY And? FRANCES Well... to get a crack at something good, you gotta earn it, you gotta climb the ladder first. So you do, you work hard, and all these people behind you are pushing you up, shouting you on. And then one day you realize you are, you're at the top... and there's nothing there. And you look behind you and there's no one below. You're just left there all alone... swaying in the god-damned breeze. In the background, we SEE a DRUNKEN SAILOR lurching toward their table. HARRY Well, like the man said: "You can make a fresh start with your last breath." The Sailor trips and falls across their table, spilling beer on Frances and knocking things over. FRANCES (irritated) Hey, watch it. SAILOR (eyeing her suggestively) Watch what? FRANCES Get away from me, you foul slime. SAILOR That's no way for a lady to talk. HARRY Take a walk, pal. FRANCES Who said I was a lady? SAILOR Sorry I insulted you... bitch. HARRY Hey! FRANCES Ahhh, go eat a toilet seat. The Sailor goes berserk, takes a swing at Frances. Harry leaps in to protect her, starts to fight with the Sailor. Frances joins in; she's not going to let anyone fight her battles. The Sailor's BUDDY enters the fracas. Everyone's getting hit. As the melee continues we: DISSOLVE TO: EXT. FRANCES' BEACH HOUSE - DAY A cab pulls up. Frances gets out. She looks weary and has a bruise on her cheek. A car is parked in the driveway. She frowns at it, shrugs, and carries her suitcase toward the house. INT. BEACH HOUSE - DAY She enters with her bags, then drops them, stunned. The house is stripped bare. A MAN holding a measuring tape comes out of the bedroom. FRANCES What happened? Who're you? MAN Who're you? FRANCES I live here. MAN You're Farmer? Oh... Well, look, they took your stuff out. Moved it to some hotel, I think. FRANCES What? MAN I'm preparin' it for the next tenant, he's coming in tomorrow. Frances stares at him, dumbfounded. SMASH CUT TO: INT. HOTEL SUITE - DAY Frances on the phone. Boxes spread out, their contents strewn over the floor, tables, etc. Frances is going through various piles, again and again, looking for something... FRANCES (muttering) God damn it, god damn it... (into phone) Yes, I'll wait, I'm waiting... (to herself) I don't believe this. They can't do this to me! She takes a long drink, sifts through a pile, then throws it on the bed in disgust. We HEAR a voice on the phone. FRANCES (into phone) Barnes? It's my diary! They stole my fucking diary! Find it, will you? Find it! God damn it, that's my life! She slams down the phone. INT. STAGE - MOVIE SET - DAY The crew is idle and the Director paces, muttering: DIRECTOR Never. Never again. I swear, I swear I will never work with this broad -- Frances, looking pretty hung-over, enters blithely. DIRECTOR You're four hours late! It's insane! It's unprofessional! FRANCES I'd say I'm behaving as professionally as anyone else in this town. DIRECTOR Where were you?! FRANCES Terribly, terribly sorry; I overslept. What's the name of this fine entertainment we're all so involved in? The Director clenches his fists as though about to punch her. FRANCES (looking blearly at the slate) Oh yes. "No Escape." That's it. There's no escape. She walks to her dressing room as the Director explodes anew. INT. FRANCES' DRESSING ROOM - DAY Small, cramped; not like the earlier one we saw. The Hairdresser -- whom we recognize as Tora, the woman who cut Bebe's hair -- stands waiting, holding her brushes and looking vexed. Frances enters. TORA It's about time! You're not the star on this show, y'know! Frances sits. Tora begins brushing her hair, yanking Frances' head back with each stroke. Building tension... TORA Of course, it's not up to me to say anything. I'm just crew... Y'know, you hair's so fine you'll lose it if you're not careful. Wonder you all don't, the things you do to yourselves. In fact, I think you are already... Fact, I think you better -- Frances cries out and twists around suddenly. Tora is thrown back: stumbling... falling... hitting her jaw against a chair. FRANCES That's it! I'm not taking this any more! I quit! She storms out. Tora is left moaning, holding her jaw. INT. STAGE - MOVIE SET - DAY Frances marches across it. Everyone stares. FRANCES Goodbye!... goodbye!... goodbye!... When she reaches the exit door, she turns and bows to them all, grandiloquently. INT. FRANCES' HOTEL ROOM - NIGHT She's snoring in bed. Face down, spread-eagled. The light is on. A whiskey bottle (three-quarters empty), a tumbler (three- quarters full), and a bottle of pills sit on the night table. The phone RINGS. She winces, groans, tries to open her eyes then squeezes them together: hung over. Her arm flails out, finds the light and turns it off. FRANCES Shit. The phone keeps RINGING. Her arm gropes for it. A loud POUNDING at the door. FRANCES What the hell's going on here? (calls) Hold on! (answering phone) Hello... (we HEAR a dial tone) Hello? The POUNDING at the door becomes violent. Someone's breaking it down. FRANCES Hey! The door splinters. FRANCES What...? Help! Men stream into the room. Back-lit from the hall they look like monsters, phantoms. They're carrying sticks. Frances screams and runs naked into the bathroom. FRANCES Don't kill me! Don't kill me! She slams the door on the advancing figures. INT. BATHROOM - NIGHT Frances leans her weight against the door. FRANCES Mama, help me, help me, Mama! Don't let them kill me! It's too much for her. She's shoved back, falling to the floor. The door flies open revealing THREE LARGE COPS. Leering at her. Frances clutches at the shower curtain, trying to cover herself. COP Get your clothes on. FRANCES (crying) You have no right! You have no fucking right, you bastards! Get the hell out of here -- COP Get your clothes on, lady -- FRANCES GET OUT! COP You're under arrest. OMITTED INT. SANTA MONICA POLICE STATION - NIGHT Frances is being led to the booking desk. All around her Photographers snap her picture, and Reporters walk alongside subjecting her to a never-ending barrage of questions. Frances just smokes a cigarette and smiles grimly at the dour-faced SERGEANT facing her. SERGEANT Name? FRANCES I don't believe this! You jerks drag me down here in the middle of the night and you don't even know who the hell I am! The Photographers laugh. SERGEANT Age? FRANCES Fifteen. SERGEANT (bristling) Address? FRANCES Just put me down as a avg -- a vagrant vagabond. Come on, this is a joke! Assault and battery? I barely touched that bitch! SERGEANT Occupation? Frances considers for a moment, then smiles matter-of-factly. FRANCES Cocksucker. The Sergeant reddens. Frances laughs as the Photographers snap their shots. INT. WOMEN'S JAIL - CELL BLOCK - NIGHT TWO MATRONS escort Frances to her cell. She shakes their hands off her arms and enters. They slide the door shut. Photographers press up to the bars. Frances calls after the matrons. FRANCES Hey! I'd like to leave a wake-up call for say, ten? Hey! I'll have my bread and water in bed! Frances looks disgustedly at the Photographers and lies down heavily on the cot. PHOTOGRAPHER Hey Frances! Why don't you comb your hair, okay? FRANCES ...Take me the way I am. INT. COURTROOM - DAY Frances, looking disheveled, dazed, and over-tired from a sleepless night in jail, stands alone before the JUDGE. Next to the PROSECUTOR sits Tora, her jaw heavily bandaged, glaring at Frances. The spectator's section is packed. JUDGE ...Is that not true? FRANCES (under her breath) Who's writing this guy's lines? JUDGE Answer the question! Have you driven a car since you were placed on probation? FRANCES No, I couldn't get my hands on one. JUDGE Have you reported to your Probation Officer as directed? FRANCES I never saw him. Why didn't he show up? JUDGE Did you expect him to look you up? FRANCES Why, certainly. I wanted to get a peek at his face... Suppressed laughter ripples through the courtroom. JUDGE You're on your way to a contempt citation, young lady. FRANCES That's fine with me... (turning to spectators) Get it? Fine. A fine! Hey c'mon, c'mon, what is this, an audience or a jury? JUDGE Miss Farmer, is it true you fought with the policeman who arrested you last night? FRANCES Sure it's true. I was fighting for my country as well as myself. JUDGE Miss Farmer, you were advised at the last hearing that if you took one drink of liquor or failed to be a law-abiding citizen -- Frances moves closer to the bench. FRANCES Are you telling me you didn't have a little rum in your pineapple juice this morning? I can smell it from here, Your Honor. The courtroom erupts into surprised laughter. JUDGE That's enough! Frances laughs triumphantly and spears the air with her finger, pointing at the Judge. FRANCES It's the truth! I can smell it from here -- you old hypocrite! The laughter grows. The Judge bangs his gavel. JUDGE Miss Farmer! In light of your flagrant disregard for the conditions of your probation, coupled with the unwarranted assault on the Plaintiff here... I am forced to order you to begin serving a sentence of 180 days in the County Jail. FRANCES Fine! JUDGE (rising) You are a deeply troubled young lady... I only hope you change your course before it's too late. The Judge pounds his gavel. Frances is about to say something when suddenly the realization of what's happening hits her. The Judge is leaving the bench. A REPORTER runs out of the room. FRANCES (frightened now) Wait a minute... I haven't got a lawyer... The Judge ignores this. FRANCES (shouting) What I want to know is do I have any civil rights? The Judge closes his chambers door behind him. Frances turns slowly. The Matrons are coming toward her. FRANCES I want to make a phone call... She lunges at the Matrons, trying to get past them. FRANCES I have a right to make a phone call! INT. HALLWAY OUTSIDE COURTROOM - A ROW OF PHONE BOOTHS - DAY The Reporter is phoning in his story. The hallway is pandemonium. REPORTER (from his notes) "The kleig-lighted road to fame and fortune is strewn with heartbreak and despair. Today film star Frances Farmer, tarnished by alcohol and drugs" -- 'm I going too fast for ya? In the next phone booth we SEE Harry listening to the Reporter's spiel. He regards the confusion around him with calm eyes. EXT. THE COURTROOM DOORS - DAY They burst open. The Matrons and Two Cops come out carrying Frances. Reporters and Photographers rush past her. FRANCES They're stealing my civil rights! Help me! I'm being kidnapped! Oh God, help me! Help me! She suddenly sees the phone booths. Her eyes fill with tears, her shoulders slump forward and her lower lip begins to tremble. She no longer struggles. FRANCES (to a Matron) Haven't you ever had a broken heart? The Matron relaxes her grip and gives Frances a handkerchief. Frances dabs at her eyes... wraps the kerchief around her knuckles... and slugs the Matron in the jaw, sending her sprawling. Frances runs to the phones. REPORTER Oh my God, she's loose! Frances throws herself at the door of the booth. The Reporter is delirious with joy: what a story! REPORTER She's attacking your correspondent! Right here in the Court Building! Good God, this bitch is crazy! Someone stop her! Frances pounds at the door a few more times, then moves to the next booth... into the arms of Harry. FRANCES (a whisper) Harry! Harry shakes his head. Before he can speak, Frances is grabbed from behind and dragged toward the elevator. FRANCES I have a right! I have a right! REPORTER (into phone) With what must surely be the final act of madness, the curtain falls on Frances Farmer's once promising career. The crazed blonde who at 27... Harry opens the door to his booth. The Reporter looks up at him. REPORTER Hold it a second, Bub... Harry says not a word, but punches the Reporter hard in the face. The Reporter sags, out like a light. In the confusion, no one has noticed a thing. Harry pulls the door shut. INT. COURTROOM - DAY Frances is sitting in a wooden chair. The venetian blinds over the tall windows are almost completely closed. The room is dim and terribly quiet. A WOMAN is murmuring something to a kindly-looking JUDGE. Another MAN is standing beside her. Frances can't quite make out the words. WOMAN ...and we feel that this would be more appropriate. JUDGE ...a difficult decision, but, I'm sure, the proper one. He nods to the other Man who, together with the Woman, turn away from the bench. As they pass in front of one of the tall windows, Frances recognizes the Woman. It is Alma Styles. FRANCES What? She feels an arm slip around her shoulders and she stiffens. Her mother's face appears by hers. LILLIAN (whispering) It's alright now, little sister, everything's going to be just fine. FRANCES Mama, what's... LILLIAN Shhh, shhh. You're not going to jail, Frances. The Judge has put you under my care. I'll see you get the rest you need. FRANCES You're taking me home! Two other WOMEN appear at either side of Frances and Lillian. Lillian tenderly takes her daughter's face in her hands. LILLIAN (smiling) First things first, little sister. Trust me. She kisses Frances on the forehead. Frances looks at the two Women. They are smiling understandingly at Lillian. Frances looks a little alarmed. OMITTED EXT. ENTRANCE DRIVE - DAY A wood-panelled station wagon turns the corner of a tree- lined road and heads up toward tall wrought-iron gates. On a white-washed wall are black letters: "MEADOW WOOD CONVALESCENT HOME". The Station wagon, a similar sign on its door, pulls up. The gates swing slowly open, and it travels up a long tree-lined driveway. As it goes by, we see Frances sitting in the back seat between Lillian and one of the Women from the previous scene. The car heads up toward a large Spanish-style building set back among some trees. INT. A SMALL OFFICE - DAY Frances sits in front of a desk nervously smoking a cigarette. Lillian stands at a window looking out at a broad expanse of well-manicured lawn ending at a row of oaks in the distance. LILLIAN Why it's beautiful here! What a view! Lillian smiles enthusiastically at Frances, who stares accusingly back: she's not falling for that. An awkward moment of silence. Lillian fidgets, doesn't know what to say. She is rescued when the door opens and DR. SYMINGTON (early 30s, glasses, white coat and ingratiating smile) enters. He holds his right hand out to Frances. MAN Good afternoon, Miss Farmer. I'm Dr. Symington. Frances stares at the proffered hand. Lillian steps in quickly and takes it. LILLIAN Good afternoon, Doctor. The Doctor winks at Frances and puts a hand on Lillian's arm. SYMINGTON I'm very pleased to meet you, Mrs. Farmer. I'm sure we'll have more of a chance to talk later. Right now I think it's important that your daughter have a chance to settle in. Perhaps it would be best if you said your goodbyes here. He smiles pleasantly. Lillian is obviously very put off by the idea. She looks at Frances who stares unseeingly out the window. LILLIAN Oh. Well, I have some background that you should probably know about if you're... SYMINGTON I have no doubt, Mrs. Farmer. If you'll speak to the girl at the desk, she'll arrange an appointment. He goes to the door and opens it. Lillian is momentarily at a loss, but she acquiesces. She bends down and tightly hugs Frances, who pats her on the back a couple of times. LILLIAN I'll be back real soon, little sister. You be a good girl. She waits for a reply and then, getting none, starts out the door. FRANCES (staring out window) Mama! Lillian turns back expectantly. FRANCES (warningly) ...I want to go home, Mama. Lillian looks to the Doctor, who nods sympathetically at her. LILLIAN You'll see, little sister. Everything will be fine. The doctors know best. She goes out and down the hall. The Doctor closes the door. SYMINGTON I find these initial meetings to be much easier without the concerned relatives in attendance. FRANCES Am I supposed to say 'thank you'? SYMINGTON Thanks are hardly necessary. FRANCES Aw, shucks, ma'am. T'weren't nothin'. SYMINGTON I'm glad to see you haven't lost your sense of humor. FRANCES It ain't for lack of trying. SYMINGTON So it seems. May we be serious for a moment? FRANCES (seductively) Why, Doctor! We've only just met! He reddens ever so slightly and looks away. SYMINGTON I feel I've known you for a long time... you see, I've followed your career... you're a fascinating case... I'm looking forward to resolving your predicament. Frances' face begins to set in hard planes. FRANCES Oh! Are you really? SYMINGTON Among persons such as yourself, creative people under great stress, erratic behavior is not at all uncommon and certainly nothing to be ashamed of. It's just that the neuroses which fuel your talent can also generate certain character disabilities which... (can cripple your ability to function...) He stops as Frances rises and leans over his desk: FRANCES Do you expect me, for one moment, to believe you have greater insight into my personality than I do? SYMINGTON Please sit down... FRANCES You may discuss my predicament, Doctor. You may discuss it with anyone you like, but not with me. I'm not interested. I can solve my problems without recourse to a veternarian. SYMINGTON I see. FRANCES Besides, I don't want to be what you want to make me. SYMINGTON And what's that? FRANCES Normal. Average. SYMINGTON All right. Will you please sit down now? (smiling) Symington says. FRANCES ...Did you really say that? SYMINGTON Just a little joke, Miss Farmer. FRANCES This whole thing is a joke! SYMINGTON Stay calm, please. FRANCES No, you stay calm, Doctor! But you're finding that difficult, aren't you? (soft, seductive) Why, are you attracted to me? Perhaps later, in some of our more intimate sessions... after we know each other a little better... (turning harder) and you've torn my personality to shreds, and I'm weeping and vulnerable... (very hard) then you'll really get your kicks, won't you, "Doctor?" SYMINGTON I'll have someone show you to your room. FRANCES Oh, that's good, very professional. In control. But the tiny beads of sweat on your upper lip give you away. Symington stares at her. With a careful, almost scientific gesture he moves thumb and forefinger over his lip, then rubs the two fingers together. Yes, there is sweat. SYMINGTON You really should get some rest now. Nurse will meet you outside. Good day. He pushes a button on his desk and reaches for a folder. Frances hasn't moved. She gazes at him evenly. SYMINGTON Is there something else? FRANCES You didn't say 'Symington says'. His eyes are very calm now, he smiles at her patronizingly. SYMINGTON Symington says. INT. FRANCES' ROOM - DAY Small, white, spartan and rather pleasant. Lillian is standing by the window, testing the locks. She turns and goes to the bed, fussing with the pillow, seeming very uncomfortable. She pulls at the corners of the mattress. The door opens and a tall, sullen-looking MATRON walks in. Lillian doesn't pay much attention to her. LILLIAN Not much on hospital corners, are you? MATRON You Farmer? Something in her tone makes Lillian look up. The Matron closes the door behind her and advances. Lillian assumes her full height. INT. HALLWAY - DAY Frances is walking with a NURSE. They pass a variety of other patients, some of whom look old or beaten but few of whom seem overtly crazy. FRANCES So this is the nuthouse... The Nurse smiles confidentially at her. NURSE Honey... take my word for it. This is a resort. They get to the door and HEAR Lillian's protesting voice: LILLIAN (O.S.) You have no right! They enter and SEE the Matron struggling to get Lillian's coat away from her. Lillian pleads with Frances. LILLIAN Tell them who I am! Tell them who I am! FRANCES Are you crazy? Unhand that woman! That's Amelia Earhart! Frances bursts out laughing. The Matron releases Lillian and comes for Frances. INT. FRANCES' ROOM - DAY CLOSE-UP OF A HYPODERMIC NEEDLE A little fluid squirts out the tip. FRANCES (O.S.) But what is it? CAMERA PULLS BACK TO REVEAL Frances strapped down on a white cot. The Nurse is holding the syringe while a THIN NURSE and an ATTENDANT stand by. FRANCES You've got to tell me what it is! THIN NURSE It's insulin. It throws your body into shock. Frances looks at her suspiciously, uncertain whether to believe this, and turns toward the Nurse with the hypodermic. NURSE WITH HYPO (reassuringly) It's just vitamins. This sounds more reasonable. Frances relaxes somewhat. NURSE WITH HYPO A, C, B-Complex, certain minerals... (inserting hypo) Just stay relaxed... Good, now open your mouth a sec. Frances does. The Attendant jams a rubber bar between her teeth. Frances squirms, fights. The Attendant holds the bar in place. And the Nurse pushes the plunger on the hypo. Frances goes rigid. Her eyes widen, her back arches. With a loud hoarse cry she starts to convulse. The SCREEN BEGINS TO FADE into bright white light. She is unconscious. The SCREEN IS NOW BLANK. EXT. COURTYARD - MEADOW WOOD - DAY Frances sits beside Lillian on a bench. Other patients with ground privileges wander aimlessly about. There is an open carpet bag at Lillian's feet and, in her lap, a bundle of letters and telegrams that she's showing to Frances. Frances seems restless. LILLIAN ...and here's the one from Duluth. A war widow with five children. She works in a defense plant and she's very worried about you. I answered her that she shouldn't let worry over you affect her vital work; and that you'd be back on the silver screen in no time. She hands it to Frances, who lets it drop beside her on the bench. LILLIAN And here's one from nice Mr. Zeiss. He says that... FRANCES Why are these all opened? LILLIAN Well, they needed immediate answers, Frances. It's good manners and good sense. You shouldn't be bothering yourself with these right now. FRANCES Then why did you bring them? LILLIAN It's your fan mail, little sister. FRANCES (looking off, under her breath) You kill me, Mama. LILLIAN What? FRANCES Go on... Frances sighs. She looks for something to divert her attention. INT. SYMINGTON'S OFFICE - DAY Frances is alone in the room. The door is ajar. She's standing over Symington's desk, which is empty except for a doodle pad. The doodle she's looking at is extremely bizarre, sadistic... After a moment, Symington ENTERS holding several folders. Frances' manner changes very subtly. SYMINGTON ...I'm sorry to keep you waiting, the staff review ran over. Did you enjoy your mother's visit? FRANCES (sitting) Yes. It was very good to see her. SYMINGTON Really? Any problems? Symington puts the folders in a drawer. All except Frances'. FRANCES Not at all. She brought me my fan mail. (a performance) I had no idea there were so many strangers concerned about me. But I guess that's the best thing about working in the movies. You make so many friends. I want to go back and show them that the faith they put in me wasn't a mistake. SYMINGTON You're telling me you feel guilty. FRANCES (slightly edgy) No... What I mean is... I'm just very excited by the prospect of getting on with my life, that's all. SYMINGTON (after a pause) Do you really believe your mother's trying to kill you? FRANCES (laughing) What? SYMINGTON She told me you said, "Mama, you want to kill me." FRANCES I never said... Oh look. That's just a figure of speech. She said something funny, and I said... SYMINGTON And you accused her of tampering with your mail. FRANCES Oh for Christ's... Frances is wrapping and unwrapping a handkerchief around her knuckles. Looks a little crazy. Symington's watching it. She stops. FRANCES I'm sorry. She misunderstood, that's all. SYMINGTON But you tell me you had a pleasant visit and your mother says you were sullen and uncommunicative. Whom do you think I should believe? FRANCES Doctor, I hate to break this to you, but my mother is a little batty. SYMINGTON Frances, you're still filled with anxiety. You feel guilty and hostile toward your family and friends. Consequently, I didn't recommend your release at the staff review. FRANCES You what? SYMINGTON Mental illness is an elusive thing, and though I'm pleased you're feeling more... capable, it's perhaps unrealistic to expect you to be completely cured after so short a time. Don't you agree? Frances stares at him. Stunned. Horrified. SYMINGTON (smiling) I'm sure you'll see it my way in the end. FRANCES Dr. Symington, how big is your dick? SYMINGTON Huh? FRANCES 'Cause if it's long enough, which I doubt, why don't you wrap it around and fuck yourself in the ass! Symington smiles patronizingly. FRANCES I want outta here, you understand? I'm ready to get out! So you go back there... you go back and you tell them to let me out! SYMINGTON (calmly) Frances, I'm warning you... FRANCES No, I'm warning you! Who do you think you are, God? You bumble around with your folders... (she knocks her folder to the floor) ...and your pencils... (she grabs some pencils and throws them at him) ...and your god-damn buttons... (she pounds on the inter-com; a voice says, 'Yes, Doctor?') ...all your badges of authority! But you have no authority! You're nothing! You're a zero! She tears open the door. Two huge ORDERLIES are waiting. Frances tries to barrel past, but they easily restrain her. ORDERLY Doc? Symington sits forward, his hands smoothing his hair. Frances smiles sarcastically at him: FRANCES Symington says... SYMINGTON (tonelessly) Sedate her. They haul her away. EXT. MEADOW WOOD CONVALESCENT HOME - DAY A few PATIENTS stroll about, visiting with relatives. Frances lies on a chaise lounge. She's wearing a robe and dark glasses, a big hat, and she seems to be sleeping. THE CAMERA APPROACHES. Her hair is a mess, her skin splotchy. And something is moving: her hand... one finger on one hand is moving in agitated little bursts. We realize she is not sleeping at all... HARRY (O.S.) Hi there. How 'bout a walk in the woods? She looks to one side and sees him. Frowns. Takes off her glasses and runs her fingers nervously through her hair. FRANCES Oh my God, I look awful. HARRY (friendly) You've looked a whole lot better. C'mon. EXT. MEADOW WOOD GROUNDS - DAY Frances and Harry walking in a relatively secluded area. She glances around continuously... suspiciously. FRANCES They're doin' stuff to me, Harry. Can you see it? You feel it? They're putting stuff in my food or something, my water, and they're using it to put thoughts in my head. You understand? They're trying to re- arrange what's in my head, they're trying to drive me crazy! Oh, Harry! She breaks down and weeps on Harry's shoulder. Harry looks around warily. FRANCES I can't stay here anymore, you understand? I can't, I can't. I gotta get home. I gotta get somewhere else, anywhere, okay? Harry nods, squeezes her arm firmly -- a warning -- as a white-coated ATTENDANT APPROACHES. Frances straightens up. ATTENDANT Oh, Miss Farmer! Time for your bath, Miss Farmer! HARRY (urgent whisper) Listen: to the left. Straight through the trees and over the wall to your left. My car is there. The Attendant reaches them. ATTENDANT (as if to a child) It's time for your bath! FRANCES Oh good. I love my baths. ATTENDANT Come along now. Frances starts to move off with the Attendant. For an instant Harry -- and we -- wonder if she really is crazy. HARRY Frances! Did you hear what I said? She turns. The Attendant turns. She smiles sweetly, madly. FRANCES Of course, Harry. The Attendant is between her and Harry. We SEE her face turn dark. She shoves the Attendant toward Harry and shouts: FRANCES (fiercely) Over the walls! She runs. The Attendant staggers toward Harry, who knocks him down with two punches. ANOTHER ATTENDANT runs up. Harry whips out an icepick and brandishes it at them: HARRY You want crazy? I'll show you crazy! The Attendants hold their ground. Harry runs after Frances. EXT. GROVE OF TREES - DAY Frances and Harry crash through bushes, come to a high wall. HARRY (offering to lift her) Here. Frances hugs him tightly, kisses him. He lifts her by the waist, and she grabs the top of the wall and hauls herself up. Harry joins her. We SEE, over the wall, a Lincoln Zephyr waiting on a dirt road. Harry and Frances jump down as we HEAR the Two Attendants burst through the underbrush and haul themselves up. As their heads pop over the top of the wall, they see the Lincoln disappearing down the road in a cloud of dust... INT. LINCOLN - DUSK - DAY Harry, eyes bleary and shoulders hunched, tries to concentrate on the road ahead. The RADIO DRONES quietly, a lazy saxophone ballad. After a while, there's movement in the back seat and Frances sits up. She yawns and stretches as Harry watches her in the mirror. HARRY Evening, gorgeous. FRANCES (yawning) That sure looks like fun... (leaning over front seat) You know how long it's been since I was behind the wheel? HARRY Forget it, Frances. You're not driving. FRANCES Have I told you how mean you're turning, York? Harry smiles. Frances climbs over the seat and starts to fiddle with the radio. FRANCES Where are we, mean man? HARRY Couple hours from Idaho. We'll cut across to Montana. I've got friends there with a ranch. FRANCES I should've known... HARRY What? FRANCES This is another one of your schemes to get me off alone... HARRY That's right. FRANCES (smiling) ...Take advantage of me. Harry laughs. They pass a poster: "BUY WAR BONDS!" Frances stares at it. FRANCES I don't think I'd be much good in a war... HARRY Whattaya think you're in now? FRANCES (sleepily) I don't know. Not a war exactly. It's more a... a misapprehension maybe... HARRY Huh? FRANCES A misunderstanding, people taking the wrong meaning from things. I wasn't declaring war, Harry. I was just saying my prayers. Harry looks at her quizzically. HARRY Who to? Beat. FRANCES Harry, I have to go home. I have to talk to Mama. HARRY Frances, you're fulla drugs. You don't know what you're saying. Who do you think put you into Meadow Wood? Your mother thinks you're crazy and she'll keep on thinking it as long as it suits her. FRANCES (sitting up) No, she just didn't want me going to jail, that's all. HARRY Yeah? She's a shark, Frances. I'm not taking you there, and that's that! She rubs his neck and his attitude seems to soften. She looks at him fondly, thoughtfully. FRANCES You know something, Harry? HARRY I guess. FRANCES Aside from meanness, you're almost perfect. There's only one other thing wrong with you. HARRY What's that? FRANCES You can't drink. SMASH CUT TO: EXT. ROADHOUSE - NIGHT The Lincoln is parked beside a few other cars. INT. ROADHOUSE - NIGHT Frances and Harry sit at a table cluttered with empty glasses. The JUKEBOX PLAYS, a few COUPLES dance. Frances is gulping down a tall Scotch. FRANCES (wincing/grinning) Ohhh, that's lousy Scotch! HARRY (calling drunkenly) Hey! Another shot for the lady and a double for me! FRANCES What a man! HARRY Hey, you're a good quarter-horse, kid, but you can't go a route of ground. FRANCES (hoisting her glass) To quarter-horses. HARRY No. To thoroughbreds. He knocks back his drink. THE JUKEBOX A hand puts a nickel in, and we HEAR Bing Crosby singing "Love Is So Terrific." We PAN across the dance floor, where Harry and Frances are dancing. BING'S VOICE Love is so terrific Such a funny feeling Makes you want to cuddle And coo... Frances squeals with delight when she hears the song. She holds Harry forcefully and starts to lead him around the floor. Harry starts to sing along: BING & HARRY Makes you sentimental, Makes you kinda gentle Ouch! (Frances pinches Harry) Terrific thing. Around them an infection is spreading: all the women are leading their men. For an instant it is magical, liberating... She leans her head against his shoulder. FRANCES Why are you always leaving me, Harry? HARRY Huh? FRANCES You should stickaround sometimes. Look out for me. HARRY Look, Frances, I'm only gonna ask this one time. I mean it. I swear after this, I'll never ask again: Will you marry me? FRANCES (after a long pause) I know a thing or two about marriage. You... you understand me more than anyone, Harry... maybe even more than Mama. But... you're too important to me. I'd fail you. I don't know how or why, but I would. And that's a chance I just can't take. Do you understand? HARRY (a bitter smile) Well... I'll act like I do until I do. They are silent for a moment. HARRY There's just one more thing. FRANCES What's that? HARRY Will you marry me? She laughs happily. He joins her, but his seems a little forced. She leans her head on his shoulder and holds him tight. They dance... OMITTED EXT. FARMER HOUSE - SEATTLE - DAY The Lincoln, Harry at the wheel, drives up and stops. Harry shakes his head. HARRY It's not too late to keep going, up to Vancouver? Be the smartest thing. FRANCES Thanks, Harry, really, but... I can't explain it. She's my mother. She's just... I can't give up on her that easy. HARRY You give up on her? FRANCES Yeah. It's just... something I gotta do, I guess. HARRY (smiling warmly) Frances, You're crazy. FRANCES (whispers) I know. Don't tell anyone. He laughs. We SEE Lillian come out onto the porch with uncharacteristic trepidation. HARRY Anyway... if you need me... FRANCES (warmly) I got your number, Mister Man. She gets out, waves to him, and walks toward the house. Harry drives off. As Frances reaches the top step, Lillian suddenly opens her arms: LILLIAN (nervous, forced) Welcome home, little sister. INT. FARMER HOUSE - DAY Frances and Lillian enter. On the sofa sits Alma Styles. Alma and Lillian seem slightly furtive. Caught in the act. FRANCES Well, who have we here...? LILLIAN (anxiously) Frances, you remember my lawyer, Alma Styles? STYLES Hello, Frances. You seem to be having quite a time of it. LILLIAN I called Alma because I think we'll need... STYLES Frances, the doctors at Meadow Wood have petitioned the court for your return. Your mother has asked me to intervene so you can stay here. LILLIAN I swear I didn't know what they were doing to you. I wouldn't have let them... She bursts into tears. Frances takes her in her arms and rocks her like a child. FRANCES It's okay, Mama. It's okay. STYLES You realize, of course, your mother is now your legal guardian. In the eyes of the law, you no longer have any rights as an adult. You're going to have to hold your tongue and be selective about whom you mix with. That man who drove you here, for instance -- FRANCES You leave him out of this! LILLIAN Frances, please don't... STYLES Never mind. We won't have to worry about him much longer. EXT. LINCOLN - END OF FRANCES' STREET - DAY Harry pulls up at a stop sign. He rubs his forehead wearily as a car crosses the intersection. It stops dead in front of him. Another pulls up alongside. Another behind. Harry thinks about this. His hand slides down slowly under the seat. We SEE the handle of his ice pick. Harry turns to smile at the MAN in the next car. The Man flashes an FBI badge, points revolver: FBI MAN (smiling) How ya doin', Al? HARRY You got the wrong guy. Name's Slocum. FBI MAN No, it ain't. And it ain't Harry York, neither. HARRY Look, I'm tellin' you... The FBI Man pulls the hammer back on the revolver. ANOTHER MAN opens the passenger door. FBI MAN I'd give you till ten, Al, but we ain't got the time. SMASH CUT TO: OMITTED INT. JUDGE'S CHAMBERS Judge Hillier walking... out of the chamber and down a corridor. His stride is long, his demeanor purposeful. The corridor leads into a courtroom. Harry standing at attention. We hear Hillier climb onto the bench and be introduced by the court official. Harry stares up at the judge. HILLIER Alvin Hanson, a.k.a. Ronald Burns, Thomas Slocum, Harry York... Mr. Hanson, this warrant has been outstanding for many years. Normally that circumstance would prompt me toward leniency, but the crime you committed -- inciting to riot -- and the cause you sought to promote -- a worker's rebellion -- are such anathemas to this court that I feel compelled to mete out the full sentence. I only wish it were longer. (slamming gavel) Six months in the state penitentiary. INT. FARMER HOUSE - DAY Frances sits at the piano playing "You Are My Sunshine". Lillian is lounging on the couch, leafing happily through her scrapbook. LILLIAN Frances, play 'Flow Gently Sweet Afton'. Frances' brows mesh. FRANCES Oh Mama, I'm so... tired of that song. LILLIAN Please. I want you to. It would make me so happy. Frances sighs and begins to play it. Lillian scrunches down and begins to hum along. LILLIAN It's just a flow gently sweet Afton day. Life has been so good to me. Why, I have just about everything one could wish... but I still have so many blank pages in my scrapbook. She smiles warmly at Frances. Frances abruptly stops playing. FRANCES I think I need a little air. LILLIAN What's wrong? FRANCES Nothing. I think I'll just go out for awhile. LILLIAN Where are you going? FRANCES For a walk, Mama. Just a walk. She gets up and Lillian rouses herself. LILLIAN How long will you be? FRANCES Not long. Frances goes down the hall for her coat. Lillian follows part way. LILLIAN (smiling) I'll have lunch ready by one. FRANCES I'll be back. LILLIAN At one. Promise? FRANCES Sure. Frances returns wearing the coat. Lillian half-blocking her path. LILLIAN Say you promise. FRANCES I promise I'll... I promise, Mama. Lillian nods, moves aside. As Frances heads for the door: LILLIAN You know, the surest way to lose an appetite, is to drink, little sister. FRANCES (exiting) Yes, Mama. LILLIAN I don't want you drinking, Frances. FRANCES Yes, Mama. Lillian enters and re-establishes herself on the couch with a happy smile. She begins to hum "Flow Gently Sweet Afton" INT. FLEA-BAG HOTEL LOBBY - DAY DERELICTS sleep on broken couches and armchairs. In a corner by a pay phone Ernest Farmer sits at a rickety desk piled high with briefs. Frances sits across from him. They've been talking. FRANCES ...So what do you think? ERNEST I don't know, honey. Your mother has such big plans for you. FRANCES I know that, Dad, but -- ERNEST What you have to understand, Francie, is that she... well... she wanted so much for herself too, and for me, and she never really got to... The only time I ever saw her happy was if her name was in the papers... but she could have been... if times were different she could have been a politician or... I don't know. FRANCES But Dad, I'm asking about me. What do you think I should do? ERNEST (after a pause) Well, Francie, sometimes after you get your hands on something you want, it just doesn't look the same. Then you have to be real smart to know if you should hold onto it because it's all you've got... or just let it go. This is the way of things, but I guess you already know that. FRANCES Dad... whatever I decide, will it be okay with you? ERNEST Always. Always. Frances rises from her chair, looking around the room to hide her tears. Ernest rises too. ERNEST I'm sorry, I... I don't have a desk in my room, and... (it's not a proper office) FRANCES I don't care, Dad. I love you. ERNEST I love you too, Francie. They look at each other across the desk for an uncomfortable moment, then Frances slowly leaves. He looks sadly after her. EXT. FLEA-BAG HOTEL - DAY Frances exits and starts across the road. Ernest comes to the window to watch her leave. It is raining and the water on the glass distorts his view. OMITTED INT. FARMER HOUSE - FRANCES' ROOM - DAY Lillian is straightening up Frances' room, rearranging things to suit herself. She hears the door slam downstairs. FRANCES (O.S.) I'm back, Mama. LILLIAN (coming into hall) Oh Frances, do I have news for you! Guess who -- FRANCES (excited) Wait, Mama, wait. I have something to tell you. I've decided... well... I'm not going to make movies anymore. I thought that's what I wanted, and I went after it with all my soul, the way you taught me, but I was miserable, Mama, and it nearly killed me. So now... now it's over. I want a different kind of life, something... simple. I want to live someplace quiet and peaceful... in the country maybe, and I'll have dogs and cats -- I feel so light suddenly, so clear for the first time in... It's going to be okay, Mama, I know it. And I love you. She goes to hug her mother, but Lillian has changed. Frances' news has chilled her. LILLIAN (coming down stairs) Don't... talk crazy. FRANCES Mama...? LILLIAN (entering living room) They want you back! Your agent called today! Don't you understand? He's sending the scripts. He wants to fly up here in a week with the publicity people! Frances, you can't do this to your fans! Why, they've been praying for you all through this nightmare. You can't turn your back on them now! Look at this fan mail I've been answering! She points to a stack of letters on the table. FRANCES Haven't you heard what I said? LILLIAN I told him to come up! I told him you wanted to show them all that there's nothing wrong with you any more, that you're completely cured! FRANCES I'm not cured. I was never sick! They had no business putting me in there! My only responsibility is to myself now! LILLIAN You... you selfish, selfish child. At least talk to him, hear what he has to say. FRANCES No! LILLIAN You want to throw it all away, is that it? You had everything, little sister. Beauty... a brilliant career... a wonderful husband. You were a movie star! FRANCES Mama, shut up! LILLIAN And now you're throwing everything away? You're gonna be a nobody! Nobody! You know what that's like?! FRANCES (sudden realization) You... You'd send me back, wouldn't you? You would. Frances grabs her coat. LILLIAN Where are you going? FRANCES I'm going out! LILLIAN You're not going anywhere! FRANCES Yes, I am, and you can't stop me! You can't tell me what to do, mother. I'm a grown woman, and I can decide about my own life. LILLIAN Frances! They're wrestling, Lillian trying to prevent her from leaving. FRANCES Don't you try and stop me. Don't you dare! She grabs Lillian's wrists and twists them, throws her back. FRANCES If you follow me, Mama, I swear I'll fucking kill you! Frances storms out. Lillian sits back in the chair, suddenly looking very old. She massages her wrists... LILLIAN That's it. You've done it now, little sister. INT. LARGE OFFICE - DAY Dark. Blinds drawn. We SEE a single light with a green shade, HEAR the soft coo of Lillian's voice. The CAMERA SHIFTS gradually onto her earnest face. LILLIAN All my life, I've tried to live up to my parents' example. To have the independence of mind and fortitude of spirit that have made this country great. I taught that to Frances: Speak out. Aspire. Make something of yourself, something -- (to be proud of) DR. DOYLE (bored) Yes, yes, Mrs. Farmer -- ALMA STYLES Frances has always been a battleground, Lillian. DR. DOYLE, a psychiatrist, and the others are seated with Judge Hillier around a table. DOYLE The point is: it's your opinion that Frances is getting steadily worse? LILLIAN Well... yes. Doyle fills in a line on the printed form before him. DOYLE And you feel you're unable to control her any longer? LILLIAN No... I mean, yes, Doctor. Alma holds up Lillian's bruised wrists as evidence. DOYLE And the only course open to you is to commit your daughter for a period of time to a mental institution? LILLIAN Well, Alma told me that... Alma looks coolly at Lillian. LILLIAN ...Yes. Hillier nods slightly, approvingly, toward Alma. DOYLE (closing his folder) I believe that's all I need to know about Miss Farmer. HILLIER I think in all future documents she should be referred to as Mrs. R. H. Richardson. LILLIAN Her married name? HILLIER Yes. It's less recognizable. I'm sure you'd prefer to keep unpleasant publicity to a minimum. LILLIAN ...Oh yes. HILLIER Now. Can you tell us where we might find Frances? INT. DOWNTOWN SEATTLE BAR - NIGHT It's late. Frances stands at the bar acting out a joke for a small audience of devoted DRINKERS. FRANCES ...Looking for a drink, and the town is deserted, he can't understand it. Finally he finds a bar, goes in -- the place is empty, bartender's closing up. Salesman says, 'Gimme a martini.' Bartender's real nervous, he says, 'No, no, no, I gotta close. Big Otis is coming to town.' Behind them is a large window covered by a gauzy curtain. In the street a police car cruises slowly past. FRANCES Salesman says, 'I don't care. I gotta have a martini.' So the bartender fixes him a martini real fast, grabs his money, and runs out the back. Salesman sits there sipping his martini,... he's got the bar all to himself... Then he hears it. This big roaring in the street. RRRAAAAAAA!!! (stomping her feet) Gigantic footsteps... coming closer. Stopping. We SEE the police car again... It stops out front. FRANCES Enormous hands reach in, grab the swinging doors and rip them off their hinges. This huge man stomps in. Picks up a chair and hurls it over the bar, smashing the mirror -- whiskey and glass flying everywhere. TWO COPS appear at the window, looking in. FRANCES He turns to the salesman: 'What the hell're you doing in here!' Salesman says, 'I'm just drinking a martini.' 'Oh yeah?' the guy says. 'Well you better get outa here! Big Otis is coming to town!' Everyone laughs. A long moment of enjoyment. Then Frances turns, looks out the window and sees the cops. INT. COURTROOM - DAY Hillier behind the bench. Doyle sits at a table with Alma Styles. A COURT RECORDER taps out his notes in an odd, jerky style. (NOTE: This scene is INTERCUT, where appropriate, with shots of FRANCES in a bare room, wearing a strait jacket.) DOYLE ...From her history, it's apparent the patient suffers from a paranoid reaction with pronounced egotism. Her violent responses have recently included aggression against her mother. In view of the deep-seated nature of her ailments and her failure to respond satisfactorily to insulin shock, it is my opinion she may ultimately require permanent institutional care. HILLIER (to Styles) Counsellor, as Guardian ad litem for Mrs. Richardson, do you waive jury trial? STYLES Yes, your Honor. She signs a paper which is passed to Hillier. HILLIER Having heard the testimony of a legally qualified and reputable physician... and being further satisfied of the truth of all matters set forth in the certificates of said physician, I do hereby order that the said Mrs. R. H. Richardson, an insane person, be confined to the Western State Hospital for the Insane at Steilacoom. He bangs his gavel. HILLIER So ordered! Are the gentlemen from Steilacoom present? EXT. STEILACOOM - DAY Huge, dark-red brick buildings with barred windows, loom out of the fog and trees. A van pulls up to the front entrance. Two MEN get out, open the back doors and assist Frances out. She is strapped into a strait-jacket. She yells and struggles violently but a piercing SCREAM stops her. She looks up at the building. From a top floor window, a thin, white hand protrudes from the bars and waves "hello". INT. STEILACOOM HALLWAY - DAY Frances is dragged kicking and screaming down the shiny linoleum-covered hallway. There are many patients here, talking to imaginary birds, laughing at unheard jokes. A few of them notice Frances, most do not. The two Orderlies arrive at a door and throw it open. A bare 6'◊10' room is revealed with a narrow cot and no windows. Frances is pushed inside and the door locks shut with a resounding click. INT. TREATMENT ROOM - DAY A MEDICAL STUDENT wheels a small electrical machine up to a table. On the table Frances is securely strapped down. TWO DOCTORS grease Frances' temples and put two metal electrodes on them. The electrodes are connected to the machine. DOCTOR #1 What's she getting, anyway? DOCTOR #2 Standard series to start. DOCTOR #1 Fifteen? Doctor #2 nods and jams a rubber bar into Frances' mouth. The Medical Student steps forward. STUDENT Can I push the button on this one? Doctor #1 shoots a silent query to Doctor #2. DOCTOR #2 Sure. The Medical Student pushes the button with great gravity. Frances' body immediately begins to convulse. It seems as if it will never stop. INT. STEILACOOM - A WOMAN'S WARD - DAY Beds three inches apart. Women patients lie on them in varying stages of madness and decay. Some are bound to their beds with coarse cloth strips. One bed is empty, the bonds chewed through. We find Frances sitting on the floor staring at a hissing radiator. Her lips are caked with blood. Her eyes are glazed. She is dreaming. Or remembering... DISSOLVE TO: FRANCES ACTING (HER MEMORY) A scene from one of her movies or plays. Soundless. She looks radiant, vivacious, alive... DISSOLVE TO: INT. STEILACOOM - THE HYDRO-THERAPY ROOM - DAY A NURSE ushers Frances and two ATTENDANTS into a sparse tiled room with dilapidated plumbing and fungus growing between the tiles. In the center are three steel baths with hammocks suspended above them. The Attendants strap Frances into a bath as Dr. Doyle enters. FRANCES (speaking with difficulty) Doctor, it may sound odd, but I believe I've profited from my stay here. It's just what I've needed, to get away like this. But I'm recuperated now. I've had lots of time to think and I've made a few decisions about my life. I'm ready to get on with it. DOYLE I know you believe that. FRANCES ...Don't you? DOYLE I'm afraid not. You see, we observe things that you're unaware of: signs, indicators. Your problem cuts very deep, Frances, and we have to get at that deeper stuff so that when you do get out, you'll really feel secure. Does that make sense? The Attendants lower her into the empty tub. FRANCES No. Cut this runaround, Doctor. I know better. DOYLE (smiling) Listen to yourself, Frances. The resistance, the anger in your voice. FRANCES (tightly) You... I'm sorry, forgive me. Doctor, tell me honestly, what do I have to do to get out of here? DOYLE Be patient, that's all. Take an interest in your treatment and don't dwell on your resentments. You'll be yourself again, I assure you. FRANCES ...I see. DOYLE We'll talk more about this. I'll see you later. FRANCES One question. If I'm not myself now, just who do you think I am? The Doctor smiles sympathetically. DOYLE We'll talk. As he turns to leave, Frances laughs triumphantly. The two Attendants lower her into the bath and begin to fill it with ice-cold water. FRANCES What the hell! They shove a rubber bit between her teeth. She immediately spits it out and defiantly starts to sing in order to keep her teeth from chattering. INT. STEILACOOM - DINING HALL - DAY Everyone eating gruel. A parade of lunatics. The edge of incipient violence is palpable. Frances eats listlessly. Others are playing with their food, devouring it ravenously, fondling each other. Suddenly a call starts up at the far end of the hall. Other voices join in. At first we don't understand it, but gradually the words become clear: CHANT Come and get it! Come and get it! Come and get it! The whole hall joins in. The Nurses make no effort to stop it. Others at Frances' table smile at her, try to push her to her feet. When they succeed, the hall breaks into applause and a new chaotic chant: CHANT We want Frances! We want Frances! The chant is quickly silenced by hushing sounds. Everyone is watching Frances. She climbs up on her bench. Her eyes are glazed, her face expressionless. This feels like some kind of automatic behavior. She takes an exaggerated posture and speaks in almost a whisper: FRANCES Come and get it... The hall breaks into riotous applause, catcalls, stomping. Frances climbs down from her bench. That was the entire performance. EXT. STEILACOOM - NIGHT Two dark FIGURES move stealthily along the shadow of the main building. A little ways ahead, a door opens, sending a shaft of light across the ground. The two Men duck back into the shadows. Five young SOLDIERS EXIT, paying off and waving goodbye to one of the Orderlies. The door closes. They head off down the road laughing and joking together. The two Men emerge from the shadows and approach the door. They try the handle. It opens. The first one in is Harry, followed by the other Man carrying a rolled-up bundle. INT. STEILACOOM - NIGHT We SEE Harry and the other Man, now wearing a white Doctor's coat, walking quickly down a dim hallway. They come to a large door with a barred window. The Man fiddles with a keyring and unlocks the door. They enter. We HEAR the door lock behind them. INT. WARD - NIGHT Just inside the door the Doctor flicks on a flashlight and they walk down the center of the room. The beam of light sweeps over women PATIENTS in their cots, crammed side-by- side. Some are asleep, others stare blankly at the ceiling. A few smile invitingly at the two Men, whispering obscenities. The light falls on a bedraggled woman hunched over in a corner between the wall and a cot. It is Frances. Harry goes to her, putting his arms around her. She is very heavily sedated. Tears spring to Harry's eyes. HARRY (whispering) Frances! Frances! FRANCES Who? HARRY Frances, it's me, Harry? FRANCES ...Touch me again and I'll kill you, you pig. DOCTOR Watch out, Harry. Let me look her over. Harry is on the verge of tears. HARRY Oh, God! Let's get her out of here tonight, right now! Let's take her with us! DOCTOR The hearing's tomorrow. If she gets out legally, they can't come after her. HARRY Look at her! She'll never pass that sanity test tomorrow... DOCTOR I'm taking care of that, Harry. Just hold her. (pulling a hypodermic from his pocket) Reserpine. I guarantee you this'll clear her head. She'll wake up feeling smart and sailright through the hearing. Harry holds her around the shoulders and straightens out her arm. Frances starts to struggle and moan loudly. DOCTOR Yeah... she knows about these. Shut her up. Harry glares at the Doctor, but puts a hand over her mouth and the Doctor injects her. Her arm is covered with sores. HARRY (tenderly) You'll be okay, honey. He's just givin' you something to make you think, so that tomorrow you can tell 'em what they want to hear, okay? Tell 'em you were crazy as a loon and they cured you and you're grateful. The Doctor withdraws the hypo and massages her arm. DOCTOR This stuff takes pretty quick. Let's go. FRANCES (grabbing Harry) Please! Take me! Other women in the ward cry out: "Take me! Take me!!" DOCTOR (pulling Harry) Let's get out of here! I'll lose my job! HARRY Frances, we gotta do it this way. Just remember tomorrow, remember what I told you. What're you gonna tell 'em? FRANCES (groggily) I'm grateful... grateful. WOMEN IN WARD I'm grateful! I'm grateful! DOCTOR (very worried) Harry! HARRY I gotta go now. FRANCES Harry, please! INT. HALLWAY - NIGHT The two Men come out and the Doctor quickly locks the door. DOCTOR We're all square now, Harry. Right? HARRY All square, Doc. DOCTOR Good. 'Cause I don't want to see you again. Frances' face appears at the tiny barred window. We can just hear her: FRANCES I love you, Harry. I love you. HARRY I love you too, Frances. Behind Frances we HEAR the Women screaming: "I love you, Harry!" The Doctor takes Harry's arm and pulls him down the corridor. INT. WARD - NIGHT Frances turns to face the women in their cots. Collects herself. Looks repentant. She is practicing tomorrow's speech. FRANCES I realize now that I was a very sick woman. WOMEN IN WARD Sick! She's sick! FRANCES I couldn't relate to others in a normal way. ONE PATIENT (playful warning) She's... not... normal...! The others laugh. We realize that if Frances can handle this, she can sail through it tomorrow. The catcalls gradually diminish as she concludes her speech. FRANCES And I was not taking responsibility for my actions. But now, thanks to your treatment, I feel ready to face myself, ready to resume the career which I so single-handedly shattered. I only hope... I hope I can make you all proud of me. Thank you. Thank you so much. The room is silent now. A very odd moment. To their astonishment, the other patients seem to believe her... EXT. FARMER HOUSE - SUNNY DAY The vegetable garden is overgrown, the paint peeling. The house is in disrepair, but we can tell from the freshly-mowed lawn that some effort has recently been made... A car pulls up. Frances kisses Ernest on the cheek and gets out. As he drives off, she walks into the yard and looks around, heaves a sigh; she's home. Then Christmas lights spring on over the porch. Lillian comes out grinning broadly, followed by REPORTERS. Frances blanches. INT. FARMER HOUSE - DAY Frances sits on the couch next to Lillian. They're sipping tea and answering questions. Frances is uncomfortable. LILLIAN Of course, she hasn't anything definite in mind. FRANCES No. No, it all depends on what offers I get. REPORTER Who did your hair, Frances? She touches it shyly. It's swept up in a continental style. FRANCES Well, I like to try different styles. Sometimes if you're old-fashioned enough, you find you're modern. Right, Mama? Lillian laughs. REPORTER What do you think of all this, Mrs. Farmer? LILLIAN It's a miracle. Just a miracle. EXT. FARMER HOUSE - NIGHT The porch light goes out. Shadows pass over the curtained windows. Across the street a match flares. Harry is leaning against a tree. He lights a cigarette and settles back to wait. INT. FARMER HOUSE - LIVING ROOM - NIGHT Lillian walks from room to room turning off lights. Frances is neatly stacking the dessert dishes on a tray. Very domestic, out of character. She carries the tray into the kitchen. LILLIAN Oh, just leave those things for now. FRANCES No, Mama, I'll take care of it. I'll wash them in the morning. Lillian smiles warmly at her. LILLIAN You know, little sister, I never resented you for refusing to see me in the... the hospital. I knew you had to manage on your own before you could come back. FRANCES Thank you for understanding, Mama. Lillian links her arm with Frances' and they go upstairs together. LILLIAN Little sister, I don't want you to feel any rush to get back to work. I want you to rest... for a while anyway. FRANCES I will, I promise. They hug each other. LILLIAN Good night, dear. Lillian waits until Frances has shut her door before closing hers. EXT. FARMER HOUSE - NIGHT The front door opens and Frances, suitcase in hand, slips out onto the porch. She eases the door shut behind her, tiptoes down the steps and, without looking back, starts down the road. EXT. STREET - NIGHT Frances rounds the corner, then sees him: Harry, standing by his car, smiling. HARRY Where to? FRANCES Oh Harry... She approaches him tentatively. HARRY This is it, kid. This is our chance. When you got a chance, you better take it. FRANCES Yeah. I don't know. HARRY You don't need to screw around anymore. You don't need Dwayne Steele or Odets or your mother. You need me. FRANCES I know, but... There were so many people in there, Harry. Every time I turned around someone was pressing against me... watching, looking over my shoulder, touching me, grabbing, sticking things into me. When I feel somebody near me now... anybody... my skin starts to crawl. Long beat. She turns and stares at him sadly. FRANCES You can't change the things they did to me, Harry. Only I can do that... by myself. He nods slowly. HARRY Been a lot of years, you know. A long time waiting. For what? End up feeling like a sap. FRANCES Oh please, Harry... don't even think it. You're the only person who ever... It's just... Can't you wait for me? HARRY I don't know. FRANCES (getting frantic) Yes you do. If you love me you can wait, right? A month, six months, whatever it takes. HARRY Right. Except... time has a way of -- FRANCES No, Harry, it's not time, it's us. You and me. And I'm telling you now that I'll come to you, okay? I'll find you. I will. HARRY (smiles wistfully) I hope so, Frances. They hug. Together for an instant. Then she shivers as if the contact were too much. FRANCES (disentangling) I'm sorry. He nods, looks at her. HARRY I'll be seeing you, kid. He turns and walks slowly to his car. EXT. HIGHWAY - DAWN Barren desert. The middle of nowhere. A lone male HITCHHIKER, poor, stands at a crossroads. A car coming the wrong direction raises dust along the highway. It slows, stops, and lets Frances out. She is now dressed in jeans and a workshirt. She has a heavy tan. She glances across at the Hitchhiker and nods casually. He responds in kind. A relaxed silence follows. Two strangers passing. His voice, when he speaks, is gentle, calm: HITCHHIKER Pretty morning. FRANCES (nods) It's always beautiful at this time. Peaceful... HITCHHIKER And no people. FRANCES Yes. Beat. HITCHHIKER Where you goin'? FRANCES Wherever they're going, I'm going. HITCHHIKER Yeah, I know what that's like... Where you been? FRANCES Well, I was picking fruit with some migrant workers until... She stops. She sees now that the car heading toward her is a cop car. She averts her face... then tries to hide her gesture. HITCHHIKER What's the matter? Frances sighs as the cop car speeds away. HITCHHIKER They're looking for you, huh? She's uncertain whether to trust him. Takes the plunge: FRANCES Yeah. HITCHHIKER What'd you do? FRANCES You know, I've never been able to figure that out. He laughs. She shivers slightly, pulls her clothes around her. He takes out a small flask and offers, no strings: HITCHHIKER I've got a little whiskey here, warm you up. She smiles, truly grateful: FRANCES Thank you. Then she sees a ball of dust nearing... a car on his side. FRANCES Wait. Maybe they'll pick you up. The car stops. Its lights flashing. COPS jump out. FRANCES Shit! HITCHHIKER Run! She does. She's pursued. The Hitchhiker makes an effort to impede the Cops' progress, but is tossed aside. The Cops are slowly, inevitably, gaining on her. EXT. SMALL TOWN JAIL - DAY Frances and Ernest walk out the door followed by a portly SHERIFF. He watches them get in Ernest's car and drive off. His expression says very clearly: I'm glad that's over with. INT. CAR - DAY Ernest's at the wheel, Frances at his side. Silence, then: FRANCES Dad...? Why don't you stop at a side road and let me out? Ernest writhes slightly with discomfort. ERNEST Francie, you know I can't do that. FRANCES Why? It's such a simple thing. You just let me out and I disappear down a road and you never have to see me again. ERNEST They'll just catch you again, Francie. Besides, your mother will know. We SEE them approaching a side road. FRANCES Dad, here! You don't have to stop, just slow down. You can tell Mama I jumped out. She knows that's the kind of thing I'd do. She won't blame you. ERNEST But I gave her my word. Besides, she's still your legal guardian. My hands are tied. They are nearer the side road. FRANCES You know where you're taking me. You know what she'll do. Just give me a minute, slow down, give me an instant for once in your life, please? ERNEST Please, Francie... FRANCES (pleading) Daddy! They pass the side road. It disappears behind them. All the life seems to drain from Frances. ERNEST I'll try to protect you, Francie. I will, I'll talk to her. We'll have a real talk. Frances buries her face in her hands. ERNEST Are you... are you hungry? FRANCES I pity us, Dad. I pity us both. INT. FARMER HOUSE - LIVING ROOM - DAY Lillian is sitting on the couch, waiting. We HEAR A CAR PULL UP outside and stop. Doors slam. Steps come up the walk and onto the porch. The door opens and Frances and Ernest enter. Lillian rises to face her daughter. FRANCES (coldly) Do I go right away or do I have time to take a bath? LILLIAN I was hoping for a kind word, little sister. FRANCES You were hoping for a kind word?! You're my mother! You're supposed to nourish me! Support me! LILLIAN I have! Through the window we SEE a white van pull up outside. FRANCES No! All you've done is try to break my spirit, try to turn me into you! But I'm not you, mother, and I never will be, and thank god for it! (to Ernest) That goes for you too! And frankly, I don't know how, with the two of you, I turned out as sane as I am -- (to the MEN IN WHITE COATS who are at the door) Wait right there, gentlemen, I'll be with you in a minute... and believe me, I don't want to stay here one second longer than I have to! (turning back) But I've got to tell you, Lillian, that one day before you die, you will realize what you've done and hang your head in shame. In shame! LILLIAN But what -- (have I done?) FRANCES No! You're not talking now. You listen. You can send me away, Lillian, you can pretend I'm crazy and pretend I'm still your little girl who can't take care of herself, but one thing you can't pretend anymore. You can't pretend I love you because I don't. I can't. Not after what you've done to me. Because you see... I'm still me... I'm trying real hard all this time to be me... and you, 'little sister', you haven't been any help at all. (walking out the door) Okay, boys, I'm ready. The way she goes out that door we know she's never coming back. INT. STEILACOOM - VIOLENT WARD - NIGHT The ward is a huge room packed with nearly naked women, their hair cropped very short. The walls are corrugated tin nailed to bare wood framing. The place looks like an enormous tool shed. The SOUND OF GARBLED VOICES and SCREAMING never stops. These are the forgotten ones... beyond hope. Everyone here has lost any notion of what they might have once been. Their faces are slack, only their eyes glow with an animal ferocity. Some wander aimlessly about, unheeding of others who are pushing, kicking and screaming at them. Many squat in the dirt by the walls, mired in their own urine and excrement, chanting wordlessly to themselves. Some appear lifeless, their prone bodies shoved out of the way. Some women are involved in violent sex with themselves or each other, some in mindless fist-fights. In a far corner we SEE a group of men in various military and medical uniforms, their backs to us, facing the wall, grouped around something. We HEAR their cheering and laughing and joking, slapping each other on the back. We SLOWLY MOVE CLOSER and can see over their shoulders the object of their hilarity. It's Frances, lying naked and spread- eagled on the floor. Four hospital ATTENDANTS pin her arms and legs. A SOLDIER, his pants down around his ankles, is squirming violently on top of her. Frances' eyes are open but glazed, her face turned away from her attacker. She is passive and unresisting. She is reciting to herself, over and over. FRANCES We shall hear the angels, we shall see the whole sky all diamonds... Two of the SOLDIERS, waiting their turn, are smoking cigarettes and chatting idly. SOLDIER #1 ...Best deal I ever made. Twenty bucks to fuck a fuckin' movie star. SOLDIER #2 Yeah, it's worth it I guess. SOLDIER #1 What's she saying, anyway? SOLDIER #2 Who knows. She's crazy, ain't she? Frances keeps reciting as one rapist gets off. The Soldiers cheer as another quickly takes his place. EXT. STEILACOOM - DAY A heavy snow is falling. From the corrugated-tin Violent Ward, a thin white hand protrudes from a narrow window to catch a snowflake. As it opens and closes, capturing individual flakes, a VOICE BEGINS TO SING "You Are My Sunshine...". We recognize Frances' voice, still surprisingly strong and steady. DISSOLVE TO: INT. STEILACOOM - TREATMENT ROOM - DAY TWO NURSES discuss Frances' condition as we SEE, background, that she is getting electroshock treatments from a pair of doctors. OLDER NURSE I don't know why they even bother. She's had enough of this to knock sense into a bull elephant. YOUNG NURSE Yeah? OLDER NURSE (nods) I checked the files. This one holds the record for shock treatments. Four hundred seventeen and no end in sight. YOUNG NURSE (wincing) You're kidding. OLDER NURSE (indicating the doctors) Yeah, well, you know doctors. They sure hate to use that word. YOUNG NURSE What? OLDER NURSE 'Incurable.' OMITTED INT. STEILACOOM - HOLDING WARD - DAY Frances, barely conscious, lies strapped to a bed. Doyle and an ORDERLY approach her. Doyle nods toward her as if to say: that one. He and the Orderly unstrap her. FRANCES (to Doyle) Harry? Oh Harry, I knew you'd come. I love you, Harry. I love... Take me home, Harry. DOYLE We'll get you home, Frances. FRANCES Thank you, Harry. She's untied. The Orderly helps her up onto a gurney. She lies down. Doyle nods to the Orderly, who starts pushing her. She is wheeled out and down: THE HALL Past other patients, doctors, etc. We see some of this from her point of view. She goes through two swinging doors, down another hall... at the end of which a man opens a door. She is pushed onto a: STAGE She is wheeled into a row... between two other patients. In the background we HEAR a voice: DR. HARLINGTON (O.S.) One merely inserts the leucotome beneath the eyelid and presses up into the prefrontal lobe, manipulating it so as to sever the nervous connections between the thalamofrontal radiation and the body of the brain. The lights are bright, on her and the other patients. We cannot see, but we sense, an audience watching. DR. HARLINGTON (O.S.) Because of the speed and simplicity of the operation, I am able, as you are seeing, to perform the procedure on ten patients in less than a half hour. Frances stares up at a fan in the ceiling. It's moving round and round. The voice drones on. DR. HARLINGTON (O.S.) The operation is completely painless and can be performed without any sedative whatsoever. We now see vaguely that DR. HARLINGTON has moved to the patient on the adjacent gurney. DR. HARLINGTON We have always known that this form of radical treatment was effective, but until now it couldn't be applied on a large scale. The old procedure required a full day's work by a surgical team to perform a single operation. In the same time, working alone, I can treat fifty. Frances turns and stares mutely, without emotion, at what's happening next to her: the leucotome (an ice-pick-like instrument) is inserted into a woman's eye socket... DR. HARLINGTON This procedure works best on patients with extreme over-reactions to emotional stimuli. It can also be used as a last resort on those who seem impervious to other forms of treatment. The leucotome is then shoved up into the brain and twisted. DR. HARLINGTON In plain language, my technique severs the nerves which give emotional energy to ideas. Along with the cure comes a loss of affect... a kind of emotional flattening... Frances turns away and stares at the fan again. There is something simple and pleasing about its rhythmic whirring... DR. HARLINGTON ...with diminished creativity and imagination. Patients become like good solid cake with no icing. But, after all, it is their emotions and imaginations that are disturbed. We glimpse the leucotome being withdrawn. DR. HARLINGTON These patients will soon be leaving the hospital. Harlington's face moves vaguely into Frances' view. DR. HARLINGTON Lobotomy gets 'em home. He moves directly over Frances, his pleasant face obscuring the fan. As the leucotome descends, we: CUT TO: EXT. FARMER HOUSE - DAY Total disrepair: peeling paint, broken steps, fallen shingles... This house is easing slowly back to nature... INT. FARMER HOUSE - LIVING ROOM - DAY Neglect is just as evident inside. Dust, faded rugs, torn yellow curtains. Lillian sits on the couch staring out a window. She has aged and looks tiny, frail, with no trace of her old formidability. The scrapbook is open on her lap. LILLIAN What was I saying? Oh yes, it was the Communists that did it to Frances. Ernest is hunched in a chair by the stone fireplace. FOUR REPORTERS crouch on the floor, totally bored. Yesterday's headlines are now old news. LILLIAN They capture the mind by first seducing the heart. I suppose I never taught Frances to close her heart... Two Reporters rise and edge toward the door. REPORTER Uh... excuse us, Mrs. Farmer. We're going to have to... uh... THIRD REPORTER (rising) Yeah, I better pack it in too. LILLIAN (distractedly) Pardon? Oh, would you like more lemonade? The last Reporter gets to his feet. FOURTH REPORTER (kindly) I think we've had enough. Thank you, Mrs. Farmer. Goodbye. He follows the others out. Lillian climbs wearily to her feet and goes to the window, looks out. Ernest stares into the fire. LILLIAN You know, Ernie, I think we should have Frances' room repainted for when she comes home. That'll brighten her day. Ernest looks at her wearily, as if she is stark raving mad. He knows damn well Frances isn't coming home... FADE IN ON: A TELEVISION SCREEN against a dark background The show is "This Is Your Life". We SEE a smiling RALPH EDWARDS, reading from a large black book. Next to him stands Frances. She has aged dramatically, but is still a very handsome woman. She seems uncomfortable. EDWARDS ...Dwayne Steele divorced you, and from this point on, your story takes a darker turn. Shunned by the Hollywood you criticized so harshly, alienated from your family and friends, you turn your back on professional commitments in New York, and alcohol and drugs enter your life. These are sad, desperate times for you. Throughout this, Frances' jaw works slowly back and forth, not from anger, but in embarrassment and doubt. EDWARDS ...until finally your mother finds it necessary to commit you to a state mental institution. Were you mentally ill, Frances? FRANCES ...No, Ralph. I don't believe I ever was sick. But when you're treated like a patient long enough, you're apt to act like one... We MOVE AWAY from the screen to see that the TV set is in the living room of a comfortable, tastefully furnished home. On the couch in front of the set sits Harry York. He still looks athletic, young for his age. Tears stream down his cheeks. EDWARDS (O.S.) Were you an alcoholic? FRANCES (O.S.) No. EDWARDS (O.S.) Were you a drug addict? FRANCES (O.S.) No. Never. ON THE SCREEN Edwards has moved Frances over to a seating area where various people from Frances' life are waiting, smiling at her. We've never seen any of them before. EDWARDS ...and over 200 producers have been invited to watch your appearance here tonight... so who knows, Frances Farmer, anything's possible on your comeback trail! (indicating seating area) And since your friends tell me they have to drive you everywhere, look what we've got for you! The curtains behind them open to reveal a car in a spotlight. EDWARDS A brand new 1958 Edsel! The audience applauds. Frances smiles guardedly. FRANCES Thank you, Ralph. EDWARDS Thank you, Frances. And after the show we're hosting a reception for you and your friends at Hollywood's own Roosevelt Hotel! Applause. EDWARDS So, Frances Farmer, this is your life. Good night. God bless you. The audience applauds. Frances smiles wearily and accepts congratulations. EXT. ROOSEVELT HOTEL - HOLLYWOOD - DAY A group of PEOPLE are coming down the front steps, Frances among them. They all talk happily, Frances is silent but smiling. WOMAN Where shall we drop you, Frances? Home? FRANCES (vaguely) No... no, someone's picking me up. The people all excuse themselves, calling goodbye. Frances waits by herself for a few moments, but soon begins to walk away down the sidewalk. HARRY (O.S.) Hey. She turns. Harry is leaning against the side of a building, looking much as he did when they first met. But there is very little light of recognition in Frances' eyes. HARRY C'mere. I want to talk to you. FRANCES (flatly) Oh. Why, Harry York. How nice to see you. Harry is a little puzzled by her reaction. HARRY How... how ya doin', Farmer? FRANCES Fine, thank you. Did you watch the show? HARRY Sure I did, that's why I'm here. FRANCES (concerned) How did I look? HARRY Oh, you... (smiling) ...ennh. FRANCES (a glimmer, but she does not pick up on the cue) Well... you're looking well. They are both silent a long moment. FRANCES I got a new car. Only it's red. Did you know Mama died? HARRY Yeah. Yeah, I heard about that. FRANCES Dad, too. I sold the house. I'm a faceless sinner, Harry... HARRY Why do you say that? FRANCES I'd ask you to take me home, but I'm a faceless sinner. (she smiles) ...You smell good, Harry. Familiar, you know? I'd ask you to take me home, but... Harry is alarmed now. HARRY (taking her by the arm) Frances! She angrily bares her teeth; then just as suddenly she relaxes and becomes lucid. FRANCES Don't get mad at me, Harry. Please. It's just... Some things happen for the best. Beat. She takes his hand as if to shake it. Harry clasps hers tenderly. She holds on like an old woman, stroking his hand. For an instant she gets lost in time, just holding his hand. Then she looks up. FRANCES It's going to be slow from now on. Do you know what I mean, Harry? HARRY I'm not sure. FRANCES Very slow. (uncertainly) But we're not going to stop, are we? HARRY No. FRANCES (reassured) No, we're not. It is as if she is able to express in words the last remnant of her indomitable will... but the words bear no emotional power. FRANCES Goodbye, Harry. It was very good to see you again. HARRY Yes. Would you like me to walk a little way with you? FRANCES That would be okay. HARRY Just a little way. He offers his arm. She takes it. All rather formal. They stroll on together. FADE TO BLACK: THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Frankenstein.txt b/unformated_scripts/Script_Frankenstein.txt new file mode 100644 index 0000000000000000000000000000000000000000..30a6bd498d3a92b8ed6691f7e8bba5baf130231d --- /dev/null +++ b/unformated_scripts/Script_Frankenstein.txt @@ -0,0 +1 @@ + FRANKENSTEIN Written by Steph Lady & Frank Darabont From the novel by Mary W. Shelley 2ND REVISED DRAFT February 8, 1993 TITLES UNFOLD IN BLACKNESS as we are lulled by the distant flute-like sounds of a recorder. Overall the effect is mournful and haunting, elegant and serene... ...and we CRASH TO: EXT - BARENTS SEA - NIGHT ...a storm of inconceivable force and violence. Merciless arctic winds whip the sea in a frenzy of thirty-foot swells. This is the last place in God's creation that any human being should be. And yet... ...the prow of a three-masted ship rises massively before us, looming from the darkness and chaos. it crashes upward through a swell and slams back down again, plunging nose- first into the trough. The sails on the forward mast are still deployed. It's insane; in this weather they should be stowed (as is already the case with masts 2 and 3). Hurtling toward us. Rising and falling. Thundering through the swells. And as she sweeps past CAMERA within a seeming hairbreadth, we PAN with the ship and find ourselves... EXT - SHIP - NIGHT ...aboard the "Alexander Nevsky," along for the ride whether we like it or not. There are men all around us, dark screaming FIGURES glimpsed and half-glimpsed, heavy oilskin clothes flapping in the gale. A GROUP OF MEN are in a life-or-death tug of war WALTON PULL, YOU BASTARDS! PULL! Riiiiippp! All eyes turn skyward as the uppermost sail tears loose, the heavy canvas shredding away in huge billowing tatters. The jib-arm wrenches free and plummets toward us, trailing rope and fabric. The men dive aside as the jib smashes into the deck like an exploding bomb. Splintered shards of wood cartwheel through the air like shrapnel. Walton catches a glancing blow to the head and slams face- down on the pitching deck. GRIGORI, the first mate, scrambles to Walton's aid. Walton shoves him off, pushes painfully to his knees. LIGHTNING throws his face into a stark relief map of pain and fury: blood is streaming from his hairline, freezing in his eyes, staining his teeth. He gazes up at the mainsail, still intact and straining against the wind. We hear a huge CRACK! The base of the mast is starting to give. WALTON Cut the damn rigging free before we lose the mast! Long-handled axes are grabbed from their mounts. Frantic men begin hacking at the ropes. Walton snatches an axe from a passing crewman and elbows his way to the front. He attacks a guy-rope with primal fury, CAMERA rising and falling with the motion of his axe. Suddenly, a chilling cry from high above: LOOKOUT (O.S.) IIIICEBEEEEERG! THE CROW'S NEST (MAST #2) The LOOKOUT is lashed to the mast by means of a safety rope knotted at the chest. He points ahead. WALTON and the others spin to look as A PANORAMIC SHOT OF THE BARENTS SEA reveals a magnificent vista of storming fury. The ship is heading into an enormous field of icebergs dotting the ocean like boulders in a quarry, The Nevsky is plying these waters like a man running pell-mell through a mine field. An iceberg passes massively and unexpectedly in the foreground, rumbling within yards of the camera, wiping us into darkness... EXT - NEVSKY - NIGHT ...and we wipe from darkness as a flapping piece of canvas billows away to reveal 'Walton and the crew, gazing in breathless horror as an iceberg looms from the gale before them like a ghostly white mountain. Walton finds his voice: WALTON HARD TO PORT! THE PILOT fights to turn the wheel. Men rush to his aid, throw their backs into it, straining to the limit. The wheel is grudging, fighting them every inch of the way. PUSH IN on Walton and the crew: GRIGORI It's going to ram us. WALTON It wouldn't dare. THE CROW'S NEST (MAST #2) The lookout fumbles under his coat, grabs the rosary around his neck, clutches the crucifix tightly in both hands. Face white with terror. Breath coming in ragged gasps. SHIP'S POV Crashing through the swells. Rising and falling. Tilting the world and the audience on its ear. iceberg looming. For a brief moment we seem to be veering past. But then we swing back in a final, churning, vertiginous plunge... ...and smack the ice. VARIOUS QUICK-CUT ANGLES God just hit the ship with an anvil. Mast #1 snaps at the base with a thunderous CRACK and begins to topple in a symphony of shattering wood and tangled rigging... The lookout on mast #2 is vaulted through the railing of the crow's nest, screaming through the air, arms and legs windmilling as he plummets head-first toward the deck below... And is jerked to an abrupt stop by the safety line around his chest, We hear another horrible CRACK... the sound of his back breaking... Men are sliding, tumbling, screaming. Mast #1 completes its fall, slamming massively to the deck, shattering a section of the gunwale to splinters. Utter panic. Total chaos... Sheer mortal terror. And as the sequence builds to a final brain-splitting crescendo of sound and fury, we SMASH CUT TO: ARCTIC - TWILIGHT Total, stunning silence. A glittering wasteland of ice. Breathlessly cold. Even the sun seems frozen, barely hanging on the horizon. Pellets of snow scour the permafrost like broken glass, driven by a desolate arctic wind. It's as if Hell had erupted through the floor of the Earth in the form of ice. Nothing could survive here. Nothing. SLOW PAN reveals a distant ship frozen in the ice, tilted at a permanent list. Silent. We see no signs of life. SUPE TITLE: "The Arctic, 1839." VARIOUS LINGERING ANGLES provide ominous detail-shots of the Nevsky A flap of frozen canvas creaks in the wind... The pilot's wheel is now a crystalline sculpture of ice. The forward mast lies across the deck like a broken limb, extending out over the ice on a tangle of rigging... The ship's prow is smashed open above the water line... A familiar rosary lies broken on the deck. Beads scattered. |A tiny Christ figure lies with arms thrown wide, painted eyes staring up at the sky through a thin sheet of ice... HIGH, HIGH ANGLE From the top of mast #2. A breathtaking perspective of the entire ship below, guaranteed to induce vertigo. The corpse of the lookout is suspended below us at the end of the frozen rope, His posture mimics the Christ figure: His arms thrown wide, dead eyes staring up at the sky through a thin sheet of ice. A ghastly still-life, the corpse twisting ever-so- slightly on the wind, rope creaking... A SAILOR thrusts into frame swaying precariously in the rigging, WIDEN to reveal TWO MORE MEN as they reach out with long gaffing poles to snag the corpse. EXT - NEVSKY - LOW ANGLE FROM ICE - TWILIGHT Walton watches them reel the body in. ANGLE SHIFTS as he turns, revealing the rest of the crew working desperately to free the ship. Axes and picks rise and fall in waves, slamming into the ice, throwing up frozen chips. The men are near collapse, exhaustion carved in their faces. The dogs are nearby, huskies and malamutes huddled in the snow. Walton rejoins the men, rams his axe fiercely into the ice. WALTON Put your backs into it! SAILOR #1 What's the use? This godless ice stretches for miles! Would you have us chow our way back to England? WALTON No. But we'll chop our way to the North Pole if we have to. Inch by bloody inch. GRIGORI You can't mean to go on! Our journey is ended! The best we can hope for now is to get out of this alive! SAILOR #2 Aye, if the ice ever lets us! WALTON The ice will break. And when it does, we proceed north... as planned. Cries of dismay from the men. Grigori thrusts his arm toward the sky, pointing at the corpse on the mast. GRIGORI At the cost of how many more lives? He's interrupted by a long, chilling HOWL. The lead husky rises to its feet, hackles up, HOWLING at some unseen thing in the distance. The other dogs start rising around him, joining in, staring off across the ice. GRIGORI There's something out there. The dogs are going berserk. The lead husky breaks free and launches himself across the ice. The men scramble to restrain the animals, but three more break away and take off after their leader. Walton snatches up his rifle. WALTON You five come with me! The rest stay with the ship! EXT - ARCTIC PANORAMA - TWILIGHT The Nevsky in the distance. The dogs come howling across the ice toward us. The men trail substantially behind. BOOM DOWN to the icy boulders f.g. A massive hand comes briefly to rest in one of the crags, ghastly gray skin rippling with harsh ligaments and sinewy veins, brutal surgical scars marring the wrist. A HUGE DARK FIGURE wipes frame, fleeing into the rocks. The dogs come bounding past in pursuit, snarling and slavering. THE RUNNING MEN hear an INHUMAN HOWL rise amidst those of the dogs. A vicious free-for-all echoes from the rocks. Barking gives way to shrill squeals. An object is launched from the crags, catapulted through the air in a high arc. Some men slip and fall as the object slams to the ground with tremendous impact before them... ...and they find themselves staring in horror At the sight of the lead dog. Silence now. Those who have fallen, rise. Walton cocks his rifle. The group proceeds, picks and axes held ready, slowly skirting the rocks... ...and the massacre is revealed. Blood-stained ice. Dead, mangled animals strewn about. One twitching survivor crawls toward them on broken limbs, whining piteously, dragging its entrails in a red smear. GRIGORI Look. They follow his gaze. Bloody tracks lead away from the bodies, ascending the rocks. Most are smeared and vague... but one is clearly a bare human footprint. Several men cross themselves. Walton shoulders the rifle, aims down at the surviving dog. BLAM! A single bullet to the brain ends its misery, punching a halo of blood onto the ice. The shot echoes for miles. WALTON Back to the ship. EXT - NEVSKY - ESTABLISHING - NIGHT Silhouetted against the aurora borealis. The horizon swirls mysteriously with color and light. Distant slivers of lightning kiss the earth. Men keep watch in furtive groups, huddled against the cold, breath punching the air with billows of vapor. A massive CRACKLING is heard. A YOUNG SAILOR spins, jumpy. OLD SAILOR Only the ice to starboard, boy. YOUNG SAILOR Is it breaking up? OLD SAILOR Just dancing on the current. It'll freeze even tighter come next wind. CAMERA DRIFTS past to another group: SAILOR #4 It was a polar bear. That's what I say. SAILOR #5 Say all you want, but you weren't there. It left human tracks. SAILOR #6 No man could tear those dogs apart. SAILOR #5 No human. We've roused a demon from the ice. CLANG-CLANG! The men spin. A SAILOR on starboard has rung the signal bell. The men race over, crowding the gunwale. SAILOR Something. In the mist. Walton appears from his cabin and crowds his way to the front, rifle aimed at the sky. The men wait. Holding their breath. Scanning the darkness. AN APPARITION looms eerily from the mist on a creaking floe of ice, silhouetted by the shifting light of the borealis. The figure's pose is uncanny and weird: neither standing nor kneeling, but something in between, arm dangling at its side and lolling slowly with the motion of the current. YOUNG SAILOR It's the demon! Shoot while you've a chance! The Pilot lights the kerosene wick of a reflector box spotlight and swings it around. The beam seeks out the specter and pins it in a dim circle of light... revealing a man collapsed on a dog sled, lashed to tiller upright stanchions with frozen leather straps, Dead dogs lie in icy heaps around him. EXT - NEVSKY - NIGHT The men venture onto the shifting ice with lanterns raised. Grappling lines are unslung and thrown, the ice floe snagged. Gaffs reach out, drawing it closer. Men clasp arms, forming a human chain. Grigori is the first to reach the motionless figure on the dog sled. WALTON Dead? Grigori cautiously eases his hand into the darkness of the furred hood to search the neck for a pulse... ...and the figure scares the shit out of him. With a convulsive shudder and a gasping intake of breath, the hood rises up, revealing a haggard face tortured white with frost, beard frozen solid, eyes blazingly intelligent and aware. Walton finds himself in an extended beat of eye contact with VICTOR FRANKENSTEIN. EXT - NEVSKY - ON DECK - NIGHT A HOWLING WIND has kicked up, pelting the huddled sentries with sleet. CAMERA TRACKS past, moving steadily toward the dimly-glowing window of Walton's cabin... INT - WALTON'S CABIN - NIGHT ...where we find Walton and Grigori in tense discussion: GRIGORI Captain, I implore you. The men are frightened and angry. They want your assurance. WALTON They knew the risks when they signed on. I've come too far to turn back now. GRIGORI Then you run the danger of pushing them to mutiny. Walton pulls a pistol from his drawer and slams it flat on the table before him. WALTON (low, tight) Let them try. Grigori is taken aback. He hears a shifting of blankets and glances to the captain's bed. Walton follows his look. Frankenstein has awakened and is watching them. Grigori exits, uneasy under Frankenstein's gaze. Walton rises, retrieves a pot from the stove. WALTON You're awake. I've prepared some broth. It'll help restore you. VICTOR (hoarse, faltering) I'm... dying. Victor draws a hand from under the blanket and holds it before his face. Fingers skeletal and black. VICTOR Frostbite. Gangrene. A simple diagnosis. WALTON Are you a physician? VICTOR (faint smile) How is it you come to be here? WALTON There's a startling question, coming from you. (beat) I'm captain of this ship. We sailed from Archangel a month ago, seeking a passage to the North Pole. VICTOR Ah. An explorer. WALTON Would-be. I'm plagued with my share of difficulties just at the moment. VICTOR I heard. WALTON I can't say I blame them. We're trapped in this ice and bedeviled by some sort of... creature. VICTOR Creature? A... human like creature? WALTON (stunned) You know of it? VICTOR Your men are right to be afraid. WALTON Then explain it, whatever it is. It could save the voyage. I've spent years planning this. My entire fortune. VICTOR You'd persist at the cost of your own life? The lives of your crew? WALTON Lives are ephemeral. The knowledge we gain, the achievements we leave behind... those live on. Victor reaches out with his blackened claw of a hand, pulls him closer. Impassioned, intense: VICTOR Do you share my madness? WALTON Madness? CAMERA PUSHES SLOWLY on Victor's face... VICTOR We are kindred, you and I. Men of ambition. Let me tell you all that I have lost in such pursuits. I pray my story will come to mean for you all that is capricious and evil in man. WALTON (angry, frightened) Who are you? VICTOR (beat) My name is Frankenstein... And CAMERA proceeds into the bottomless depths of Victor's staring eye, plunging us into: TOTAL DARKNESS. Tick-tock. Tick-tock. A METRONOME fades up before us. WOMAN'S VOICE (O.S.) Failure has no pride, Victor. You must try again. LITTLE BOY (O.S.) Yes, Ma'am. INT - GRAND BALLROOM - FRANKENSTEIN MANSION - DAY We hear a HARPSICHORD begin playing as a WIDER ANGLE reveals a huge, magnificent room with vaulted ceilings thirty feet high. Floor-to-ceiling windows. Hanging tapestries. VICTOR sits at the harpsichord, a very serious 7 year-old in his little gentleman's suit and stiff starched collar. MRS. MORITZ, head of the housekeeping staff, conducts the lesson. Her daughter JUSTINE, age 4, sits with her doll in a huge wingback chair, making it dance to the music as she listens... but her eyes are on Victor. She adores him. An enormous door swings open. Victor stops playing. His PARENTS enter, ushering a somber and beautiful ELIZABETH, age 6, across the vast expanse of floor. Victor slides off the bench and faces them. FATHER Mrs. Moritz, would you and your daughter excuse us? MRS. MORITZ Of course, Doctor. Madam. Come along, Justine. Bring your dolly. Mrs. Moritz takes Justine's hand. Justine gazes back at Victor and Elizabeth as her mother whisks her off. MOTHER Victor. This is Elizabeth. She's coming to live with us. FATHER She has lost her parents to scarlet fever. She is an orphan. MOTHER You must think of her as your own sister. You must look after her. And be kind to her. Victor stares at Elizabeth. She returns the gaze evenly, self-possessed and dignified even at this young age. ARCTIC VICTOR (V.O.) I loved her from the moment that I first saw her. EXT - FRANKENSTEIN ESTATE - NIGHT A MASSIVE BOLT OF LIGHTNING hammers from the sky, reducing a centuries-old oak tree to smoldering ruin... INT - DOWNSTAIRS PARLOR - NIGHT ...while Victor gazes at the storm, face pressed against a window, astonished at the sight. Lightning throws seething shadows of the rain on his face. MOTHER Victor. Elizabeth is frightened by the storm. Go comfort her. INT - UPPER LANDING - NIGHT We hear a CHILD SOBBING. Victor comes racing up the grand staircase from below as LIGHTNING sends wild banister shadows skittering. He caroms down the hall toward: INT - ELIZABETH'S ROOM - NIGHT Victor enters. Elizabeth is a tiny figure huddled in an adult- size bed, gazing up with tear-streaked face at the huge skylights in the vaulted ceiling, dreading the next scary boom and flash. Victor approaches and whispers: VICTOR Don't cry, Elizabeth. ELIZABETH (frightened) Aren't you? KA-BOOM! A LIGHTNING BOLT rips overhead, rattling the panes of glass. Victor does find it scary... but exhilarating. VICTOR We'll build a fort. So the lightning can't get us. He races about the room, grabbing every pillow he can find and hurling them to her. Big decorative pillows from the chaise, bed pillows from the armoire... they all come flying. She giggles as a big one knocks her flat. Victor scampers onto the bed with her. They pile the pillows around and above, concealing themselves in a bulging heap of cushions. INSIDE THE PILLOW-FORT Victor pokes his hand up, widening a space so they can still see. Lightning glistens in their upturned eyes. ELIZABETH Are you sure it can't hurt us? VICTOR Nothing can. Not ever. She seeks his hand. Fingers clasp. Comfort and strength. TILT UP to the skylight. Rain drumming the glass... INT - MANSION - GRAND BALLROOM - DAY Victor and Elizabeth are learning to waltz, their movements stiff and awkward, childlike. MRS. MORITZ is at the harpsichord. Justine sits with her dolly, watching. MRS. MORITZ You must lead, Victor. The lady will always look to you for guidance, so your steps must be sure and strong... VICTOR Mrs. Moritz. MRS. MORITZ ...aaand, one-two-three, one-two- three, twirl-two-three... JUSTINE Mama, can I dance with Victor? MRS. MORITZ Nonsense, Justine. Hush. And now a sweeping arc about the room! one- two-three, twirl-two-three. Victor and Elizabeth gamely work their way across the vast room, tripping on each other's toes. They pass within inches of CAMERA, bodies WIPING FRAME... INT - GRAND BALLROOM - DAY (TEN YEARS LATER) ...and they sweep from before our eyes, waltzing away from camera to reveal Victor now 17, intense and handsome as he approaches manhood. Elizabeth is a blossoming and graceful beauty at 16. Mrs. Moritz is still conducting the lessons. MRS. MORITZ ...one-two-three, twirl-two-three... Excellent! You'll be the envy of all the young ladies and gentlemen! They're certainly the envy of Justine, who gazes at Victor as he sweeps Elizabeth around the room in his arms. She isn't concentrating and fumbles on the keyboard. Her mother throws her a look of reproval: MRS. MORITZ Justine. Surely you can maintain better time than that. JUSTINE Yes, Mama. Flustered, she puts her attention back on the keyboard as Victor and Elizabeth keep dancing, swirling fluidly about the room, their attention only on each other. INT - UPSTAIRS HALLWAY - NIGHT A skylight above us. A storm is raging, rain drumming the glass. We hear SCREAMING in the house. TILT DOWN to Victor perched at the edge of a settee, seething with tension. Waiting. Elizabeth is with him. She squeezes his arm, trying to reassure him. ELIZABETH She'll be all right. Another SCREAM rips down the hallway. Justine comes scurrying up the stairs, about to enter his parent's room with a fresh load of sheets. Victor lunges to his feet and intercepts, trying to push past her, but finds the doorway implacably blocked by Mrs. Moritz. MRS. MORITZ You can do nothing here. Wait downstairs. He can see his mother in the dim kerosene light, writhing and screaming on the bed, belly swollen and distended. His father, sleeves rolled up, works feverishly to save her. VICTOR Mother? FATHER Victor, do as you're told! Justine glances at Victor, longing to comfort him. She squeezes past into the room. The door slams in his face. He turns to Elizabeth, eyes brimming with terror... INT - PARENTS' BEDROOM - NIGHT ...as his mother falls back on the sweat-soaked sheets, blowing air like a bellows, trying to give birth... EXT - MANSION - NIGHT ...while her SCREAMS mingle with the howling of the wind, the stump of the long-dead oak tree pokes from the earth in the foreground like a gravestone, lashed by the rain. INT - DOWNSTAIRS PARLOR - NIGHT VICTOR stares out the window at the raging storm. Elizabeth appears at his side. He doesn't look at her. VICTOR As a boy, I stood at this window and watched God destroy our tree. b.g. screaming stops, Victor and Elizabeth turn, gazing up the grand staircase. The sudden silence is even more frightening. The FAINT CRY of a newborn infant drifts down A door opens upstairs, throwing a spill of light. Victor's father appears in silhouette, comes down the stairs toward them. He pauses halfway down, unable to continue. VICTOR Father? A FLASH OF LIGHTNING floods the room, revealing Victor's father on the staircase. Face haggard. Eyes hollow. Clothes spattered with blood. Hands glistening wetly red. ELIZABETH Oh God. The blood. Father sits down shakily on a step. Victor and Elizabeth race up the stairs and pause before him. FATHER I did everything I could. Victor lets out a sob of anguish. Elizabeth begins to cry. Father gathers them into his arms. EXT - FRANKENSTEIN ESTATE - CEMETERY - DAY A BABY CARRIAGE stands amidst leaning gravestones, gothic and ornate, a chill breeze billowing the lace. A PRIEST recites a Latin burial mass. DOZENS OF MOURNERS are gathered before the Frankenstein family mausoleum... an imposing edifice of stone and spidery wrought-iron, its steepled roof crowned by a massive granite crucifix. A sleek black casket lies atop the bier, ringed with flowers and sorrow. The trees are windswept and bare, branches stark against a steely gray sky. Victor and Elizabeth stand apart from the others, staring at the casket. Softly: VICTOR How could all my father's knowledge and skill fail to save her? ELIZABETH It's not ours to decide. All that live must die. It's God's will. Victor raises a grim look at the huge crucifix atop the mausoleum. Christ returns his gaze with blank stone eyes VICTOR What kind of God is He to will this? ELIZABETH She was mother to me as well. But ours is the job of the living. It's up to us now to hold this family together. We must think of Father and be strong for him. (beat) I cannot do that alone. VICTOR God took her from us. ELIZABETH He left a beautiful gift in her place. A baby boy. To cherish and love as our very own. Your brother Victor glances at the baby carriage. He seeks her hand. Their fingers clasp. Comfort and strength. VICTOR Our brother. The baby starts CRYING as the casket is lowered, its thin voice carried on the wind... EXT - MEADOW - DAY A gorgeous, sun-dappled day. Tall grass waving on the breeze. Butterflies skittering. WILLIAM, 11 months-old, toddles into view. He doesn't get far. PLOP! Down he goes, right on his ass. His face scrunches up in surprise and he bursts into tears. Elizabeth hurries over and scoops him up, cradling and comforting him. Victor rises from a picnic blanket to join them. Nanny Justine looks up from her task of laying out the silverware and food. JUSTINE Poor William! What indignant tears! ELIZABETH There, there... shhh... Victor takes the baby and swoops him high in the air. The child shrieks and wails, held aloft. ELIZABETH Victor, have a care! You'll make him dizzy! VICTOR The world is a dizzying place. She tries to reclaim the baby. Victor feints, keeping Willie out of reach. Elizabeth grows crosser: ELIZABETH Oh, do give him here! He needs to be comforted and held! VICTOR He needs to vent his outrage to the skies! Make yourself heard, Willie! Learning to walk is not an easy thing! Why should it be so? Elizabeth is exasperated to realize that the baby has begun to laugh. She glares at both of them. Men. ELIZABETH That's the nature of all progress, William. Don't let your brother sway you otherwise. JUSTINE Quite right! Victor cradles Willie as if to shield his delicate ears. He peers at Elizabeth with mock-grave suspicion and speaks to the baby sotto-voce, in deepest confidence, man-to-man: VICTOR Don't listen, Willie. Progress is a feast to be consumed. Women would have you believe you must walk before you can run. Or run before you can waltz! ELIZABETH (laughing) Give me that child before you fill his head with drivel! Victor waltzes the baby in circles. Elizabeth stalks them. VICTOR Devil take walking, ladies! My brother shall learn to waltz! He grabs her by the waist, pulls her into it. There's no use resisting. She succumbs and they dance with the baby between them. Justine is gasping with laughter. JUSTINE Elizabeth, really! He's quite mad! ELIZABETH Scandalous! What would your dear mother say? JUSTINE (thinks a beat) One-two-three, one-two-three, twirl- two-three... Laughing, Victor and Elizabeth waltz little William around in a sweeping arc. They pass within inches of the CAMERA, bodies wiping frame... INT - GRAND BALLROOM - NIGHT (6 YEARS LATER) To reveal the grand ballroom ablaze with candlelight and spectacle as a HUNDRED DANCERS swirl about the floor in a breathtaking waltz to the music of a full string ensemble (NOTE: The music here should be our movie's distinctive WALTZ/LOVE THEME, which will reoccur later.) Victor and Elizabeth dance magnificently, room spinning about them in a blur. Now 24, he's in the prime of manhood. Elizabeth, 23, is a drop-dead beauty radiating poise and intelligence. They're so right for each other, so beautiful together, your heart could break just looking at them. Justine, now 21, has blossomed into a beauty herself. She's at the sidelines, wearing a lovely gown, wishing someone would ask her to dance. William, now 7, scampers to her side. She stoops to straighten his collar and smooth back his hair. Waltzing couples swirl past them. WILLIE Auntie Justine, Papa said I could have a sweet. JUSTINE You can. But not before dinner. The music ends amidst applause. The men bow to the ladies, the ladies curtsy in return. Victor escorts Elizabeth off the dance floor. Elizabeth fans herself, flushed and happy. JUSTINE You dance so beautifully together. ELIZABETH And you look so lovely. They share a sisterly hug and a radiant smile. The orchestra recommences. The music is lush. Justine looks hopefully to Victor, keeping her tone light: JUSTINE Victor? Spare me one dance? Elizabeth catches Victor's eye. ELIZABETH Go on, ask her. Please. I'm quite out of breath. Victor gallantly offers his arm. Justine takes it, lighting up as he escorts her onto the dance floor ... ...and they begin to dance. She's glowing. This is a big moment for her. But they've hardly begun, when... ...ting-ting-ting, Victor's father is tapping a champagne glass with a knife. The dancers stop. The orchestra falls silent. Justine hides her disappointment as servants pass among the guests with glasses of champagne. FATHER My friends, fatherly pride won't allow this occasion to pass without my raising a toast. Shouts of assent. Victor is grabbed by his friends and dragged forward, a glass of champagne shoved in his hands. FATHER To Victor. My son. Who read every medical book in my library by age thirteen... and then re-read them, which seemed excessive even to me. (the guests ROAR with laughter) Drape yourself in glory, my boy. Study well. When you return, you return a man of medicine. I will then be honored to call you "colleague." VICTOR But never your equal. FATHER No. You'll surpass me. Applause and roars of approval. The drinks are tossed back. Victor is jostled with backslaps and handshakes. EXT - MANSION - NIGHT Music and warm light spill from the windows. A COUPLE eases through a French door and come racing across the lawn, giggling and hushing each other. They take refuge under a tree, revealing their faces to the moonlight: Victor and Elizabeth. She leans against the trunk to catch her breath. ELIZABETH Smell the air. Wonderful. VICTOR Quite a send-off, isn't it? ELIZABETH Father's so proud. VICTOR And you? ELIZABETH Prouder still. You'll be the handsomest student there. VICTOR I'll have to do better than that. ELIZABETH You will. (searches his eyes) What do you want, Victor? VICTOR To be the best there ever was. To push our knowledge beyond our dreams... to eradicate disease and pestilence... to purge mankind of ignorance and fear... He's so serious, she can't help laugh. VICTOR I'm not mad. She smiles, smoothes a lock of hair gently off his forehead. ELIZABETH No. Just very earnest. And very dear. An extended moment. Unspoken words flowing between them. Victor leans forward and kisses her. Her eyes widen slightly. So do his. Shared excitement, gentle and sexy beyond belief. They pause, draw back, searching each other's eyes. He whispers: VICTOR I've loved you all my life ELIZABETH All my life I've known. They kiss again. A breath. A shiver. VICTOR This feels... incestuous. ELIZABETH Is that what makes it so delicious? She brushes her lips against his. Gentle as a sigh. ELIZABETH Brother and sister still? VICTOR I wish to be your husband. ELIZABETH I wish to be your wife. VICTOR Then come with me to Ingolstadt. Marry me now. ELIZABETH If only I could. But one of us must stay. Father's not strong. Willie's just a child. Who can look after them in your absence? Who can run the estate? VICTOR Only you. ELIZABETH I will be here when you return. Another kiss. Turning lustful and steamy. They melt into each other, sinking down, bodies pressing and minds afire. These people are hot for each other. They stop, stunned at the intensity. He lays his head to her breast. Their fingers clasp. She whispers her secret: ELIZABETH My head is spinning. I want to give myself to you. He raises his head. She meets his gaze evenly ELIZABETH If we're to be married, must we wait? He touches her face. Fingertips tracing downward, gentle and reverent, brushing the contours of her bosom at the edge of her bodice. She shivers. Closes her eyes. Lays her hand over his. Guiding his touch. VICTOR You make me weak. ELIZABETH Not as weak as I. She raises his hand to her mouth. Brushing his fingertips with her lips. Wrestling with desire. Their eyes meet. ELIZABETH Our decision. Together. VICTOR Your decision. For us. ELIZABETH (hesitates) I give you my soul... VICTOR (nods) ...until our wedding night. When our bodies will join. ELIZABETH Victor. I love you, VICTOR Elizabeth. My more than sister. They kiss again. Gently... EXT - FRANKENSTEIN ESTATE - CEMETERY - DAWN A misty gray dawn. Victor is kneeling at a gravestone, observing a moment of silence. His saddled horse is tethered nearby. Softly: VICTOR I'll make you so proud, Mother. He lays a small sprig of flowers on the grave, rises and walks toward his horse. EXT - MANSION - MORNING Overcast and chill. An open carriage stands loaded. The family and household staff have turned out. Victor stands ready to go. Father pulls him into a back-slapping embrace. FATHER Write to us often. Victor moves on to Justine, takes her hand. VICTOR We never finished our dance. (she smiles) Someday we shall. Next is William. The little boy stands stiffly, tears on his face, trying to be brave. Victor kneels and whispers: VICTOR The others will look to you while I'm gone, Willie. Be strong. The boy nods miserably, throws his arms around Victor's neck. Last comes Elizabeth. She and Victor regard each other, sharing the secret of last night. A faint smile plays at the corners of her mouth. He kisses her cheek. VICTOR Elizabeth. He mounts the carriage. CLAUDE snaps the reins and lurches away, speeding Victor off to his future. Victor turns back for a final look at the home and family he loves so much. William runs after him until he's gone from sight... DISSOLVE TO: INGOLSTADT - ESTABLISHING ANGLES - DAY High white clouds in a blazing blue sky. Church steeples rising among the rooftops. Beautiful. BOARDING HOUSE - DAY FRAU BRACH trudges heavily up a long, steep, narrow flight of stairs with Victor teetering uneasily behind. FRAU BRACH No real rooms left. All we've got is attic space. No one ever wants the attic space... ATTIC SPACE/GARRET - DAY She leads him into an immensely long space running a twisted path the entire length of the building; various levels and areas unhindered by wall separation, massive vaulted beams crisscrossing as understructure to the roof. Daylight filters dimly through dozens of dormer windows and skylights coated with grime. Nooks and crannies abound. VICTOR This will do nicely. UNIVERSITY - DAY A monumental structure of brick. A BELL TOWER TOLLS. Dead leaves scurry across the lawn. LECTURE HALL - DAY PROFESSOR KREMPE, a squat little man, paces before the packed galleries of eager young STUDENTS. KREMPE In science, the letter of fact is the letter of law. Our pursuit is as dogmatic as any religious precept. Think of yourselves as disciples of a strict and hallowed sect. Someday you may be priests... but only if you learn the scripture chapter and verse. (off their laughter) Any questions? VICTOR (hand shoots up) But surely, Professor, you don't intend we disregard the more... philosophical works. KREMPE Philosophical? VICTOR Those which stir the imagination as well as the intellect. Paracelsus, for one. This reference is lost on all but a few. At the faculty table: PROFESSOR WALDMAN peers up at Victor, adjusting the glasses on his nose. Up among the students: HENRY CLERVAL leans out and shoots an amused look in Victor's direction. SCHILLER catches Henry's look and rolls his eyes. KREMPE Paracelsus? VICTOR Or Albertus Magnus. Cornelius Agrippa... KREMPE What is your name? VICTOR Victor Frankenstein, sir. (no response) Of geneva. KREMPE Of Geneva. (beat) Tell me, Mr. Frankenstein of Geneva. Do you wish to study medicine? Or mysticism? Titters sweep the room. Krempe remains staunchly unamused: KREMPE Those of you unfamiliar with Mr. Frankenstein's suggested reading list... thankfully, that would be most of you... would be well advised to avoid it. Here at Ingolstadt, we concern ourselves with immutable reality... (specific to Victor) ...not the ravings of lunatics and alchemists hundreds of years in their graves. Understood? Victor is flushed and humiliated. Held like to say more, but wisely swallows his anger and nods. KREMPE I am relieved. Are there any relevant questions? (there are none) Lecture hall dismissed. EXT - UNIVERSITY - DAY Victor exits wearing a distinctive black greatcoat, fuming over the exchange with Krempe. He strides across the lawn, eyes fixed straight ahead. Henry Clerval races up behind him and falls casually in step. Victor glances over. Henry nods pleasantly, as if held been there all along. Victor responds with a curt nod and resumes his straight-ahead demeanor. They walk in silence, just two guys heading in the same direction. Henry can't help it; he snickers loudly to himself. Victor shoots him a sharp look. Henry's smirk vanishes, replaced with blank innocence. Did somebody snicker? HENRY I was just clearing my throat. VICTOR Very well then. They continue walking. Silence thick. Finally: HENRY You know, you're quite mad. Victor stops. Turns. VICTOR (low, measured) I am not mad. HENRY (matching Victor's tone) As a march hare. Henry's expression betrays nothing... but perhaps there's a trace of amusement in his eyes? VICTOR Are you having me on? HENRY Of course I am. It pays to humor the insane. Beat. Victor smiles. Henry grins, offers his hand. Takes it. HENRY Henry Clerval. VICTOR Victor, Victor Frankenstein. HENRY I know. You have a way of making an impression. INT - GASTHOF - DUSK The tavern is packed with students and noise. Beer and food served at a frantic pace. We find Victor and Henry at a small table, tearing into sausages and cheese. VICTOR Do you really think I'm mad? HENRY Come now. Magnus? Agrippa? Next thing you know, you'll be teaching toadstools to speak. Schiller enters with FRIENDS. They pause at Victor's table SCHILLER If it isn't the sorcerer. Found yourself an apprentice? VICTOR I'm afraid I rejected his application. He merely dabbles. HENRY Dilettantes need not apply. What about you? Schiller, isn't it? SCHILLER Von Schiller. I'm interested in real medicine. Treating the sick. HENRY Really? I myself find sick people rather revolting. (off their looks) I'm here to secure my degree with a minimum of fuss and hard work that I might settle into a life of privilege treating rich old ladies with gout and dallying with their daughters. SCHILLER You two disgust me. Schiller and his friends stalk off. EXT - INGOLSTADT - DUSK LONG LENS magnificently compresses buildings and steeples, distant hills and drizzly sky. Victor wears his greatcoat as he and Henry walk along a twisty cobblestone street. VICTOR Rich old ladies and their daughters? HENRY Can you think of a better reason? VICTOR Quite a few. HENRY Do me a favor then... (claps his shoulder) ...keep them to yourself. Victor takes a shocked beat and bursts into laughter. INT - AUTOPSY ROOM - DAY Waldman, in sinock, addresses a GROUP OF STUDENTS from across morgue slab. He throws a sheet back to reveal a corpse dissected to reveal the inner workings. The others crowd for a closer look. Victor glances to Henry, who leans back and rolls his eyes in utter disgust. INT - VICTOR'S GARRET - DAY PUSHING SLOWLY IN on Victor sitting at a tall dormer window, writing a letter with quill and ink. It's raining outside. The garret is tidied. EXT - RYE FIELDS - FRANKENSTEIN ESTATE - LATE DAY WORKERS are harvesting for miles around. PAN to Elizabeth and Claude examining the sheaves on a wagon. She cracks the grain and tastes it, glances to Claude. He smiles and nods. CLAUDE It's turning out to be a good year. ELIZABETH Let's return a tenth of the crop to the tenants. (off his look) They had a hard winter. CLAUDE Not even your father would be that generous. ELIZABETH Then there's no need to tell him, is there? Claude grins and motions to his MEN. They resume loading the sheaves as a STABLEBOY rides up: STABLEBOY Miss! The mail arrived! There's one from Master Victor! INT - FRANKENSTEIN PARLOR - NIGHT We find the family gathered around the fire as Elizabeth reads Victor's letter aloud: ELIZABETH ...and not a day goes by that I do not cherish your faces in my mind's eye or ache to see you all again. Be assured that I am with you in spirit, and you are never far from my thoughts. I remain, as always, your loving and devoted Victor. P.S. She pauses, reading ahead. INSERT OF LETTER The P.S. reads: "Elizabeth... I am holding our vow precious in my heart." ELIZABETH glances up at their expectant faces. WILLIE What does it say? ELIZABETH It says, give Willie an extra big hug for me. WILLIAM (beaming) Read it again? She smiles, rearranges the pages as we FADE TO: INT - UNIVERSITY HALLWAY - DAY A classroom door. SHOUTING from within: VICTOR (O.S.) That's no excuse for being a pompous ass! Victor storms out with Krempe at his heels. Krempe pauses in the doorway, red-faced, bellowing after him: KREMPE I'll see you thrown out of this university! I'll go to the dean himself! Take me at my word, Frankenstein! The dean himself! Classroom doors are opening, faces peering out. Waldman among them. Victor keeps going, doesn't look back. INT - GASTHOF - NIGHT Victor and Henry slouched at their regular table writes in his thick, well-worn leather journal. HENRY The entire school heard it. It wasn't something one could miss. VICTOR You're a comfort to me, Henry. HENRY What now? Writing about it in your journal won't help. VICTOR (quietly) It's a letter to my father. Henry falls silent. Victor closes the journal, winds it secure with its leather thong, jams it deep in the outer pocket of his greatcoat. Brooding. The bell above the door JINGLES. A gust of wind sweeps in. They glance up. Professor Waldman enters, dapper and soft-spoken, impeccably courteous. He murmurs a pleasantry to the INNKEEPER and drifts over to Victor's table. VICTOR Professor Waldman. WALDMAN (takes a seat) Victor, explain yourself. VICTOR Krempe has a way of provoking my temper. WALDMAN You have a way of provoking his. (beat) I've been watching you. You seem impatient with your studies. VICTOR To say the least. I came here to expand my mind, but honest inquiry seems strangled at every turn. All we do is cling to the old knowledge instead of seeking the new. WALDMAN You disdain accepted wisdom? VICTOR No, I embrace it... as something to be used or discarded as we advance the boundaries of what is known. HENRY (mutters to Waldman) Now you've got him started. VICTOR These are exciting times, Henry. We're entering an era of amazing breakthroughs. Look at Edward Jenner. He wasn't content to bleed people with leeches, he pioneered a new frontier of thought HENRY ...yes, and thanks to him, smallpox has been virtually eliminated. I've heard this speech before. VICTOR But you haven't listened, Never in history has so much seemed possible. We're on the verge of answers undreamt of... but only if we have the courage to ask the questions. WALDMAN I understand your frustration. I was young once myself. (beat) Walk me home. Something I'd like to show you. INT - WALDMAN'S HOME - WORKSHOP - NIGHT The gaslights come up with a SOFT HISS. The first thing Victor and Henry notice is an artist's nook situated adjacent to big windows where the light would be best during the day. Easels are lined with in-progress work on a variety of subjects, everything from landscapes to anatomical studies, all quite excellent. The rest of the place is a laboratory crammed floor-to-rafter with arcane equipment. Taking off his coat and rolling up his sleeves, Waldman leads Victor and Henry down rows of tables crammed with experiments and clutter. WALDMAN You know for thousands of years the Chinese have based their medical science on the belief that the human body is a chemical engine run by electricity? They say we all contain streams of energy which flow through us like currents in the ocean, or rivers in the earth. They arrive at a table. Waldman roots through a tray of knickknacks, holds up an acupuncture needle. WALDMAN Their doctors treat patients by inserting needles like these into the flesh at various key points to manipulate these electric streams. He directs their attention to an ancient Chinese silk on the wall. It depicts the human body from front and side angles. Acupuncture points are clearly marked. VICTOR Preposterous. WALDMAN I once saw it done, as a boy in Canton. My parents were missionaries. The cure was nothing short of miraculous. (off their looks) I've never forgotten it. Been fascinated ever since. HENRY It smacks of magic. Waldman slides forth a steel pan and uncovers it to reveal an enormous dead toad in dissection. Copper mounting pins trail wires to a small panel of switches. The switches, in turn, are connected to a series of galvanic batteries. Waldman starts throwing switches. Victor and Henry jump as the toad convulses with motion. They watch, stunned, as Waldman puts the toad through its paces: legs kick, feet flex, mouth opens and closes, lungs breathe. WALDMAN Magic. Seems alive, doesn't it? Waldman shuts the thing down, strips off his gloves, his arm at the array of wires and batteries. WALDMAN Electricity. VICTOR It's utterly fantastic! This is the sort of thing I'm talking about! We should be learning this! WALDMAN Why? God alone knows what it means. Until it has proven value, it's nothing more than a ghoulish parlor trick. Hardly fit for the classroom. VICTOR But the possibilities. Combining ancient knowledge with new? Something like this could change our fundamental views! WALDMAN It is a thrilling direction to explore. Thrilling and dangerous. (off his look) Nature can be wonderful and terrible. Science is not a realm for the reckless; it needs a conscience. We must proceed cautiously. Assess as we go. (drapes the toad) What I do on my own time is my own business. The same holds true for you. You wish to expand your mind? Fine, do so. You can even join me here, if you like. But not at the expense of your normal studies. VICTOR I doubt that decision is still mine to make. WALDMAN (waves) Nonsense. Tonight you will draft an apology to Professor Krempe... Victor starts to object, but Waldman overrides him with a stern gesture for silence. Listen. WALDMAN "...a sincere and heartfelt apology which you will then read aloud to him before the assembled student body and faculty. VICTOR Why? WALDMAN (draws close) Our profession needs talent like yours. Destroy your career over an issue of pride? What a waste. Waldman hands him the acupuncture needle. A gift. Victor studies it, fascinated. WALDMAN Go home, Victor. Write the letter, INT - LECTURE HALL - DAY DOLLYING VICTOR IN A SWW 360: He stands before the students and faculty, reading his apology. VICTOR ...and I further wish to extend my sincerest regrets to Professor Krempe for my display. My behavior toward him was both rash and inexcusable. Up in the gallery, Krempe nods grudgingly to himself. INT - FRANKENSTEIN MANSION - DUSK Exquisite silverware goes CLINKING SOFTLY onto polished wood as: ELIZABETH (O.S.) (laughing) I knew held get himself in trouble. TILT UP to reveal the expansive dinner table being set for guests. KITCHEN STAFF are to-ing and fro-ing. Elizabeth splits her attention between supervising and reading Victor's letter, while Justine busies herself with a flower arrangement. Willie gets underfoot. Father just sits. JUSTINE Must've been a terrible row. ELIZABETH He was almost expelled for calling one of his professors a "pompous... (glances to Willie) Fellow..." FATHER He always was opinionated. ELIZABETH (reads on, laughs) He set things right with a proper apology... and now they've put him in charge of dissection lab! WILLIE What's that? FATHER That's where they cut things open and peer about inside. WILLIE Things? What sort of things? Father is about to press on with the gory details, but Elizabeth freezes him with a glance. ELIZABETH It's far too ghoulish for your young ears. The old man throws Willie a look. We'll talk later. ELIZABETH The point is, your brother is a brilliant student well on his way to becoming the finest-and most compassionate doctor ever... INT - WALDMAN'S WORKSHOP - NIGHT A DISSECTED DOG convulses through its electronically-induced paces. Kicking. Twitching. Tasting the air with its dead tongue. TILT UP to reveal Victor at the switch. Waldman leans close to observe. Softly: WALDMAN Re-configure the leads? VICTOR Numbers four and twelve directly into the nervous system? Waldman nods. WALDMAN Worth a try. INT - AUTOPSY ROOM - DAY With Waldman at his side and Henry providing the tools as needed, Victor instructs a freshman class in the internal workings of a dissected corpse. Professor Krempe observes from a distance. VICTOR ...and the medulla oblongata is the transition between the spinal cord and the two parts I've already named... cerebrum and cerebellum. Any freshmen feeling queasy yet? (glances around, smiles) All of you, from the look of it. We'll resume your torture tomorrow. He waves them dismissed. They laugh and exit, relieved. Waldman squeezes Victor's elbow. Well done. Victor stiffens at Krempe's approach. KREMPE You seem to be adapting well to the approved curriculum. VICTOR Despite the lack of challenge. Krempe reddens, but says nothing. He gives Waldman a curt nod and walks off. WALDMAN Victor. He was trying to be gracious. VICTOR The strain was evident. HENRY Come now, you must take some satisfaction. You've risen to the top of your class. A position of prominence and regard. Victor weighs this, glances at both of them, smiles. VICTOR What keeps me going are my friends. He throws his arm around Henry's neck, pulls him into an affectionate headlock. Henry struggles and laughs: HENRY Leave off! JEWELER'S SHOP - DAY Victor is gazing with reverence at a gorgeous oval locket dangled before him by a smiling JEWELER. He glances to Henry for an opinion. HENRY Your Elizabeth must be quite a treasure, Victor (pointedly to jeweler) ...to justify these prices. The jeweler's smile goes frosty. WALDMAN'S WORKSHOP - DAY TIGHT ANGLE ON the locket lying open against canvas, dangling from an easel frame. TILT DOWN to reveal a magnificent miniature oil portrait of Victor in progress, no more than three inches high within its penciled oval. Waldman paints with an extraordinarily delicate touch, jeweler's glasses riding low on his nose, eyes unnaturally large behind the magnifying lenses. Victor sits patiently for the portrait, suffused with daylight. Henry leans in over Waldman's shoulder, studying the portrait. Waldman stiffens a bit, aware of his presence. He clearly hates people looking over his shoulder. HENRY (deadpan) Shouldn't the nose be above the mouth? Waldman heaves a long-suffering sigh. He abruptly jabs his brush at Henry's nose, daubing it with paint. Dignity upheld he resumes his careful work as Victor laughs. INT - WALDMAN'S HOUSE - DINING ROOM - NIGHT Victor, Waldman, and Henry are gathered around the remains of a meal, laughing uproariously, enjoying one another's company. Cigars are lit, wine is flowing. Conversation is fast and loose, intense and passionate: WALDMAN I'm quite serious. Look at all the charity and clinic work we do. Up until thirty years ago, the concept of vaccine was unheard of. HENRY You're saying all disease will eventually be eradicated? WALDMAN I'm convinced. Not by treating symptoms, but by diving nature's most jealously-guarded secrets. HENRY (turning serious) Do you foresee this happening in our lifetimes? WALDMAN No. But someday. HENRY Thank goodness. We'd be out of work. A HOWL OF OUTRAGE AND LAUGHTER. Victor flings his napkin in Henry's face. VICTOR Only you would think of that! HENRY (laughing) Somebody has to! Victor raises his wine glass. The others join. A toast. VICTOR I tell you what we need, my friends. Forget the symptoms and diseases. What we need is a vaccine for death itself. WALDMAN (laughter) Oh, now you have gone too far. There's only one God, Victor. HENRY (raises his glass) And here's to Him. Everything in moderation, Frankenstein. VICTOR (grins) Nothing in moderation, Clerval. INT - POOR HOUSE - DAY CAMERA, TRACKS the gritty reality of a big-city poor house, crammed with society's dregs: the poor, the uneducated, wailing babies, stampeding children. Absolutely jangling with noise and confusion... loud and stifling... people getting eye-ear-nose-throat exams... being vaccinated... The "doctors" in attendance are all Ingolstadt STUDENTS performing community service, none of whom look like they're enjoying it. Schiller looks particularly harried. We find Victor and Henry giving out vaccinations. They keep glancing over their shoulders at Waldman as he gets further embroiled in a no-win argument with a wiry, ferret-faced MAN terrified about getting his vaccination: MAN Yer not stickin' it in me! Got pox in it, I hear tell! FAT WOMAN Pox? They givin' us pox? Ripples of panic spread. Waldman is as tense and clipped as we've ever seen him, valiantly trying to control his temper amidst the surrounding cacophony and ad-lib dialogue: WALDMAN No, it's not pox, it's a vaccine... FAT WOMAN Vaca-what? WALDMAN ...vaccine, from the Latin vacca, meaning cow (glances at her girth) ...or vaccinia, meaning cowpox... MAN I told you there was pox in it! WALDMAN ...no, no, cowpox in a minute quantity, perfectly harmless, gives you a natural immunity to small ox, which is the point of this whole bloody exercise... Victor and Henry are pausing work. Concerned. Drifting closer. The ferret-faced man is cornered. MAN You doctors kill people! I don' care what you say, you ain't stickin' it in me! WALDMAN I most assuredly am! It prevents disease and it's the law! Why am I explaining myself? Somebody restrain this damn fool! It happens this fast: There's an innocuous blur of motion as the man seems to tap Waldman lightly in the stomach, then he darts away, slamming past Victor and Henry. Victor looks after him running away, hears something clatter to the floor. He glances down. A thin knife. Victor looks to Waldman. Puzzled. It still hasn't really dawned. Waldman turns to them, face drained of color, hand pressed to his sternum, lips tight. He looks more annoyed than anything else. He exhales slowly. HENRY Professor? WALDMAN (softly) Oh God. That's when the blood starts pumping through his fingers. They catch him as he collapses, cradling him as he sprawls to the floor. People are pushing and crowding to see. EXT - POOR HOUSE - DAY A cobblestoned street-scene. Carriage. A delivery wagon. Vendors. Pedestrians. The doors of the poor house burst open, releasing a frenzy into the street: Victor and Henry carrying Waldman by his arms and legs, all the students running alongside, some of them weeping with panic, the crowd at their heels still trying to catch a glimpse, pedestrians scattering, the students dwindling up the long winding street, bearing their professor toward the school, shouting for help... INT - UNIVERSITY CHAPEL - DAY Krempe delivers the eulogy before the open casket. The chapel is full. Victor is seated near the back. Dazed. Henry comes up the aisle and slides in next to him. Victor doesn't even glance over. Henry whispers: HENRY They just caught the man who did it. VICTOR He was a frightened soul who acted out of fear and ignorance. HENRY They'll hang him all the same. VICTOR Good. I'll be there to hear his worthless neck snap. People glance back. Henry lays his hand on Victor's elbow. HENRY Keep your voice down. You don't know what you're saying. VICTOR It was wrong, Henry! It shouldn't have happened! The bastard deserves to die. Victor is causing ripples of attention throughout the chapel. Even Krempe falters briefly in his eulogy. Henry pulls Victor from the pew, drags him up the aisle... INT - CONFESSION BOOTH - DAY ...and into the confessional where they launch at each other in harsh whispers. Dialogue here is overlapping and intense: HENRY You're making a scene! VICTOR Why Waldman? He of all people should have cheated death! HENRY You can't. Death is God's will! VICTOR I resent God's monopoly. HENRY That's blasphemy! VICTOR Blasphemy be damned! Waldman spent his life trying to help people! HENRY All the more reason for us to continue his work with the poor! VICTOR (beat, low) No. He had more important work. HENRY There are sick people who need our help. Here and now. Not in some future time. Consider that. Henry exits. Victor tries to compose himself, clasping his hands together as if in prayer... or quiet rage. He gazes up. There on the wall hangs a crucifix. VICTOR Life and death. (beat) Why should You alone have the final say? VICTOR'S POV PUSHING SLOWLY IN on the Christ figure before him, bleeding from a crown of thorns, arms thrown wide. DISSOLVE TO: DA VINCI'S STUDY OF MAN rises from the image of Christ, striking an eerily similar pose, arms thrown wide within the perfect circle. We hear a DOOR BEING UNLOCKED as... INT - WALDMAN'S WORKSHOP - DAY ...a WIDER ANGLE reveals the deserted workshop. The door swings open as Victor lets himself in. He sees the finished locket lying open on a table, picks it up, studies the beautiful miniature portrait it contains. Snaps it shut. He looks up, eyes falling upon the Da Vinci print hanging on the wall. He stares. Intense. INT - WALDMAN'S WORKSHOP - NIGHT TRACKING SHOT: Things are in the process of being sorted and boxed. We find Victor poring over Waldman's notes: VICTOR To understand the causes of life, we must first have recourse to death... and examine the process in minutest detail... EXT - TOWN SQUARE - DAY A gray day. Waldman's ferret-faced MURDERER stands weeping helplessly on the scaffold as sentence is read: MAGISTRATE ...his body to be left on public display for a twenty-four hour period, thereafter to be consigned to an unmarked pauper's grave. So the court has spoken. The EXECUTIONER draws the hood over the murderer's head, cinches the noose tight. The condemned man is blubbering, pleading for his life. Victor stands in the crowd. Watching. Waiting. We hear the THUMP of the body dropping, the CRACK of a snapping neck... EXT - TOWN SQUARE - NIGHT Dark as Hades. Pissing down rain. A FLASH OF LIGHTNING and a CRASH OF THUNDER. The dead man still hangs from the scaffold, lashed by the wind. Victor looms from the storm, hands jammed in the pocket of his greatcoat. He pulls out a thin, glittering blade. The very weapon which took Waldman's life. He gazes up at the dead man... at the rope from which he dangles... INT - VICTOR'S GARRET - NIGHT The dead murderer lies pale and naked on a slab. Victor leans close, still dripping, studying the face closely. A FLASH OF LIGHTNING throws wild, skittering shadows through the dormer windows and skylights. Softly: VICTOR No longer pathetic and useless INT - VICTOR'S GARRET - DAY The dead man, dissected and wired, jerks bolt upright, flopping and convulsing, eyes opening and closing, mouth gaping open and shut. He falls back limply as Victor shuts the power off, making careful notations in his journal. INT - VICTOR'S GARRET - DAY TRACKING the dissection table... up the length of the murderer's body... now in an advanced stage of decay... we hear the SOFT BUZZING of flies... We find Victor standing over the corpse. Gaunt and hollow- eyed. Exhausted and obsessed. Wearing a butcher's apron. Staring down at one of the dead man's forearms. Maggots are swarming in the flesh. He abruptly raises a cleaver and WHACKS it off at the elbow. INT - VICTOR'S GARRET - NIGHT TRACKING SLOWLY past the forearm lying in a steel pan, we find Victor performing an intense chemical analysis. Dead tissues are breaking apart in solvents, distilled over a slow-burning flame. Victor smears a glass slide, places it under a microscope. INT - GASTHOF - DAY Victor is hunched over his notebook, pale and unhealthy, scribbling notations next to a rendering of the human form. Henry is across from him: HENRY Victor. This has got to stop. (Victor glances up) Nobody's seen you in months. You haven't attended a single class. VICTOR I've been preoccupied. HENRY We all know how hard you took Waldman's death. Even Krempe is sympathetic. But it is time to move on. It is time to concern yourself with life. VICTOR That is my concern. (faint smile) I'm involved in something just now. I want to finish it in Waldman's memory. HENRY How much longer? VICTOR Few months perhaps. I'm gathering the raw materials even now. EXT - GRAVEYARD - NIGHT The wrought-iron doors of a crypt have been forced open. CAMERA PUSHES through to find Victor standing inside over a stone sarcophagus with a pry bar in his hands. He's nervous, working up his courage: VICTOR Materials. That's all they are Tissue to be re-used. He pries off the stone lid. It THUMPS heavily to the floor, cracking in half. He opens the casket, reaches in, raises the pale arm of the deceased to inspect it. EXT - GRAVEYARD - NIGHT Stone monuments. Bare trees. Ivy-covered ground. Victor shoulder-deep in a grave. Shoveling. A lamp burns low. COFFIN - NIGHT Pitch black. The lid swings open, cascading dust and soil. Victor peers down, holding the kerosene lamp high. VICTOR'S GARRET - NIGHT TRACKING ALONG the shelves, crammed now with formaldehyde jars of feet and hands, brains and kidneys, the occasional head staring through the glass, dead cats... ...and we find Victor working into the wee hours. Hunched over his specimens. Candle flame flickering low. Referring back to Waldman's notes. Making notations in arcane books such as "De Occulta Philosophia," by Agrippa, and "Le Sciences et les arts D'alchimiste," by Paracelsus. FRANKENSTEIN ESTATE - LATE DAY A magnificent backdrop of mountains against a cloudless blue sky. TILT DOWN to Elizabeth and Justine with the mansion distant. A steady breeze ripples the fields as Elizabeth regards a stack of mail. ELIZABETH Nothing. Still nothing. JUSTINE It's been months. It's not like him. ELIZABETH Something's wrong. I know it. (off her look) I've heard rumors of cholera spreading south from Hamburg. JUSTINE So have I ELIZABETH I should go. I should leave today. JUSTINE Elizabeth. If it's true, travel into Germany would be banned. You'd never get near Ingolstadt. (beat) Besides, they're only rumors. ELIZABETH (beat, nods) And not a word of them to Father. He's agitated enough not hearing from Victor. JUSTINE Read him one of the old letters and rephrase it. We'll say it came today. It'll set his mind at ease. Elizabeth gives her a hug. They walk toward the mansion INT - BLACKSMITH SHOP - DAY Murky and dark. Bellows are pumping. Showers of sparks cascade. The BLACKSMITH and his ASSISTANT are pounding a metallic sledgehammer litany, beating a huge copper sheet into shape. Victor enters. The blacksmith directs his attention to a finished copper piece leaning against the wall. Victor runs his hand over the surface. Nice. INT - MATERNITY WARD - CHARITY HOSPITAL - NIGHT A WOMAN lies on a table, screaming as she goes into labor. Her water breaks, cascading into a steel bucket. One of the ASSISTANTS snatches it up, scurries around the corner. Victor is waiting in the shadows. Money changes hands. INT - VICTOR'S GARRET - NIGHT Victor is examining the amniotic fluid. Boiling it off. Working to synthesize it. INT - VICTOR'S GARRET - NIGHT Victor pours the final drum of fluid into what appears to be a large copper vat. He dips his hand in, examines the consistency and smell. ANGLE WIDENS, spinning slowly up to reveal that the vat is human in shape. A sarcophagus. EXT - ALLEY - NIGHT We find Victor examining three corpses on the back of a wagon, checking nostrils and teeth with gloved hands. A PAIR OF MEN lurk in the shadows, waiting. VICTOR That one. The corpse is lifted off. Money changes hands. MAN With this cholera come to town, we'll have plenty more for you. INT - VICTOR'S GARRET - NIGHT Victor wearing elbow-length gloves, hacking furiously away with a bone saw. Tossing aside the scraps. VICTOR'S GARRET - NIGHT Victor has an arm wired, testing reactions. He scrapes off a small shred of tissue, drops it in solution, watches it break apart. It doesn't look good. He glances feverishly at the clock, makes a fast decision, scribbles in his journal: VICTOR Not optimal. Must use. No time to replace. Body can't wait. VICTOR'S GARRET - NIGHT Victor stitches a torso with one of those big, awful curved needles, yanking up hard to draw the catgut tight. ARCTIC VICTOR (V.O.) I stitched it together with my own hands... VICTOR'S GARRET - NIGHT Victor pulls on a chain, hoisting the body off the slab via block-and-tackle mounted on a ceiling track. The body rises limply into the air, spinning slowly, arms and legs dangling, long black hair covering its face. ARCTIC VICTOR (V.O.) A patchwork man of my own devising. Victor reaches up with one hand to stop the body spinning. He pushes it down the length of the lab, rolling it along its ceiling track like a side of beef in a meat locker. INT - VICTOR'S GARRET - NIGHT The Creature lies on an improvised bier of crates, surrounded by shadows and clutter, draped/sprawled like Christ taken from the cross in Michelangelo's "Pieta." Beakers bubbling and dripping. Intravenous lines seeping and secreting. A misty chemical haze in the air. Victor is watching his patchwork man. Glowering. Waiting. ARCTIC VICTOR (V.O.) It took nutrients like a child receiving milk... blushed like a young girl with the blood I forced through its veins... A FLASH OF LIGHTNING rips through the skylights, bathing the scene purple/white. Eerier and eerier. ARCTIC VICTOR (V.O.) ...all in preparation. VICTOR'S GARRET - DAY We find Victor passed out in a chair. His creation is still taking fluids. Gray daylight streams through the windows. There's commotion in the street outside: shouting, horses' hooves clattering on cobblestone, an occasional scream or wail. Victor doesn't stir. Dead to the world. Somebody starts POUNDING on the door. Victor rouses, takes a moment to remember where he is. He lurches from his chair, grabs a canvas tarp, throws it over his "patchwork man." STAIRWELL - DAY Henry is pounding. Finally the latch is drawn. The door swings open a crack. Victor peers out. Gaunt and furtive. Suspicious. Henry is stunned at his dissipated appearance. HENRY God's sake, what is that stench? Henry peers past him. Victor shifts, blocking his view VICTOR This is a bad time, Henry. I'm busy just now. What do you want? HENRY Things have gone worse with this cholera outbreak. Thousand new cases a day now. Classes have been suspended. University's shut down. VICTOR Yes? And? HENRY Listen to what I'm saying. The militia's arriving to quarantine the city. Most of us are getting out while we still can. VICTOR You'll be leaving then. (beat) Just as well. You never were cut out for this, Henry. Goodbye. And the door slams shut. The bolt is thrown. Henry pounds. HENRY VICTOR! OPEN THE DOOR! LISTEN TO REASON! Nothing. Stunned and hurt, Henry turns from the door and heads back down the stairs. EXT - VICTOR'S BUILDING - STREET - DAY Henry exits into a nightmare. REFUGEES are streaming from the city, horses and wagons, people on foot, carrying their possessions. Henry steps into the street and is nearly run down by a carriage. VOICE (O.S.) OUT OF THE WAY! Henry glances up to see Schiller at the reins, struggling to control the animals as the carriage eases past. HENRY Schiller? You're leaving? Where's all that high talk about treating the sick? SCHILLER (icy) To hell with them. And you. He snaps the reins, not caring who he runs down. The carriage lurches away, scattering refugees before it. Henry keeps walking. Jostled by the hostile crowd. Looking around. Dazed. Dead bodies are stacked along the street like cordwood, waiting for the death carts. ANGLE WIDENS as Henry stumbles along through utter despair and devastation, stunned at the human suffering around him as we FADE TO: INT - VICTOR'S GARRET - NIGHT Victor glances at the clock. Scribbles in his journal: VICTOR Time running out. Rate of decay accelerating. Must strike now... or start again from scratch. He gazes down at his creation, lying once again on the slab before him... but now the Creature lies on a full body-length steel grate. Steel chains with hooks dangle from the ceiling above... along with long coils of thick copper wire tipped with glittering needles big enough to knit with. Victor glances up at the Da Vinci. The Study of Man has been daubed with red paint at key acupuncture points. Victor dips a huge cotton swab in a bowl of iodine, starts dabbing identical marks on the body before him... Now he's ramming the huge wire-fed needles deep into these spots, brutally working them around in the flesh to get good contact. The forearms, the neck, the rib cage... Now he's attaching the steel chain-hooks to the four corners of the steel grate... Now he's pulling on a rope, straining to hoist the whole rig into the air. It lifts slowly from frame: body, needles, wires and all... HIGH WIDE ANGLE ...and we get our first spectacular look at Frankenstein's gloriously low-tech and stupendously arcane lab. The Creature dangles below us from the ceiling-hoist, lying full-length and horizontal on its steel grate, spinning slowly, thick copper wires trailing from its arms and legs, rib cage and neck, armpits and groin. The copper cables trail upward, coil along the ceiling like garden hose to provide necessary slack, meander down the wall to culminate in a splendiferous array of galvanic batteries, steam engines and generators. Frankenstein reaches slowly up, fingertips straining toward the ceiling as if worshipping the creation revolving endlessly above his head in a perfectly-described circle not at all unlike the Da Vinci... And he grabs the lever on the platform and pulls to start it spinning, with a mighty heave, he sets the whole thing gliding in motion, CAMERA TRACKING FASTER AND FASTER as he rolls it along the ceiling track through the lab, passing table after table of desiccated leftovers and discarded scraps, LIGHTNING BLAZING through the windows to mark his way with wild and sinister shadows... ...and he yanks the platform to a stop over the copper sarcophagus. Amniotic fluid steaming and murky within. He positions the platform, unties the rope, lowers the Creature down and down, lower and lower, sinking into the vat, the steel grate a perfect fit in size and shape. Faster now, moving furiously. Reaching into the murk, unhooking the chains. Arraying the copper wire through air- tight guide holes. Spinning on his heels and reaching up, grabbing hold of the upper shell of the sarcophagus also suspended from the ceiling, stunningly heavy, gleaming with reflections and secrets. CAMERA ROCKETS DOWN on Victor as he swings the upper shell into position, lowers it into place with a THUD-CLANK! Working the wing-nuts on the bolts, spinning frantically, tightening them down, sealing the sarcophagus air-tight. Faster now. Faster. The frenzy builds and the CAMERA GOES WILD, rocketing, zooming, gliding, spinning the audience on its ear: Frankenstein. Turning up the heat on the burners. Cooking the copper from below. Double double, toil and trouble. Frankenstein. Gazing through the thick glass portholes checking on his creation drifting in the murk. Frankenstein. Whipping up the galvanic batteries, supercharging them with steam generators. Watching as they send voltage humming and throbbing through the copper cables along the ceiling beams. Building up a charge. Frankenstein. Gazing at his gleaming handiwork. LIGHTNING painting his features into a twisted mask. Hand on the switch. Ready to rev it up and throw the throttle. Over it goes. WHAM! Overdrive. The body convulses violently in its copper womb as the first jolt of electricity hits. THUNK-THUNK-THUNK! Blazing with energy and arcane light, fingers of light throbbing through the portholes, sparkling, glittering, seeking. Frankenstein races to the sarcophagus. A long glass tube, two feet in diameter and ribbed with steel, gets lowered on a boom and rammed into a hole, collate spun tight, inner dam wrenched out like a Polaroid plate. He reaches up and grabs holds of a pull-chain, fingers going knuckle-white on the wooden handle. One hard yank. A dump- tank is released, murky water cascading down the glass tube. And here's the final perversion, the ultimate icing on this twisted cake: the copper sarcophagus is literally a womb, with the giant glass tube serving as a massive gleaming phallus down which come pouring dozens of electric eels, wriggling and streaming like huge black sperm... EEL POV (IN THE TUBE) ...rocketing down the tube, slithering and squirming, faster and faster, racing into the sarcophagus, seeking out the creation in the murky womb-fluid, lashing at the hapless gray flesh, zapping it again with high-intensity voltage. The Creature convulsing, thrashing, jerking from side to side, raising its head against the top, mouth gaping open and shut, jaws snapping with electrical surges. Frankenstein's face appears at the porthole, peering in, watching his dark seed fertilize his unholy child. VICTOR (muffled through the glass) Live, you bastard! A huge bony hand slaps against the porthole, fingers clawing and spasming against the glass. FRANKENSTEIN jerks his head back, stunned. The fingers are scratching. He turns, runs to the electrical rig, shutting the whole thing down. It cycles off, whining into silence INSIDE THE SARCOPHAGUS ...and the body relaxes, shutting down with it, going limp and lifeless in the murk, spasms trailing off. FRANKENSTEIN stares at the sarcophagus. Realizing his creation has stopped moving. Nothing now. He sags to his knees, utterly devastated at the loss of his dream. Nothing. It was all for nothing... INSIDE THE SARCOPHAGUS ...And The Creature opens its dim yellow eyes, aware. Its mouth goes wide, teeth bared in a silent scream as it tries to breathe and finds nothing in its lungs but fluid. FRANKENSTEIN is wrapped in his despair, face cradled in his hands. A SOFT TAP. He glances over his fingers. Thinking he imagined it. No. There's another tap. And another. We see it in his eyes. Sheer joy and stunned exultation. Triumph and wonder unbelievably sublime. A bare whisper: VICTOR It's alive. It's alive. And then hell breaks loose: Massive convulsions wrack the sarcophagus, damn near shaking it off its cradle. THUMP- THUMP-THUMP! Pounding from within. Head ramming against the inner lid. He races over, frantic, fingers fumbling on the wing-nuts, spinning them loose, trying to free the drowning man within. He unscrews the final bolt, reaches for the rope to hoist the lid away... ...and the lid launches itself across the room, propelled from below with rocket-booster force. The massive copper shell goes hurtling/spinning/cartwheeling across the lab, demolishing an amazing array of equipment in its path, and thunders massively off the wall in an explosion of masonry and splintering coat rack. Victor's greatcoat goes flying. Silence. Frankenstein is frozen. Staring at the roiling surface of the amniotic fluid as it settles. An eternity passes in the space of a heartbeat. The Creature erupts from the vat like a vision from Hell, thrashing and gagging. Murky fluid cascading in all directions. The Creature seizes Victor by the shirtfront, trying to pull itself from the vat, slipping and sliding like an epileptic in a bathtub full of oil, damn near dragging Victor in, eels leaping and frothing and crackling with electricity. Victor screaming, trying to pull away, trying to break the Creature's grip... ...and the whole thing tips over. Victor reels back, falling as the vat SLAMS to the ground, cascading its murky contents, washing the Creature limply across the floor like a body tossed from the ocean, eels flipping and flopping, snapping electrical discharges into the air. Victor scrambles back, slipping and sliding on the amniotic muck, desperately jerking his legs away. He finds his traction and scrambles to his feet. The Creature is grasping and crawling toward him. Flopping and jerking. Gripped by seizures and convulsions. Vomiting murky liquid as his lungs heave grotesquely to dispel the fluid. Swiping the air with palsied hands. Malfunctional. VICTOR stands dripping fluid and goo, chest heaving, staring down at the Creature, not quite able to believe he was midwife to this ghastly birth. Softly: VICTOR What have I done? The Creature lunges to its knees, grasping him, clutching his clothes, pawing him. VICTOR LET GO OF ME! Victor can't break free. Panicking. He snatches a hammer from a nearby table and brings it down on the Creature's head. THUD! Again and again. Beating the thing down, pounding it into submission. The Creature finally collapses, sliding down Victor's legs, curling up like a fetus, twitching and jerking in its own afterbirth. Silence now. A ghastly tableau: Victor stands in the middle of his ruined lab with his creation moaning and twitching at his feet in a dying heap. A FLASH OF LIGHTNING silently bathes the room, jerking wild shadows across the walls. Victor steps over the Creature. Dazed. He drops the hammer. It clatters to the floor. He stops to jot a final entry: VICTOR Massive birth defects. Result is malfunctional and vile. (beat) Have chosen to abort. He walks stiffly away, disappears into the bedroom... INT - BEDROOM - NIGHT ...where he staggers to the canopied bed, beyond exhausted, and collapses face-down into oblivion. Weeping. FADE TO: INT - VICTOR'S BEDROOM - NIGHT The wee hours. Rain pattering desolately on the roof. Victor sleeping. Wrestling with troubled dreams. Through a crack in the bed curtains, we see the bedroom door slowly creak open, throwing a twisted spill of light. A shadow appears. Entering. Shambling and gliding across the floor. Silent and furtive. Creeping toward the bed. PUSHING SLOWLY IN on Victor. Moving into close-up. Sleeping. Unaware. The shadow falls across his face. Beat. His eyes fly open. An intake of breath. Paralyzed. Sensing the presence. Feeling the shadow. Working himself up to something. Perhaps a scream. He can stand it no longer, thrusts out his arm, jerks the curtain aside... ...and the Creature is there, Looming like a specter of death. Naked. Beseeching. Dull yellow eyes trying to understand. Victor lurches from bed, sends a nightstand and vase CRASHING to the floor. The Creature circles, seeking him, threatening to cut off his path to the door. VICTOR Stay away! He darts past the thing, careening out into the lab. The Creature whips around, unsteady for a moment, then follows him with surprising speed. INT - LAB - NIGHT Victor races through the lab with the Creature hobbling behind, trying to catch up. Victor hurling lab equipment, tipping shelves in its path, anything to slow it down. Victor rips the door open, lunges through, slams it in the Creature's face. The Creature presses against the wood with pathetic little moans, begging not to be left alone. He sinks to the floor. Abandoned. Shivering with cold. Sees Victor's greatcoat where it fell. Grabs it. Drags it over. Shrouding himself. EXT - STREET - NIGHT Victor races into the downpour, soaked to the skin in seconds, mind racing. He needs a plan. He presses on. INT - SHOP - NIGHT Victor appears at the window. TILT DOWN to reveal an array of gleaming swords lying in their velvet display. Victor hurls a brick through the glass. Snatches up a sword. INT - VICTOR'S BUILDING - NIGHT Victor careens in from the storm, drenched, racing up the stairs, sword glittering in his grasp. He gets to the top of the stairs... INT - VICTOR'S GARRET - NIGHT ...only to discover the door torn off it's hinges. He enters, stunned. The thing is gone. EXT - STREET - NIGHT Victor races back into the storm. Searching. Slogging grimly on. Lashed by the wind and rain. Mocked by the lightning. He'll never give up. Not until he finds the thing and takes back the life he gave it. He dwindles from view, vanishing into the gale as we FADE TO: EXT - ALLEY - MORNING Gray and drizzly. Heaps of wet garbage. Crawling rats. There's a shifting, heaving motion. The vermin scatter as the waking Creature peers at the world from beneath the greatcoat like a frightened child peering from under a blanket. Lost and confused. He scrabbles through the garbage for something to eat. He finds a rotted scrap, chews it anxiously. Ravenous. TWO FERAL DOGS appear, grizzled denizens of the city's gutters and back-alleys, peering with insolent eyes. Watching him eat. Assessing his potential as a threat. The Creature stares ingenuously back. Not knowing to be afraid. The lead dog curls his lips back with a guttural SNARL. The Creature draws back sharply with a fearful MOAN. That's all it takes. The dogs are on him, snarling and snapping, the food torn from his hands. The dogs dart away, growling and fighting over the scrap. The Creature is left whimpering and shaken. He pushes to his feet and hurries in the opposite direction, legs bare and pale beneath the swirling greatcoat, clutching his collar against the cold. He hears a distant CLANGING. VOICE (O.S.) Bring out your deeeaaad! Bring out your deeeaaad! A death cart clatters slowly past the mouth of the alley, DRIVER ringing his bell. It makes no sense to the Creature, but it's a sign of human life. He presses on... EXT - TOWN SQUARE - DAY ...and emerges into the square as ANGLE WIDENS. There's a fair amount of activity. People are still leaving the city, though the earlier flood has thinned. Some citizens are still trying to go about their normal lives. VENDORS are calling out, selling food. The Creature moves through the square, unnoticed, just another figure mingling with the flow. People trudge along, eyes downcast, miseries great, paying little attention. The Creature pauses, sniffing the air. An aroma draws him to a vendor's stand. Loaves of bread are laid out. He hunches down to smell one, picks it up, bites off a chunk. Chewing. It's good. A bigger bite. Snatching up more. WOMAN (O.S.) Here! What do you think you're doing? The Creature glances up. The VENDOR'S WIFE is within arm's reach, breath catching in her throat at the sight of him. Mouth gaping. Too stunned to scream. The Creature cradles the loaves to his chest, terrified she's going to take them away. He remembers his recent experience with the dogs and decides to try out the lesson he learned: he curls his lips back and snarls. He's rewarded with a PIERCING SHRIEK. The Creature jumps back, startled. This wasn't the desired effect. The woman SCREAMS like she'll never stop. He turns to run away... ...and plows right into the stream of refugees. He goes sprawling, scraping his knees bloody, still clutching his loaves. Confusion all around. People converge angrily. A ROUGH MAN grabs his hair, jerking him upright... ROUGH MAN Stupid bastard! ...and the Creature staggers to his feet before them, whimpering to protect his food, showing his face to all. Screams and panic. The Creature whips around, seeing horrified faces on all sides... He's the cholera! He's the one been spreadin' the plague! ...faces which turn into an angry mob, glaring sheer hatred. Somebody hits him in the face with a heavy stick, spinning him to the ground, loaves of bread scattering. They surround him, hitting, flailing, throwing stones. He tries to crawl, whimpering for them to stop. VENDOR'S WIFE BURN HIM! BURN HIM! The Creature finds himself hoisted into the air, falling back onto a sea of hands, kicking and screaming as the mob sweeps him across the square like some pagan sacrifice. He gets tossed onto the hard cobblestone in a thrashing heap, scrambles to his knees as the crowd surrounds him. He's wailing with terror now, long inhuman howls of fear. Men start flinging lamp oil, spattering him, blinding him. A torch is lit, swung toward him. Feel the heat. The Creature lunges to his feet, panic and terror complete bulldozing through the crowd to get away from the torch, bowling people over, scattering them in all directions. He breaks free, hobbling wildly across the square, greatcoat billowing. The mob streams after him, thirsty for blood, hurling rocks and sticks. EXT - STREETS/ALLEYS - DAY The Creature is weeping as he runs, bleeding from his many cuts and bruises. He turns a corner, collapses against a wall to catch his breath. He can hear them coming, shouting. They'll be here any second. He sees a death cart heaped with bodies. He hurls himself up on the cart to conceal himself among the putrefying corpses. The crowd streams past the mouth of the alley. The death cart WORKERS appear, heaving another corpse onto the cart, gaping fearfully at the confusion. They scramble into their seats, snap the reins. The cart rattles off as we DISSOLVE TO: EXT - STREET - DAY Elsewhere in Ingolstadt. Death carts and devastation. This part of town was hit hard. Bodies are heaped in gutters, stacked along the walls. People are huddled in doorways, quaking with sickness and pestilence. CART WORKERS move among them, faces shrouded with kerchiefs and burlap masks. WORKER #1 moves down a row of the sick and dead, shaking them to see which is which, his face hidden behind heavy burlap. He pauses, seeing Victor unconscious against the wall, pale and covered with filth, shaking with fever. The worker's eyes widen. Stunned. He calls over his shoulder: WORKER #1 Over here! WORKER #2 hurries over. Stares down. Eyes also widening. WORKER #2 Oh my God. Worker #1 rips his mask away. It's Henry. He leans down and grabs Victor, trying to rouse him. HENRY Victor! Worker #2 also sweeps his mask aside. Professor Krempe. KREMPE Don't dawdle, lad! The sick cart! Lift on three! One, two, three! They hoist Victor off the ground by his arms and legs and carry him into the street. Victor rouses, feels himself being carried. He sees a death cart looming ahead, stacked with heaps of reeking dead. Staring. Waiting. VICTOR (delirious, struggling) No... no... I'm not dead... please... Don't put me on the cart! I'm not dead! I'm not dead! I'M NOT DEAD! ANGLE WIDENS UP as they carry him kicking and screaming past the death cart and on across the square... WIPE TO: EXT - MASS CEMETERY - DAY A death cart rattles past, bearing its load. PAN WITH IT to reveal a scene utterly Dante-esque. Here's where the dead are brought to be burned en masse. Fires are burning. Smoke is drifting in thick clouds, obscuring the sky. Soot is drifting like black snow. BODIES are dumped into a slit- trench, rolling and tumbling in heaps. Barrels are kicked over. Streams of oil come pouring down, splashing and soaking. One of the corpses moves, heaving the others aside. The Creature gazes around, terrified once again at the smell of oil. He knows what that means. He pushes free, clambering over bodies, desperately trying to scramble from the trench, loose soil crumbling under his fingertips... ON THE LIP OF THE TRENCH ...as WORKERS prepare to light the blaze. A MAN turns toward the trench with a burning torch... And then the Creature erupts from the trench of dead bodies right before big eyes, The man SCREAMS. The Creature SCREAMS even louder, cowering back. The man hurls the torch. The Creature ducks as it goes spinning over his head into the trench. WA-BOOOM! A massive wall of flame punches sky-ward. The Creature whirls, stunned at the searing heat, arms thrown up in horror. He flees, scattering the workers as he goes, running from this ghastly place of flames and death... DISSOLVE TO: EXT - WOODS - DAY The Creature comes blundering into view. On the move. He knows not where. Just away, He arrives at a pond. Water. He's thirsty. He scrambles to water's edge, starts lapping it up with his hands. He pauses, noticing his broken reflection. The water settles and his face comes clearly into view. He throws his hands up and SHRIEKS, terrified at his own reflection... ...and then he realizes it's him down there. He stirs the water with his fingertips to make sure. He reaches up, touching his face, utterly horrified at the sight of it... ...and utterly heartbroken. He drops his face into his hand and weeps helplessly. BARKING DOGS in the distance. He looks up, thinking they're after him. A moan of grief. He pushes to his feet. TRACKING THE CREATURE faster and faster through the trees, running from this world he's been born into. Gasping for breath. Crashing through branches. The BARKING draws closer. He hurls himself into a thicket, scrambling to hide himself, covering himself with dead leaves. Panic. Exhaustion. Mortal terror. He flinches as something comes CRASHING through the brush nearby. The legs of a DOE come into view. Staggering. Falling. Thrashing down into a cushion of dead leaves. Two arrows protrude from her heaving side. A tiny FAWN stumbles into view on ungainly legs, mouth open, frothing with exhaustion and terror. Waiting for his mother to rise. Her thrashing grows weaker. Dying. The Creature moans at the sight. The fawn turns, meets his gaze. An extended beat. A rush of empathy. The Creature reaches out. The fawn takes a few hesitant steps toward him. The BARKING draws closer. HUNTERS shouting. The Creature's fingertips make contact with the fawn... A pack of the biggest, nastiest Staffordshire terriers you've ever seen throw themselves HOWLING AND SNARLING onto the doe, savaging her like whirling dervishes, The Creature lets out a SHRIEK, snatches up the fawn as he lunges to his feet, crashes off through the foliage with the fawn cradled to his chest. The dogs take off after him. DOLLYING THE CREATURE Running full-tilt, SHRIEKING in terror all the way. Trying to save the fawn. Trying to save himself. The dogs are snapping at his heels, trying to sever his hamstrings and bring him down. He hears RUSHING WATER ahead, crashes headlong through a thicket... EXT - RIVER - DAY ...and sails SCREAMING into empty SPACE, twisting and spinning as he falls, plummeting head-first into the rapids. The dogs are left behind. The Creature gets swept along, gasping and choking, caroming off huge boulders, fawn still clutched protectively to his chest. Finally the water starts to settle. He manages to lash out and secure a handhold. He pulls himself up, clambering over the rocks and staggering onto firm soil. He collapses to his knees, dripping water and heaving for breath. He lowers the fawn away from his chest, joyous at their escape... only to realize the small animal is limp and lifeless in his hands. He crushed it to death trying to save it. He lays it down, moaning, trying to understand. ANGLE WIDENS UP into the trees as we DISSOLVE TO: WOODS - DUSK TILT DOWN to reveal a solitary figure in a greatcoat trudging across the sodden countryside under a dismal, darkening sky. Cold. Hungry. Wet. Tired. The Creature pauses, hearing FAINT MUSIC drifting on the breeze: the lovely flute-like sounds of a recorder. He slogs to the crest of a ridge. There's a small house in the valley below. A peasant dwelling. Smoke drifts from the chimney. That's where the music comes from (a simple and plaintive rendition of our movie's WALTZ/LOVE THEME). The Creature proceeds down the ridge... drawn by the music and the promise of warmth. HOUSE - DAY The Creature approaches cautiously. Furtive. He eases to a window, catches a glimpse inside, draws back. Listening. The tune ends. We hear the pleasant murmur of VOICES. FOOTSTEPS come clumping across the floor. The Creature reels back and dives around the side of the house as the door unlatches and swings open. FELIX exits, a poor man trying to scratch an honest living from the soil. He heads in the same direction as the Creature... ANOTHER ANGLE ...and walks around the corner of the house just as the Creature scrambles from view behind the chicken coops. The Creature watches through the wire and wood as Felix approaches and stops, only his legs visible. Feed is scattered through the wire. The chickens begins to eat. The Creature backs up PIGSTY - DUSK ...and finds himself in the company of PIGS. The animals GRUNT and SQUEAL in alarm. FELIX (O.S.) Yes, yes, I'm coming... The Creature scurries further back into the shadows as Felix's feet stop just outside. A pail is upended. Slop pours into the trough. Felix walks away. The pigs scurry to eat. The Creature leans forward intently. Food? He crawls to the trough and squeezes in among the pigs. They jostle, but he jostles right back, wanting his fair share. He laps up the slop with his fingers, dribbling it down his chin. Not much on taste, but it's edible. He stops, hearing the recorder MUSIC again, turning toward the sound. He follows it, crawling back into the darkest recesses where the sty adjoins the wall of the house. He places his eye to a chink between the logs... ...and sees GRANDFATHER playing the instrument near a fireplace of glowing embers. The Creature shifts for another view, sees the family preparing the table for dinner. Felix and his wife MARIE are helped by their children, MAGGIE AND THOMAS, ages 6 and 8 MARIE Bring Grandfather to the table. The old man stops playing as the children scurry over. As Maggie helps him to his feet, Thomas tosses another log on the fire. It BLAZES UP. Fire and sparks. In the pigsty, the Creature draws back with a fearful moan... ...that nobody but GRANDFATHER hears, He pauses to gaze blindly toward the wall, eyes milky with cataracts, wondering what it might have been. Probably nothing. He lets the children lead him toward the table. The meal is brought from the stove and ladled out. The Creature eases back to the chink in the wall, smelling it from here. A string of drool spills from his mouth. It's humble fare, not very appetizing, but it looks like a feast compared to pig slop... DISSOLVE TO: INT - VICTOR'S BEDROOM - NIGHT Victor lies sleeping. Wrestling with troubled dreams. In an eerie echo of before: the door creaks open in a spill of light. A shadow enters, creeps to the bed, falls across his face. Victor's eyes fly open. He tries to erupt from bed, choking on a scream... and Henry wrestles him back to the pillow to feel his clammy forehead. HENRY Thank God your fever broke. (offers him water) Slowly, now. Just a sip. (Victor sips, falls back) I've been worried we might lose you. It's been touch-and-go for a week. VICTOR A... week? HENRY We feared cholera. Turned out to be pneumonia, brought on by nervous exhaustion and some idiot running around in a storm. VICTOR Is that your diagnosis? HENRY Mine and Professor Krempe's. (off his look) We've been trading off nursing you in shifts. The rest of the time we're out working with the cholera victims. It's his turn for that just now. VICTOR You've been going round-the-clock? HENRY We catch a few hours sleep where we can. Usually here at your bedside. VICTOR (deeply moved) Everything in moderation, Clerval. HENRY Nothing in moderation, Frankenstein. Victor takes Henry's hand. Squeezes it. HENRY It's the down-and-outs I pity most. Those who can't fend for themselves. They'll be dead by the thousands before this is done. They don't stand a chance out there. VICTOR (thinking of his creation) No. They don't. HENRY Victor. This place looked like a charnel house. What went on here? Victor pauses, too emotional to respond. Softly: VICTOR I want to go home. Beat. Henry accepts this, though he doesn't like it. HENRY It'll be months before you're well enough. Meantime, your family must be frantic not hearing from you. Henry grabs a stack of letters from the nightstand. HENRY I found these. Some of the postmarks go back nine months. (slaps them on the bed) Why don't you open them? And when you've the strength, have the decency to ease their minds with a reply. Soon as the city ends quarantine, I'll even mail it for you. Along with this. (raises the locket) It's a beautiful gift. Does her no good lying here. Henry leaves him alone to wrestle with his guilt. Victor is swept with emotion and remorse. He closes his eyes. Softly: VICTOR It can't survive. INT - PIGSTY - DAY The Creature and the pigs are sleeping in a heap. He rouses, scattering them, crawls to the slats of the sty. Felix is returning wearily from the fields with a large basket on his back. The Creature moves to his chink in the wall to see Felix enter the house and dump the basket out for Marie. A pathetic array of potatoes and turnips. FELIX Not much to look at. Even less to eat. I don't how we're going to get through the winter with this yield. MARIE We'll sell another pig at market. FELIX One less for us. MARIE We'll make do. We always have. He sinks into a chair, weighed by worry. She moves to comfort him, cradling his head to her breast. He returns her embrace, drawing strength. A tender, gentle moment. The Creature watches, puzzled and empathetic, deeply moved by her sympathy. Felix gathers himself, wipes his eyes. FELIX I'll see if I can scratch a few more out of the ground. He hoists the basket and exits. The Creature turns to watch Felix trudging back toward the fields. EXT - FIELD - DAY Felix digs for potatoes, tilling as he goes. Back-breaking work. Thomas provides what help he can. Some distance away, Maggie and Grandfather are tending the cow. ANGLE SHIFTS to reveal the Creature watching from the brambles... INT - PIGSTY - NIGHT The Creature watches the family eat their dinner. Potatoes and turnips. A glimmer of understanding in his eyes. EXT - HOUSE - NIGHT A long shadow looms toward the dwelling... circling the house... approaching the shed. Baskets and tools... EXT - FIELDS - NIGHT We find the Creature working by the light of a refulgent moon, hacking away at the soil, tilling the earth... INT - PIGSTY - DAWN The Creature stirs, hearing movement within the house. He scurries to the slats of the sty and peers out. All the baskets from the tool shed are stacked to overflow before the door. The door opens. Felix steps out and trips on a basket, sprawling to the ground in a torrent of potatoes and turnips. He sits up, gazing in wonder. INT - PIGSTY - NIGHT A sliver of warm light spills through the chink in the wall. The Creature looms into frame, busily munching a raw potato. A pig comes snuffling at his elbow. He shoves him away. Go find your own. Inside, the family is enjoying a much more generous meal than the last one: GRANDFATHER I wish we could thank our benefactor. FELIX Nothing in this life comes free of cost. I'd like to know who and why. MAGGIE It's the Good Spirit of the forest. FELIX Who's been filling your head? GRANDFATHER It does no harm. FELIX (peers at him) Oh, I see. THOMAS Is it, Papa? Is it the Good Spirit? Felix and Marie exchange a look. He's not as amused as she is, but lets it go. She smiles at the children. MARIE Of course it is. Now finish your food before it gets cold. EXT - POND - DAY Grandfather sits playing his recorder. The cow is grazing at a distance. The Creature creeps into view, listening to the music. Grandfather senses his presence. Turns. GRANDFATHER Who's there? Felix? Children? No response. He turns back. Unsettled. Continues playing. INT - PIGSTY - NIGHT The Creature watches Marie instructing the children in their letters. A half dozen words are written in chalk on a slate board. Maggie is trying to puzzle one out: MAGGIE ff..reh..nn..nd. Friend? Friend. MARIE Good! And now the next CREATURE (mimicking the effort) ...freh...nnn..nd. Freehhnnnd. He's delighted to have uttered his first word. EXT - WOODS - DAY Felix is chopping lengths of wood, dulled by the task. The children are stacking the wood on a litter. EXT - FIELD - DUSK Felix and the children walk home. The litter of wood is being dragged by their cow... EXT - HOUSE - DUSK Felix stacks the last pile of wood under the eaves. Marie meets him at the door, takes his hands. MARIE Your hands are bleeding again. Come in. I'll rub liniment. They go inside. The door closes. CAMERA PUSHES to the pigsty. Eyes peering out. EXT - WOODS - NIGHT The Creature walks along, munching a turnip, axe slung over his shoulder, muttering: CREATURE .brread... motherrr... frriend... (stops, gazes up) Treeeeee. EXT - HOUSE - MORNING The walls around the house are stacked impossibly high with cords of wood. Felix and Marie gaze out the door. Stunned. FELIX What is going on here? INT - VICTOR'S GARRET - NIGHT Snow is drifting outside the tall dormer window. We find Victor at his desk, reading a letter: VICTOR "...but it's been so long since I've heard from you. Remember the vow we took the night you left? You must be honest with me if your feelings have changed. Answer for the sake of our friendship, and both our future happiness." (pause) She wrote that four months ago. ANGLE SHIFTS to include Henry. He's been listening. HENRY A woman like that is far too rare to be taken lightly. Victor ponders the letter. He lays it next to the locket, pulls out a sheet of paper and quill, begins to write... INT - PIGSTY - NIGHT The Creature observes another lesson. Six more words are chalked on the board. Thomas is struggling with the first: THOMAS Ch...uur-ch. Church. CREATURE Ch...uuu...ch. MARIE Good. And the next. THOMAS Fl...oww. CREATURE Floww... And then, amazingly, the Creature finishes the word before Thomas does: CREATURE ...wwer. Flower. THOMAS ...wer. Flower? MARIE Very good! Maggie. Try the next. Now the Creature beats Maggie to the punch: CREATURE Garrr...denn. Garden. THOMAS Maria! Look! It's snowing! The children crowd to the window. The Creature turns, peering through the slats. White flakes drift magically down. The door flies open, the children pour out. The adults appear in the doorway: MARIE Maggie! Thomas! You'll catch your death! GRANDFATHER Let them play. There's plenty of wood for the fire. FELIX (shoots her a look) He's right about that. Before she can react, he grabs her by the waist and drags her shrieking out into the snow. Before you know it, a wild snowball fight ensues. Screams and laughter. THE CREATURE watches his family cavorting in the snow, having the time of their lives. His face lights up with a smile. Softly: CREATURE It's snnowwinng. EXT - HOUSE - DAY Bright sunshine sparkles off a fresh carpet of snow. Felix and the children are heading out, spirits high. Felix has his axe and a coil of rope slung over his shoulder. EXT - WOODS - DAY TRACKING Felix and the children. They're laughing and joking, the kids playful and giggling. The Creature shadows them, looming and darting among the trees, along for the excursion. Happy as a kid himself. Maggie and Thomas hurl themselves to the ground, thrashing their arms and legs in the snow. They jump to their feet and hurry to catch up with Felix. The Creature peers out, amazed to see two snow-angels in the powder at his feet. Up ahead, Maggie points to a 6-foot fir tree. MAGGIE That one! It's the most beautiful tree I've ever seen! Felix shrugs off his coil of rope and starts chopping. INT - PIGSTY - NIGHT The Creature gazes through the chink in the wall, face lit up with wonder. Inside, the tree is a dazzling vision of ornaments and light. The house is filled with joy and laughter. Grandfather plays his recorder by a roaring fire CREATURE Most beautiful... tree... The kids go dashing across the room. The Creature shifts to the slats as the door opens, throwing a spill of warm light. The children set something out in the snow. Maggie calls out into the darkness: MAGGIE Merry Christmas! The door closes. The Creature creeps from his sty, scurries closer to investigate. He finds a covered plate topped with a glittering red silk flower as decoration. The slate board is jammed in the snow. On it is chalked a child's rendering of a glowing angel and a message: CREATURE For the... Goood Spirr-rit... of the... Forr-rest. He snatches up the plate, scurries around the side of the house, and hunkers down near the tool shed with his prize. He plucks the red silk flower, enchanted by it, tucks it gingerly into an inner coat pocket. He uncovers the plate to reveal a wonderful array of Christmas cookies. He's not sure what they are, but they don't smell half bad. He picks one up and bites into it. He pauses, stunned, eyes going wide as saucers. A whine builds in his throat. He starts huffing air as he chews, mouth gaping, mind thoroughly blown. Screw potatoes and turnips. EXT - HOUSE - MORNING The children race out the door to find the plate empty. And a big snow-angel waiting for them in the yard, INT - PIGSTY - NIGHT The Creature watches the family clustered around the fire. Marie reads a book aloud: MARIE ...with particles of heavenly fire, the God of Nature did his soul inspire... and pliant still the ethereal energy which wise Prometheus tempered into paste... The Creature leans back into the shadows, grappling with the concept of book. He reaches into the pocket of the greatcoat, and pulls out what's been there all along: Victor's Journal. So that's what this is. A book. He unwinds the thong, riffles the pages. Letters fall, scattering from the pages. He picks one up by the corner, turns his head this way and that. Slowly: CREATURE Myyy Darrllnng Vic...tor... Willee haaad hisss burrth-dayyy. I wissh... yooo cuud huvv beeen... herre... to sharre ut... withh... ussss... EXT - GRANDFATHER'S POND - DAY Grandfather sits playing his recorder. Again, the Creature approaches to listen. Grandfather stops. Turns. GRANDFATHER I know you're there. (waits for a response) Won't you speak to me? The Creature studies Grandfather for a time. The old man waits. Finally starts to play again. The Creature finds a spot to listen. He opens Victor's journal. CAMERA PUSHES SLOWLY IN as he puzzles over it... INT - PIGSTY - DAY ...and we CONTINUE PUSHING SLOWLY IN as the Creature reads: CREATURE ...of sscience... and to c-create... a beinng... in the image of man... assembled ffrrom... the... dead bodieess I have... gatherrred... He turns the page and discovers his own rough likeness: it's Victor's sketch of his patchwork man. The rendering includes suture marks where the pieces were joined. The Creature gazes for a long time. His finger traces the penciled suture-line where an arm joins the torso. Eyes going wider. Revelation slowly dawning. No. It can't be. it's too horrible to conceive... ...and he drops the journal, clawing at his coat in a surge of panic, wrenching it away to reveal his arm... And the massive suture scars joining his shoulder to his torso in an exact match to the drawing. He throws his head back in an animalistic PRIMAL SCREAM, face twisted in a mask of utter horror, Munch's painting made flesh... IN THE WOODS ...and his scream echoes across the countryside, Felix turns from chopping wood. His family gathers, eyes wide, listening to the sound trail off. Softly: FELIX God in heaven. IN THE PIGSTY A massive hand rips the page from the journal, raises it in a clenched fist. ANGLE WIDENS to reveal the Creature huddled in a corner, dropping his head into his arms to hide his face. Sunlight throws streaks of light and shadow through the slats. He sobs, wracked with despair as we FADE TO: EXT - VALLEY - DAY The house is distant below. Felix and his family are heading out across the fields now sparse with snow, herding the cow before them. Only Grandfather is missing. The gentle MUSIC of the recorder drifts up from the house. ANGLE WIDENS to reveal the Creature hunkered on a hill. Watching. Waiting. The family dwindles in the distance. INT - HOUSE - DAY For the first time, we actually see the inside of the house from a perspective other than through the chink in the wall. Grandfather is by the fire, playing his recorder. The Creature's face appears at a window. Peering in. He ducks from view, appearing at another window. Making sure the house is otherwise empty. He vanishes again. The door swings silently open. His figure fills the doorway. Grandfather stops playing. Silence. GRANDFATHER Would you like to sit by the fire? The Creature enters. Sits. Holds his hands toward the embers, feeling the warmth. CREATURE Nice. GRANDFATHER The music? Or the fire? Grandfather offers him the recorder. The Creature hesitates, takes it, inept where such delicacy is required. He puts it to his misshapen lips and blows a few hollow tones. He gives it back, huffing air, delighted. GRANDFATHER I'm glad you finally came to the door. A man shouldn't have to scurry in the shadows. CREATURE Better that way... for me. GRANDFATHER Why? CREATURE I'm... very, very ugly. People are afraid. Except you. GRANDFATHER (smiles) It can't be as bad as that. CREATURE (soft) Worse. The old man-reaches for his face. The Creature draws back. GRANDFATHER I can see you with my hands. If you'll trust me. The Creature decides to trust. He eases forward. Grandfather runs his fingers over his features. Gently: GRANDFATHER You're an outcast. CREATURE Yes. I have been seeking my friends. GRANDFATHER Friends? Do they live around here? CREATURE Yes. Very close GRANDFATHER Why do you not go to them? The Creature pauses. Emotions swirling. Afraid to continue. CREATURE I have been... afraid. Afraid... they will hate me... because I am so very ugly... and they are so very beautiful GRANDFATHER (softly) People can be kinder than you think. CREATURE I am afraid. Grandfather reaches out and takes the Creature's hands. GRANDFATHER Perhaps I can help. Tell me who. The Creature is huffing air, breath hitching in his chest like a panicking child. His monstrous eyes well up with tears. Trying to get the words out: CREATURE I love them... so very much. I want... I want... them to be my ff-family. I II-Ilove them ss-so very mm-mm- mmuch... The Creature pauses. Trying to get the words out. And the door swings open. The Creature whips his head. There stands Maggie. Eyes going wide. Breath catching in her throat. She lets out an ear-splitting SHRIEK! The Creature throws himself on the old man's lap, clutching him, pleading: CREATURE Don't let them hate me! Felix bursts in, shoving Maggie aside, hell breaking loose in screaming, hollering chaos: Marie trying to get the children out of the way, Felix throwing himself on the Creature to rip him off the old man, the Creature sprawling to the floor, the old man shouting, the children SHRIEKING, Felix snatching, up the fireplace poker and swinging it down, again and again, trying to kill the thing... GRANDFATHER Leave him alone! ...the CREATURE SCREAMING and taking the blows, writhing across the floor in agony, the children scattering from his pleading hands. The CREATURE rolls from under the brutal beating and sails out the door. EXT - WOODS - DAY The Creature runs bleeding and sobbing, a specter sailing among the trees with greatcoat billowing like huge dark wings. Running from the horrified screams of rejection still echoing in his mind. EXT - WOODS - DAY A snowscape. Stark trees. A figure in a greatcoat. Head bowed with misery. Leaning against a tree. Trying to catch his breath. Can't. Crying too hard. He sinks to his knees, hands clutched bitterly to his heaving chest. Wondering why the anguish doesn't stop his heart in mid-beat. A realization. He pulls the little red silk flower from the inside pocket. It lies glittering in his huge, misshapen palm like gentle magic. Or hope. Yes. HOUSE - DUSK The sky is brewing. The Creature runs across the courtyard toward the house, breathless, holding his palm out. See? Here's the flower you gave me. Don't you understand? CREATURE It's me! It's mmmmeeeeee! Nothing. He glances around. The pigs are gone. Chickens too. The Creature's eyes go wide. He dashes to the house HOUSE - DUSK ...and bursts in to find it empty. Items have been scattered and left behind. Books, clothes, even the old man's recorder. They left in a hurry. CREATURE ...no. HOUSE - NIGHT We hear furniture CRASHING, glass SHATTERING, shelves being ripped from walls. A faint glow kicks up. Flames rise within. The Creature exits with a flaming torch, spins back to watch. He has new possessions: an armload of books jammed in a satchel, some extra clothes on his body, the old man's recorder jammed in his belt. A HOWLING WIND whips up, billowing his coat and hair, fanning the flames even higher. He raises his torch, HOWLING along with the wind, reflected fire seething in his eyes, exulting as the house is consumed... DISSOLVE TO: MONT BLANC - DAY Massive pale gray feet walking through the snow. ANGLE WIDENING to reveal a lone, windswept figure traversing the glacier with a walking staff. Struggling toward the crest of a ridge. Greatcoat billowing in a freezing wind. THE CREATURE rises from below the crest and gazes down. Glowering with triumph at achieving his goal. Softly: CREATURE Geneva. AERIAL SHOT sweeps up the slope of the glacier like the wind itself, rising magnificently past the tiny figure standing on the ridge, sailing up over the crest... to reveal the valley and lake of Geneva below. DISSOLVE TO: INT - VICTOR'S GARRET - DAY (SPRING) Sunlight streams through the dormer window. Birds twitter on the ledge outside. The trees are in bloom. Victor stands dressed and ready to go, taking one last pensive look around at the now-empty garret. Henry appears: HENRY Our carriage is here. EXT - INGOLSTADT CITY GATES - DAY Bustling with activity. Hopeful. A traffic snarl is jammed up in both directions, waiting to get in and out of the city. People, carriages, wagons, goods. We find Professor and MRS. KREMPE saying goodbye to Victor and Henry: MRS. KREMPE (watching the gates) Such a terrible winter. I'll praise God to see those gates open again. KREMPE I'll have all your things sent on. They should arrive soon after. (Victor nods) It's been a rough time, lad. For us all. But if you'd like to come back and finish out your final term once university re-opens... A ROAR goes up from the crowd. The gates are finally opening as SOLDIERS swing them aside. The traffic starts to flow. Victor turns back to Krempe, nods gratefully. VICTOR Thank you, Professor. For everything. Krempe is flustered as Victor gives him an awkward hug. KREMPE Write and let us know you've arrived safely. Victor breaks the embrace. He and Henry clamber into the carriage. Softly: VICTOR Take me home, my friend. Henry signals the DRIVER. The reins snap. The carriage lurches away, easing into the flow of traffic as we DISSOLVE TO: EXT - FRANKENSTEIN ESTATE - DAY William, now 10, comes charging up the steps with a small package under his arm, nearly bowling over Mrs. Moritz as he sails past her hollering his head off: WILLIAM HE'S COMING HOME! INT - PARLOR - DAY Willie careens into the parlor, where Elizabeth and Justine are entertaining FRIENDS. WILLIAM Elizabeth! Justine! Father enters, trailed by HOUSEHOLD STAFF. FATHER What's all the fuss? Why are you shouting? WILLIAM He's coming home! Tonight! ELIZABETH Who? Victor? WILLIAM That's what I'm telling you! ELIZABETH (swept with relief) Thank God. Willie thrusts the package into her hands. She hesitates FATHER Open it. Willie scrambles to bring her the letter opener. Elizabeth lays the package down, slits it open. Willie peers in. Elizabeth pulls the locket out to the admiration of all. She presses the catch. The locket pops open to reveal Waldman's miniature oil painting. WILLIAM It's Victor! JUSTINE It's beautiful! May I? (takes the locket) He looks so handsome. Elizabeth pulls out the letter. Apprehension and hope. She begins to read. The others watch her. Waiting. Her face lights up, blinking back tears. She remembers to breathe. FATHER What does it say? ELIZABETH Let this locket be a token of the vow we took the night I left. (beat) He's coming home to marry me. Instant pandemonium and joy... except from Justine, whose heart quietly breaks. Father and the others ROAR with approval while Willie jumps and shouts: WILLIAM Married! The two of you? FATHER Brilliant! I knew it! Ever since you were children! JUSTINE (softly) That's wonderful. She hands the locket back. She slips quietly from the room, unnoticed by the others... INT - ENTRYWAY - DAY and hurries down the hall, fighting back tears. RESUME PARLOR as Elizabeth is swept up in congratulatory conversation. Willie grabs the locket, admiring it: WILLIAM Elizabeth? Can I take this to show Peter? ELIZABETH Willie, it's not a toy for your friends. WILLIAM I'll take extra special care, I promise! Pete's never seen what Victor looks like! He'll admire it enormously! Willie's so solemn and earnest that Elizabeth has to smile. ELIZABETH Don't dawdle. It'll be dark in a few hours. The boy takes off like a shot. Father throws his arm around Elizabeth, announcing to all: FATHER Join us for champagne! My son is coming home! EXT - FRANKENSTEIN ESTATE - LATE DAY Geese scatter as Willie comes racing across the grounds. He clambers over a low fence, heading into the miles of wooded acreage behind the house. His favorite shortcut. EXT - COUNTRYSIDE - LATE DAY Willie hurries/dawdles along as kids do, the precious locket clutched in his hands, admiring it. He can't get over the fact that his brother's finally coming home. He pauses, hearing FAINT TONES carried on the breeze, eerie and flute-like. A recorder. Curious, he follows the sounds further and further into the woods... EXT - POND - LATE DAY ...and comes into view of the pond. There's a FIGURE sitting half-concealed among the tall reeds, gazing off across the water and playing his delicate wind instrument with oddly- pleasing dissonance (again, a simple variation of our familiar WALTZ/LOVE THEME.) Willie draws closer. Curious. Not wanting to intrude, but listening to the music. The figure in the reeds still hasn't noticed him... ...And then his head abruptly whips around, An ogre right out of a storybook. Willie's eyes go wide. The locket drops from his fingers into the dust. The boy turns and runs as the monster in the reeds lunges to its feet: CREATURE Wait! Don't be afraid! The boy keeps running. The Creature comes shambling up from the pond, still calling after him. He picks up the dropped object. As he rises, he finds himself staring at the locket. At the small painting it contains. Victor Frankenstein. He raises his gaze after the fleeing boy. Maybe Willie does have reason to be afraid. The Creature starts after him, locket clenched in his fist, teeth grinding in greater and greater rage. Eyes wild. THEIR FEET go pounding through the brambles and brush. The terrified boy. The pursuing monster. Faster and faster... INT - FRANKENSTEIN KITCHEN - DUSK Whirling with activity. Mrs. Moritz supervises the staff. Elizabeth and Justine are helping with the preparations. Justine turns with a platter, collides with one of the kitchen staff. Carrots go flying. MRS. MORITZ Justine! Pay attention! JUSTINE (tight) Yes, Mother. ELIZABETH (pulls her aside) Are you all right? JUSTINE (even tighter) Fine. Justine sees genuine concern. She softens: JUSTINE I'll be all right. Really. Father enters with Claude. Both men worried. FATHER Have you seen Willie? ELIZABETH Is he not back yet? FATHER Claude rode over there to see if held lost track of time. They say he never arrived. ELIZABETH It's far too late for him to still be out. EXT - MANSION - DUSK Elizabeth exits with the others CLAUDE Don't worry, Monsieur, we'll find him. He rushes to gather the men. Elizabeth gazes off. Wind kicking up. Night approaching. Almost too dark to see. EXT - COUNTRYSIDE/WOODS - NIGHT A massive search in progress. People are scouring the fields on horse and on foot, shouting Willie's name. Elizabeth enters frame, calling out: ELIZABETH WILLIE! LIGHTNING dances on the horizon. A storm approaching. EXT - WOODED AREA - NIGHT The stark black silhouettes of tree trunks bisect the frame in foreground as Justine approaches from the fields, lantern held high... JUSTINE WILLIE! ...and one of the "tree trunks" turns out not to be. It darts abruptly across frame with a billow of flapping greatcoat, Justine enters the woods. A FLASH OF LIGHTNING sends shadows skittering among the trees... EXT - ROAD TO MANSION - NIGHT ...And the storm is now a raging downpour, TILT DOWN to reveal a coach clattering through the rain. INT - COACH - NIGHT Victor is peering out the window flap. VICTOR There! Look! Henry cranes to look. A LIGHTNING FLASH stutters the mansion briefly to life a few hundred yards down the road, HENRY Quite a place. VICTOR Thank you, Henry. HENRY For what? VICTOR This. My home. My family. (softly) If not for you, I'd be dead in a burial pit somewhere. Henry smiles, squeezes his shoulder. The carriage lurches violently, tossing them forward. EXT - COACH - NIGHT Victor jumps from the coach as the DRIVER wrestles his rearing horses under control and points. Victor turns. Elizabeth stands in the downpour like a ghost. Drenched to the bone. Weeping from the depths of her soul. Holding Willie in her arms. The boy's arms hang limp, his head dangles back. Victor starts forward, stunned, unable to comprehend, running faster and faster... VICTOR Elizabeth? ...and now others are converging on the scene, dark screaming figures in the storm. Victor reaches her first as the others crowd around in a panic of confusion, crushing and jostling as she collapses into Victor's arms, all of them cradling Willie, and then Father is there, shoving his way through, -- seeing his dead boy and collapsing in the muck with a SCREAM, and suddenly Henry is there shouting for the men to lift him and everybody is scrambling and screaming as we SMASH CUT TO: INT - MANSION - FATHER'S BEDROOM - MORNING Silence. All we hear now is the SOFT TICKING of a clock. Henry tenderly ministers to Father, who lies gravely ill. INT - PARLOR - MORNING Elizabeth is sitting. Elbows crossed. Holding herself together. Face ashen. Dazed. Still in shock. Mrs. Moritz is nearby, looking much the same. Eyes swimming with tears. MRS. MORITZ Sir. I'm terrified for my girl. VICTOR (softly) We'll organize another search now that it's light enough. We'll find her, Mrs. Moritz, I promise. Henry comes downstairs. He and Victor confer in whispers then approach Elizabeth. Victor crouches before her. ELIZABETH What is Father's outlook? HENRY I am cautiously hopeful. With quiet and proper care he may eventually regain some or most of his strength. Victor squeezes her hand. Comfort and strength. ELIZABETH Thank you, Henry. There's a KNOCKING at the front door. INT - ENTRYWAY - MORNING Victor opens the door. POLICEMEN hover outside. Faces grim. POLICEMAN #1 Mr. Frankenstein. We've apprehended the murderer. Not five miles from here, hiding in a barn. VICTOR Who is it? The policemen trade uneasy glances. POLICEMAN #2 It's very unsettling, sir. And quite strange. Perhaps you'd better come with us. INT - JAIL CELL - DAY Victor is led in by policemen. The JAILER unlocks the cell. Victor enters as the men depart. Victor is alone, staring at a FIGURE huddled in the corner, pooled in shadow. We get the impression of long, dangling hair. The figure stirs... FEMALE VOICE Victor? ...and leans into the light. Justine. Pale. Dazed. Scared JUSTINE Victor! It's you! Thank God! She rushes to him, throws herself into his arms. He reacts stiffly, not at all sure he wants her touching him. JUSTINE Is it true? What they say about Willie? Is it true? VICTOR Yes. She dissolves into tears. Barely able to breathe. JUSTINE Willie. My poor little angel. (looks up) Victor! They think I did it! VICTOR Did you? Justine pauses. Stunned. Her eyes on his. Here's the deepest betrayal ever experienced. Her heart turns to ash. JUSTINE (low) I don't believe... I am in need of your comfort... anymore. VICTOR (a whisper) Did you, Justine? Beat. She hauls off and slaps him hard enough to rock his head around. Then she slaps him again. Harder. JUSTINE Get out! INT - COURTROOM - DAY The courtroom is packed. Justine sits accused. An older KITCHEN MAID is on the stand. KITCHEN MAID I found her sobbing her eyes out. Poor thing, I said, what's all this? And she spilled her heart to me about Master Victor. How she'd always loved him, and now he was coming home to marry mistress Elizabeth. A MURMUR sweeps the courtroom. Victor and Elizabeth share a stunned glance. KITCHEN MAID She cried and cried about the beautiful locket he'd sent. How she wished it was hers. She swore me never to tell a soul. (peers at Justine) That was before the boy went missing, a'course. INT - COURTROOM - DAY Victor is on the stand: VICTOR I always viewed her with brotherly affection. I had no idea of her feelings for me. PROSECUTOR Rejection can be a powerful wound. People have been known to do uncanny things. VICTOR But to commit so ghastly and terrible a crime against a child she loved? Victor pauses, gnawed by some vague intuition. He looks to Justine. She gazes back, her feelings hidden. Softly: VICTOR It's hard to believe. INT - COURTROOM - DAY Elizabeth is on the stand: ELIZABETH Justine and I grew up as sisters. I know her better than anybody. DEFENDING COUNSEL Do you think it possible she committed this crime? ELIZABETH William was as much her child as mine. We were both mother to him. (beat) I believe she would sooner have strangled the life from her own body. DEFENDING COUNSEL Then you consider the charge without merit. ELIZABETH I consider the charge imbecilic. INT - COURT ROOM - DAY Justine is now on the stand: JUSTINE Yes. I took refuge in the barn. Wouldn't you? Lost in the storm? Freezing and wet? I was exhausted and could search no longer. PROSECUTOR And is it true, Miss Moritz, that you love Victor Frankenstein? That your heart was broken? (off her silence) Answer the question. Do you love Victor Frankenstein? Her gaze wanders to Victor, eyes locking on his. Stares back, trapped. JUSTINE I have always loved him. PROSECUTOR Is it also not true that you murdered his brother William in a misdirected crime of passion? JUSTINE Murder Willie? In my heart, he was our child. Victor's and mine. Such a thing could never have entered my mind. PROSECUTOR So you have claimed. Yet you have no explanation for this. (holds up the locket) The locket last seen in the hands of the poor murdered child was found hidden in your dress the morning following the murder. The locket you so coveted. (leans close) How did it come to be in your possession? JUSTINE I have no knowledge of that. EXT - FIELD - DAY A PAIR OF FEET drop heavily in frame. THUMP-CRACK! A shoe flies off. The CROWD gasps. Mrs. Moritz collapses WAILING to the ground. Elizabeth drops to her side to comfort her. Victor just stands staring. ANGLE WIDENS to reveal Justine dangling from the noose, neck broken, hands bound and feet still twitching. EXT - SAME FIELD - NIGHT Another eerie echo of before: a storm is raging. The body dangles from the scaffold, lashed by wind and rain. Victor looms from the darkness, staring. And then a massive white hand thrusts into frame and grabs his shoulder. Victor whirls and finds himself staring up into the last face he ever expected to see again, the hideous necrotic features bathed in a purple/white GLARE OF LIGHTNING. He SCREAMS as the Creature lashes out, grabs him by the coat, draws him breathlessly closer, inch by inch, eyeball-to- eyeball, grinning his awful rictus grin. Softly: CREATURE Frankenstein. Victor is speechless with horror. The Creature raises his arm, pointing with an impossibly long and bony finger. Look there. Victor does. LIGHTNING dances in the sky, illuminating Mont Blanc with a crackling halo of electricity... and then the Creature is gone, vanishing like a shadow in the darkness. Victor falls gasping. The awful truth dawning. He rises, gazing at the scaffold, horrified. VICTOR Oh God. Oh God! No! NOOOOOOO! Screaming now, rushing to the scaffold, throwing his arms around the innocent girl dangling there, sliding down, sinking to his knees, weeping helplessly: VICTOR Oh God. Justine. Forgive me. INT - MANSION - STUDY - DAWN Victor pulls a carved box from a shelf. Opens it. Lying inside in their velvet cradle are a gorgeous pair of Model 1820 Collier flintlock revolvers. MANSION - DAWN Victor is bundled in a rough coat, packing final supplies on a horse held by Claude. Elizabeth is at his heels. VICTOR My mind was not playing tricks. He was there in the storm... gloating over his crimes... challenging me to come. ELIZABETH But why risk yourself? Hasn't this family suffered enough? VICTOR I've no choice ELIZABETH If what you say is true, it is a matter for the police! VICTOR They've done a fine job. Hanging an innocent for the crime of a fiend. He rams the rifle into its scabbard, turns to her. ELIZABETH (softly) Do you know this man? Is there something between you? VICTOR I know only that he is a killer. And I shall bring back his carcass. Victor heaves himself into the saddle and rides off. TILT UP to the mountain. Shrouded in snow. Waiting. MONT BLANC - DAY A lone horse and rider appear, on his mission of revenge... Victor ascends the mountain. The mountain is brutal and unforgiving. Victor dismounts, leading his horse onto the glacier. A bitter wind blows... They plod on. Searching. Magnificent rugged vistas unfolding before our eyes. Primeval and vast... The horse suddenly spooks. Victor calms him. Staring. Is that a figure down there? He shades his eyes against the cutting sleet. Somebody in the distance. Down there on the snow field. A tiny speck. Watching him. The figure starts running, leaping across the ice with great bounds. Right toward Victor. Victor wrenches the carved box from the saddle bag. The horse bolts. Victor drops to the snow, throws open the box, frantically snatches up the pair of revolvers. He glances up. The figure is gone, vanished in drifts of white. Victor rises with a revolver in each hand, cocks the flintlocks of both, turning slowly around. Gazing at the rocks and crags. Searching. VICTOR WHERE ARE YOU? He hears nothing but his own voice echoing back... and then FEET CRUNCHING through the snow. He turns. The Creature is running toward him across the glacier with inhuman speed, greatcoat billowing like huge dark wings. Victor raises the first pistol. Hesitates. As frightened and angry as he is, a small part of him pauses to admire the achievement of actually having created life. He pulls the trigger. BOOM! A huge flash of powder, an eruption of smoke. The Creature dodges the shot, still coming. Victor raises the other gun. BOOM! Another flash of smoke. Still the Creature comes. Victor. Frantic. Manually spinning the cylinders, cocking, firing. BOOM! A miss. BOOM! Another miss. Spinning. cocking. Firing. BOOM! BOOM! Spinning. Cocking... ...And the Creature is on him, slapping the pistols clean out of his hands. The guns sail through the air, spinning off across the ice. Victor panics, turns to run... And slips over the edge of the precipice. Victor falls SCREAMING, arms and legs windmilling through a 30-foot drop... and slams bodily into a snowdrift. He looks up. The Creature is peering down... and leaps over the edge to follow, sailing through the air to land before him in a cat-like crouch. He pulls Victor from the snow and sends him sliding across the ice with a mighty heave... INT - ICE CAVE - DAY ...right into the mouth of an ice-cave, Victor comes tumbling and sliding down the entrance, spinning and careening to sprawl heavily to the cave floor. Winded. Battered. Barely able to move. He glances up to see the cave filled with possessions. Books. Provisions. Extra clothing. The embers of a fire burn low. There is even a rough attempt at furnishings in the form of a few crates. A huge shadow fills the cave entrance. The storybook ogre is coming home to his cave, breath huffing like a steam engine. Victor scrambles back terrified, pressing into a corner as the Creature enters... ...but the Creature merely crosses to the fire and hunkers down. He tosses a few more sticks on the flames. Pause. CREATURE Come warm yourself if you like. VICTOR You speak. CREATURE Yes, I speak. And read. And think... and know the ways of Man. (pause) I've been waiting for you. Two months now. VICTOR How did you find me? The Creature grabs Victor's journal off the "shelf." He unwinds the thong, the letters spill out. CREATURE The letters in your journal. That and a geography book. (picks up a letter) Your Elizabeth sounds lovely. VICTOR Kill me and have done with it. CREATURE Kill you? Hardly that. VICTOR Then why am I here? What did you want with me? CREATURE More to the point, why am I here? What did you want with me? (off Victor's look) What does one say to one's Maker, having finally met him face to face? Milton gave it voice. (grabs a book, thumbs to a certain page) Did I request thee, Maker, from my clay to mould me Man? Did I solicit thee from Darkness to promote me? VICTOR Fine words from a child killer. You who murdered my brother. CREATURE Your crime... as well as mine. VICTOR How dare you. You're disgusting and evil. CREATURE Evil? (scurries closer) Do you believe in evil? VICTOR I see it before me. CREATURE I'm not sure I believe. But then I had no one to instruct me. I had no mother... and my father abandoned me at birth. He draws closer still. Intimate. Turning his head this way and that. Puzzling at Victor's face. Softly: CREATURE Were the dying cries of your brother music in my ears? He raises his hand before Victor's eyes, bony fingers curling to clutch an invisible throat. Victor is petrified CREATURE I took him by the throat with one hand... lifted him off the ground. And slowly crushed his neck. (emotion growing) That poor, innocent child died in my grip... because all I could see was your face... and all I could feel was my rage. And when I let him go, he fluttered to the grass like a sparrow... FLASHBACK INSERT: FIELD The Creature gazes down at Willie's body. He stares at the hand that committed the crime as if waking from a dream. Tears welling. Overcome with shame and horror. He falls to knees in the middle of the vast field, his wail echoing across the countryside as he weeps over the boy. RESUME ICE CAVE Victor stares in horror as the Creature relates his story with tears shining in his monstrous eyes. CREATURE Later, when they were searching, I followed the pretty lady who got lost in the woods... FLASHBACK INSERT: - BARN Justine is asleep in the hay. Haggard, wet, exhausted. The Creature looms over her, a monstrous shape backlit by the lightning, gazing on her beauty. His hand reaches down, hovering reverently, wishing to caress the swell of her breasts at the neckline of her bodice ... CREATURE (V.O.) She was so lovely. I longed to touch her... and seek her sympathy... The locket drops from his hand to dangle in his fingers. He lowers it, tucking it gently away in her pocket CREATURE (V.O.) ...but I simply returned the object which had triggered my crime, hoping in some small way to atone... RESUME ICE CAVE Now tears are shining in victor's eyes as well. CREATURE You gave me these emotions, but you didn't tell me how to use them. Now two people are dead. Because of us. Victor is crushed by remorse. A sob escapes him. CREATURE Why, Victor? Why? What were you thinking? VICTOR There was something at work in my soul which I do not understand. CREATURE What of my soul? Do I have one? Or was that a part you left out? (spreads his hands) Who were these people of which I am comprised? Good people? Bad people? VICTOR Materials. Nothing more. CREATURE You're wrong. Do you know I knew how to play this? He grabs up the recorder, plays a brief snatch of melody. CREATURE In which part of me did this knowledge reside? In these hands? In this mind? In this heart? (beat) And reading and speaking. Not things learned... so much as things remembered. VICTOR Trace memories in the brain, perhaps. CREATURE Stolen memories. Stolen and hazy. They taunt me in my dreams. I've seen a beautiful woman lying back and beckoning for me to love her. Whose woman was this? I've seen boys playing, splashing about in a stream. Whose childhood friends were these? (soft, intense) Who am I? VICTOR (hollow) I don't know. CREATURE Then perhaps I believe in evil after all. The Creature moves off. Victor is emotionally exhausted VICTOR What can I do? CREATURE There is something I want. (pause) A friend. VICTOR Friend? CREATURE A companion. A female. Like me, so she won't hate me. VICTOR Like you? Oh, God, you don't know what you're asking. CREATURE I do know that for the sympathy of one living being, I would make peace with all. (beat) I have love in me the likes of which you can scarcely imagine. And rage the likes of which you would not believe. If I cannot satisfy the one, I will demonically indulge the other. That choice is yours. (off his look) You're the one who set this in motion, Frankenstein. VICTOR And if I consent? CREATURE We'd travel north, my bride and I. To the furthest reaches of the Pole, where no man has ever set foot. There we would live out our lives. Together. (beat) No human eye would ever see us again. This I vow. PUSHING SLOWLY IN on Victor. Considering it. Beaten. EXT - MONT BLANC GLACIER - NEXT MORNING Victor is calming his skittish horse as the Creature looms into view. Victor turns. The Creature tosses Victor his journal. Victor hesitates, jams it into his saddlebag. CREATURE Soon? VICTOR Yes. I want this over and done with. CREATURE I'll be waiting. And watching. And with that, the Creature turns and scrambles back down the nearly-vertical cliff face, leaping from crags and boulders with superhuman agility. Victor watches him vanish from sight. EXT - MONT BLANC - DAY Victor descends the mountain, heading back to civilization. EXT - FRANKENSTEIN ESTATE - DAY Victor walks his horse toward the house. Elizabeth rushes out to meet him with Henry and Claude. Victor hands off the reins to the STABLEBOY and embraces Elizabeth tightly. ELIZABETH I thought I'd never see you again! VICTOR I'm all right. I'm safe, HENRY What happened up there? VICTOR I didn't find what I was looking for. CLAUDE What did you find? Victor glances over. Claude has pulled the Collier pistols from the saddlebags and caught a strong whiff of powder. CLAUDE These have been fired. VICTOR At shadows. My nerves got the better of me. Victor walks on toward the house with Elizabeth EXT - GARDEN - DAY ...and we find them in discussion by the fountain: ELIZABETH What sort of task? VICTOR It's not something I can explain now. Perhaps someday. ELIZABETH What of our marriage? Victor, we've had so much tragedy. I want this family to live again. VICTOR So do I. ELIZABETH We need each other now, I need your comfort and strength, not separation and solitude. VICTOR A month at most, that's all I ask. (draws close) Elizabeth, please. Things have not yet resolved. I must take steps to see that they do. For our family's sake. For our sake. (caresses her face) You are life itself. We shall seal our vow. The moment I am done. He leans forward to kiss her... and pauses, hearing the distant MUSIC of a recorder echoing from the hills... INT - BEDROOM - DAY Victor sits at bedside, holding Father's hand. The old man is a weak and frail shadow of his former self. VICTOR You must regain your strength to preside at our wedding... and spoil your grandchildren later on. These are duties you cannot shirk. Father smiles faintly. Victor squeezes his hand, whispers: VICTOR We're all safe now. I promise INT - MANSION ATTIC - DAY Murky and dark. Victor enters, yanks a dusty curtain off a window to let in some daylight. He picks up a pry bar, approaches a stack of crates as if facing an old adversary. One in particular is quite large. He rams the bar into the wood, prying it open... and CAMERA PUSHES IN to reveal a dull gleam of copper lurking within the packing straw. VICTOR God forgive me. MONTAGE: Victor assembles his equipment, recreating the lab; bolting together the sarcophagus, now resting in its cradle. Hanging the huge glass tube, adjusting the boom. Installing the ceiling tracks and hoist mechanism. Playing out the copper wire along the ceiling beams. Hooking up the galvanic batteries and generators. Testing the electrical circuit with goggles and thick gloves, getting a huge cascade of sparks... HENRY (O.S.) I prayed never to see these again... Victor turns. Henry stands in the doorway. HENRY Whatever they are. Henry enters, runs his hand over the gleaming surface of the sarcophagus, circles toward Victor. HENRY I won't bother asking what or why. You wouldn't tell me anyway. I just hope you know what you're doing... (draws close) ...because if this is a repeat of Ingolstadt, I won't be around to pick up the pieces. CAMERA PUSHES PAST to the Da Vinci print on the wall, contact points still daubed with red... EXT - CEMETERY - NIGHT CAMERA DRIFTS among the tombstones to reveal an eerie sight: SOMEONE hunched in a grave, digging madly, dirt flying. We hear the THUNK of a shovel hitting wood INT - COFFIN - NIGHT ...and the lid wrenches aside to reveal the Creature. He peers down at us, almost close enough to kiss. EXT - FRANKENSTEIN MANSION - ANGLE FROM ROOF - NIGHT The Creature nimbly climbs the outer wall, fingers grasping the brickwork, a dark shape slung over his shoulder. He pauses as a PAIR OF STABLEHANDS pass far below. He pulls himself onto the roof, crosses the gables, and pushes open a dormer window. We see Victor inside as it swings open. The Creature enters with his prize... INT - ATTIC - NIGHT ...and the mottled corpse of Justine Moritz flops onto the table before us. TILT UP TO: CREATURE I want her. Victor stares down in utter horror. Her cold, dead face. Blue lips already beginning to shrivel. Purple, sunken eyes. Knowing that she loved him. Knowing it's his fault she's dead. He can barely get the words out: VICTOR Why... her? CREATURE Her body pleases me. That's it for Victor. He turns away, stomach heaving. It's all he can do to keep from throwing up. CREATURE Materials, remember? Nothing more. Your words. Victor hesitates, pulling himself together. Softly: VICTOR My words. He turns back, forcing himself to examine the body, trying not to view it as someone he knows. He cradles the head, probing the back of the neck with his fingers. VICTOR The brain stem was destroyed by the hanging. We'll need another. The body looks like it will do, but some extremities are too decayed. They'll have to be replaced. The fresher the better. EXT - ALLEY - RED LIGHT DISTRICT - NIGHT Outside the back door of a rowdy tavern, we find a PROSTITUTE servicing a SAILOR in the alley: he's got her pressed against the wall, skirt hiked up. It's not long before he's finished. Off he goes, staggering back into the bar. She arranges her skirt, tucking the money away... and pauses, noticing a TALL FIGURE in the shadows. Staring. She approaches with her best saucy smile: PROSTITUTE Want some yourself? Or just like to watch? (draws close) What do you say, lover? I can make it good for you. The Creature leans into the light, clamps a massive hand to her mouth. His other arm wraps around her waist, pulling her off the ground. She gazes up, eyes wide, screams muffled in his palm. Softly: CREATURE I know you can. And he wrenches his arm, snapping her spine. INT - ATTIC - NIGHT The dead prostitute lies staring up, dried blood staining her mouth. TILT UP to Victor gazing down in horror. VICTOR What is this? CREATURE A brain. Extremities. VICTOR This was not taken from a grave. CREATURE What does it matter? She'll live again. You'll make her. VICTOR No. I draw the line. The Creature lashes out and drags Victor across the table. CREATURE You will honor your promise to me! VICTOR (through gritted teeth) I will not! Kill me now! CREATURE That is mild compared to what will come. If you deny me my wedding night. I'll be with you on yours. The Creature vanishes out the attic window into the night. Victor is left gasping for air, staring at the dead prostitute. The full horror sinking in. INT - ATTIC STAIRCASE - MORNING Victor slams the attic door, securing it with a massive padlock. He hurries down the steps. INT - GRAND BALLROOM - DAY Victor and Elizabeth, intensity flying: VICTOR No. Not tomorrow, not next week, Marry me today. ELIZABETH Why the change? What about your work? VICTOR It was misguided and pointless. Is your answer yes? ELIZABETH It is VICTOR We'll leave this afternoon, right after the ceremony. Pack only what you need. ELIZABETH Does this have something to do with that man you saw? VICTOR (hesitates) Yes. We're in danger here. Every moment we stay. ELIZABETH Victor, tell me why! Trust me! VICTOR I do. But you must trust me for now. INT - BEDROOM - DAY A small ceremony has been hurriedly organized at Father's bedside. The old man holds Elizabeth's hand. Softly: FATHER This is not... the grand wedding... I had hoped to give you... He releases her hand, giving the bride away. She takes her place at Victor's side. Henry stands as best man. The PRIEST faces them: PRIEST We gather now in the sight of God to witness this man and woman bond their lives in matrimonial vow. EXT - MANSION - DAY Elizabeth gets in the coach. Claude clambers up to the driver's seat armed with a rifle, ready to pull out. EIGHT MEN on horseback provide armed escort. Victor addresses the men staying behind, all of whom are also armed: VICTOR Be especially on your guard. Stay cautious to a fault. STABLE HAND Who is this man, sir? How shall we know him? VICTOR He is huge and deformed... and quite insane. CLAUDE He killed Master William and sent Justine Moritz to the noose! No hesitation, lads! Shoot the bastard on sight! CRIES of assent. Victor pulls Henry aside: VICTOR Are you sure you'll be all right? HENRY Yes, don't worry. I'll look after your father. You look after her. VICTOR I'll be back as soon as I've got her far away and safe. We'll hunt this fiend down together. HENRY Only if you'll tell me who he is. VICTOR (hesitates) I owe you that. Done. A quick embrace. Victor leaps into the coach. ANGLE FROM FATHER'S BEDROOM WINDOW The coach clatters up the road, trailed by the eight horsemen. Those left behind scatter across the courtyard. Henry turns and walks back toward the house. ANGLE WIDENS to reveal the Creature at the window. In the bed behind him, The old man stirs, opening his eyes FATHER Victor? ...and sees the Creature turn toward him. Father's eyes go wide as his final stroke is triggered. His life ends with a prolonged death-rattle... and a soft exhale. The Creature reaches down, closes his eyes. A tender gesture. A LOUD GASP. The Creature whirls. There stands the priest, dropping his tea to the floor. The Creature sweeps across the room, presses him against the wall. PRIEST (breathless with horror) You're the Devil himself. CREATURE Yes, and I've come to snatch your soul... (leans close) ...unless you tell me where they've gone. EXT - LAKE GENEVA - DUSK A magnificent sunset bathes the mountains as storm clouds roll in. A ferry is crossing the lake, moving away from us, rippling the water. TILT DOWN to reveal... EXT - FERRY DOCK - DUSK Claude trotting to the window of the coach. CLAUDE That was the last ferry. There's nothing else till morning. VICTOR Damn it CLAUDE We'll ride on ahead and secure you lodging for the night. EXT - RESORT - NIGHT A big chalet nestled in the woods by the lake. The storm is raging. Claude and his men are positioned at the entrances. VICTOR Make sure you keep your pistols dry GUARD #2 They're dry enough. And if they fail, we've others. And if those fail... (draws his saber halfway) ...we can always gut the bastard. CLAUDE Don't worry, sir. You're well guarded. Now why don't you go upstairs to your wife? It's not often a man has his wedding night. INT - BRIDAL SUITE - NIGHT Victor enters to find the room aglow with dozens of candles. Elizabeth turns from the fireplace, her body silhouetted through the sheer white nightgown. ELIZABETH You're soaking. She approaches, peels off his coat. Victor stares at her, awe-struck. She sees the look in his eyes, crosses her arms demurely... then laughs at her own modesty. ELIZABETH Brother and sister no more. VICTOR Now husband and wife. He strokes her bare shoulders with his fingertips. VICTOR I remember the first time I ever saw you. Crossing the floor of the grand ballroom with my parents at your side. So beautiful even then. ELIZABETH (a whisper) I have been waiting for this ever since. She leans up and gives him a kiss that would melt glass, triggering the sexiest seduction imaginable... ...kissing, caressing, Victor stripping off his wet shirt, CAMERA DRIFTING around them in slow circles, candles spinning like a fever that's been building for a lifetime... and now onto the bed. Magnificent and canopied. Kneeling together, bodies touching, hands seeking, mouths joining... Elizabeth lying back, beckoning for him to love her. Victor sinking down, running his hands up her thighs, peeling up the nightgown, making her shudder with desire... ...and a SHOT FIRES. Victor jerks up. He can hear SHOUTING. He rolls off the bed, snatching up both pistols lying primed and ready on the nightstand. ELIZABETH Victor! VICTOR Open this door for no-one! EXT - CHALET - NIGHT Victor sails past the GUARD at the entrance, brandishing his pistols. The men converge, shouting in the rain: GUARD #2 I saw him in a flash of lightning! He vanished toward the lake! CLAUDE Get after him! Several men race off in pursuit. TILT UP from Victor and Claude... as a FLASH OF LIGHTNING reveals the Creature clinging in the branches above their heads with a malevolent smile. He scurries silently up, further and further into the tree... closer and closer to the balcony. INT - BRIDAL SUITE - NIGHT Elizabeth. Tense and waiting. A shadow looms across the balcony... spilling through the French doors... onto the floor... a bony hand reaches for the latch... The doors burst open on a crust of wind and rain, Elizabeth spins as candles blow out all over the room. The Creature enters, massive and unseen, gliding in shadow. Softly: CREATURE Don't bother to scream. EXT - CHALET - NIGHT The men come running back from the lake. They stop before Victor and Claude. GUARD #3 We lost him. And GUARD #4's eyes drift up: GUARD #4 Why are those open? Victor spins, gazing up. Breath catching in his throat. The French doors are swaying in the wind. VICTOR Elizabeth. INT - BRIDAL SUITE - NIGHT Elizabeth watches, transfixed, as the huge shadow moves inexorably toward her. Her eyes dart toward the door. She makes a break for it. He catches her halfway across the room, spinning her around by the arm. Her face is lit by the light of the fireplace. The Creature pauses, stunned at her beauty. A moment passes between them. She senses the softening in his heart. She peers at him, trying to understand. Realizing: ELIZABETH You don't want to hurt me. He averts his gaze, shamed by her beauty. CREATURE You're more lovely than I could ever have imagined. FOOTSTEPS come pounding up the stairs. A HEAVY CRASH of men throwing their shoulders at the door... VICTOR ELIZABETH! ...and it changes back in an instant, The Creature snarls. She tries to wrench away. He spins her around so he won't have to look at her in the light, casting her face in shadow. He cooks his arm back and plunges his fist toward her chest with pile-driver force... INT - LANDING (OUTSIDE ROOM) - NIGHT ...and her SCREAM is cut short. The men give one last mighty rush at the door... INT - BRIDAL SUITE - NIGHT ...and they burst in just in time to see Elizabeth cascade back onto the bed, her chest a massive red stain. The Creature whips toward them, fist glistening with blood... CREATURE I keep my promises. ...and he races across the room as the men OPEN FIRE, shredding the walls to splinters with an explosive fusillade of shots. But the Creature is too fast. He hits the leaded window head-on with the force of an anvil... EXT - CHALET - NIGHT ...and goes sailing out into empty space in a hurricane of shattering glass. He drops 40 feet to the grass below and vanishes like the breeze, greatcoat whipping into darkness. INT - BRIDAL SUITE - NIGHT Victor rushes to the bad and lets loose the most PRIMAL SCREAM OF ALL. He sweeps his limp, murdered bride into his arms, cradling her to his breast, screams trailing off into wracking moans and sobs of despair: VICTOR (softly) Oh God... he took her heart... he took her heart from me... EXT - CHALET - NIGHT The men make way as Victor carries his dead wife through the downpour. He puts her in the coach. Dazed. EXT - ROAD - NIGHT The coach comes racing through the storm, the horses in a frenzy, faster and faster. EXT - MANSION - NIGHT Victor whipping the coach veers to a wild stop. Victor jumps down, gathers up the body, and mounts the steps. Henry appears, rushing out into the rain. Victor goes right past him... MANSION - NIGHT ...and carries Elizabeth through the silent halls. ATTIC - NIGHT The door swings in. Victor stands dripping. Holding Elizabeth. Gazing at the gleam of copper... MONTAGE: And we launch into the final throbbing madness. Victor hacking and chopping. Discarding pieces. Sewing the creation, yanking the catgut tight. Ramming the needles deep. Hoisting the body in the air. Slamming the sarcophagus lid, tightening the bolts. Powering up the galvanic circuit, throwing the switch. Screaming at God as the LIGHTNING FLASHES and the body convulses. Wind and rain sweeping through the lab, battering a window open and shut, open and shut. Lowering the glass tube, ramming phallus into womb. Releasing the eels, huge black sperm squirming and writhing toward the spasming egg The body. Convulsing. Lashing. Screaming in the copper womb. Hair whipping in the fluid... Victor shuts down the machinery. He opens the tank and reaches into the fluid with his thick rubber gloves. He pulls out his creation, cradling the head and neck as one would cradle a newborn infant's... ...And wipes the muck away with his glove to reveal Elizabeth's face, Massive suture marks bisect her neck and collarbone where pieces were joined. A whisper: VICTOR Live. Her eyes flies open as consciousness hits, mouth gaping to draw air but finding fluid in the lungs. She erupts, thrashing in the vat. He clutches her tight, pounding her back to start her breathing, calming the convulsing Creaturess with soft murmured words of tenderness and love as her lungs heave violently to dispel the fluid... He lifts her gently out. Wipes off the muck as she shivers and shakes, spasms easing off. Cleansing her face. Clasping her hand in his. Comfort and strength... Helping her to her feet. Jerky and unsure. Lean on me. Replacing the sheer nightgown on her scarred and naked body, draping it... and finally, exhaustingly, tilting her chin up with his fingers to gaze into her eyes. A whisper: VICTOR Say my name. Blank. Dazed. Stunned. Not a flicker of recognition. VICTOR Elizabeth. Say my name. Say you remember. Say my name. Nothing. He leans forward... and kisses her dead lips. Gentle as a sigh. A flicker in her eyes? VICTOR You must. You must. Maybe his imagination. Still whispering: VICTOR Say my name. Say you remember. And slowly... ever so slowly... she raises her bony white hand before her eyes... staring at it... trying to puzzle it out... its meaning... perhaps the vaguest shred of recognition... and the hand continues to rise... creeping slowly toward his shoulder... and coming to rest there. He smiles, blinking back tears... VICTOR Yes. I'll help you remember. And he takes her other hand in his. At first it's imperceptible... just the slightest motion, perhaps nothing, perhaps just a shift of balance... and then it grows into the vaguest sway... and tears are glistening in Victor's eyes as she begins to move. Lurching. Faltering. Unsure. You must lead, Victor. The lady will always look to you for guidance, so your steps must be sure and strong. Trace memories. A waltz. And here we are treated to the most sweepingly romantic and hair-raisingly demented image of the film: Frankenstein dances with his dead bride, showing her the way, begging her to remember, please remember, and now our WALTZ/LOVE THEME really comes back to haunt us as the MUSIC SWELLS, incredibly lush and deranged, dissonant and echoing through Victor's head, music only he can hear... VICTOR ...one-two-three, twirl-two-three. ...and the worst part? The very worst thing of all? There on the shelf. A large formaldehyde jar. Justine's severed head. Watching them through the glass with dead, sightless eyes. Watching them dance. Still a wallflower? No. She's finally finishing her dance with Victor... most of her, anyway. Under the circumstances, it'll have to do... ...and the waltz goes on, madder and madder, sweeping in glorious circles as a dazzling array of LIGHTNING bathes them in its wild, jittering spotlight, shadows careening across the walls, INSANE MUSIC swelling louder and louder, climbing higher and higher, reaching toward its crescendo with jagged glass claws... ...and it all screeches to a stop as the door bursts in. Music echoes abruptly away into silence. Nothing now but rain and distant thunder. In the doorway: CREATURE She's beautiful. VICTOR She's not for you. CREATURE I'm sure the lady knows her own mind. Doesn't she? Let her decide the proper suitor. The Creature raises his hand. Beckoning. She takes a faltering step. Drawn to him. VICTOR Elizabeth, no! (she turns, puzzled) Say my name. Her face reflects horror and shame, like a brain-damaged child who's wet the bed. She knows she's supposed to remember... but can't remember what remembering means. They both motion to her. Murmuring. Begging. She's caught between them, pulled like a diaphanous rope in a tug of war. Please... come with me. Please... remember. She finally tilts toward the Creature. Gazing into his eyes. Studying his face. Fingertips tracing his massively scarred flesh. A beat. A frown. A puzzlement. This isn't right. People don't look like this. They're not stitched together out of pieces of flesh like a patchwork. She looks at her own hands. Dead and white. Not even hers. One belongs to Justine. Another to a prostitute, suture scars marring the wrist. She looks down at herself. The dead, sagging breasts. The body that isn't hers either. Realization creeping into her eyes. Realization and horror. Turning to Victor. Why do I look like this? What's happened to me? Oh God, what's happened to me? ELIZABETH Vic... tor? CREATURE ...no... ...and she lets out a SHRIEK, a banshee wail from the deepest pits of hell. Screaming at them both. Screaming at herself. She goes berserk, trying to claw her flesh away, trying to find the real Elizabeth underneath the horror, trying to peel it away, clawing at her face. Trying to claw out her own eyes. Victor lunges to restrain her, screaming himself, veering toward final utter madness like strings snapping on a violin. The Creature grabs him, hurls him aside. CREATURE GET AWAY FROM HER! SHE'S MINE! VICTOR SHE'LL NEVER BE YOURS! SHE SAID MY NAME! SHE REMEMBERS! Yes. She remembers. Not much, but enough. She breaks away from them as they grapple, still SHRIEKING as she sails across the room, tipping furniture, equipment flying... ...over straight to the kerosene lamp, snatching it up before they can stop her. VICTOR NO! She spins to face them, holding them breathlessly at bay with the threat of the lamp, twitching from one to the other. But it's not just the lamp, it's the look of sheer loathing in her eyes. Loathing for them for what they've done to her... loathing for herself for what she's become. It turns out the lady does know her own mind. She wants no part of it... or them. Decision made. She crushes the lamp in her bare hands, drenching herself in a cascade of kerosene. WHOOOOSH! She goes up like a blazing matchstick and darts past them, still SHRIEKING, still trying to claw the dead flesh away, pulling off giant flaming pieces of herself as she careens out the door and down the steps, Victor and the Creature racing after her... INT - UPPER HALLWAY - NIGHT ...and she sails down the hallway, setting FIRE to everything she passes, SCREAMING for the final torment to end. She hurls herself over the railing, drapes catching ablaze as she plummets to the floor far below. A pillar of flame leaps up on impact. VICTOR AND THE CREATURE face each other as flames sweep the walls, combusting the upper hallway into a raging tunnel in Hell. VICTOR You killed her! You killed her! He hurls himself at the Creature, who backhands him spinning down the hallway, sprawling to the floor. The Creature gazes down at his Maker one last time... CREATURE We killed her. And then vanishes through the smoke and flames. EXT - FRANKENSTEIN ESTATE - DAY The once-magnificent estate lies in smoldering ruin beneath a merciless gray sky. Charred beams and drifting smoke are all that remain to mark the passing of a noble family. Victor stands gazing at the house. A windswept, hollow man Bundled in a rough coat. Flintlock rifle dangling at his side. Henry moves into frame some distance behind. Softly: HENRY Victor. No reaction. For a long moment it seems Victor hasn't heard. He rouses as if from a trance, turn and walks to his pack horse. The animal stands saddled and ready. He starts to mount up, but Henry intercepts him with a restraining hand. Victor snaps a look as if seeing a stranger... and then his features soften. VICTOR All that I once loved lies in a shallow grave. By my hand. HENRY Let it go. Victor pauses, emotions swirling. Wishing he could grab the dangling thread of sanity Henry has offered... but knowing the thread is a bittersweet illusion. A bare whisper: VICTOR You should have been my father's son. He would have been so proud. Victor abruptly heaves himself into the saddle and spurs his horse. Henry runs after him, shouting: HENRY VICTOR! COME BACK! But Victor keeps riding without so much as a backward glance. The past is dead. Henry watches Victor until he's gone from sight, as Willie did so long ago... EXT - MONT BLANC GLACIER - DAY The solitary rider and his mount traverse the windswept glacier ... INT - THE CREATURE'S CAVE - DAY Victor slides down the entrance, rifle cradled. The cave is now deserted, all possessions gone, a scorched black spot where the campfire had been... EXT - GLACIER - DAY A panorama of snow. Pristine... save for the long trail of footprints stretching off before us. Victor's face thrusts into frame, gazing at the craggy horizon, breath punching the air with billows of vapor. He slogs onward, following the tracks, leading his horse by the reins. Dwindling across the frozen landscape. ARCTIC VICTOR (V.O.) I followed his trail north... always north... and always one step behind... never stopping... driven by my fires of rage... and revenge... DISSOLVE TO: INT - WALTON'S CABIN - TWILIGHT Victor lies in Walton's bed, sallow as a corpse, barely able to speak, drained now of everything. VICTOR A year now I've followed him. Perhaps more. Only to arrive at this place. Tired. So very tired. I never did find... whatever it was... I was looking for... and neither will you, my friend. (off Walton's look) Value life above ambition... or those glittering prizes you seek will crumble to dust in your fingers... as they have in mine. (reaches out feverishly) See your loved ones again. I cannot. Walton takes Victor's hand, lays it gently back to his chest. Softly: WALTON Rest now. Victor is silent. His breathing shallow. Walton just sits And waits... A SLOW DISSOLVE marks the passage of Walton's long vigil... Victor's eyes flutter open as if staring at something unseen. Perhaps, the faces of those he loved. The eyes glaze. A peaceful death. Walton rises. Puts on his heavy coat to ward off the chill. Exits the cabin. EXT - NEVSKY - ON DECK - TWILIGHT Grigori is leaning on the gunwale, staring off across the ice. His coat is open. Walton joins him. Surprised at how warm it is. He holds up his hand, testing the breeze. WALTON A warming wind. GRIGORI This ice will break yet. (glances over) How's our guest? WALTON He died. Raving about phantoms. He was mad, poor devil. (beat) Gather a detail. Have the body removed from my cabin. GRIGORI Aye, Captain. Grigori moves off to gather help. Walton turns and heads back to his cabin. INT - WALTON'S CABIN - NIGHT Walton enters... and freezes at the sound of SOFT WEEPING. He can't see the bad from here. Could it be the dead man? He glances down. Wet footprints lead across the floor. He eases forward. The tiny bed chamber comes slowly into view. A DARK FIGURE is hunched and weeping at bedside, holding the corpse's hand. Walton is stunned. WALTON Who are you? The figure swivels its head, revealing its face to the dim yellow light: CREATURE He never gave me a name. Walton hisses a terrified intake of breath. He lunges to the desk, slaps his hand on the pistol lying there. A frozen beat. Wondering if he should snatch it up. Eyes dancing with fear and speculation. The Creature makes no move. Unconcerned. CREATURE You were with him at the end. WALTON (finds his voice) Yes. CREATURE I was watching. Walton glances to the porthole, ajar and creaking in the breeze, chilled at the thought. The Creature returns his gaze to Victor. CREATURE I longed to be with him. But I wanted his final moments to have peace. I could see you were a friend to him. WALTON What is that to you? Evil as you are. CREATURE (swivels his gaze) I am as he made me. In his own image. WALTON You drove him to his torment. CREATURE And he drove me to mine. WALTON Then why weep for him? CREATURE Would you not? He was father. And mother. We fell from grace together. He from his God. I from mine. The Creature gently strokes Victor's cheek. He reaches up with two fingers, closes the staring eyes. A whisper: CREATURE Could we ever have forgiven? The question goes unanswered. The Creature rises, gliding in shadow to the door. Pauses. CREATURE I've never been shown a kindness. Show me one now. WALTON What kindness? CREATURE Build for him a pyre. Light up the sky with his passing. And then the Creature is gone, vanishing smoothly into the night... EXT - ARCTIC - TWILIGHT The crew of the Nevsky are on the ice, chopping up the fallen mast, axes rising and falling in waves... EXT - ARCTIC - TWILIGHT The body of Victor Frankenstein lies on an impressive bier of wood, stacked and lashed. His body is wrapped in rough canvas, his face as dead and white as the ice. Walton and crew stand facing the bier. Walton silently reads a passage from the Bible. Oily black smoke from a small campfire drifts past. Walton closes the book. Amens are muttered. Walton glances to Grigori and nods. Grigori moves forward with two other men. They begin dousing the pyre with lamp oil, soaking it. Walton moves to the campfire, picks up an unlit torch. He dips it into the fire, igniting the pitch, turns. The men back away, preparing for the coming blaze... ...and a dog starts howling on deck, others joining in. The men pause. Gazing across the ice. Dread seeping into their bones. There's a figure out there. Huge and humanlike in frame. Loping slowly over the ice. Approaching. PILOT (softly) Christ. Grigori snatches up the rifle, shoulders it smoothly, cocks the flintlock. Walton glances over, pushes the muzzle skyward, denying his aim. WALTON It has a right to bear witness. Grigori hesitates, nods. If you say so. The men grow more unsettled as the Creature draws nearer. Frightened muttering. Men start backing toward the ship. WALTON Stand fast. All of you. The men stand fast. The Creature stops some thirty yards out. A silent tableau on the ice. The men facing the Creature. Walton holding the torch. The pyre waiting for the kiss of flame. Walton moves forward... ...and a THUNDEROUS CRACK is heard, The men whip their heads as a gigantic plate of ice goes spinning into the air some fifty yards away and comes crashing back down again. It's like tectonic plates building pressure toward an earthquake: once it goes, it goes with terrifying speed and force: CRACK! Another eruption. CRACK! And another. CRACK! Ice cascading skyward. OLD SAILOR THE BITCH IS BREAKIN' UP! GRIGORI (whips toward Walton) TORCH THE DAMN THING! Walton rushes forward. CRACK! The ice erupts before him. The torch goes flying. Walton sprawls flat on his back. WALTON BACK TO THE SHIP! The men don't have to be told twice. They're already in full retreat, scrambling for their lives. Ice is detonating for miles around as if pounded by artillery. Grigori helps Walton to his feet. The torch lies burning not ten feet away. A heartbeat of hesitation. Walton wondering if he should go for it. Grigori pulling wildly on his sleeve... GRIGORI LEAVE IT! ...and then the matter is decided for them as a huge rift opens at their feet, running an explosive zig-zag course across the ice, separating them from the torch. They fall back to join the retreat, stumbling after the others, pursued by the ice dissolving at their heels. THE CREATURE watches his last wish for Victor Frankenstein snatched away by God's whim and breaking ice. NO He starts forward. Behind him, a detonation of ice throws a massive fist into the air, creating a magnificent halo of cascading water and spinning fragments. THE NEVSKY The first wave of fleeing men reach the ship, crowding to the drop-net for salvation, scrambling up the side. WALTON AND GRIGORI stumble along, closing distance to the ship. Walton glances back, amazed to see: THE CREATURE racing across the ice, making for the torch, teeth set in a wide grimace of effort. Detonations threaten to swallow him from all sides. Suddenly, things go from bad to worse. THE NEVSKY breaks free with an enormous groan, heeling slowly over, triggering massive eruptions in all directions. The crew hang onto the drop-net for dear life. Several men plummet into the icy water. THE CREATURE is propelled by a detonation as if held stepped on a land mine, cartwheeling helplessly through the air to plunge headfirst into the water, huge plates of spinning ice crashing down after him. Gone. WALTON AND GRIGORI are knocked flat as a fissure appears between them. Grigori, dazed, is lifted into the air on a teetering table of ice, desperately trying to scramble back but sliding forward nonetheless, rising up and up, a gaping maw of frigid water yawning wider and wider before him. Walton grabs the back of Grigori's coat and tries to drag him off... but the coat is snatched from his fingers as the ice see-saws forward in a complete flip and slams Grigori thunderously into the drink. WALTON GRIGORI! THE NEVSKY finishes righting itself, swaying ponderously as she finds honest ocean beneath her hull. Some men are reaching the top of the net, hurling themselves over the gunwale to the deck. Those lower on the drop-net are helping their fellows from the water, hauling them to safety. FRANKENSTEIN'S BIER is now corkscrewing in slow circles on its own ice floe. THE TORCH is drifting on a chunk of ice. Still burning. ANGLE AT WATER LEVEL Walton is on hands and knees, scrambling on shifting pieces of ice, thrusting his arms into the water, screaming: WALTON GRIGORI! The first mate breaks surface in the foreground, gasping and strangling for breath, face already turning blue, arms thrashing wildly, dragged down by the now-impossible weight of his own clothing. Walton strains to reach him, nearly going into the water himself. Grigori keeps thrashing and gasping. Dying. He's dying right in front of Walton's eyes. WALTON SOMEBODY THROW ME A GAFF! Too late. Grigori goes down for the final time, vanishing for good beneath the frigid water. Gone. Walton throws his head back with a bellow of anguish... ...and Grigori breaks the surface again, rising slowly And impossibly from the water. arms and legs windmill against the air, propelled from below with nearly aulic strength. He gazes down in shock at the massive fist clutching his chest... and the arm that grows and grows, rising, lifting him up and up... and the hideous face that breaks the surface beneath him. The face of a nightmare. The Creature lunges hugely, hurling Grigori through the air right into Walton's arms. Both men go sprawling. Walton scrambles to his knees, makes eye contact with the Creature. The monster is exhausted. Near his limit. Walton thrusts out his arm, fingers grasping to help. WALTON Swim. The Creature swivels his gaze. The burning torch is drifting away. He looks grimly back to Walton. Walton beckoning to him. Come. Grab my hand. The Creature swims away, knifing through the water after the torch. Walton turns, drags Grigori gasping to his feet, helps him limp toward the Nevsky across the lurching ice. CREATURE struggles through the water, crushed and battered by ice floes on all sides. Going under. WALTON AND GRIGORI slog grimly on across the disintegrated ice, knee-deep and nearly walking on water. They sink, finding nothing beneath their feet. Lines are thrown down and caught. Walton and Grigori are hauled from the frigid arctic water and hoisted up the side of the ship. The last ones aboard. BURNING TORCH is spinning slowly on its chunk of ice. Bony fingers break the surface of the water. A straining hand. The Creature's eyes rise from the murk. Bleary with exhaustion and cold. He seizes the torch. Raises it high. Swims grimly on. ABOARD THE NEVSKY The crew bundle Walton and Grigori in blankets, both men shivering with exposure. Walton lurches to the gunwale, gazing off. The men crowd to his-side. THE CREATURE swims on, head barely breaking the water, torch held high to keep it burning. Relentlessly determined. This is the most grueling effort we've ever seen. Gasping and sinking beneath the surface... ...and finally grasping with frozen fingers the ice floe upon which lies Frankenstein's funeral pyre. He hauls himself from the water. Moving now in a slow-motion litany of exhaustion. Climbing the pyre. Scaling the wood. Seeking the top. Never giving up. The Creature joins his Maker atop the bier, straddling the wood, holding the torch aloft as if lighting his master's way to the Netherworld, Frankenstein's personal boatman across the River Styx. Frankenstein himself lies serenely at his creation's knees, content to be shown the way... The Creature turns his face to the sky, gulping air, spreading his arms wide in sublime triumph. Feeling the wind on his skin, the sleet on his face, the grim joy in his heart. Cold. So very cold. He glances at the torch burning low in his outstretched hand, pitch almost gone, sputtering and trailing smoke. He looks down. At Frankenstein. The oil-soaked canvas. The saturated wood. There's that smell. Yes. He scoops Victor up with his free arm and cradles him to his breast, as tender as a mother comforting a baby. WALTON AND THE CREW gaze in horror. Realization dawning: GRIGORI (SOFTLY) Don't do it... (screaming) FOR GOD'S SAKE! DON'T DO IT! THE CREATURE turns his gaze one last time toward Heaven. Eyelids fluttering in near-religious ecstasy. Finding in these last moments the sympathy held so long sought. A whisper: CREATURE For God's sake... I will. And he rams the torch into the pyre beneath him. White-hot ignition. Ultimate redemption. WHUMP! A massive BALL OF FLAME engulfs the bier, pushing a huge fiery fist into the sky. Blossoming. Roiling. WALTON AND THE CREW gaze on in wonder and horror as: THE CREATURE rides the burning pyre, a shrieking revenant wrapped in a caul of fire, screaming in the flames. Hair going up at a sizzling flashpoint. Cheeks billowing out, peeling back in the blast-furnace heat. Flesh cleansing from bone. Teeth charring and turning black. Still cradling Victor. Still screaming. waiting for the final torment to end. Perhaps it never will... FRANKENSTEIN'S PYRE drifts off into the arctic twilight trailing a huge column of flame and smoke, inhuman screams echoing endlessly. Lost in the darkness and distance. WALTON stands at the gunwale, his crew at his side. The borealis dances mysteriously on the horizon. Distant slivers of lightning kiss the world. Softly: WALTON Home EXT - ARCTIC - TWILIGHT HIGH AERIAL SHOT. An ocean of broken ice beneath us. The Alexander Nevsky heels gingerly about, corkscrewing through a slow turn toward the open sea as we FADE TO BLACK. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Freaked.txt b/unformated_scripts/Script_Freaked.txt new file mode 100644 index 0000000000000000000000000000000000000000..be410febce19b0a4a6cac4e11ce04ef6c93e7124 --- /dev/null +++ b/unformated_scripts/Script_Freaked.txt @@ -0,0 +1 @@ + FREAKED Written by Tim Burns, Tom Stern & Alex Winter SEVENTH DRAFT January 12, 1992 INT. REGIS & KATHIE LEE SHOW SET A horribly deformed figure--hunchback, misshapen head--sits on a stool in complete silhouette. This is RICK COOGAN. RICK Can you imagine it, Regis, Kathie Lee? One day I'm a hot young movie star, and the next day I'm a hideous mutant freak, covered with festering lesions. Oddly, REGIS and KATHIE LEE are also in complete silhouette. REGIS Sounds like my wife when she misses a mudpack! The audience CRACKS UP. Kathie Lee pooh-poohs Regis. KATHIE LEE Oh Regis! You're incorrigible! Ha- ha! (to Rick, she turns EARNEST) Ricky, once you were the all- American boy next door, star of the beloved Hey Dude films. Now the very mention of your name makes children scream in terror. We've all read about your disturbing story. But the people want to hear it from you, Ricky Coogan. (SFX: children scream) Won't you tell us your story? RICK Well, it's kinda long, but okay. It all started when I signed a deal to be spokesman for the E.E.S. conglomerate... DISSOLVE TO: INT. E.E.S. CONFERENCE ROOM - DAY The E.E.S. logo--a large metal shoe with a bar across it, with the words "Everything Except Shoes" beneath. Widen to reveal RICHARD HERTZ, president of E.E.S., smiling rigidly to camera. RICK COOGAN is next to him, also holding a stiff movie-star smile. FLASH! They shake hands as the EES photographer takes publicity shots. Off to one side, behind Hertz, are several EES EXECUTIVES. Behind Rick is his entourage: LAWYER, BODYGUARD, TRAINER, STYLIST, and SPIRIT GUIDE. 2. Further off, at the boardroom table, four DODDERING OLD CORPORATE FARTS on the brink of death look on with glazed expressions. RICK (through a clenched smile) So, what kind of crap do you scumbags want me to peddle? HERTZ Everything. Everything except shoes, of course. Hah hah... He laughs pathetically. Rick doesn't respond. Hertz nods to a nearby EXECUTIVE who hands him some BEEF STICKS. HERTZ Meaty Twig Beef Sticks. Rick takes them and holds them up to the camera. Smiles. Flash. HERTZ Helmet Head hair spray. He takes the hair spray and holds it up. Smile. Flash. The assistant carefully hands Hertz a pulsating metal container with lots of warnings and danger symbols on it. Hertz gives it to Rick. HERTZ Noxon 24 biogenetic neuro- fertilizer. Rick holds it up, then pushes it away in disgust. RICK Fertilizer? Ricky Coogan does not do ads for hi-tech cow shit. I'm a star, got it, Hertz? (to his aide) Rico, give these misguided clowns Tony Danza's phone number, and let's get the hell out of here. He gives the finger to the EES photographer, who obligingly takes a picture. Hertz waves at him to get lost, and calls after Rick who's headed to the door with his entourage. HERTZ Rick. Wait! Only you can stand up to the radicals trying to keep Noxon from the struggling farmers whose very future depends on it. 3. RICK (HESITATES) Noxon? Wasn't that just banned? HERTZ Only in the U.S....and Europe. RICK But I heard that shit's lethal. Hertz lets out a big laugh. He shakes his head at Rick. HERTZ Rick, Rick, Rick... You want proof? Fine. Just take a seat. Please. Rick nods to his entourage. They sit at the boardroom table, across from the EES execs. An easel behind Hertz shows a placard with a bar graph. Hertz whispers something to an aide, who scurries off. HERTZ (TO RICK) Meet the head of our South American research facility, Juan Valdez. The aide ushers in a handsome LATIN AMERICAN EXECUTIVE in a natty three-piece suit and a sombrero. GEORGE My name is George Ramirez. HERTZ Whatever. He's worked with Noxon 24 every day for five years, and he's in fine shape. Aren't you, Juan? George glares at Hertz bitterly. Hertz stares him down. GEORGE Yes. I am fine. Me and my team in Santa Flan have-- RICK Santa "Flan?" What kind of shitty name for a country is that? GEORGE It is named for the patron saint of creamy desserts... As I was saying, we've worked very closely with Noxon... 4. Rick nods. We cut back to George, but he isn't George anymore. He has mutated into a similar looking actor, in the same suit, the same sombrero, but shorter and swarthier. GEORGE (CONT'D) I personally supervised its development... Rick furrows his brow. He's a little suspicious of George's transformation, but just a little. Now George is even shorter, even swarthier. Yet another actor. GEORGE (CONT'D) I performed rigorous scientific tests. No potential danger was left uninvestigated... Rick's suspicion is increasing. He looks over to Hertz, who feigns total innocence. George is now even shorter. Still another actor. His clothes are baggy, and the sombrero is starting to slide down over his face. GEORGE (CONT'D) The environmentalists are crackpots, all of them. Rick looks at his entourage. Their mouths hang open in astonishment. George has now shrunk to near-midget proportions. The sombrero completely covers his head. When he takes it off, we see he's now played by LINDA HUNT! GEORGE It's ridiculous, I tell you. Totally ridiculous! Rick is ready to ask questions, but Hertz cuts him off. HERTZ Thank you, Valdez. That will be all. George nods and heads back to his seat. As he passes behind Hertz, he can't resist sticking his thumbs in his ears and making a face. RICK Wait a second-- 5. HERTZ Ricky, this is important. We're talking about a major threat to the EES image. How does 2 million dollars plus expenses sound? The aide reveals a new placard on the easel. It reads "$2 MILLION." RICK Look, it sounds great, but-- HERTZ I hear you. Make it five million-- (a new placard: 5 MILLION) that is, if the board agrees ... Hertz reaches beside his chair and pulls a lever. The old geezers beside him raise their arms stiffly, as if they were being pulled by strands of fishing line, which they are. HERTZ Good, it's unanimous. Well, what do you say, Ricky? Are you EES's "Man in Santa Flan?" Rick looks at his advisors--they look over at Linda Hunt, then emphatically shake their heads "NO." Rick looks at Hertz, who shows him five big fingers and grins. Rick breaks into a big smile and gives Hertz his trademark thumbs up sign. CUT TO: INT. L.A. AIRPORT SECURITY CHECK Rick stands in line at the luggage X-ray machine. He impatiently checks his watch as the X-RAY CHECKER chats him up. A CRAZED ANARCHIST holding a large bomb passes through the security check unquestioned. X-RAY CHECKER My kids just loved you in "Hey Dude Three: The Final Countdown." We need more wholesome role models like you. RICK Uh-huh. (TO HIMSELF) Where the fuck is Ernie? 6. We hear WOMEN'S SCREAMS. They turn towards the noise and see a bunch of STEWARDESSES scattering from a trendy young cad with a fake hand sticking out of his fly. This is ERNIE, Rick's buddy and resident court jester. ERNIE Ladies! All I wanted was a manicure! Yah-ha-ha! (he sees Rick) IT'S THE COOG! RICK IT'S THE ERNIE! WOOF! WOOF! WOOF! Rick pumps Ernie's third "hand." The miffed X-ray checker points to Rick's large carry-on bag as it emerges from the X- ray machine. X-RAY CHECKER (TO RICK) Mister Coogan, is this your bag? RICK Yeah, why? X-RAY CHECKER Is this your kid? He indicates the X-ray monitor, where we see the skeleton outline of a BUCKTOOTHED, BESPECTACLED 10 YEAR OLD KID curled up in Rick's bag. The kid waves. Rick and Ernie look at each other in horror. RICK/ERNIE Stuey Gluck! The bag bursts open, and out pops STUEY GLUCK, an obsessive young autograph hound toting a stack of scrapbooks and memorabilia. STUEY Rick! Rick! Look! I got a rare still from your high school production of The Glass Menagerie! Could you sign it for me? Please?! RICK NO! (TO ERNIE) Let's get the hell out of here! 7. Ernie nods and yanks the bag away from under Stuey. They run away down the corridor. Stuey chases them, holding up an 8 by 10 photo. STUEY Rick! Wait up! FURTHER DOWN THE CORRIDOR Rick and Ernie run around a corner with Stuey in pursuit. STUEY Rick! Remember the speech you gave at the Actors Forum for Social Justice!? He holds up a cassette player and hits play. It's Rick's old speech. RICK'S VOICE (FROM TAPE) If all the world is a stage, then let us shine the spotlight on truth, integrity, and a deep compassion for all life. RICK Leave me alone, troll! (TO ERNIE) That was before I got an entertainment lawyer. ERNIE Quick, down here. Ernie leads Rick down an adjacent hallway. IN THE HALLWAY It's a dead end. Rick and Ernie are trapped. Ernie gives Rick a sheepish look. Stuey stands at the entrance of the hallway. He holds up a Time magazine. STUEY Rick! Rick! It says here Noxon's dangerous. Why are you lending your name to it? What's happened to you, Rick? You used to be good! And now... I just don't know... Stuey starts to cry. Rick looks guilty. RICK Don't cry, Stuey, I'm still good. 8. BAM! A passing electric baggage cart nails Stuey at full speed and carries him off down the corridor, screaming bloody murder. RICK ALRIGHT! Rick and Ernie high five. CUT TO: INT. FIRST CLASS CABIN - DAY A SEXY STEWARDESS pours champagne for Rick and Ernie. The anarchist sits nearby with the bomb on his lap. Rick winks suggestively at the stewardess. She walks off, obviously not interested. Rick raises his glass to Ernie, oozing sleazy confidence. RICK In the bag. The plane hits turbulence, and Rick's drink flies up out of his glass--he catches it as it comes down. Another STEWARDESS helps the Anarchist put his bomb in the overhead compartment. Ernie ogles her. She sneers at him. We hear the CAPTAIN'S voice on the loudspeaker. CAPTAIN (V.0.) Ladies and gentlemen, this is your captain speaking. To the right of the aircraft, you can see a great view of the Grand Canyon. All the passengers crane their necks to the right. CAPTAIN (V.0.) And to the left you can see a panic- stricken little troll. Rick turns to his window and flings open the shade to reveal... STUEY on the wing, pressing his face up against the glass. He's holding up a publicity shot of Rick and screaming something we can't hear. RICK AHHHHHHH! Stuey loses his grip and is whisked off the wing. Rick watches him fall into oblivion. 9. Relieved, he turns nonchalantly to Ernie, ignoring the other horrified passengers. RICK You gonna eat your peanuts, Ernie? ERNIE Nah, you can have 'em. CUT TO: EXT. FARM DAY A large haystack sits in the middle of a field. We hear Stuey's approaching scream. STUEY (O.S.) AHHHHHHHHHHHHHHHHHHH... THUD! Stuey misses the haystack by a few feet. He hops to his feet and dusts himself off. STUEY Hey, I'm okay! BONK! His scrapbook falls into frame and beans him. STUEY OW! CUT TO: EXT. SANTA FLAN AIRPORT - DAY We see the airliner lowering its landing gear as it makes its final approach to the runway. RICK (VO) Here we are Ernie, Santa Spam. World famous for loud music and hot sex! ERNIE (VO) It is? RICK (VO) Give me a few hours. KA-BLOOEY! The plane explodes in a fireball. Swish-pan to reveal... RICK AND ERNIE 10. Standing just outside the airport. A porter follows with their bags. RICK Sure glad that wasn't our plane. Ernie nods. They're distracted by the sound of chanting. They squint into the distance, where they see a group of chanting PROTESTERS--young "Save the Earth" types, latter-day hippies, kids, seniors, etc. PROTESTERS EES mustn't stay! Take your toxic crap away! EES mustn't stay! (etc.) Some of their signs read--"Say No to Noxon!", "Coogan Go Home", "EES is killing our Earth!", "Ricky Coogan Sucks Shit" (this one held by a nice LITTLE GIRL), "I Like Ike" (held by a confused OLD MAN, shuffling around aimlessly), "Drink Pepsi" and finally... "Free Nelson Mandela"--we WIDEN to reveal the subheading: "Inside specially marked boxes." We keep WIDENING to reveal that this is not on a protest placard, but a box of cereal some GUY is eating as he watches the protest. ERNIE Jesus! We better find the limo before these whale kissers chop us up and sell us for parts. (he spots the limo) There it is. Off to the side, away from the protesters, an unmarked limo with tinted windows (and plates that say NOT EES) awaits. KEVIN, an EES exec, leans out the window and waves discreetly at Ricky. The stewardesses, looking tipsy, wave their bras out the back window invitingly. Ernie tries to grab Ricky by the arm, but he resists. He's looking at the protesters. RICK Wait a second... His POV... A BEAUTIFUL YOUNG WOMAN standing in the center of the crowd of protesters, holding a MEGAPHONE to her mouth and chanting. She puts down the megaphone to rest, and we can see that she's powerfully beautiful, in a no-nonsense feminist kind of way. This is JULIE. Rick is smitten. 11. ERNIE Let's go, Rick. They're waitin'. RICK Forget them. I got a better idea. If I can just find the right disguise... ERNIE Coog, those hippies'll tear us apart. Rick spots a HEAVILY BANDAGED MAN limping out of the airport on crutches. Rick approaches him, waving a roll of bills. RICK Hey, how'd you like to make a quick hundred bucks? The man mutters something weakly. Ernie puts his ear up close to hear him better. ERNIE He says the pants don't usually come off for less than two-fifty, but since you're so cute, he'll make an exception. FLIP TO: RICK buried beneath rolls and rolls of bandages, making his way through the protesters on crutches. Ernie helps him along, nervously. As Rick spots Julie from behind, he hands the crutches over to Ernie. RICK Here. Ernie takes the crutches. Rick waves his arms dramatically, clutches his bandaged legs, and winces in pain. RICK Help! Ow! Give me back my crutches! You monster! Oh, the pain! The agony! He falls theatrically at Julie's feet. JULIE Are you okay? Let me help you! 12. RICK Thanks. Don't worry about me. What's one man's pain weighed against the global injustice of corporate tyrants like EES? Go. The fight must continue. Julie's buying it big time. She gazes deep into Rick's eyes. JULIE Wow... My name's Julie. RICK Josh. Josh Tavner. Ernie sticks a hand out, grinning sarcastically. ERNIE Mother Theresa. Glad to meet you. Julie turns on Ernie viciously. She slaps him hard, and grabs the crutches from him. ERNIE Ow! Hey! JULIE Give me those, ape. Help him up. Rick rises to his feet "painfully." JULIE Hey Josh, a busload of us are headed over to Maracas to protest Noxon 24 and pelt Ricky Coogan with cow shit. RICK Same here! You could ride with us. JULIE Us? You're with him? She looks at Ernie, who grins stupidly. RICK Oh, he's okay. Have you ever heard of an idiot savant? JULIE Sure. RICK That's Ernie. Except for the savant part. 13. Ernie glares at Rick. Rick smiles at Julie hopefully. Julie looks at them both, and can't help smiling herself. CUT TO: INT. CAR - DAY Ernie drives the battered old convertible which bears the proud logo of Santa Flan Rent-a-Car. There's a Pepsi billboard in the background. Julie massages Rick in the back seat. RICK (faking terrible pain) Ooooh, my pelvis. JULIE (SYMPATHETIC) Is this better? ERNIE'S POV IN THE REAR VIEW MIRROR Rick moans and cracks a huge grin through his bandages. Ernie tries to get in on the conversation. ERNIE Hey Julie. You know I'm kind of an idea man myself. Like, let's say there's a nuclear war, and the only two people left are you and the Pope... Would you pork him? Disgusted, Julie smacks Ernie sharply and continues massaging Rick. Scowling with jealousy, Ernie tries a new approach. ERNIE But one thing's for sure. That Coogan guy sure is an asshole, huh? JULIE I'll say! What a total piece of shit. Don't you think so, Josh? Rick grits his teeth. RICK (MUMBLES NONCOMMITTALLY) Well, he's got a few problems. JULIE And what a lousy actor! I mean can you believe that "Hey Dude" crap? 14. RICK Well, with a script that bad, Coogan deserves an Oscar for coming off as good as he did! (CATCHES HIMSELF) I mean, that's what I read. JULIE Well, he's no Christian Slater. RICK (EXPLODES) SLATER!? I could act circles around that one-note hack! He was shittin' his diapers when I was the toast of Broadway! I made grown men cry! I made crippled children laugh! Now all I ever hear is Slater! Slater! Slater! WELL SLATER CAN KISS MY ASS! YOU HEAR ME? Enraged, Rick rips the bandages off his face. RICK You think Slater could improv like this? Make you believe he was an invalid!? Huh!? Julie stares at him in shock. Rick catches his breath, realizes what he's just done, and smiles weakly. Ernie tries to break the awkward silence. ERNIE (TO JULIE) So, do you like Swedish films? Julie gives him a murderous look. FADE TO BLACK. FADE UP ON: EXT. DIRT HIGHWAY - LATER High wide shot: The car is descending deeper into the wild jungle, towards a huge eerie sunset. IN THE CAR Julie's been lecturing Rick for some time now. JULIE You don't even want to hear the truth about Noxon, do you, Coogan? (MORE) 15. JULIE(CONT'D) I mean, look, I'm not saying this stuff is going to turn anyone into a... a... RICK'S POV on the road behind Julie he sees a crude carnival billboard featuring a painting of a huge worm with a man's head. It reads "See the Incredabel Humin Werm! Only at Elijah C. Skuggs Famus Freek Land." Julie can't see it. RICK (DISTRACTED) Human worm... JULIE Right. A human worm. I mean, that's just stupid. The point is-- Rick sees another billboard for the freak show. This one features a half-man/half-dog creature and says "See the Aztownding Dawg Boy!" RICK Dog boy... JULIE Yeah, or a dog boy. That's absurd. BUT-- Another billboard. This one features the "Hidyous Frawg Man." RICK Hideous frog man. JULIE Okay, okay. Now you're just being silly. Human suffering's just a big joke to you, huh? You are sick, Coogan! She turns away from him in a huff and looks out her window. She sees a billboard that reads "See The Hole Amazing Famly of Freekz at Elijah C. Skuggs Famus Freek Land and Mutent Emporeum!" JULIE Cool! A freak show! Let's check it out! RICK Kind of like a family reunion for you, huh? 16. ERNIE Lighten up, Coog, could be a goof. EXT. JUNGLE ROADWAY The car turns into a driveway near a crude, hand painted sign that says "FreekzTM--Thiss waey" with a messy arrow... We ZOOM IN to the hand painted "small print" on the bottom of the sign, which reads--"Freekz is a registered trademark of Elijah C. Skuggs Enterprises. Any unauthorized reproduction is strictly prohibited without prior written consent." CUT TO: EXT. FREEKZ COMPOUND The car stops at the end of the long, spooky driveway, just past a sizzling electric fence. Rick, Julie, and Ernie get out and look around. It's eerily quiet. There is a large dilapidated mining shed complete with rusted ducts and a tall smoke stack, a tattered carnival tent with an ornate stage flat facade, a lopsided outhouse, a creepy broken-down farm house, and in the center of it all, a giant molded carnival head with big staring eyes, which slowly rotates on a creaky base. Ernie looks hard at the big eyes. He turns away for a second, then spins around again. The EYES are looking in a different direction. Ernie shakes his head and unwraps a chocolate bar. JULIE Isn't it great? It's so "real"... RICK Real stupid. (TO ERNIE) Let's go. This place is dead. ERNIE Yeah. Where are all the weirdos? VOICE (O.S.) There are no weirdos here. Startled, they turn to see ELIJAH C. SKUGGS, a twisted, haggard old man. He takes a bite out of an ice cream cone which contains the rear half of a chipmunk with a maraschino cherry on top. Elijah has bad teeth, a bad shave, and scary eyes. We now realize the giant head is molded in his image. 17. ELIJAH Mutants, yes. Genetic nightmares, definitely. Children of Hell and twisted masses of living, breathing tormented flesh, certainly. But as for weirdos... not a one. Unless of course you count me! Ha ha ha! RICK Nah, you seem like a regular dumbshit old redneck to me. Elijah ignores him. Julie shoots him a look and smiles at Elijah. JULIE I'm Julie. And you are... ELIJAH Elijah C. Skuggs, proud proprietor of Skugg's Fabulous Freak Land and Mutant Emporium. But you knew that. After all, you've ventured miles away from civilization, hospitals, telephones, (TO RICK) police... How may I help-you? RICK Drop dead. Elijah smiles, unfazed. Julie glares at Rick. She smiles apologetically at Elijah. JULIE We'd like to see your freak show. You see, only by appreciating the variety and innovation of nature can we come to respect the fragile complexity of our global eco- system. Elijah nudges Ernie. ELIJAH And you come to me looking for weirdos? Ernie shrugs. He goes to take a bite out of his chocolate bar and finds only the empty wrapper left in his hand. ERNIE Hey! What the-- He looks behind him, and there--about ten feet away--is... 18. A HULKING BALD MAN warts all over, squatting on the ground and chewing happily. This is TOAD. Julie and Rick turn and see him. JULIE (REPULSED) Eeuuuwww... (composes herself and WAVES) Ahem. Hello. Toad doesn't respond to her waves. ELIJAH Mr. Toad is my... assistant. As for the show, I'm afraid the next parade of deformity isn't until tomorrow night... Rick and Ernie pretend to be disappointed. They turn to leave. Julie's sincerely upset. JULIE Oh, just our luck... Elijah grabs Rick's shoulder and turns him around. ELIJAH However! I do have a private exhibit in my shed you might enjoy. I don't usually share it with the general public... RICK We're deeply honored. But no thanks. ERNIE Yeah. We really must be-- He raises his cigarette to his lips, but it's gone! He turns to see Toad, ten feet behind him, puffing away happily. Hmmm. Elijah is already leading Julie towards the shed. JULIE The sideshow tradition has been misrepresented by the media. You don't traffic in human misery. You show society the part of itself it doesn't want to look at. 19. ELIJAH Yes... Yesm I see... He looks over to Rick and Ernie with a grin that says "Where'd you find this nutty chick?" Rick shrugs and follows, taking Ernie with him. ERNIE What the heck. We'll see some pickled dog brains, maybe some pictures of women with, you know, added equipment. RICK And to think we could be in the limo with those stewardesses. Elijah holds the shed door open for them. It's pitch black inside. Julie enters. Rick and Ernie follow. ERNIE What the hell, Coog, these people are weird, but they seem nice enough. A CUTE BUNNY sits outside the shed. THWAP! Toad lashes out with his ten foot tongue, and sucks the bunny into his mouth. He shuffles into the shed, crunching contentedly. Elijah closes the shed doors in our face, grinning. we hear a lonq peal of EVIL LAUGHTER from inside. ELIJAH AH-HA-HA-HA-HA-HA! HE-HE-HE! HA- HAHA! HE-HO-HE-HE-HA-HA! AH-HA-HA- HEHA! YAH-HA-HA-HA-HEE-HEE-HO-HA- HE-HE! INT. SHED It's dark and spooky. Elijah stands in a pool of light, reading a Family Circus cartoon in the funny pages. ELIJAH HA-HE-HE-HE! God I love the Family Circus! How do they do it day after day? It's amazing. He turns to... RICK, JULIE, AND.ERNIE 20. as Toad finishes strapping them onto massive Frankenstein- style operating tables. They struggle desperately against THE STRAPS RICK (TO ELIJAH) ARE YOU OUT OF YOUR MIND!? ELIJAH Well, I guess they do use the same joke over and over. I'm just a sucker for that little moffet's shenanigans, that's all. (he tosses the funnies ASIDE) But perhaps I should tell you a little more about what I do. You see, I not only exhibit freaks, I make them. Just like Michelangelo saw the angel in the stone, I look at a guy like Kevin Costner and see a giant peach grub who can fart the Blue Danube! (mops brow, asks OFFHANDEDLY) Am I crazy or is it hot in here? Rick, Julie, and Ernie shoot him a look that pretty well answers his question. Elijah shrugs and goes back to his spiel. ELIJAH Behold! The Tasty Freekz machine! He pulls a tarp off a huge complicated machine. Several drums and vats of various chemicals feed through a crude network of pipes, gadgets and computers into an old Tasty Freeze soft serve ice cream machine (The logo has been changed to "Tasty Freekz"). The biggest vat reads "NOXON 24." JULIE My God! He's using Noxon Twenty- Four! RICK Hey! You're not supposed to have that stuff! ELIJAH Oh? Well, I guess I'm not supposed to have these either! 21. He holds up a matching towel and washcloth embroidered with the "Ramada Inn" logo. Rick, Julie, and Ernie gasp. He tosses the towels. As Elijah gets worked up into a frenzy, the ambience in the room becomes more and more horrific: the sunlight is replaced by an eerie green glow, a thunderstorm rumbles to life, a raven perches on the windowsill, a rat scurries across the floor, one of those plastic "Bony Banks" reaches out and grabs a quarter... ELIJAH I need only punch a few buttons on this magnificent device, and it gives me an easy-to-apply ointment that will mutate a perfect young body, bubble its skin, warp its bones and twist its guts into AN UNSPEAKABLY REPULSIVE, STOMACH- TURNING FREAK OF MY OWN DESIGN! Elijah's hair is now standing on end. He's foaming at the mouth. A bolt of lightning and THUNDERCLAP cap the monologue. JULIE Wait a minute. Does this mean we're not going to see a show? ELIJAH (IGNORES HER) Toad, fire up that machine, and let's turn these hapless asswipes into monstrosities! RICK, JULIE, ERNIE (TOGETHER) AAAAHHHHHHHHHHHHHHHHHHHHH! ELIJAH Now let's see. Who wants to get freaked first? ERNIE (points at Julie) Ladies first! JULIE Go screw yourself! ERNIE If I were you, I would! ELIJAH Hmmmm. 22. Toad is adjusting some knobs on the machine. Elijah steps past him to a jerry-rigged computer console. He punches some keys and some rotating DNA models appear on the monitor. ELIJAH (mumbling to himself) It's like Yin and Yang... AC/DC... two birds with one stone... Yeah, it's pretty darn good, really... He presses "enter" and the computer beeps. He smiles. ELIJAH Let 'er rip, Toad! Toad yanks a pull-start cord and the machine rumbles to life. Elijah pulls the Tasty Freekz lever and fills a small dish with phosphorescent ointment. Toad cuts open their clothes, exposing their sides, and pushes them close together. ERNIE Wait a second. You're really gonna smear that stuff on us and mutate our body parts!? ELIJAH Correct. ERNIE Well... then could you give me a really big rodney? ELIJAH I'm a mad scientist pal, not a miracle worker. Elijah smears the ointment on their exposed sides. Their skin begins to bubble and undulate. JULIE/ERNIE Oh God!... No!... Holy shit! (ETC) A grapefruit-sized lump pops up on Ernie's side, then another on Julie's side, and then the lumps do a little synchronized dance together. Suddenly Ernie's flesh balloons out and melds into Julie's side. The mass of connected skin continues to bubble and mutate. Odd shapes press up under THE SKIN: Four humans faces that quickly become Mount Rushmore... The Pepsi logo--"Pepsi: The Choice of a New Generation"... Julie and Ernie merge into one amorphous flesh blob which then takes the form of... 23. Demon versions of GUMBY and his magic horse POKEY. Gumby's got his back to camera. He's grabbing his crotch and flipping everyone off. ELIJAH Gumby! Put that thing away! Gumby and Pokey mutate back into a blob and then into... JULIE/ERNIE joined side to side, their two heads on a single body which is split down the middle--half Julie, half Ernie. Elijah wheels a large mirror in front of them. ELIJAH Feast your eyes! JULIE NOOOOO! ERNIE Well, at least I'll never have to go far for a piece of tail. JULIE Pig! She SMACKS him. ERNIE Ouch! I was just trying to keep things light. Oh God! Why me!? He starts blubbering uncontrollably. Toad drags them towards the door. JULIE Mother always said there'd be days like this. And I thought she was nuts! They exit. Elijah turns to Rick. ELIJAH (gestures to Julie/Ernie) A mere party trick. But you, you're gonna be special. Elijah steps over to the computer console and starts punching keys. RICK (GETS TOUGH) Let me go, Skuggs, or else! (MORE) 24. I got some RICK(cont'd) friends that'll come down here and mess you up bad, homey! (Elijah chuckles. Rick tries a different APPROACH) I got some other friends who can score you box seats at the Superbowl, no problem. (ANOTHER FAILURE) YOU EVER HAD YOUR BALLS CUT OFF, YOU FUCKIN' APE?! (switches gears again) You ever had a hot fudge bath with Morgana? [foreign take: Madonna] ELIJAH (LOOKS UP--INTERESTED) You know her? Rick nods hopefully. Elijah considers it for a moment, then frowns. ELIJAH Ah, screw it. I'd never get anywhere with her. TOAD! FIRE UP THAT INFERNAL YOGURT MACHINE! Toad starts the machine. Elijah pulls the lever and dispenses a bowl full of glowing ointment. He carries it towards Rick, leering maniacally. ELIJAH For years I've strived to create the ultimate monster. The first of a whole new generation of superfreaks! Now I've finally got you, the perfect subject--a real asshole! HA-HA- (he pauses and looks closer at Rick) Wait a minute. Aren't you the guy from "Hey Dude Three-The Beguiling?" RICK Yeah, that's me! ELIJAH You were great in that picture! Oh well, I guess for the next one they'll have to get Christian Slater! HA-HA-HA! 25. Elijah squishes the ointment into Rick's horrified face. CUT TO: EXT. THE LAB - NIGHT The barn looks especially sinister silhouetted against a big green moon. A huge ball of flame belches out of the smoke stack. RICK (O.S.) AAAAAAAHHHHHHHHHHHHRRRRGGGGGGG! DISSOLVE TO: EXT. THE LAB - MORNING It's eerily quiet in the dawn light. INT. LAB Extreme close-up of Rick's eye as it opens, and searches the room frantically. Close-up of Rick's hand--a normal hand-- straining at the bonds. RICK's POV groggily searches the lab, and picks up the blurred image of Elijah in the distance. He's on the phone, speaking in hushed tones. ELIJAH This is Red Swan. May I speak to the Laughing Man?... Yes, I'll hold. For a moment, Elijah is entertained by hold music to the tune of "Freak Out," by Chic. A man's laughing voice comes on the other end of the line. It laughs throughout the "conversation". ELIJAH Laughing Man? Red Swan. I've done it! I found the perfect subject-- huge ego, shallow personality, almost no moral values... A lawyer? No, better. An actor. Yeah, the guy from those hilarious "Hey Dude" movies! Hahahaha-- Laughing man has stopped laughing. Elijah dummies up. 26. ELIJAH (SHEEPISHLY) Well, I liked 'em. Laughing man resumes laughing. Elijah listens intently. ELIJAH (CONT'D) Right... Yes... Yes, I see... But that's just it. He's not quite, uh, finished. I need more Noxon so I can-- Laughing Man laughs so loudly Elijah has to hold the phone away. ELIJAH (ASIDE) Geez, what a grouch. Over on the slab, Rick groans. He's waking up. Elijah notices. ELIJAH (to Laughing man) Laughing Man? I have to go. What about the Noxon? Two days? Great, you can see everything then... Yeah, you take it easy too. Elijah hangs up the phone, and strides over towards Rick. ELIJAH Wakey, wakey. Time to meet and greet the new you. RICK Huh? He flips the slab right-side up, and holds up a mirror. Rick's eyes widen in terror as he beholds his hideous new form. Rick's left half has been transformed into a hideous, bug-eyed monster! RICK AAaaaaaaaaaaaaaaaargh! CUT TO: EXT. LAB - MORNING BANG! The doors fly open. Elijah drags Rick out. Horrified, Rick clutches the monster side of his face. 27. RICK Oh God! This was my good side! ELIJAH Still is if you ask me! Hell, even half-done, you'll be the star of the show tonight. Elijah stops in front of the tiny outhouse. ELIJAH (CONT'D) Welcome to your spacious accommodations. He unlocks the door and drags Rick in. INT. OUTHOUSE Oddly, the interior is a vast barracks, fifty feet long and thirty feet high. Rick looks around. RICK (IMPRESSED) Great use of the space. ELIJAH I learned it all from Bob Vila. BOB VILA walks up next to Elijah. BOB You know you could expose those rustic beams and put in a skylight over one weekend, Elijah. ELIJAH Give it a rest, Bob! He pushes Bob away into the freak house, gives Rick a goodbye wink and walks out the door. EXT. OUTHOUSE Elijah pauses and looks at the tiny outhouse. ELIJAH One of these days I gotta put a shitter in there. Bob Vila steps out of nowhere again, holding a Time-Life book. 28. BOB No problem. It's all here in my Beds and Bathrooms book, Elijah. And you pay nothing for thirt-- BONK! Elijah knocks him out cold with a ball-peen hammer from his tool belt. INT. FREAK HOUSE It takes a few moments for Rick's eyes to adjust to the dim light. There's nobody in sight. The walls are lined with dark cubicles, stacked atop each other with walkways like prison cells. Rick staggers to his feet, and makes his way forward. RICK Ernie? Julie? ERNIE Over here, Coog. JULIE Are you alright? Rick sees the vague outline of JulieErnie a few yards away. RICK I know that voice. That's the voice that said, (MIMICS) "Cool, a freak show. Let's check it out!" JULIE What!? Oh sure, blame the woman. Typical. RICK (MIMICS) "It's so real." Is this real enough for you? I'm friggin' Quasimodo! ERNIE Chill out, Coog. You're talking to the original tag team of ugly pukes. Step into the light. RICK Okay, here I come. 29. Rick steps forward into a pool of light. Julie and Ernie are caught by surprise. Julie struggles to keep her composure. Ernie's repulsed. ERNIE ULP! Ernie turns away and pukes on the floor. Julie soldiers on. JULIE Oh geez... It's not so (GULP) revolting. After all, physical beauty is just a socially-enforced myth that we, uh, oh shit... ULPI Julie turns away and pukes on the floor. RICK (OFFENDED) Yeah, well, you're no Mona Lisas yourself. You're lucky I've got a strong stomach! VOICE (O.C.) And you're lucky I don't BITE you! Heh heh heh heh ... Rick wheels around to see JUAN THE DOG BOY, snickering behind him. Juan is a hairy young Mexican with a snout, dog ears, and canine teeth--Scrappy Doo with an attitude. Rick assumes a threatening pose. RICK Get away from me you, you... JUAN Freak? Ha ha hahahaha! (he stares hard at Rick) I am Juan the Dog Boy, leader of the freaks. JULIE (walks up to them) Kind of the "top dog." Juan scratches himself behind the ear with his hind leg. JUAN Welcome to Hell, Rick. Shake? He extends a hand to Rick. Rick doesn't take it. He hears a slight RUSTLING noise from the direction of the cubicles, and turns to look around the apparently empty Freak House. 30. RICK No thanks. I don't plan on staying long. How many of you are there in here anyway? Juan shrugs mischievously and sticks his snout in Rick's face. JUAN First, I have a question for you, Ricardo. Who starred in the film "International Velvet?" RICK Huh? JUAN Well, perhaps we should ask the Worm! The top right cubicle lights up, revealing the WORM. He is a man with no arms and legs, and the wrinkly, slimy body of a worm. His face is learned-looking, with spectacles, a small goatee, and a pipe which he puffs on pompously. JUAN Tell us, Worm, who starred in "International Velvet?" He puffs pensively on his pipe for a second. THE WORM Yes, yes ... very interesting... International Velvet... The perfectly appalling sequel to National Velvet, I believe. No dramatic verisimilitude whatsoever. JUAN Yes, Worm. But who was the star? The worm takes a long, thoughtful drag on his pipe... WORM Olivia DeHavilland. JUAN Olivia DeHavilland... Rick, do you agree or disagree? RICK This is nuts. This is crazy... Besides, it was Tatum O'Neill. 31. JUAN Very good. It was Tatum O'Neill, now married to tennis star John McEnroe. Circle gets the square. The lights come on in 9 of the center cubicles, silhouetting 9 freaks in a full size HOLLYWOOD SQUARES 3 x 3 layout. The FREAKS applaud Rick's success. He's incredulous. OTHER FREAKS Yayyy! Worm nudges an "0" into place in his cubicle, with some difficulty. He's not happy about being proved wrong. WORM Blast. O'Neill ... No talent ragamuffin... JUAN okay, JulieErnie, your turn. Who's it going to be? As Juan names the freaks one by one, their square is highlighted, and they wave at Rick cheerily. JUAN (CONT'D) Nosey the Nose Man! NOSEY is a man whose massive nose dominates his head. He blows into a huge hanky, and waves it wearily at Rick. JUAN (CONTD) Cowboy! COWBOY is a young boy with cow-like features, a cowboy hat, cowboy clothes, and a full set of udders. JUAN (CONT-D) The Bearded Lady! The BEARDED LADY is a big, tough, bearded man--in a blouse. He has lipstick, earrings, and tattoos on his muscular arms. BEARDED LADY (gruff and masculine) How ya' doin. JUAN Sockhead! SOCKHEAD is a freak with a large button-eyed sock puppet for a head. He's munching cookies which ,spill uselessly out of his throatless sock mouth... 32. JUAN The Human Torch! The HUMAN TORCH is a man engulfed in flames. He waves apathetically. JUAN Rosie the Pinhead! ROSIE is a pinhead in dark sunglasses. She has a great bod jammed into a sexy dress. She smokes a cigarette demurely, and waves a small, arrogant big-star wave. JUAN The hideous Frog Man! Frogman is just a guy in a scuba outfit. He strikes a threatening "monster" pose, then gives a friendly wave. JUAN And of course, in the center square, Mr. Paul Lynde! Suddenly the lighting changes to flashing red horror lights with plenty of dark shadows. There's a horrific MUSIC STING and we ZOOM IN to a DECOMPOSING SKELETON in the center cubicle. Its eyeball drips out of the socket. JUAN Well JulieErnie, who will it be? ERNIE Call me old-fashioned, but I'll go with Paul Lynde. JULIE Don't be an idiot. They argue back and forth, hitting and poking each other 3 Stooges style. Juan turns to Rick. JUAN You see, Rick? Just because we're freaks doesn't mean we can't have some fun, huh? Rick is overwhelmed by it all. He backs away. RICK Get away from me. Get away! I'm not like you. You hear me? I'm Ricky Coogan! I AM NOT A FREAK! 33. The Freaks laugh in Rick's face. He storms off. DISSOLVE TO: ANOTHER AREA OF THE FREAK HOUSE--A LITTLE LATER Rick sits in a corner, pondering his fate. Oddly, there's a shiny new Pepsi machine in this dingy corner of the Freak House. JulieErnie approach him. ERNIE Okay Coog, so I get twenty four hour access to T `n' A, and you look like a plate of rancid giblets. We're still pals, right? Rick shoots him a look. JULIE All the freaks have gone through this anguish, Rick. At first, I was blinded by my anger. I admit it. I wanted to break your neck for getting me into this. But I got over it. Juan taught me to channel my anger for the common good. RICK It was your fault, anyway. You wanted to see the freak show. JULIE (FURIOUS) I THOUGHT I TOLD YOU TO SHUT UP! She tries to wring his neck. Ernie helps. Rick glares at Ernie. RICK Ernie! ERNIE Oh... Sorry, Coog. For a second there, I was a total man-hater. Weird. Julie regains her cool. She takes out a pamphlet, scribbles something on it, and hands it to Rick. JULIE Here. Take it. Rick examines the cover. He reads it aloud. 34. RICK "So You're a Hideous Mutant Freak-- Now What?" There's an "8" scribbled on the pamphlet. JULIE we're in cubicle eight. Maybe later you'll be ready to talk. RICK Forget it. Not me. I'm not like those other god-forsaken animals. He throws the-pamphlet to the ground, just as the Worm, Bearded Lady, and Sockhead approach. They sit down in a circle around him. The Worm looks down at the pamphlet and puffs thoughtfully on his pipe. WORM You're mistaken, Rick. You are exactly like us. We were all normal healthy folk before we made the fateful mistake of visiting this hell hole at an off hour. Why, when I first came here... WAVY FLASHBACK DISSOLVE TO: EXT. FREAK COMPOUND - THE PAST The Worm, as an OXFORD PROFESSOR, is wandering around the grounds, taking notes and puffing on his pipe. WORM (V.O.) I was a professor of lacrophylogy-- er, the study of worms, of course. I came in search of the Epsosophecci dilepsidae--in layman terms, the fat pudgy worm. Mr. Skuggs said he had just such a worm in his shed. How could I have surmised that the specimen and I would ultimately prove to be one and the same? We see professor Worm meet Elijah, and follow him into the lab. The smoke stack belches a plume of flames as we hear his off-camera screams. DISSOLVE back to.. THE FREAK HOUSE--NOW The Worm finishes his tale. 35. WORM At first, the transformation was fabulous. I truly understood the worm's ethos like never before. But those early days of fascination are over. Now, in retrospect, I think the whole thing is a fucking headache. I'd sell my soul just to be able to wipe my own ass... He sniffles a little, but manages to hold back the tears. We pan to Sockhead. SOCKHEAD I first came here as a tourist, looking for some fun... FLASHBACK DISSOLVE TO: EXT. FREAKLAND - THEN A lanky TOURIST, obviously Sockhead in better days. He approaches Elijah. SOCKHEAD (V.O.) Anyway, then Elijah turned me into a sock. That's it. INT. FREAK HOUSE - NOW Sockhead shrugs apologetically. SOCKHEAD Sorry. I'm not much for stories. The camera moves in on the BEARDED LADY. BEARDED LADY When I arrived here, I was nothing like I am now. FLASHBACK DISSOLVE TO: EXT. FREAKLAND - THEN The bearded lady (as a man) steps out of the cab of his eighteen-wheeler. He looks very much like he does now, except he has no lipstick or earrings. 36. BEARDED LADY (V.O.) I was confused--a walking contradiction, so full of questions. INT. FREAK HOUSE - NOW He finishes his story. BEARDED LADY/MAN Now I know who I am. I can say, "Hey world. This is me. I'm a woman. And I like me." The others look at the bearded man uneasily. The camera pans past the Bearded Lady, and moves in on an ordinary HAMMER lying on the ground. FLASHBACK DISSOLVE TO: INT. HARDWARE STORE - DAY Happy music. The hammer is placed on a shelf by a friendly STOCKBOY. The music turns tense as Elijah appears and scans the shelf. He makes eye contact with the hammer, and smiles. He grabs the hammer roughly and shoves it in a plastic bag. Darkness. EXT. FREAKLAND - THEN The bag opens, Elijah reaches in and takes out the hammer. The music turns to Psycho-like string stabs as Elijah uses the hammer to smash in a nail. INT. FREAK HOUSE - NOW Everyone looks at the hammer sympathetically. Rick turns away to wipe a tear from his eye. WORM You are one of us now, Rick. Whether you admit it or not. It's irrefutable. RICK Yeah. Says you. The worm shakes his head. The freaks turn and head back to their cubicles. Rick exchanges a look with Julie before she and Ernie turn and head off. 37. Rick is left alone, staring pensively at the hammer. TIME DISSOLVE TO: Hours later, Rick is still staring at the hammer. He picks it up and stares at it more closely. TIME DISSOLVE TO: Hours later. Rick is still staring at the damn hammer. He nods with resolve. RICK (TO HAMMER) You're right. He spots the pamphlet on the ground, picks it up, dusts it off. He opens it and begins to read, under the heading "1. It's Fun Being Ugly!"... Rick closes the pamphlet, looks at the number "8" Julie scribbled, and nods with a sense of purpose. Standing up, he throws the hammer carelessly aside into the muck, and walks towards the cubicles. CUT TO: INT. FREAK HOUSE - DAY Rick walks past the cubicles. In one, the Bearded Lady knits a sweater... He reaches cubicle 8, and is about to speak when he hears Julie giggling. There is a man's voice, but not Ernie's. It's Juan. Rick peeks around and sees Julie scratching Juan's belly. He licks her face happily, and she giggles with delight. Ernie is reading "The Woman's Room," trying not to notice all of this. Rick watches, disgusted. He tears up the pamphlet, throws it to the ground, and storms off to find his own cubicle. Ernie peeks at Julie and Juan continuing their foreplay. Juan stops abruptly. JUAN Hey. Mind your business. ERNIE Sorry. 38. Ernie returns to his book. The camera PANS up to Rick's cubicle. He's sitting on his cot, distractedly whittling a log with his knife-like talon. He talks to himself, making sure to be loud enough for JulieErnie and Juan to hear. RICK Well that EES guy should rescue me any minute. Then it's straight to the plastic surgeon and back to sunny old L.A. I wonder how many of my beautiful, anatomically correct girlfriends will be waiting for me. STUEY GLUCK (V.O.) I'll be waiting for you, Rick! RICK Thanks, Stuey. Rick looks up and sees a holographic image of Stuey Gluck floating in the air above him. RICK AHH! A phantom troll! He swings the log wildly at the hologram, but it keeps darting around, dodging the blows. Cowboy leans around the cubicle wall. He talks a lot like Gomer Pyle. COWBOY (NEIGHBORLY) Seeing phantom trolls, Rick? RICK (INNOCENTLY) No. Rick stops swinging, lamely pretends he was stretching, and ignores Stuey, who hovers around him. COWBOY Sounds to me like you've developed a telepathic bond. Don't mean yer nuts or nuthin'. Heck, old Nosey, why he can smell the future. Lots of us freaks got E.S.P. And Sockhead, he's got E.S.P.N. He points at Sockhead, who's watching pro wrestling on a portable TV. SOCKHEAD Watch out, Hulk! He's gonna try the skull cracker! 39. COWBOY Shucks, Rick, you're lucky. Telepathy like yours only occurs between real soulmates. A bond like that should be cherished. Cowboy smiles and ducks back into his own cubicle. STUEY Wow! I'm Ricky Coogan's soulmate! RICK In your dreams! Now get lost, troll! He swings wildly at the hologram, which starts to break up and fade away. STUEY (FADING AWAY) Wait'll I tell the kids at school! Stuey disappears. Cowboy leans into Rick's cubicle again. COWBOY Shucksm Rick, it don't make sense to spurn your soulmate. I reckon that troll could help you if you just let him into your heart. Rick scoffs at him and starts whittling again. CUT TO: INT. STUEY'S ROOM - DAY It's a cramped room filled with Ricky Coogan memorabilia. Stuey is drawing a crude sketch of Rick on a pad. This sequence is set to brassy "man on a mission" music. STUEY Once America sees what happened to Ricky, they'll probably send the whole FBI down to save him! CUT TO: INT. L.A. TIMES HALLWAY Stuey marches towards a frosted glass door that reads "THE LOS ANGELES TIMES". 40. STUEY I'll probably win a Pulitzer prize for this scoop. And I'll dedicate it to Rick! He walks through the door. Beat. SMASH! He comes flying out through the glass and lands on his butt. THE "TIME MAGAZINE" DOOR--SMASH! Stuey flies out through it. THE "U.S.A. TODAY" DOOR--SMASH! Stuey flies out through it. THE "WEEKLY WORLD NEWS" DOOR--We see Stuey and an EDITOR silhouetted against the glass. EDITOR (V.0.) Of course I'll print it! America needs to know! Burt! Give mister Gluck his fee and show him out. STUEY (V.0.) That's okay. I know the way. SMASH! Stuey dives through the glass door. CUT TO: EXT. NEWSSTAND - DAY Stuey proudly reads the weekly world News. The front page features Stuey's story and his sketch of Rick. STUEY (READING ALOUD) "Freaky Deaky! Ricky Coogan's a mutant in South America! By Stuart S. Gluck." (to NEWSSTAND GUY) That's me! Suddenly two GOONS in dark suits snatch the paper away from Stuey. They grab him and force him into a limousine. INT. LIMOUSINE The Goons hold Stuey in between them.'He's terrified. we hear the low, menacing chuckle of the Laughing Man, who's off screen. The camera is his POV. LAUGHING MAN Heh heh heh heh hehh heh. 41. STUEY Sure I wrote the article. But-- LAUGHING MAN Ha-ha-ha! STUEY No. You've got it all wrong. I don't know anything about that. You gotta believe me. LAUGHING MAN Ho-ho-hahahaha hee hee hoohaaa! THE LIMO cruises off down the street. We hear a POWER DRILL, Stuey's SCREAMS, and Laughing Man's hearty CACKLE from inside. CUT TO: INT. RICK'S CUBICLE - NIGHT Rick has whittled his log down to a toothpick. He admires it, then leans over and fits it into an intricate three-foot scale model of the Eiffel Tower, made entirely out of toothpicks. The Human Torch walks by. HUMAN TORCH Wow, what a great model! (he points at a toothpick) But look, this one's crooked. He reaches out to fix it and--WOOF! The whole model burns to a cinder. Rick looks at him hatefully. HUMAN TORCH (STUPIDLY) Sorry. Elijah steps into the freakhouse. ELIJAH Alright, freaks! Get ready for the glamour! Get ready for the glitz! Get ready to be pelted with rotten vegetables, 'cause it's showtime! CUT TO: 42. EXT. CARNIVAL TENT Elijah, looking natty in his Ringmaster suit, stands at the entrance, barking to various people who are drifting in. ELIJAH It's grisly! It's revolting! It'll make you wish you were dead! And at just twelve bucks a head, you can bring all the kids! We follow a KINDLY FATHER through the curtained entrance. OOF! He collapses, a knife embedded in his chest, revealing the total mayhem... INSIDE THE TENT The motley crowd (LOCALS, sleazy looking MOBSTERS, rogue BIKERS, wayward HIPPIES, and JAPANESE TOURISTS, etc.) is brawling and drinking and having a heck of a time. Some small displays and a few carnival booths are set up around the sides of the tent. There's a "PETTING ZOO" where a KID is petting a two-tailed-no-headed dog. And there's a "HEAVY PETTING ZOO" where a GUY is french kissing a six- legged goat. A CLOWN sits in a dunk tank, heckling the customers. The sign says "DUNK ME IN ACID!" CLOWN C'mon, my granny could throw better than you! He's talking to an OLD LADY, who throws a baseball, hits the target, and dunks the clown into the foaming bath of carbolic acid. We hear his gurgling screams, then his bony hand reaches up out of the bath. Elijah walks out on stage and looks at the rowdy audience. It's total mayhem. ELIJAH (CALMLY) Quiet, please. Everyone instantly sits down, shuts up, and looks up obediently at Elijah. 43. ELIJAH Thank you. Ladies and gentlemen, you are about to witness a cavalcade of atrocities so horrific, I advise the more sensitive members of our audience to leave the premises. Two SENSITIVE LOOKING MEN wearing sweaters draped over their shoulders politely get up and leave. ELIJAH Tonight I'm proud to announce the addition of several new monstrosities to the show, including our star attraction, the Beast Boy--an untamed and highly dangerous ghoul who's liable to go nuts and kill us all at the drop of a hat. (impressed "oohs", "ahhs", and "cools" from the AUDIENCE) But first up, prepare to behold an unspeakably repulsive yet heartwarming atrocity, Three Men and a Baby! THREE MEN AND A BABY, all fused into a single multi-limbed freak, walks out onstage. One of its arms holds up a dirty diaper, and all the three men hold their noses and grimace. The audience breaks into warm-hearted laughter and applause. BACKSTAGE The freaks mill around in the caged-in green room, guarded by Toad. Frogman, dressed in a magician's outfit over his wetsuit, holds an empty dove cage and searches the room, whistling for his missing dove. Nosey sneezes up a cloud of feathers. JulieErnie walk determinedly towards the adjacent Men's and Women's restrooms... BONK! They hit the wall between the two doors. Rick is reading his "script", rehearsing his lines. He's wearing a cheesy "jungle" costume. RICK Arrrggg. I am Beast Boy. I will eat you. Arrrghh. (he throws down the SCRIPT) I can't do this shit! He peers through the bars, scanning the audience for signs.of a rescue party. 44. RICK Damn it! What's keeping those guys? The Worm creeps up behind Rick. WORM Something's troubling you, my boy. what is it? RICK Well, let's see. I've been kidnapped, hideously disfigured, imprisoned with a bunch of mutant freaks, my rescue party is M.I.A., and this dialogue makes "Hey Dude Three" read like "Dr. Zhivago." WORM I think I know what you're going through. I too had an eating disorder. You see, I've always had a feverish obsession with pudding. And when I was a young lad... Rick groans and looks out at the audience. ELIJAH onstage. ELIJAH And now a perennial favorite here at Freakland, ladies and gentlemen. I know you'll all enjoy the musical stylings of Rosie the Pinhead. Rosie the Pinhead struts out wearing a sexy dress and holding a microphone. After the applause dies down, she whips off her sunglasses with a flourish, revealing her extremely goofy- looking crossed eyes. She wails incomprehensibly and bonks her head with the mic. ROSIE (DROOLING) EEEEOOOOOOOOOOOOOIIIIIEEEEEE... A series of WIPES show bits of various acts as the evening WEARS ON: ERNIE/JULIE are doing a Vaudeville style stand-up routine while tap dancing. 45. ERNIE Hey Julie, how many feminists does it take to screw in a light bulb? JULIE How many? ERNIE Two. One to screw it in and one to ride my Rodney! Ha-ha-ha! JULIE Oaf! She bonks him with their cane. He bonks her back. She knocks him cold. They both fall down. THE BEARDED LADY is doing a make-over demonstration. He's got a local GIRL from the audience sitting at a makeup table onstage. BEARDED LADY If your coloring is in the autumn range, like Maria's, try an earth tone eye makeup. Now I've done a lovely French braid on Maria, but I encourage everyone to experiment and use your imagination. The main thing is to just have fun with it. The audience is engrossed. Some take notes. SOCKHEAD is ringing those "tuned bells" and singing along. SOCKHEAD Edelweiss, Edelweiss. He takes a bow but his sock is snagged on the mic stand. It pulls off and reveals a normal-sized hand where the sockhead was--he's actually a hand-head! The audience gasps. A MAN gets up and points accusingly. MAN He's got a hand under there! SOMEONE ELSE It's a hoax! Sockhead realizes he's unveiled and tries to hide his hand- head with his other hands. The crowd starts jeering and pelting Sockhead with rotten vegetables. He gives them the finger with all three hands. Elijah tries to calm them. 46. ELIJAH Puppetteering is an admirable skill in its own right! Give him his due! THE CROWD Where's the beast boy you promised us!? Bring on the beast boy! We want the beast boy! (etc.) BACKSTAGE The Worm is still talking to Rick. We can hear the crowd screaming for him in the background. WORM And when I won first prize, they never called me pudding-head again. RICK So? WORM Don't you see? You must turn your hardship into inspiration! You're an actor, Rick! Your body is your instrument, and with it you must play your tragic symphony for all the world! Rick is really moved. Elijah pokes his head backstage. ELIJAH (TO RICK) They're going nuts for you, Beast Boy! You better go out there now! He starts to take off his jungle costume. RICK (determined, inspired) I'll be right there. (TO WORM) Thank you Worm. I don't really know how I can repay you for this. WORM (SINCERE) You could wipe my ass. RICK (thinks Worm is joking) Ha-ha! Always the wit, eh Worm? 47. Rick claps him on the back and walks off. Worm is disappointed. WORM (TO HIMSELF) Damn. (he turns to Nosey) Nosey, have I ever told you what a gifted artist you are? Nosey gives him a worried look. ONSTAGE The spotlight reveals Rick, centerstage, poised in Shakespearean garb. The crowd quiets down and focuses on Rick with great respect and awe. A truly dramatic silence. Rick pauses for effect and then launches into a soliloquy with bravura. RICK Now is the winter of our discontent, Made glorious summer by this son of York, But I that am not shaped for sportive tricks, Nor made to court an amorous looking glass, I, that am curtailed of this fair proportion, Cheated of feature by dissembling nature, The audience is riveted. Even Spanish-speaking peasants are mouthing the words. Elijah, however, thumbs through his script, totally confused. The freaks watch through the bars from the wings--completely engrossed, especially Julie. Juan notices this and pulls her closer to him, but she pushes him away. We move in on an erudite British gentlemen in the crowd. By God! It's ALISTAIR COOKE! He turns to camera. Subtitle: ALISTAIR COOKE. ALISTAIR COOKE (SOTTO VOCE) If you're having trouble understanding Mr. Coogan's brilliant reading of this soliloquy from Richard the Third, please take advantage of the handy subtitles for the culturally illiterate. 48. A FILTHY PEASANT sitting next to Cooke is trying to listen to Rick. He turns angrily to Cooke. FILTHY PEASANT SHHH! Cooke turns back to the stage. The words in brackets appear as SUBTITLES. RICK Deformed, unfinished, sent before my time, {I'M UGLY} Into this breathing world, scarse half made up, {I'M REALLY UGLY} And that so lamely and unfashionable, That dogs bark at me as I halt by them. {I'M F KIN' BUTT-UGLY, ALRIGHT!?} Why I, in this weak piping time of peace, {BLAH, BLAH, BLAH} Have no delight to pass away the time, {I NEVER GET LAID...} Unless to see my shadow in the sun, And descant on mine own deformity! {BECAUSE I'M UGLY} Rick bows. The crowd bursts into applause. They yell "Bravo" and throw bouquets. Rick takes several curtain calls. The freaks cheer for him. Julie is particularly moved--she and Rick exchange a heavy look, laden with romantic potential. NOTE: We will insert an almost subliminal one-frame shot of the Pepsi logo at this triumphant moment. Kevin, the EES executive from the airport scene, walks into the tent. Rick sees him and gasps with joy. He leaps off the stage, runs up to Kevin and hugs him. Kevin is shocked, of course. Overcome by the moment, Rick regresses to his old self. RICK I'm saved! Haha! You sorry mutants are gonna rot in this hole while I'm sipping mint juleps by the pool! {AS FORTUNE SMILES O'ER MY FATE, SO DESTINY SPURNS YOUR ACCURSE'D PATE} The freaks and the audience gasp at Rick's cruelty. Julie is shocked--Juan gives her an "I told you so" look. Rick sees Julie and catches himself. 49. RICK (TO KEVIN) I mean, um, I hope you have room for all my friends, heh-heh. KEVIN Rick, Rick, listen, I really love this new look you've come up with. But just between you and me, I don't think the guys upstairs would really get it. RICK What are you saying!? KEVIN (CHUCKLES SNIDELY) I'm saying you're ugly enough to burn the nosehairs off a dead nun. The crowd bursts into cruel hysterics, pointing mockingly at Rick. Even Alistair Cooke is practically choking with laughter. ALISTAIR COOKE AH-HA-HA-HA! WHAT A PUTZ! Rick looks around, horrified at the sea of evil, jeering faces. He begins to tremble. Then... RICK'S MONSTER EYE springs to life for the first time and glows red with rage. His whole monster side awakens and takes charge of his body with violent intensity. He grabs Kevin's head and screams in a new, monstrous voice. RICK EAT SHIT! POP! He plucks Kevin's head off his neck and holds it aloft. The head stares down at Rick in disbelief. KEVIN'S HEAD Now you're just being childish. Rick serves the head like a volleyball, smashing it to bits. The crowd panics and charges for the exits. CROWD AHHHHHH! HELP! LET US OUT OF HERE! People are trampling over each other in the mayhem. Alistair Cooke is crushed under the stampede. 50. The freaks are horrified. Monster Rick growls triumphantly. Elijah looks on, intrigued. ELIJAH Now that's entertainment. INT. FREAK HOUSE - MORNING Rick awakens with a start and gets up. He approaches JulieErnie, The Bearded Lady, Nosey and Dog Boy, who are idly playing a game of "Wheel of Fortune." The cubicles contain large blank blocks, like the "letters" on the game show. So far, there's a "D", two "S"s, and a "K" revealed. Rosie the Pinhead plays Vanna White's role. NOSEY I'd like to buy a vowel. The Bearded lady yawns. Rick edges towards them. RICK Hey. The Wheel. Mind if I sit in? Juan advances towards Rick, sneering. JUAN So. Now you don't mind mixing with us--how did you say it--sorry mutants? RICK Look! I'm sorry for what happened at the show. Can't you just forget it? He shakes his finger at Juan, and notices there's still a human nose stuck on his monster claw. He wipes it off, embarrassed. There's an awkward pause. Ernie breaks the silence. ERNIE Hey, shouldn't you tell Rick about your big escape plan? Juan gives Ernie a nasty "shut up" look. He growls at him. ERNIE Well, excuse me for living. RICK You have an escape plan? JUAN Listen, Beast Boy, the games are a simple diversion. (MORE) 51. JUAN(CONT'D) Beneath our twisted flesh we freaks cry out for freedom! Aooooooorrraaaagh! Juan howls lustily. He looks to rest of the freaks. They're a pathetic lot, and their half-hearted howl proves it. FREAKS Aoo... Beat. JULIE Juan's plan is really ingenious Rick. See, he figured out that-- JUAN I figured out that our escape does not include the Beast Boy. No one may discuss the plan with him, understand? Juan gives the others a threatening look. They mumble agreement. RICK What's the matter with all of you? You trust your lives to a guy just 'cause he can lick his own privates? The freaks ponder this a second, then nod "yes". ERNIE You gotta admit, Coog, it's a helluva trick. RICK (RESENTFUL) Fine! I'll just come up with an escape plan of my own then. JUAN Haha! I have spent a year studying this hellhole, devising the perfect escape. You think you'll just tango right out the door!? Ha! Just try it, amigo. RICK I will! Rick turns to go. JulieErnie rush over and try to reason with him quietly. 52. JULIE Rick, wait. ERNIE Yeah. Don't go off half-cocked. Believe me, it ain't all it's cracked up to be. JULIE This isn't one of your dumb movies, Coogan. Look, Juan's a good dog, a smart dog. I'll talk to him. Don't be stupid, Rick. You can't do it without us. RICK Forget it! I don't need you, EES, or anybody else! I'll get out of here all by myself, you... you.,. crud sucking pus monkeys! DING DING DING! The letters in the Wheel of Fortune board light up, and ROSIE turns them over to reveal "Crud Sucking Pus Monkeys" as the secret phrase. Everyone claps despite themselves. Juan stares them down. They stop. Rick storms off in a huff. Juan takes Julie's hand and gazes deep into her eyes. He kisses her passionately. Julie is watching Rick leave. Juan nibbles her neck, which gets her attention. She scratches Juan behind his ear. His leg instinctively kicks the air. Ernie looks worried. ERNIE I'm getting a bad feeling here. CUT TO: INT. REAR CORNER OF FREAK HOUSE - DAY Out of sight from the others, Rick approaches the rear door and tries it. It doesn't open from the inside. RICK Damn. He peers out through a crack in the door and sees a MILKMAN getting out of his truck in the driveway. RICK (TO MILKMAN) Psst! Hey, you. Milkman! 53. OUTSIDE The milkman looks over at the outhouse, suspicious. MILKMAN Yeah... ? RICK (V.0.) Just the man I'm lookinq for. Be a pal, and give me a hand will ya? MILKMAN Oooh no! I know you freaks. You'll try anything just to get someone to open that door. Well not me! Ha! He's about to walk away. RICK Okay. Guess I'll just have to milk the world's biggest breasted woman all by myself. Sorry to bother you. The milkman stops in his tracks. He tiptoes over to the back door of the outhouse, listening intently as Rick goes into his "act." RICK (in a lusty womanish VOICE) Ooohh... Milk me! Milk me now! Milk me hard! (Normal Rick voice) I've only got two hands, all right? Geez. I don't care if Elijah did give you skim milk on the right side, chocolate on the left, and eggnog in the middle. The milkman is salivating at the door. MILKMAN (TO HIMSELF) Gee, I love eggnog! The milkman opens the door eagerly and steps inside. Beat. MILKMAN Hey, what the-- BONK. We hear the sound of bottled buttermilk beaning his soft noggin. Rick walks out wearing the milkman outfit complete with the little six-milk-bottle-carrier thing. 54. He looks around and heads for the milk truck, whistling casually. He notices something. It's ... THE GIANT ELIJAH HEAD Its big eyes are staring at Rick (note: there's a skywriter plane in the distance behind the head, which finishes writing "YOU GOT THE RIGHT ONE BABY: PEPSI") Rick gets to the truck and tries the door. It's locked. RICK Shit. He looks over at the giant head. The eyes are still staring at him--they seem to have shifted. Rick shrugs it off and looks around. He walks over to Elijah's car. It's locked too. He checks the big eyes. They've moved again. Rick's getting a bit desperate. He sees something else and runs towards it. It's a dry-docked motorboat. It's locked too. The eyes have followed Rick again. He sees something else and runs over to it. It's a bag of golf clubs leaning against Elijah's porch. They're locked too. RICK Damn! This guy doesn't trust anybody! He looks at the giant head- the eyes are gone, leaving only empty eyesockets! Rick hears A BURST OF MACHINEGUN FIRE behind him, spins around and faces ... TWO THREE FOOT HIGH EYEBALLS with little arms and legs, wearing Jamaican Rasta hats and aiming smoking Uzi 9mms in the air. They aim their Uzis at Rick. One holds a walkie-talkie, the other holds a big spliff. RICK AHHHH! A T.V. MONITOR in Elijah's hands, shows Rick staring at us, the Eye's POV. ELIJAH seen in extreme close-up, watches the surveillance monitor. He speaks into a microphone. We don't see what the room looks like. ELIJAH Good work, Eye and Eye. 55. THE EYES bob in response to Elijah. They have no mouths, but their pupils open and close when they speak. EYE AND EYE (JAMAICAN ACCENTS) Rastafari. ELIJAH (V.0.) (over the walkie-talkie) Now bring the Beast Boy to my, uh, den. Ha-ha-ha-ha! Rick looks worried as they lead him towards the scary looking house. INT. ELIJAH'S DEN It's a lovely, suburban den with a coffee table full of magazines like "Better Homes and Gardens," "National Review" and "Freaks Illustrated". Elijah sits in a big Barcalounger, smoking a pipe. Rick sits on the sofa. Toad walks up with a tray of soft drinks. ELIJAH (TO RICK) Diet soda? RICK No thanks. Elijah points to a bowl of Fiddle Faddle. Toad sits beside Rick. ELIJAH Fiddle Faddle? (Rick shakes his head) You sure? RICK Well, okay. (he scoops some into his MOUTH) Well, are you gonna torture me or kill me or something? ELIJAH Torture my greatest creation ever!? Kill the final piece of the puzzle that I've been putting together for years!? Sure, it'd be fun, but I've got a bigger plan, my boy. (MORE) 56. ELIJAH(CONT'D) And when you ripped off that guy's head, I knew it was working like gangbusters! RICK But I thought I scared everyone away. ELIJAH Uh-huh. And then they told two friends, and they told two friends, and so on, and so on. Look at this. Elijah grabs a big mail bag and spills some letters out on the table. Elijah opens one and reads it. ELIJAH (READING) Dear Mister Skuggs, I was shocked and disgusted when my grandson told me about the head-popping beast at your show. Please send me six tickets. (he reads another) Dear Beast Boy, I used to like New Kids on The Block, but you're way cuter. My favorite ice cream is chocolate. Is it fun ripping people's heads off? I love you. (ANOTHER LETTER) The Beast Boy is on a blood-letting spree, and Oscar is along for the ride! (he looks up at Rick) That one's from Pat Collins! RICK Yeah, but she loves everything. Rick reaches for the Fiddle Faddle but the bowl is empty. Toad BURPS. ELIJAH Toad! That Fiddle Faddle is for guests only! You've had enough! Toad is blankfaced. Elijah walks over and refills the bowl. Rick scoops some into his mouth. Elijah walks to the fireplace and pushes the embers around with a poker. RICK Look Skuggs--Elijah--I've been in show business all my life. The public does not want to see disgusting, depraved violent filth. 57. ELIJAH Oh, and I suppose Jake and the Fatman is just a fluke? The phone rings. Elijah looks at it, and back to Rick. ELIJAH (CONT'D) I'll get it. He goes over to the phone and lifts the receiver. ELIJAH `Yello? On the other end of the line, we hear LAUGHING MAN's insane chuckle. Elijah's smooth smile fades. He turns his back to- Rick, who strains to identify the familiar laughing voice. Elijah scribbles notes on a pad by the phone. ELIJAH Yes... Right... Tomorrow... Mmhmm... Mnunhmm... Wow. Okay. You got it... Hasta la vista to you too. Hahaahahaahaha-- Laughing Man hangs up on Elijah. He looks a little pissed- off as he turns to face Rick again. Grumbling, he takes the poker in hand, and pokes at the coals angrily. ELIJAH Okay, Coogan. I'm finished with you for now. Ricky rises and snatches the notepad just before Elijah spins to face him. ELIJAH (CONT'D) But listen. I may not be "Mr. Tinseltown", but I damn well know what I like. You're gonna be a hideous killing machine, and that's final! Tomorrow night I'll finish the job onstage! And then, to demonstrate your horrible power, you'll slaughter all the old obsolete freaks in cold bl--HEY! Elijah thrusts the red hot fire poker out and ZAP! He catches Toad's ten foot tongue--curled around the searing poker inches from the Fiddle Faddle. TOAD AAAGGGGHH! 58. ELIJAH I told you enough! CUT TO: EXT. ELIJAH'S HOUSE DAY Elijah shows Rick out the door. The Eyes scurry out and leap back into the sockets in the giant head. ELIJAH Bye-bye. And remember, try another escape, and I'll feed your balls to Toad. As he walks towards the Freak House, Rick pulls out the note he pocketed. A gust of wind blows it away from him. He chases it behind the carnival tent where... KKCCLIINNK! He runs into ELEVEN PHONY MILKMEN, backing their way around the corner, each carrying their own six-pack of milkbottles. Startled, they turn around. Why, it's the freaks! And they're all dressed as milkmen! Cowboy carries the hammer, who's dressed in a little milkman suit as well. BEARDED LADY Hey Rick, I thought you were gonna come up with your own escape plan? RICK (TO JUAN) This is your big plan? A dozen milkmen? Isn't that a little unusual? Juan hadn't thought of this. He pushes himself forward and confronts Rick viciously. JUAN Twelve milkmen is theoretically possible. Thirteen is silly. Looks like one milkman too many, Coogan. He pushes Rick aside. The freaks continue past him. RICK Fine then. Go ahead. Hope you like reggae, ya flea bitten bastard. Rick watches as the Freaks approach the open courtyard, where he knows the Eyeballs will spot them. 59. Julie glances at him a second, then looks away. His mind made up, Rick takes a deep breath. RICK Ah, shit. He runs over to the Freaks. He stands in Juan's way. RICK Look, you'll all be killed. You don't know about Elijah's giant Rasta eyeballs with machine guns... (they think he's nuts) It's suicide! I can't let you do it. JUAN And I can't let you stop us. This is it. Rick and Juan square off. Juan growls and bares his teeth. Rick's MONSTER EYE starts to glow and pulse dimly. They circle each other. The others are transfixed. ELIJAH'S POV He peers through a side window, and sees the pack of milkmen cheering two of their coworkers, locked in mortal combat. ELIJAH That's a lot of milkmen on the same route. No wonder they fight. Juan rears back, about to lunge, when suddenly he freezes and looks off into the distance. A SQUIRREL is sitting innocently a few yards off. JUAN Squirrel! He zooms off after the squirrel. The Eyes pop out of the giant head and follow after him, Uzis FIRING. Juan dodges their bullets and disappears after his prey. The freaks watch their best chance of freedom run off after a pesky rodent. They turn to Rick. NOSEY Wow, giant Rasta eyeballs, just like Rick said. SOCKHEAD Gosh, if it wasn't for Rick, we'd all be dead! 60. OTHER FREAKS Yeah! Way to go Rick! Alright! ERNIE (TO JULIE) God, I can't believe he left you for a squirrel. What a dick. Julie's hurt. She doesn't even smack Ernie. RICK You know how men are. Besides, it was a pretty good looking squirrel. Julie looks at Rick. She sees he's trying to be helpful, not sarcastic. JULIE (to the others) Come on. You heard the Beast Boy. Back to the Freak House, now. Her eyes meet Rick's. She manages a smile, and Rick smiles back. Ernie sizes up the situation and groans as they all head back to the Freak House. ERNIE Not again. (TO RICK) Oh well, at least we'll get to try a new position. CUT TO: INT. STARK INTERROGATION ROOM We're moving in towards a door in this desolate, vaguely corporate looking hallway. INSIDE THE ROOM We're looking at the back of Laughing Man's leather chair. We hear his CACKLE, as well as STUEY GLUCK'S TORTURED SCREAMS and a horrible POWER TOOL NOISE. We can see the usual bright interrogation spotlight, and a couple of extra GOONS watching the goings on, but Stuey and his actual torturer are hidden by Laughing Man's chair. STUEY (O.S.) AHHHHH! STOP IT! OOOWWWWW! We move past Mr. Big's chair to reveal Stuey lying face down on a table, while Bob Vila is using a power sander on his butt. Bob is happily giving pointers to the two goons. 61. BOB Notice the way I use an elliptical motion to chafe Stuey's buttocks. (the Goons nod ATTENTIVELY) It's all here in my new book: Pipes, Fixtures, and Torturing TROLLS-- LAUGHING MAN(O.S.) (Loud, sharp laugh) A-HA-HA-HAHA-HA-HA-HA! Bob obediently shuts up. Laughing Man directs a sinister low chuckle to Stuey. STUEY No way. I'll never talk! I'm made of stone! Bob considers this a second, then starts up a jackhammer. STUEY HELP! RICK! RIIIIIIIIIICCKKK! CUT TO: INT. FREAK HOUSE - DAY We hear LONESOME HARMONICA MUSIC as we pan past the cubicles. Cowboy is playing the harmonica... The Bearded Lady unties the pretty pink ribbon in his hair and sets it aside... Suddenly, we switch to HORRIFIC PSYCHO STINGS as the camera picks up PAUL LYNDE'S CORPSE with flashing red lights. His eyeball drips out of the socket again... Then it's back to the SAD HARMONICA MUSIC. In the next cubicle, Ernie is sleeping, Julie is awake, dreamily fondling a large eclair. She looks longingly up towards Rick's cubicle as we... DREAM DISSOLVE TO: DREAMLAND Rick (his face is normal) and Julie kiss passionately in a billowy white bed amidst puffy clouds. 62. RICK (SINCERE) Julie, compared to this, sex with Julia Roberts was a thankless chore. QUICK DISSOLVE BACK TO: JULIE' We follow her gaze, panning up to Rick. He's lying on his bed, dreamily fondling a donut. He looks down towards Julie's cabin... DREAM DISSOLVE TO: DREAMLAND Rick and Julie kiss passionately. We're tight on them. JULIE Oh Rick, you've touched a place in me no one has ever touched before. ERNIE(O.S.) I'll say! Almost punctured a kidney! WIDEN to show Ernie, still attached to Julie, leering at Rick. Rick is mortified. QUICK DREAM DISSOLVE TO: INT. FREAK HOUSE - DAY Rick sits in his cubicle, visibly sickened by his daydream. Stuey's echoey voice drifts in. STUEY(V.0.) Rick! Riiiicccck! A holographic image of Stuey lying on the torture table appears over Rick. We can see the jackhammer looming over Stuey's face. Rick looks alarmed. STUEY HOLOGRAM Rick! Do something! It's up to you, Rick! Pleeeeeeease! LAUGHING MAN (O.S) Aha-hee-hee-ho-ho-har-har-har! 63. RICK The Laughing Man! Rick watches the hologram break up and disappear. Wheels spinning in his head, he takes the crumpled piece of paper out of his pocket and reads it. RICK (under his breath) Holy shit! JULIE/ERNIE'S CUBICLE Julie and Ernie are struggling over a bottle of deodorant. ERNIE It says it's strong enough for a man! JULIE But it's made for a woman! She grabs it away and shoves it in Ernie's mouth. Rick walks in. JULIE Hey Rick. What's up? RICK Read this. I grabbed it from Skuggs' office. He hands her the notepaper. She reads it, with some difficulty. Ernie is still gagging on deodorant. JULIE "Tape Donahue... Renew Subscription to Beaver World..." Eeuw! She gives Rick a disgusted look. Ernie mumbles with the deodorant in his mouth. ERNIE (interested, muffled) Beaver World!? Julie smacks him--he swallows the deodorant. RICK (TO JULIE) After that. 64. JULIE "Prepare demonstration for Laughing Man, receive five thousand barrels of Noxon." Five thousand barrels!? RICK Elijah's up to something big, and we have to stop him. Ernie BELCHES. Rick sniffs the air. RICK Mmmm. Jasmine. SWISH PAN TO: INT. FREAK HOUSE - DAY Rick takes a deep breath, and begins his presentation to the freaks assembled before him. RICK Alright guys, listen up-- Sockhead suddenly freaks out. SOCKHEAD We're done for! We're done for! I don't want to die! It's the end of the world! The apocalypse! Aahh! He stops. Everyone is staring at him. RICK I haven't said anything yet. SOCKHEAD Sorry. I'm not much for timing. He takes his seat again. RICK (TO EVERYONE) Tomorrow night, at the show, I'll be turned into a homicidal monster and forced to kill you all. But we might have a chance if we act fast. And I'm prepared to be your new leader. A THRILLING CHORD. 65. NOSEY (TO SOCKHEAD) I say we kill him. Sockhead nods. RICK And I've got a plan. ANOTHER THRILLING CHORD. NOSEY I still say we kill him. Sockhead nods again. RICK If we can get into Elijah's lab, maybe we can-- WORM Of course! Design a super freak of our own and manipulate the genetic code to make him destroy Elijah instead of us! Brilliant! RICK Oh. Well-- BEARDED LADY But how do we get to the lab? RICK Um, maybe-- COWBOY Right! The worm could dig a tunnel! WORM By God, it's so crazy it might just work! ERNIE But you need Noxon 24 to make the freaking sludge, and Elijah told us himself he's run out of it. RICK Oh. Oh yeah. Well, see, what I was going to say was-- 66. JULIE Yes! Exactly! If they've been using Noxon 24 as a fertilizer here, the entire ecosystem must be soaked with it! All we need is a way to extract it from the vegetation, ideally into a liquid form. RICK Right. Well, what about-- COWBOY Golly! So that's why my milk comes out that funny green color! I thought the grass tasted funny! Wow, Rick, you're a genius! JULIE (SMILES WARMLY) Good thinking, Rick. The freaks all nod in agreement. NOSEY Way to go, Rick! How did you ever think of such a plan? Rick pulls out an old comic book and points to an ad for Sea Monkeys. RICK Well, actually, I was going to suggest we send away for sea monkeys, train them to fire guns, and make a break for it. But if you want to go with this other thing, I guess that's okay. The freaks stare at him, not sure if he's kidding or not. CUT TO: INT. FREAK HOUSE - NIGHT FREAKS ON A MISSION MONTAGE, SET TO A POUNDING "EYE OF THE TIGER"-TYPE SONG -Nosey milks Cowboy, squirting the glowing milk into a funnel which feeds into a crude still. The Torch heats the boiler. -The Worm digs the tunnel. JulieErnie hand Rick pieces of wood which he puts into place as tunnel supports. They hand him Paul Lynde's corpse and he wedges it in as well. 67. -Everyone's getting into it and working up a sweat. Nosey wipes his brow, opens a bottle of Pepsi and chugs it down in a beautifully lit slo-mo product shot... The other freaks follow suit, including the Worm, down in the tunnel, who struggles to hold the bottle in his tiny feeler. Everything's going great and the song is really pumping when... ELIJAH runs out on his front porch in his nightclothes and screams down at the outhouse. ELIJAH WOULD YOU TURN DOWN THAT GODDAMN RACKET!? IN THE FREAK HOUSE Nosey turns off a boom box and the music cuts short. The freaks exchange tense looks. Nosey calls out apologetically to Elijah. NOSEY SOR-RY. (to the freaks) What a jerk! INT. UNDERGROUND TUNNEL The Worm burrows along, leaving a tunnel wide enough for Rick and JulieErnie to crawl after him. Rick notices a ray of light coming through a rock formation. RICK Hey, look at this! They all stop and look. Rick fingers the hole, and the rocks cave in, revealing A VAST UNDERGROUND CITY It's obviously a matte painting. WORM Good Lord! It's the Lost City of Nodd! JULIE Wow! 68. KER-CHUNK! We hear the sound of a slide projector switching slides and the underground city is replaced by a still image of some tourists standing around a geyser. [foriegn version: the Blarney Stone]. RICK It's Old Faithful! (foriegn take: "It's the Blarney Stone!"] They "Ooh" and "Ahh". The image switches to a snapshot of a FAT MIDDLE-AGED WOMAN. ERNIE It's my Aunt Gladys! The other freaks nod politely. The image switches to a BAR MITZVAH PHOTO. ERNIE And that's me at my bar mitzvah! RICK C'mon Ernie, let's go. ERNIE Wait, you gotta see the ones from sleep-away camp! They're hilarious! Julie smacks him. JULIE Stooge! EXT. FREAK COMPOUND - NIGHT It's an "Antfarm View" of the yard, where the freaks are visible tunneling underground, and Toad is visible on the yard above them. We see a bat fly overhead... ZAP! Toad shoots out his tongue, snags it out of mid air, and chews it happily, oblivious to the freaks burrowing right underneath him. INT. FREAK HOUSE Nosey looks at the nearly full container of distilled Noxon. NOSEY Almost there. (he sniffs the air) But wait, I'm getting a whiff of things to come! 69. BEARDED LADY What do you smell? NOSEY (GRIM) Blood. Bearded Lady looks grave..Nosey sniffs again. NOSEY (CHEERFUL) And hot buttered popcorn! BEARDED LADY Awwright! INT. TUNNEL They're burrowing along. Ernie loudly clears his throat. Julie spits out a loogie. She grimaces. JULIE I hate when you do that. We hear muffled BARKING. ERNIE Hey! Do you hear that? JULIE It's a dog! RICK (TO WORM) Hurry! The Worm breaks through into a small cavern with several exposed sewer pipes. A lovable mutt leaps out of a pipe and drops an old tennis ball in front of Rick. He starts licking Rick's face. RICK Scrappy! SAPPY MUSIC wells up. RICK It's been ten years since you chased this ball into the sewer! I thought you were gone for good! SCRAPPY Yap! 70. RICK Listen Scrap. Go home. Get help. Understand? SCRAPPY Yap! RICK Good boy! Now go! Scrappy runs away into the sewer pipe. Rick shrugs. RICK You never know. Julie taps on some exposed wood on the cavern ceiling. JULIE Look, a wood floor. WORM It must be the lab! we've done it! They all look at each other excitedly. Suddenly Elijah's voice rings out behind them. ELIJAH'S VOICE Not so fast, you scabrous freaks! They spin around and see Nosey holding the bottle of Noxon 24. He grins. NOSEY Didn't know I did impressions, did ya? INT. FREAK HOUSE The freaks are waiting around the hole. Nosey pops out. NOSEY Mission accomplished. They've got the Noxon, and they'll be in the lab within minutes. FROGMAN Boy, this is going like clockwork! Everyone smiles, pats each other on the back, etc. Except Sockhead, who finally snaps. SOCKHEAD No! Can't you see we're digging our own graves!? (MORE) 71. It's nuts, SOCKHEAD(cont'd) that's what it is! Nuts! Well, maybe you've all got a deathwish, but you can count me out! I'M GETTING THE HELL OUT OF HERE! He runs amok, pushes various freaks to the ground, and runs around screaming. The freak house door opens--Eye and Eye step in to check out the noise. One of them has a spliff sticking out of its pupil. Sockhead charges at them like a mad dog. They aim their Uzis. SOCKHEAD (at the Eyes) OUT OF MY WAY! RATTA-RATTA-RATTA! They spray an ungodly amount of bullets into Sockhead. He falls to the ground. The Eyes leave. The freaks gather around Sockhead. Nosey pulls the sock off his hand head, which is making a little "Senor Pepe" face with its fist. It spits up a trickle of blood and tries to speak. SOCKHEAD (WEAK) I... I... just... wanna...say... NOSEY What is it, kid? SOCKHEAD Ah, forget it. I'm not much for dying. He goes limp. CUT TO: INT. ELIJAH'S LAB JulieErnie, the Worm, and Rick are just emerging from the hole. It's really dark in the lab. ERNIE Shit. I can't see a damn thing. RICK Keep your voice down, Ernie. ERNIE Don't push me, Coog. I got a real short fuse today. I'm cranky, bloated, got a wicked case of cramps. Don't ask why. 72. JULIE (whispers to Rick) PMS... RICK (has to think about this) Oh.... Right. Rick pats Ernie on the shoulder reassuringly. He moves over to Elijah's computer terminal. RICK (CONT'D) Well, here it is--the control panel for Elijah's Freaking process. WORM Good work, my boy. Now step aside. This is scientist's work. Worm muscles Rick out of the way and sits at the console. Using a pen held in his mouth, he flicks a series of switches and punches a fast series of computer keys. The light on top of the Tasty Freekz machine starts to revolve, and after a couple of seconds, a stream of GOOEY LIGHT BROWN GLOP oozes out of the spigot. ERNIE Hey! It's working! RICK You did it, Worm! Way to go! JULIE But how? You didn't even use the Noxon. The Worm rushes over to the container of glop below the spigot, and without hesitation, plunges his face into it! Rick, Julie, and Ernie gasp in horror! The WORM lifts his glop-smeared face out of the bowl, and smacks his lips in delight. WORM Ah! You don't need Noxon to make Butterscotch pudding. I just wanted to test the machine's capabilities. Mmmm! Glorious! So creamy! Yum! The Worm is lost in his pudding-induced reverie. They ignore him. Julie turns to Rick. 73. JULIE Hang on, Rick. Do you really think we should put this toxic glop on you? What if it doesn't work? What if something goes wrong? What IF-- ERNIE If it does work, do you think there'll be enough left over to give me a monster size rodney? Julie goes to doink Ernie in the eyes, but he uses the classic "Three Stooges" handblock. RICK (TO ERNIE) Here, hold this. Rick hands the container of Noxon to Ernie. Julie gives him the eyepoke. Rick shakes hands with Julie, and takes back the Noxon. RICK (TO ERNIE) Thanks. (to Julie, heroically) Look, I've been a freak all my life.' I realize that now. Up there on that screen, humiliating myself for every fool with six bucks in his pocket-- ERNIE Seven bucks. JULIE Sometimes seven fifty. RICK Alright. It doesn't matter. ERNIE Sure it does. They don't let you into the theater if you don't pay the price of the ticket. RICK Look, I'm talking about the ultimate human sacrifice. JULIE No kidding. When you consider money for parking, popcorn, drinks... 74. The worm chimes in, still gorging himself on pudding... WORM Don't forget a sitter for the children! Rick's had enough. RICK Hey! In case you haven't noticed, I'm about to commit a noble and selfless act here. Rick pounds the table, sending a glass beaker flying. It smashes through the window, setting off a loud SIREN. INT. ELIJAH'S DEN Elijah's in his robe, watching the opening of "Crooked Cops" on TV. On screen is a revolving police beacon on a beat-up car, with a loud SIREN. Elijah munches his popcorn happily. INT. LAB Julie manages to silence the alarm by yanking the cord out of its socket. She shoots Rick a hard look, he shrugs innocently. RICK Oops. (BEAT) Okay. Let's do what we came to do, and this time, no more screw ups. Rick slams his hand down for emphasis and impales it on one of those desktop paper pins. He SCREAMS in agony. INT. ELIJAH'S DEN Elijah's watching an old war movie--a soldier is running across a battlefield with a bayonet, SCREAMING. He doesn't hear Rick. INT. LAB Julie has her hand over Rick's mouth, silencing his scream. He calms down. He gingerly slides the pin out of his hand, grimacing but not making a sound. He sighs with relief. The coast seems clear. Then, in SLOW MOTION, his hand knocks a styrofoam cup off the desk and onto the ground. 75. INT. ELIJAH'S DEN The war movie has erupted into a massive battle--machine guns blaring, grenade launchers and bazookas booming, the works. Suddenly, his ears perk up, and his head swivels around towards the window. ELIJAH Styrofoam cup? He puts on his "smiley face" robe and bunny slippers and heads out the door. INT. LAB Julie is pouring the distilled Noxon into the top of the Tasty Freekz machine. WORM Don't you think we should make some more pudding first, as a test? RICK No. Here goes. He presses some buttons on the computer, and the Tasty Freekz machine starts humming. Ernie is looking out the window. ERNIE Somebody's comin'! Hurry. RICK We have to wait. There's no way to speed up the machine. EXT. ELIJAH'S HOUSE Elijah comes out of the house and walks towards the lab. INT. LAB Rick's starting to sweat. He looks over at Julie, who holds an empty Pepsi cup under the Tasty Freekz spigot. A drop of ointment drips out and into the container. JULIE Here it comes. THE LAB DOORKNOB begins to turn slowly. 76. Everybody freezes. The flow of ooze slows to a stop. RICK It's plugged up! They look over at the doorknob--it's still turning. ERNIE (TO WORM) If it's your damn pudding, I'll ring your wormy neck. WORM (under his breath) Preposterous... I have no neck. I'm a worm, imbecile. THE DOOR KNOB is still turning, agonizingly slowly... OUTSIDE THE LAB Elijah is trying to turn the knob,, His grip keeps slipping because of the butter on his fingers. ELIJAH Aaargh! Damn buttered popcorn! IN THE LAB The spigot has started to discharge more,reliably. The Pepsi cup is filling up now. OUTSIDE Elijah is wiping his hands off on his shirt tails. He tries the door knob again. IN THE LAB We hear a low rumbling and the floor starts to shake. WORM The tunnel walls are about to collapse! RICK You go ahead. I'll catch up. JULIE BUT-- RICK Go! 77. The door knob is turning more vigorously, but still not opening. Julie and Ernie get in the hole with Worm, while Rick attends to the almost-full Pepsi cup of sludge. OUTSIDE Elijah is still having trouble with his grip. IN THE LAB Rick pops the plastic lid onto the Pepsi cup, and climbs into the hole. He rests the cup on the floor and lifts the floor board over his head. The RUMBLING gets louder as the tunnel walls start to crumble. JULIE Rick! Come on! Rick is losing his balance as the ground shifts beneath him. He sways, and knocks the Pepsi cup of sludge rolling. He watches, helpless, as it rolls across the floor and comes to a stop across the room. For a second, he contemplates making a dash. OUTSIDE Elijah has wrapped his shirt tails around the knob, and finally has a good grip. He twists the knob... INSIDE Rick sees the door opening. He dives down into the hole. The floor board falls into place just as Elijah walks in. Elijah scans the room. He goes over towards the Tasty Freekz machine and finds the styrofoam cup. ELIJAH Bad for the environment. He crumples it in his hand. EXT. FREAK COMPOUND The "antfarm view" again. We see the freaks running back through the tunnel as it caves in behind them. Toad sits on the ground above, oblivious to them. We hear a low flying aircraft... ZAP! Toad shoots his tongue up out of frame and sucks the twin engine Cessna into his mouth. Beat. He BURPS and spits up a propeller. 78. INT. FREAK HOUSE The freaks wait by the mouth of the tunnel. We hear the rumble approach. The worm, JulieErnie, and finally Rick scramble out of the opening. The dirt avalanche is stopped short by Paul Lynde's corpse, just as Rick scrambles to safety. WORM Just made it! RICK Paul saved our lives! NOSEY Way to go, Paul! Nosey claps Paul on what's left of his back--his skeleton shatters and the tunnel collapses, burying him instantly. The freaks are horrified. NOSEY turns to them guiltily in SLOW-MOTION. His voice is slowed down and distorted like John Lennon at the end of "Strawberry FIELDS": NOSEY I... buried... Paul. Back to normal speed. RICK This is no time to lament over a cadaver! We've got to get moving, or we're history! Now c'mon! Nosey is still morose. He speaks backwards and sounds a lot like "Revolution #9". NOSEY Daed si luap. SUBTITLE: "Paul is dead." RICK I said enough! Okay, listen up, everybody. We cracked the code and made the ointment we need to bring Skuggs down for good. The freaks applaud and cheer. 79. RICK But we left it in the lab. The freaks jeer and pelt Rick with rotten vegetables. He desperately pulls a bag of cookies out of his pocket. RICK But wait! I found some macaroons! And there's plenty for all of us! The freaks burst into applause again. FREAKS Yaayyy! TIME DISSOLVE TO: INT. FREAK HOUSE - DAY The Freaks are all sleeping, macaroon crumbs still left on their faces. There's a lot of snoring. Rick awakens with a start. He hears something in the distance. Something like a helicopter... He gets up and peeks out a crack in the wall. RICK'S POV. EXT. FREAKLAND - DAY An EES corporate helicopter touches down. A few gun-toting SECURITY GUYS in dark suits and dark glasses get out. They check that the coast is clear, then give the signal. Out steps Richard Hertz. He mutters something to one of the security guys, and walks towards the Freak House. IN THE FREAK HOUSE RICK (under his breath) I don't believe it. What's Hertz doin' here? The door to the Freak House opens. Hertz enters, unzips his fly. Finding no toilet, he shrugs and relieves himself on the floor. Rick steps out of the shadows towards him. RICK So EES is in bed with Elijah C. Skuggs, eh? Figures. Hertz is momentarily startled by Rick. He collects himself. HERTZ Rick! Thank God I got to you in time! 80. RICK Cut the crap, Hertz. Hertz relieves himself as he talks. HERTZ Ricky, you have no idea how your misfortune has touched our hearts. When you disappeared we almost gave up hope. But we'd heard reports of Skuggs's reckless abuse of Noxon, and when the story broke in the tabloids, I decided to personally come down and get to the bottom of things. He zips up and heads to the door. RICK (SKEPTICAL) Really? HERTZ No. (BEAT) AHA HA HEE HEE HO HO HA HA HEE HEE HO HO HO HA HA HA HA! The cackle is unmistakable--Rick's face twists in horror as he realizes... Hertz is THE LAUGHING MAN! Hertz ducks out the door. Rick looks after him, stunned. We hear a nearby SNORE cut off, and the Human Torch stands up from the spot where Hertz relieved himself. He's dripping wet and no longer on fire. He sniffs his soaked, smoldering clothing. TORCH Peuw! Hey! Of all the... That really pisses me off! POOF! He catches fire again and walks off. Rick is doing a slow burn, still looking after Hertz. He erupts and his monster eye glows briefly. He screams in anguish. RICK AAARRGGGGHH! Dejected, Rick leans against the wall. JulieErnie walk up behind him. Julie puts a hand on Rick's shoulder to comfort him. As they look into each other's eyes, a loud CRASH distracts them. Rick peers through the crack. 81. RICK'S POV A caravan of EES trucks crash through the front gate and drive up to the lab. There's a few cargo trucks and a huge NOXON-24 tanker. RICK Holy shit. A forklift drives out of the back of one of the large trucks, carrying the old corporate farts on a wooden palette. One of them falls off, and a bunch of WORKMEN scramble out to prop him up and push him back into place. INT. LAB - DAY Elijah switches on the lights, and turns to face his audience. Hertz is accompanied by his stone-faced security men and various executives. Workmen are busy installing the old board of directors and their arm-raising pulley system. ELIJAH Nice to see you in the flesh, Laughing Man. HERTZ No need to use codenames, Elijah. We're all friends here. And just to prove it, I brought you a little present. Hertz snaps his fingers and nods to a security guy, who produces a wriggling canvas sack. He dumps its contents onto the lab table--it's Stuey Gluck! His glasses come tumbling out after him. He squints at the security guy. STUEY Rick? Is that you? ELIJAH Who's the troll? HERTZ He was asking questions about Coogan, causing trouble. We figured he was one of yours. Stuey puts on his glasses. Elijah looks him up and down. ELIJAH I make freaks alright, but come on, fellas--this thing's pathetic. 82. STUEY Well you're no Julio Iglesias yourself, mister. (CALLS OUT) Rick! Riiiick! Riii-- INT. FREAK HOUSE Rick hears Stuey's voice in his head, all echoey. STUEY(V.0.) --iiiiiick! RICK Oh no, not now, Stuey! The ghostly image of STUEY gradually takes shape in front of Rick. Rick can make out the lab table Stuey's on, and some shadowy figures in the background. RICK (TO HIMSELF) Hey. That's Elijah's lab! (TO STUEY) Stuey! Are you really in the lab? INT. LAB Stuey is still wailing, and everybody else is getting pretty damn annoyed. STUEY Yes! I'm in the lab! I'm in the lab! ELIJAH Not only ugly, he's crazy too. Toad grabs Stuey and slaps a piece of tape over his mouth. He throws him into one of the chicken cages along the far wall. A two-headed chicken starts to peck at him. HERTZ So, where were we? ELIJAH Gentlemen, I'm not going to bullshit you. I know my setup here at Freakland looks like small potatoes. 83. He pulls the cover off a small scale model of Freakland, about ten inches high. It shows the stage, lab, outhouse, the head, everything. ELIJAH But thanks to your Noxon and my genius, tonight I will turn Ricky Coogan into a freak so hideous, it'll be enough to turn your stomach inside out, boil your brain in its own juice, and cause cold sores you thought had healed up to start buggin' you again. (the EES men shift UNCOMFORTABLY) It's the dawning of a new age for us all. Behold, Super Mega Freak World! He whisks the cover off another scale model--it's exactly the same as the little model except it's a lot bigger. ELIJAH (CONT'D) It's really somethin', huh? HERTZ (FEIGNS APPROVAL) Very impressive. ELIJAH We'll kick Disney's dead ass! INT. FREAK HOUSE Rick is watching all of this in a ghostly image. RICK Stuey! Stuey, can you hear me? Stuey's image, still with his mouth taped shut and the chicken pecking at him, nods yes. STUEY Mmm hmmm! RICK I want you to try and escape. Get the cup from underneath the instrument table and bring it to me, okay? STUEY (NODS) Mmmm mmmmm! 84. He gives Rick the old trademark Coogan thumbs up. Rick halfheartedly returns the gesture. RICK Yeah, right. Get movin'. INT. LAB Stuey checks to make sure nobody's watching him. They're not. He removes the spring from a pocket pen and picks the lock. Stuey searches the floor, and spots the Pepsi cup. He'll have to crawl through several pairs of legs to reach it. HERTZ At EES, our plans for your Gene Machine include everything, except shoes that is. Ha-ha-ha. ELIJAH Ha-ha. Gee, I'd love to see your plans. HERTZ We'd love to show you. (to his assistant) Bill, if you'd be so kind. BILL BLAZER, a slick and dashing EES marketing executive, strides confidently up to the podium. Stuey has to duck the fast approaching legs. Bill steps over him, not even noticing he's there. Bill takes Elijah's "Freak World" graphic off an easel, and replaces it with his own. Finding no place to deposit Elijah's, he simply drops it on the floor. Elijah looks a little hurt. BILL What does today's businessman want? How about a receptionist with six arms, five mouths, and a knockout figure? That'd sure speed things up, wouldn't it? With a big smile, Bill reveals an illustration of a multi- limb secretary (in a sexy dress) talking on three different phones, taking notes, and typing, all at once. Stuey heads towards the Pepsi cup. He brushes against the back of Hertz's legs. Hertz looks over at Elijah beside him, who smiles politely. Hertz smiles back, invitingly. Maybe there's a few things we don't know about him. 85. BILL In the factory, how 'bout a worker with twelve busy hands, no mouth to talk back, and no genitalia or digestive system to distract him from his work? (HE CHUCKLES) Sure! It's what we all dream of! The EES guys all nod along. Except for the workmen, who exchange worried looks. Elijah's still not sure what to make of it all. Meanwhile, Stuey has the Pepsi cup of sludge in hand, and he's crawling under the table towards the door. He brushes up against the back of Elijah's legs. Elijah looks over to Hertz, who gives him that smile again. Elijah looks away quickly, panicky. BILL (CONT'D) Well, with this Skuggs-based Noxon technology, it's not only possible, it's just the beginning! Of course, what happened to our expensive spokesman Ricky Coogan was an unfortunate coincidence, but profits from these new markets could total in the billions. All the executives turn to Hertz. He cracks a smile. HERTZ Ricky who? The executives laugh heartily. Stuey glances across the room to the door. He has to make a break for it, so he does. ELIJAH Hey! Hold on! Stuey freezes. He's right out in the open, in plain view. Still, nobody seems to see him. They're still watching- Bill's presentation. ELIJAH Secretaries? Worker drones? Where's the fun? Where's the spark? Where's the unspeakable evil? Bill laughs pleasantly. BILL Ha-ha. I was just getting to that. 86. Bill launches back into his speech with more intensity than even the best infomercials. Meanwhile, Stuey inches towards the door, moving as imperceptibly as possible. BILL We'll impact every field. COSMETICS--BREAST ENLARGEMENT creams, nosejobs in a bottle. Military--human death machines that make Schwarzenegger look like a pansy! And why stop at consumer products? Hell, we can design a whole new consumer! A few well placed drops in the water supply, and bingo! It's a new master race, and we own the copyright! An entire planet of freaks owned and operated by us! Every part of their bodies comes from an EES supplier, every thought they think is EES policy! From now on gentlemen, it's EES uber alles! EES uber alles! The EES guys clap and shout approval. Elijah's impressed too. He leans over to Hertz. ELIJAH This guy's good. HERTZ We lured him away from A.T.&T. Stuey is finally out the door. Of course, now they spot him. SECURITY GUY Look! The troll! HERTZ After him! EXT. LAB Stuey is outside the lab. Inexplicably, (actually it's just because he's so stupid) he's still moving inch by inch. He calls to Rick through the tape on his mouth. STUEY Mmm! Mmmmm! INT. FREAK HOUSE Rick sees the image of Stuey inching away from the lab. 87. RICK Take the tape off your mouth, idiot! They didn't tie your hands! Stuey realizes this is true, and pulls the tape off his mouth. STUEY I got the cup, Rick! RICK Great! There's no time to waste. Are you being followed? STUEY Yeah. But if I don't move, they won't see me. Two big EES security guys are standing watching Stuey's odd behavior. They pick him up and carry him away. STUEY Riiiick! Rick sees this all in his holographic image. It fades. RICK What a geek. He turns to the other freaks, who've woken up and are gathered around on the floor. Rick shakes his head. RICK Stuey got caught. There's no way to get the ointment before the show. WORM So, that's it then? We're all to die... And by your hand no less. RICK No. It won't be me. It's some inhuman monster Elijah used me to create. As for me, the real me, I'll always be your friend. Before I have to rip your heads off, I'd like to say goodbye to each of you. (He turns to Worm.) Worm... I'll miss your brains, the smell of your pipe, and the funny way you always go on talking until everyone wants to strangle you. He pats the Worm on the head tenderly, and turns to Cowboy. 88. COWBOY Hi, Rick. RICK Cowboy, I'll miss your good humor, your down-home wisdom, and of course, the frothy milkshakes were udderly delicious, heh-heh... He smiles and playfully tugs Cowboy's udder. He turns to the Bearded Lady. RICK Bearded... Lady... I dunno. We'll always have Paris... Bearded lady is kind of confused, Rick shrugs. RICK Nosey, I never really liked you. He moves on to Frog Man. RICK Frog Man, I think death is probably the best thing for you now. Frog Man nods in agreement. Rick rpaches JulieErnie. RICK Ernie... Julie... I have mixed feelings. (He turns to Ernie) On one hand, I'll remember you as the best friend a jerk like me ever had, and a low down repulsive slimeball. He turns to Julie. ROMANTIC MUSIC swells up. RICK (CONT'D) On the other hand, I really respect you, and more than that, I, uh, well, I wish we'd had the chance to boink. JULIE Oh, Rick... They embrace. Rick calls out to the assembled group. RICK Today I make the proudest boast a man can utter: "Ich bien ein Freak!" 89. They're all ready to cheer, but they're confused by his bad German. Rick has to explain himself. RICK Uh, I'm a freak. Oh. They all get it. Beat. Then they cheer. CUT TO: EXT..CARNIVAL TENT - NIGHT A huge banner reads "NEW IMPROVED BEAST BOY SLAUGHTERS HIS LOVED ONES! SPECIAL GUEST: FUNNYMAN DOM IRERRA! TONIGHT ONLY!". We can hear the sound of the crowd inside. INSIDE THE TENT There's a typically smallish crowd in addition to the EES executives who occupy the front seats. The security goons are strategically situated throughout the tent, and two of them sit on either side of Stuey in the second row. Elijah is onstage. ELIJAH And now the moment you've all been waiting for. Ladies and gentlemen, meet the lucky young man who's about to be become the monster with the mostest! Here he is, the Beast Boy! Toad pulls a rope and the curtain opens, revealing Rick strapped to an operating table. On stage left there's a large cage containing all the other freaks. Including the unconscious, half-naked Milk Man who Rick knocked out in the freak house. The Milk Man domes to, looks around in a panic, grabs the bars of the cage, and screams-- MILK MAN AAHHHH! WE'RE IN A ZOO! Rick searches the cheering audience for Stuey, who waves the Pepsi cup full of glop in the air. Rick hears Stuey's voice echo in his head telepathically. STUEY (V.0.) Rick! Over here! Stuey's waving cup is blocking the view of a big, annoyed BIKER sitting behind him. Elijah quiets the crowd and holds up a beaker of ointment. 90. ELIJAH With this remarkable ointment of my own design, I will now turn this half-finished ghoul into the ultimate super freak, dedicated to evil! Elijah puts on some rubber gloves and prepares to glop Rick, who squints under the spotlight, still searching for Stuey. He calls out telepathically. RICK (V.0.) Stuey! Where are you?! Stuey stands up on his seat and waves the cup, totally blocking the biker's view. He telepathically replies. STUEY (V.0.) Here I am, Rick! BIKER (TO STUEY) Goddammit, kid! Would you sit down!? The biker grabs the cup and dumps it over Stuey's head. The "good ointment" runs down all over Stuey's body. STUEY AAAHHHHHHHHHHHHHH! All eyes turn to Stuey, who falls down and disappears onto the floor screaming. RICK Oh no! BIKER What the hell!? Suddenly an EIGHT FOOT TALL MONSTER VERSION OF STUEY leaps to its feet and snarls down at the biker. The biker pulls a switchblade and jams it into Stuey monster's leg--the blade crumples on his armor-like hide. Stuey grins and SLAM! He drives the biker into the ground like a railroad spike. He leaps onto the stage and stalks Elijah. STUEY MONSTER YOUR ASS IS MINE, SKUGGS! Rick and the freaks in the cage cheer stuey Monster on. ELIJAH Uh-oh, that kid looks pissed. EYE AND EYE! KILL HIM! 91. Eye and Eye rush the stage, Uzis firing. EYE AND EYE RASTAFARI! The bullets bounce off Stuey's hide. He doinks them with his big monster fingers and sends them flying through... THE TENT ROOF across the compound, and THWOPP! Into the Giant Head's eye sockets, where they spin around and come to a stop, cockeyed. CRASH! The head's foundation crumbles and it keels over backwards. INT. CARNIVAL TENT Elijah calls out to Toad. ELIJAH TOAD! Stuey Monster roars at Toad. Toad smiles weakly. THE TENT ROOF Toad catapults through it, follows the path of Eye and Eye across the compound and CRASH! Lands head first into the neck of the Giant Head. He gets up with the Giant Head stuck on his own head, making him look like one of those big headed caricatures. He runs blindly across the yard and into... THE ELECTRIC FENCE ZZZAAAAPPP! BOINNGG! Eye and Eye zing out of the sockets, and Toad's tongue sticks ten feet out of the Giant Head's mouth. It's the biggest Tex Avery cartoon take ever! ELIJAH looks worried. He scoops up some "evil ointment". ELIJAH Looks like it's time to roll out the big gun. (TO RICK) Sayonara, kiddo. Any last words? Rick considers it. He can't think of anything. RICK Nahh. 92. ELIJAH Suit yourself. He raises the ointment over Rick. Rick has an idea for a last word. RICK Wait! Wait! (Elijah pauses. Rick RECONSIDERS) Nahh. Elijah glops Rick. His skin starts to smoke. RICK AHHHHRRRGGG! Stuey Monster stalks Elijah onstage. Rick is smoking and shaking violently on the table. HERTZ turns to his EES cronies in the audience. He looks bored. HERTZ What a waste of twelve bucks. Let's get the machine and go. The other executives nod. RICK starts to transform. FWOOP! His ears spring out into huge monster ears, kinda like in Pinocchio. FWAAP! His mouth grows into a massive, Big Daddy Roth style monster mouth. FWEEP! His upper head does the same. His body follows suit. He bursts' out of the straps and grows into a drooling TEN FOOT TALL RICK MONSTER. He snarls at Stuey Monster. RICK MONSTER TIME TO DIE, TROLL! The crowd and the other freaks look on, tense. Stuey Monster instinctively whips out a Ricky Coogan publicity photo and a pen. STUEY MONSTER Rick! Rick! Could you sign this!? Rick Monster snarls and bashes Stuey Monster in the face. Stuey Monster jams the pen through the photo and snarls back. 93. THE CROWD FIGHT! FIGHT! FIGHT! FIGHT! Even Julie is screaming "Fight! Fight," beside herself with bloodthirsty glee. Ernie smacks her. The crowd goes nuts as the monsters trade a series of cliche pro-wrestling moves. Stuey bashes Rick. Rick bashes Stuey, etc. ELIJAH Give him the skull cracker, ya big goon! ERNIE No way! The skull cracker is an illegal move! Stuey grabs Rick's hair and marches him around the stage. The crowd is taking sides, screaming out advice, and foaming at their mouths. ELIJAH Let's get this over with. Hey Hertz, tell your goons to (he turns to Hertz and is STUNNED) What the hell-!? HERTZ stands in front of the a group of EES HARDHATS who are using forklifts to move the Tasty Freekz Machine towards the exit. He notices Elijah and taps his executive ASSISTANT. ASSISTANT (TO ELIJAH) Ahem. At this point in time we at EES regret that we must leave this performance prematurely. ELIJAH What are you saying!? HERTZ What we're saying is... get stuffed, yokel. ELIJAH I figured I couldn't trust you corporate greaseballs! Elijah turns to an alarm box on the wall which reads "BREAK GLASS IN CASE OF DOUBLECROSSING CORPORATE GREASEBALLS." He breaks the glass and pulls the lever inside. 94. A trapdoor on the stage opens and a large chemical tank rises out of it. Elijah jumps into the seat of the gun turret nozzle atop the tank. He aims the nozzle at the EES group. ELIJAH Let me proudly introduce the latest in our product line, Noxon 25--now available in a convenient pump! HERTZ Bullshit! The Everything Except Shoes corporation releases no new products unless I give the order! ELIJAH I think it's time EES branched out a little. He presses the plunger and the nozzle spews a torrent of yellow glop on the EES people. They scream in agony as their bodies melt together into one big mutating blob. Alistair Cooke stands up in the audience--he's got a head bandage and a crutch from being trampled at the last show. ALISTAIR COOKE Ahhh! Head for the hills before he gets all of us! The crowd goes berserk and rushes the exits, trampling poor Cooke like a roach. RICK MONSTER flips Stuey onto the ground and starts stomping on him. Stuey is knocked out cold. Rick leaves him on the floor and stalks the freak cage murderously. RICK MONSTER NOW I RIP FREAKS TO PIECES! JIMIE No! We're your friends! RICK MONSTER Oh. NOW I RIP FRIENDS TO PIECES! He rips some bars off the cage and is about to spear JulieErnie with a jagged steel bar when Stuey Monster grabs his leg and trips him. Stuey summons all his remaining energy to wrestle Rick, delaying him, for the moment, from slaughtering the freaks. Meanwhile, Elijah is watching as THE EES BLOB 95. solidifies into... A GIANT SHOE made of living flesh. It's got eyeballs where the eyes should be, a tongue where the tongue should be, but it's helpless and immobile. Elijah looks at it with pride. He does his best Ed Sullivan IMPRESSION: ELIJAH Now that's a really, really big shoe. Ha-ha-ha-ha! Hmmm, I think I'd like a pair of those! He swivels the nozzle turret towards the cage full of freaks and is about to glop them when Rick stands up above Stuey, blocking Elijah's trajectory at the freak cage. Rick raises the jagged bar above Stuey, ready to drive it down through his chest. ELIJAH (to Rick monster) Would you hurry up and waste the troll, please!? I got a lonely shoe over here! Rick Monster nods and drives the spear down when we... CUT TO: INT. REGIS & KATHIE LEE SHOW SET Rick's silhouette (which matches his ten foot monster incarnation) is immersed in the story. RICK And then... KATHIE LEE Sorry to interrupt Rick, but you've been talking for almost ninety minutes, and we've just got to go to a commercial. RICK Sorry. REGIS We'll be right back after this, folks. CUT TO: 96. PRODUCT SHOT A fine array of different kinds of cheese on a chopping block. TOUGH VOICED ANNCR You like cheese. You like being a man. That's why you like.. A BURLY HAND swipes all the cheese off the block and slams down an aluminum can labeled "MACHEESMO." TOUGH VOICED ANNCR Macheesemo. Real cheese for real men. Now in a handy aluminum dispenser. The hand crushes the can and gooey yellow cheese squirts out the top. CUT TO: INT. REGIS & KATHIE LEE SHOW SET We hear a music bite from "Le Freak." KATHIE LEE And now back to the exciting conclusion of Ricky Coogan's incredible story. RICK Well, let's see, the other freaks were lined up in Elijah's sights, and I was about to shove a pipe through Stuey's skull, when all of a sudden, I heard a voice... DISSOLVE TO: INT. CARNIVAL TENT - NIGHT Rick stops the spear inches from Stuey's chest. Their eyes meet. ELIJAH Kill him! Kill him! Elijah's bloodthirsty goading fades away, and Cowboy's voice reverberates in Rick's head. 97. COWBOY (V.O.) I reckon that troll could help you if you just let him into your heart... your heart... your heart... The voice keeps echoing. A tear wells up in Rick Monster's eye. He looks over at Cowboy, who is actually calling out to him from the cage. COWBOY Your heart... your heart... your heart... Rick Monster loses his murderous glare. He breaks into a warm smile, throws the pipe away and helps Stuey Monster up. They hug. The rest of the Freaks cheer wildly. ERNIE Atta' boy Coog! (NUDGES WORM) Hey, ain't that somethin'? The Worm is gushing sentimentally. He tries to hide his tears. WORM Tosh. (Sniff) Sentimental claptrap (Sniff) Shameless, maudlin--Baaa! He can't hold it in anymore. He bawls like a baby. Meanwhile, Elijah is hopping mad. ELIJAH Cut the lovey-dovey bullshit, and start mutilating each other! He aims at Rick Monster and presses the fire button. The Glop starts to flow, but before it can make it out of the tip, Rick grabs hold of the nozzle, and twists it around to face Elijah. RICK Raarrrrrrgh! Elijah manages to duck just in time. A stream of yellow Noxon 25 glop flies over his shoulder, and lands in the DUNK TANK full of carbolic acid that sits off to one side of the tent. The acid and the Noxon mix together and bubble up menacingly. Elijah hops down out of the gunner's chair and squares off against Rick Monster. 98. Meanwhile, Stuey Monster has released the other freaks from the cage. They watch the confrontation from a distance. Elijah rolls up his sleeves. Rick growls and advances slowly. ELIJAH You think I made you strong? HA! I've cranked my DNA up so high, you won't know what hit you. I'm a wrecking machine! Aaaaaaa! He rushes at Rick and delivers a flurry of punches to his mid section. They have absolutely no effect. Rick brings one heavy fist slamming down on Elijah's head, stopping him cold. ELIJAH (WEAKLY) Ow! I think you crushed my spinal cord. I can't feel anything in my fingers. RICK Maybe you'll feel this ... Rick rears back to kick him. ELIJAH Qait--if you kill me, you'll never find the antidote. The freaks all perk up. Rick's skeptical. RICK What antidote? ELIJAH A time release serum--I baked it into a delicious batch of macaroons. A slow smile grows on the Freaks' faces, especially Rick's. RICK If you ask me, you skimped on the coconut! THWAK! Rick boots Elijah between the legs, sending him flying through the air. He lands on the DUNK TANK SEAT over the bubbling Noxon/Acid. Dazed, he looks at the bullseye target, and back at Rick. Summoning up his last ounce of bravado, Elijah makes a last stand. 99. ELIJAH Come on, Coogan! Come oooon! You haven't got the guts to kill me! Go on! I dare ya'! Rick ponders for a second. He looks over to Julie. Then... SCRAPPY Yap! Yap! RICK Scrappy! Scrappy the dog rushes in. He leaps up and presses the bullseye, dropping Elijah into the hideous mixture. ELIJAH AAAAAAAARRRRRRGGGGGHHHH! Elijah struggles in agony. His body bubbles and mutates in the thick toxic soup. He sinks lower and lower into the gunk, until he and his cries are buried for good. Scrappy leaps into Rick's arms and licks his face. SCRAPPY Yap! RICK Atta boy, Scrap! BLAM! BLAM! The tent flaps fly open and a half dozen FBI AGENTS rush in with guns drawn. FBI CHIEF Freeze, FBI! Another FBI GUY investigates the dunk tank, sees Elijah's hat floating on top of the bubbling ooze. ANOTHER FBI GUY Looks like they took care of Skuggs, chief. The chief nods. They put away their guns, and approach Rick and the rest of the jubilant freaks. CHIEF Nice work, Ricky. You'll get a medal from the Vice President for this. RICK Great. But how did you-- 100. CHIEF We've been following Skuggs for years. Scrappy just filled in some of the details. SCRAPPY Yap! FBI CHIEF Thank heavens you brought him to justice, Rick. God only knows how far his sick plans would've gone. ANOTHER FBI GUY Hey chief, look at this! The FBI guy has peeled the decal off the Pepsi machine, revealing that it's actually a Coke machine! The chief is sickened to the core. FBI CHIEF Is nothing sacred? Suddenly, the agents are distracted by a terrible scream. They turn to the dunk tank and are shocked by what they see. FBI CHIEF Oh, my Lord! RICK No! It can't be! We SWISH PAN over to reveal a DRIPPING BLOB climbing out of the dunk tank. The blob separates into two distinct entities with their backs to us. They turn around and...my God it's... it's.... REGIS AND KATHIE LEE! Or at least a damn fine mutant imitation of them. Call him/them ELIJUS and ELLY LEE. They both have glowing red demon eyes and speak in Elijah's voice. ELIJUS Thought you killed me, huh? ELLY LEE What the hell are you looking at? FBI CHIEF Two pieces of deadmeat! 101. BLAM! BLAM! BLAM! The FBI guys open fire. We show only the horrified reactions of the freaks as they look on. CUT TO: INT. REGIS AND KATHIE LEE SET Rick, Regis, and Kathie Lee are still in silhouette. RICKY And that's my story. KATHIE LEE (YAWN) It was so exciting! REGIS And long! My God! It makes War and Peace sound like a warm up act! CREW GUY(O.S.) Okay! We got light! REGIS It's fixed? Well, it's about time! The lights come on--no more silhouettes. Ricky looks perfectly normal, his old self. His weird silhouette was caused by a potted plant and some strange hanging mobile behind him. RICKY That's better. REGIS I'll say. (TO AUDIENCE) How 'bout it, folks. Let's hear it for Ricky Coogan! The audience applauds and hoots wildly. KATHIE LEE Can we bring out the other freaks now? The audience cheers as the rest of the Freaks walk out from the wings, and stand off to the side waving to the audience. They all look clean cut and happy. They wear T-shirts with their former identities printed on them. "I was NOSEY," "I was COWBOY," "I was the BEARDED LADY" etc. Except the Worm, who's still a worm. His T-shirt says, "I'm Still THE WORM". 102. WORM Ridiculous... Just because a man doesn't like macaroons... Nonsense. Suddenly a squirrel runs across stage, followed by Juan. He pounces and catches the furry little bugger. JUAN Gotcha! Damn, it's about time! ALL THE EX-FREAKS (happy to see him) JUAN! JUAN Hey guys! Jeez! You look great! They all hug. REGIS That's just great. What a story. And what an ending! Elijah transformed by the goop! KATHIE LEE And he really looked like--? RICK Exactly like you two, I swear. Same faces, same outfits, except they had these really big, hideous feet... He looks down at Regis and KATHIE LEE's feet--they're big, hideous monster feet! Suddenly their eyes glow bright red-- It's Elijus and Elly Lee! They speak with Elijah's voice. ELIJUS Show's over, Ricky! ELLY LEE I'm gonna drink your blood! Elly Lee pulls a machete and is about to force it down on Rick's throat when... BANG! BANG! BANG! Elijus and Elly Lee's eyes go funny. They look at each other, spit up some blood, wave to the audience one last time, and collapse to the floor. Julie stands behind them, smoking gun in hand. She rushes to Rick. They embrace. JULIE Rick! It's finally over! 103. RICK Yes... Yes it is. STUEY(O.C.) Rick! Rick! Rick and Julie turn and see Stuey, still a ten foot tall monster, running towards them. He's carrying a garbage bag dripping blood. RICK Stuey! STUEY Look! I found the real Regis and Kathie Lee! Rick and Julie look at the bag, mortified. Stuey chuckles. STUEY (CONT'D) No, this is just my lunch! Rick and Julie sigh with relief. Stuey pulls out a similar leaking bag and holds it up. STUEY (matter of fact) This is Regis and Kathie Lee. Rick and Julie nod casually--"Oh." AUDIENCE Awwww! Suddenly Elijus and Elly Lee pop up from behind the couch, bloodied, but still fierce. They're about to stab Rick and Julie when... BANG! BANG! BANG! BANG! BANG! Five more shots ring out and they fall dead--again. Ernie stands off to the side with a smoking gun. ERNIE Oh, like that wasn't totally predictable. JULIE Well, now it really is over. Sappy END OF THE MOVIE MUSIC wells up. RICK Thank God. You know, this adventure has taught me something. (MORE) 104. RICK(CONT'D) When man starts impinging on the subtle perfection of the earth's natural order, the only thing he'll create is havoc. ERNIE Right, Coog. I learned somethin' too. That men and women truly are equals. That the human spirit transcends gender and physical appearance, and thus it is immune to the petty degradations men may devise. I believe it was Moliere WHO SAID-- Julie's had enough. She socks Ernie square on the jaw. JULIE Oh, shut up. (She turns to Rick) Let's go fuck. Rick gives her the thumbs up. They turn to the audience. RICK/JULIE/ERNIE/STUEY MONSTER Good night, everybody! The audience cheers. The HIT SINGLE from the soundtrack album kicks in as we... ROLL CREDITS As the credits roll, and everybody continues to smile and wave at the cheering audience, Elijus and Elly Lee attack again. Ernie hands the gun to Stuey, who shoots them dead. Well, dead-ish. Seconds later, after some more waving, they attack again. This time Nosey and the Bearded Lady stab them to death, sort of. A little more waving, before Elijus and Elly Lee make another pathetic attempt. They can barely stand. Cowboy clubs one with a mic stand. Worm head-butts the other. A few seconds later, Elijus's bloodied hand gropes its way over the top of the studio couch. Stuey has to prop him up while members of the audience are invited down to punch him in the chops. Ernie stands off to the side, charging everyone five bucks per blow. As we fade, everyone's having a go flipping, throwing, kicking and impaling rag doll replicas of America's favorite morning show hosts. THE END?! \ No newline at end of file diff --git a/unformated_scripts/Script_Freddy vs. Jason.txt b/unformated_scripts/Script_Freddy vs. Jason.txt new file mode 100644 index 0000000000000000000000000000000000000000..4f50395b295d5cfe9553607aacd559a5d37d26d8 --- /dev/null +++ b/unformated_scripts/Script_Freddy vs. Jason.txt @@ -0,0 +1 @@ +NIGHTMARE 13 -- FREDDY MEETS JASON by Lewis Abernathy FADE IN: EXT. ELM STREET - DAY MEAGAN is coming down the sidewalk in slow motion. Her dress and long hair blow slightly in the breeze. The SOUND of CHILDREN CHANTING increases. DREAM CHILDREN (in chorus) One... two... Freddy's coming for you. On "you" there is a RUMBLE and a flash -- like quick lightning only evil. (Choice flashes from Nightmare on Elm Street 1 & 2). Meagan turns at 1665. A beautiful white, two-story house, thick with lush green foliage. Several beautiful children, all dressed in bright white, play hopscotch and jumprope on the front walk. DREAM CHILDREN (continuing; chanting) Three... four... better lock your door. Close on a little girl's foot coming down on the number "4" drawn on concrete. Another RUMBLE and flash -- longer, LOUDER. (Flashes from Nightmare 3 & 4). Meagan continues up the walk, the wind is blowing a little harder now. The trees are brown, the leaves peeling away. Moving up the walk, closer to the house... only now it's a little darker, needs some paint. On the front porch, a LITTLE GIRL rides a tricycle. DREAM CHILDREN (continuing; chanting) Five... six... RUMBLE. Flash. (Nightmare 5 and Freddy's Dead). DREAM CHILDREN (continuing; chanting) ...grab your crucifix.. ix.. ix.. The "ix" echoes away, becoming the faint "Ka ka ka" we all recognize as Jason's theme. Meagan turns to find that the children in the yard have vanished. It's nighttime. The trees are dead, the grass is gone, and the horizon stretches off into utter nothingness. Meagan turns back to the little girl. But the little girl has gone. Only the tricycle remains. It circles once, the front door CREAKS open, and the empty tricycle peddles inside. Meagan follows it into the... INT. HOUSE ON ELM STREET - CONTINUOUS ACTION Meagan enters the house slowly, watching as the tri- cycle rides off down a creepy hallway and disappears. Then the front door blows shut behind Meagan. She tries to open it -- locked. Then faint VOICES cause Meagan to pause. She listens, trying to make out the low murmur. Then a little girl's GIGGLE. Meagan recognizes it as her sister's. MEAGAN Lizzy? Meagan moves up the stairs, going down the hall... following the voices (we recognize the other voice as belonging to Freddy). Meagan enters a door at the end of the hallway, moving into... INT. LIZZY'S ROOM (NIGHTMARE) - CONTINOUS ACTION On the floor, near her bed, is Meagan's thirteen year old sister -- LIZZY. Slow for her age, Lizzy sits and draws with crayons. MEAGAN Lizzy. What are you doing here? LIZZY Playing with my friend. Meagan looks at the drawings -- childlike renderings of Freddy. MEAGAN Your friend? LIZZY He lives under the bed. Meagan slowly gets to her knees and takes a peek under Lizzy's bed. Suddenly, a doll-sized Freddy scurries out from under the bed, flashing past Meagan's face and running out the door. Meagan yelps and touches her face -- five tiny slash marks on her cheek. Lizzy clucks. LIZZY (continuing) You scared him... Meagan looks out the door, incredulous. MEAGAN I scared him? But when Meagan looks back, Lizzy is gone. MEAGAN (continuing) Lizzy? Lizzy echoes away as Meagan finds herself standing in the... INT. NIGHTMARE CHAPEL - CONTINUOUS ACTION The tiny Freddy dashes from the pews and jumps into a casket at the altar, slamming the lid shut. Meagan goes to the casket and carefully opens the lid. Inside -- a rotting corpse with worms and maggots crawling all over it. Meagan screams and slams the lid back down. The casket starts to move -- THUMP! THUMP! THUMP! Then it stops. Tentatively, Meagan opens the lid again. Inside -- FREDDY KRUEGER. He grabs her arm. FREDDY Where ya been all my death, baby? Meagan screams. Freddy leaps out of the casket in a tuxedo, crooning: FREDDY (continuing) I've been waitin' at the altar for a long, long time! Meagan looks down -- she's wearing a wedding dress, spattered with blood. Behind her, the chapel has filled with dozens of DEAD PEOPLE in various stages of decay. A SATANIC PRIEST appears in the pulpit and asks: SATANIC PRIEST Are the bridesmaids in attendance? Meagan looks to her left -- four girls hold bouquets, dressed in body bags. SATANIC PRIEST (continuing) And the groomsmen...? Freddy opens his tuxedo jacket to reveal several trapped souls struggling to get out of his chest. SATANIC PRIEST (continuing) If anyone here believes that these two should not be joined in unholy matrimony, let him speak now or forever rot in hell... >From the back of the chapel, a voice: JESSE Meagan! Meagan turns. It's her boyfriend -- JESSE. He stands in the chapel doorway, backlit by bright light, arms outstretched. MEAGAN Jesse! Meagan runs to Jesse and grabs him, their arms encircling one another. She looks up into Jesse's eyes... only it isn't Jesse. It's Jason. Meagan screams as Jason raises his machete, bringing it down between her eyes... TRANSITION CUT TO: INT. MEAGAN'S ROOM - MORNING Meagan opens an eye as her alarm clock BUZZES... she was dreaming. She gets up quickly and crosses to her dresser. She looks into the mirror, at the tiny cuts on her cheek, and clucks. Then she exits, going into... INT. LIZZY'S ROOM - CONTINUOUS ACTION Meagan opens the door to her sister's room, breathing a sigh of relief when she sees Lizzy curled up in bed with a doll. Meagan smiles and starts to exit when she notices something not quite right about the doll. She moves closer and pulls Lizzy's arm away to reveal a hideous little Freddy doll. Meagan gasps. MEAGAN Freddy... Suddenly, the doll opens it's eyes and sneers: FREDDY DOLL Well it ain't Raggedy Ann, bitch! The Freddy doll flashes it's tiny glove of knives, thrusting them deep into Meagan's chest. HARD CUT TO: INT. MEAGAN'S ROOM - MORNING (for real) Meagan sits up suddenly in bed, clutching her chest. She looks down and sees that there is nothing there. Meagan sighs and falls back in her bed -- just a bad dream. ZZZZZZT! -- her alarm clock BUZZES. Meagan sits up with a start again. Her fright turns to rage as she pounds the alarm clock into submission. Meagan climbs out of bed... INT. LIZZY'S ROOM - MORNING Meagan enters and finds Lizzy still asleep, clutching her Raggedy Ann doll. She gently pries the doll away, tossing it disdainfully away. Meagan picks up a small glass unicorn and playfully prances it around on Lizzy's head. MEAGAN Wake up, sleepy head. Time to wake up. Lizzy's eyes flutter open. She smiles at her sister, then frowns. LIZZY I had a bad dream. MEAGAN Me, too. LIZZY I was scared. MEAGAN Don't worry... they can't hurt you. LIZZY Promise? MEAGAN Promise. Lizzy hugs Meagan. MEAGAN (continuing) I'll never let anyone hurt you. INT. KITCHEN - MORNING CLOSE ON a small television set on the kitchen table. A flashy graphic flashes across the screen: AM NEWS SPECIAL REPORT -- COPS V.S. THE CULT -- DAY 13. A NEWS REPORTER stands in front a police blockade. In the background, dozens of POLICE and S.W.A.T. MEN surround a small run-down, two-story house... Freddy's house. NEWS REPORTER (filtered) As the sun rises on yet another morning, still no end in sight for the standoff between police and the mysterious group known only as the "Freddy" cult who seized the abandoned house behind me just thirteen days ago. These cultists -- mostly run- away teenagers -- have managed to keep police at bay for almost two weeks while inside they take mind- altering narcotics in order to communicate with their god -- Freddy. The reporter babbles on as Meagan enters the kitchen where MEAGAN'S MOM is sitting watching the TV, gulping down orange juice. Across from mom is MEAGAN'S DAD, who is having coffee, reading the paper. Meagan pours herself a cup and sits. MEAGAN Morning. Meagan's mom grunts, transfixed on the news. Dad looks over his paper long enough to smile and say, just a little too cheerfully: MEAGAN'S DAD Morning, Meagan. Meagan looks over at her mother, then back at her father, mouthing the words "How's mom?", when suddenly Meagan's mom bellows: MEAGAN'S MOM (calls upstairs) Lizzy! Get down here! Breakfast is almost ready! Meagan turns back to her dad but he has ducked back into his paper. Meagan sighs and sips her coffee. ANGLE ON TV -- a police booking photo of FRED KRUEGER. NEWS REPORTER Alleged child murderer Fred Krueger was released on a legal technicality but later burned to death at the hands of a vigilante mob of grieving parents. Some years later, a rash of bizarre and unexplainable teen- age deaths began leaving many in the area to wonder... is Freddy really dead? Meagan's younger sister -- LIZZY -- comes down to breakfast. The microwave DINGS and Meagan's mom pulls out three Pop Tarts, dealing them out to her family like playing cards. Lizzy picks up her Pop Tart, whining. MEAGAN'S MOM Hurry up and eat. You don't want to be late for special school. MEAGAN Mom! Don't call it that! LIZZY I hate that school. The other kids are mean... and they're all re- tard-ed! Meagan snickers. MEAGAN'S MOM We don't use that word. They're "special" children just like you're "special". Dad looks over at mom, who shoots him an angry look. Dad takes a bite of his Pop Tart, sinking back behind the paper. ANGLE ON TV -- NEWS REPORTER The cult members have declined to an on-camera interview but did send out a note with a message. The note -- which, by the way, appears to have been written in blood -- reads... (reads the note) To the parents of Springwood -- Freddy lives! Soon he will come and take one of your children as his virgin bride. Then Freddy will -BEEP- and his -BEEP- upon her -BEEP- and -BEEP- and behold, a soulless child shall be born. The vessel for Freddy to rise and rule the darkness forever and ever. A horn TOOTS outside. MEAGAN That's Jesse. Let's go, Lizzy. Meagan collects her books and her sister. This is dad's cue to look at his watch and say: MEAGAN'S DAD Oh, look at the time! I've got to be going... anyone need me to bring anything home tonight? MEAGAN I need an alarm clock. MEAGAN'S DAD What's wrong with your old one? MEAGAN Broke. Meagan kisses her dad as she and Lizzy hurry out the door. Meagan's dad looks over at his wife, who says: MEAGAN'S MOM We're almost out of vodka. EXT. MEAGAN'S HOUSE - MORNING - CONTINUOUS ACTION Meagan and Lizzy climb into JESSE's car. JESSE Good morning! Hey, what's the matter? MEAGAN My mom... JESSE And...? MEAGAN I had another dream last night... JESSE Was I naked? MEAGAN No. You were Jason. JESSE Jason? Oh, yeech... (then) Was I any good? Meagan playfully smacks him as Jesse's car ROARS off. INT. KITCHEN - SAME TIME Meagan's dad hesitates at the front door, clutching his keys and briefcase as he musters the courage to say something. MEAGAN'S DAD Do you have to watch that crap all the time? Months and months of the O.J. Simpson trial, and now this... Mom reaches over and switches off the TV. Dad smiles slightly and exits. Mom waits until the door closes, then takes a bottle of vodka and pours a goodly bit into her orange juice. She takes a deep drink and switches the set back on. CLOSE ON TV as the news reporter interviews CAPTAIN RENTON MURDOCH -- State Trooper. NEWS REPORTER I'm standing here with State Trooper Captain Renton Murdoch, the man the Governor has called in to deal with the cultists because of his past experience with occult-style murderers. In fact, Trooper Murdoch is the only law enforcement officer ever to survive a one-on-one encounter with notorious Camp Crystal Lake killer -- Jason Voorhees. (to Murdoch) You received some pretty nasty injuries in your battle with Jason, didn't you, Captain? MURDOCH Nothing serious... just a few stitches. NEWS REPORTER What about these so called "Freddy" cultists? They seem like pretty tough customers. Think you'll have any trouble getting them out of there? MURDOCH No. Now that the Governor has given me complete authority to deal with these punks I should be putting an end to their situation pretty quick. Unless of course their attorney is able to get them to come out peace- fully... but I don't hold out much hope for that. NEWS REPORTER (to camera) Captain Renton Murdoch, ladies and gentlemen. A tough cop... for tough criminals. CUT TO: EXT. "FREDDY" CULT COMPOUND - MOMENTS LATER Murdoch gets into the command car, sitting down next to the S.W.A.T. COMMANDER sitting behind the wheel. MURDOCH Damn media... oughtta be a law. (gestures to house) Is that shyster still in there trying to talk them out? S.W.A.T. COMMANDER Yeah... he's making them some kind of deal. MURDOCH Damn lawyers... what a bunch of assholes. Shakespeare was right -- kill all the lawyers. Then we could kill all the punks with no hassles and the world would be a safer place. S.W.A.T. COMMANDER Smaller anyway. MURDOCH Ahhhhh... what did Shakespeare know? Long-haired, English freak. He was probably a punk. INT. CULT COMPOUND - SAME TIME Meanwhile, inside the house... the cult's sleazy LAWYER is sitting on a crate in the middle of a dark room. He is surrounded by CULTISTS -- heavily-armed teenage punks in red and olive sweaters and Fedoras ala Freddy. They stare out at him through sunglasses with red flashing diodes that barely hide their burned and disfigured faces. The lawyer shifts uncomfortably on the crate as he takes a deep snort from inside his briefcase held neatly on his lap. Then he lifts his head, wiping his nose nervously as he speaks: SLEAZY LAWYER So, as I explained to you before, the revenues between the TV movie deal and the book sale should be adequate to fund your joint-defense. And I think with my mass media hypnosis argument I could get each of you a reduced sentence on appeal -- say... twenty years each. Out in fifteen with good behavior? Hmmmmm? HARD CUT TO: EXT. CULT COMPOUND - MOMENTS LATER The lawyer's disembodied head comes sailing out of an upstairs window, smacking into the command car's windshield with a loud SPLAT! S.W.A.T. COMMANDER Jesus Christ! Murdoch curses and leaps out of the car, charging the house as he BLASTS away with two nickel-plated .45s. Suddenly GUNFIRE erupts from every window in the house, BULLET HITS RIDDLING the cops cars, SMASHING windows and emergency lights. The S.W.A.T. TEAM follows Murdoch through the hail of GUNFIRE as he kicks open the front door. INT. CULT COMPOUND - NEXT INSTANT WHACK! -- the door flies open and Murdoch and the S.W.A.T. team move in. The windows have been covered with foil, the walls have been painted black with cult slogans written in red, making the whole house black as pitch. The S.W.A.T. team puts on their night vision goggles and starts moving through the house. P.O.V. THROUGH NIGHT VISION GOGGLES as the S.W.A.T. team goes through the house SHOOTING cultists (ala the computer game DOOM). Then a blinding flash of light and a S.W.A.T. guy goes down -- shot in the face. Several of the cultists lead the attacking S.W.A.T. team deeper into the house. As one of the S.W.A.T. guys follows his foot trips a wire. A trap door opens in the floor and the S.W.A.T. guy falls into a pit, waist deep in water. Suddenly, the water starts churning and the guy starts screaming -- it's a tank of piranhas! Two other S.W.A.T. guys grab his arms and pull him out. Too late -- his legs have been shredded to the bone. Another S.W.A.T. guy kicks in a door to a room and steps in, FIRING his machine gun. A large scythe swings down and severs both his arms at the elbows. His arms fall to the floor, still FIRING the machine gun. The cultists race into a room, grabbing handrailing bolted over head. They swing like monkeys across the ceiling just as a S.W.A.T. guy charges into the room behind them. CLOSE ON S.W.A.T. GUY'S BOOTS as he steps onto a floor covered with upturned nails. Several nails puncture both boots, the points coming up through the laces. The S.W.A.T. guy screams and another S.W.A.T. guy barrels into the room to see what is wrong. He knocks the first guy face-first into the floor o' nails. Meanwhile, Murdoch is having a blast -- literally. He kicks open the door to a room and guns down three cultists as they try to escape out a window. As the last body pitches to the floor, Murdoch yells: MURDOCH Freeze! Murdoch exits, laughing to himself. The running GUNBATTLE continues as the cultists retreat to the back of the house, throwing molotov cocktails. Soon the first floor is ablaze. A S.W.A.T. guy screams as he is consumed by FIRE. The cultists thunder down a back staircase to the... INT. THE BASEMENT - CONTINUOUS ACTION The cultists uncover a secret passageway under the house and most escape through the underground tunnel just before the S.W.A.T. team comes BLASTING into the basement. As the last of the remaining cultists is capped off, a faint voice cries for help. The S.W.A.T. commander raises up his hand. S.W.A.T. COMMANDER Hold your fire! He pulls off his night vision goggles and shines his flashlight into the basement. Through the dense smoke he sees a little girl in a white dress is tied to a chair sitting on a crate. Underneath the chair -- several sticks of dynamite wired to a timer. CLOSE ON THE TIMER: 30... 29... 28... LITTLE GIRL HOSTAGE Help me, mister... please. The S.W.A.T. commander rushes to the girl, kneeling down to look at the bomb. Then he takes a Leatherman tool from his vest and starts to work on the bomb's timer. S.W.A.T. COMMANDER Hang on, honey... I'll have you out of there in a second. Murdoch comes down the stairs. He goes to the secret passageway and says: MURDOCH Looks like we'll have to hunt the rest of them down. Let's go before they get too far. S.W.A.T. COMMANDER We can't leave! Can't you see we've got a situation here? Murdoch looks at the little girl and shrugs. MURDOCH Leave her. S.W.A.T. COMMANDER You're crazy! I can't just leave her! MURDOCH Forget it. I've seen this before. There's nothing you can do. S.W.A.T. COMMANDER I've got to try... The S.W.A.T. commander wipes his brow and leans in to work on the bomb again. CLOSE ON TIMER: 24... 23... 22... The basement ceiling is now fully ABLAZE and chunks of BURNING DEBRIS fall around the skittish S.W.A.T. team. Murdoch looks at his watch in a bored fashion. MURDOCH You're wasting your time. The S.W.A.T. commander studies the wires for another second, then glances back at the timer... 15... 14... 13... S.W.A.T. COMMANDER Fuck it! The S.W.A.T. commander whips out his Spyderco knife and cuts the little girl loose. He carries her out in his arms as he shouts to his men: S.W.A.T. COMMANDER (continuing; yelling) CLEAR OUT! SHE'S GOIN' BLOW!!! The S.W.A.T. team exits the basement with Murdoch bringing up the rear. EXT. CULT COMPOUND - NEXT INSTANT The S.W.A.T. commander staggers out with the little girl, followed closely with the remainder of his men and finally Murdoch. The commander throws himself to the ground, covering the little girl with his body as -- BA-BOOM!!! -- the Elm Street house EXPLODES! Murdoch stands as debris rains down around him. He mutters: MURDOCH Punks. As the dust settles, the S.W.A.T. commander rolls off the little girl and starts checking her for injury. S.W.A.T. COMMANDER Are you okay, honey? Suddenly, the little girl jumps onto the S.W.A.T. commander, flashing a glove of knives. She hisses: LITTLE GIRL HOSTAGE Freddy lives! With a quick swing, the little girl slashes the commander's face. She dives back for a plunge to his throat when Murdoch walks up and kicks her off. He puts his boot on her, holding her down as he takes aim on her head with his pistol -- execution style. S.W.A.T. COMMANDER NO! The S.W.A.T. commander grabs Murdoch's arm just in time. Several cops rush in and grab the girl, dragging her off, kicking and screaming. S.W.A.T. COMMANDER (continuing) Jesus... you were going to kill that kid, weren't you? MURDOCH I told you you were wasting your time. Once these kids go rabid, best thing to do is put 'em down. S.W.A.T. COMMANDER You can't be serious... MURDOCH Dead serious. See... the world is made up of rules. Kids don't like rules. They rebel for a while, but ultimately they start to fall in line and become ordinary Joe's like you and me. But some kids... dope smokers mainly, watching their MTV... Satanic lyrics melting what's left of their brains... these kids grow up to be punks. And when these punks step as far over the line as these "Freddy" punks have -- then we as peace officers have no choice but to kill them. S.W.A.T. COMMANDER I didn't become a peace officer to kill kids. MURDOCH Punks. There's a difference... (under his breath) ...barely. CUT TO: INT. HIGH SCHOOL - DAY CLOSE ON GRAFFITI written across lockers -- FREDDY LIVES! We move from this to a small classroom window. Through it we see Meagan sitting in economics class. The instructor -- MISS KREPPS -- is lecturing. MISS KREPPS (Blah-blah. Blah-blah-blah.) It's hot. Several of the kids fan themselves, struggling to stay awake while others have already passed out on their desks. Meagan's eyes are heavy. She looks over at Jesse, pretending to follow along in his book, fast asleep. The antique oscillating fan on Miss Krepps' desk CLICKS loudly as she drones on: MISS KREPPS (continuing) (Blah-blah-blah. Blah-blah.) Meagan starts to drift off, when... MISS KREPPS (continuing; loud) Meagan!? MEAGAN Yes, ma'am? MISS KREPPS I asked if you were ready to give your oral report? MEAGAN Yes... I'm ready. MISS KREPPS Please come up here to the podium. Meagan gets up and goes to the podium amidst the snickers of some of her classmates. Miss Krepps snaps her fingers for quiet. MISS KREPPS (continuing) You won't think it's funny when you haven't learned the fundamentals of a free market economy... oh, why do I waste my breath? You're all going to grow up to be gas station attendants and waitresses anyway. Go ahead, Meagan. MEAGAN My report is on Global Economic Trends. (clears throat; begins reading) Try and think of a world where there is no poverty... no sickness... no crime. A world where everyone is happy to be alive and everyone lives together in peace. This is my dream. The fan on Miss Krepps' desk starts to CLICK louder, BLOWING harder. Meagan raises an eyebrow but continues with her report. MEAGAN (continuing) This dream is becoming a reality with ever-growing international business... CLOSE ON THE FAN as it changes... getting creepier... turning into a Freddy-fan. BLOWING harder... CLICKING louder. MISS KREPPS Louder, Meagan. We can't hear you. Meagan repeats the last few sentences, raising her voice to be heard over the fan. Then pages of her report start to blow away. She grabs at them as the WIND increases. A bottle of glue stowed in the podium overturns and spills to the floor at Meagan's feet. She bends over to pick it up, when her skirt blows up. She presses it down but the WIND is too great and the skirt billows up, revealing her underwear. The class roars with laughter. MISS KREPPS (continuing) Louder, Meagan... we still can't hear you. But Meagan isn't reading her report anymore, she's busy trying to push down her skirt when -- RIP! -- the WIND blows her skirt off. Her classmates fall over themselves, laughing. RIP! -- Meagan's blouse blows away. She tries to hide behind the podium when that too is swept off. Meagan clutches at her bra and panties as they start to drift away -- thread by thread. She is almost naked. Meagan looks up at her classmates, red in the face. Her classmates point and laugh -- only now they are all a bunch of old rotten skeletons. And up front, in the center where Miss Krepps sat... is Freddy! He wears a beanie with a propeller, points and laughs: FREDDY Aww... all dressed up and nowhere to blow! Meagan screams, clutching at the last few tiny strands of cloth that cover her body. She calls to Jesse, pleading: MEAGAN Jesse... please, help me. But Jesse just sits at his desk -- dead. He reaches up and slowly lowers a hockey mask over his pale, expressionless face. FREDDY Looks like a photo opportunity to me! Freddy pulls out an over-sized camera with a gargantuan flashgun attached. The flash bulb is the size of a beach ball and has a nuclear warning etched in the front. Freddy sizes Meagan up in the viewfinder and sneers: FREDDY (continuing) Say... cheesecake! PHOOMPH!!! -- the flash bulb goes off with an atomic light. Meagan screams as her skeleton is blown back against the blackboard -- vaporized! HARD CUT TO: Meagan waking up in her seat suddenly. The classroom as normal. Miss Krepps is standing over her, asking: MISS KREPPS Meagan? Meagan?! Meagan looks around, bewildered and confused. MISS KREPPS (continuing) I asked if you were ready to give your report? Meagan realizes that she was dreaming and pulls herself together. MEAGAN Sure... Meagan stands up and faints. DISSOLVE TO: INT. SCHOOL NURSE'S OFFICE - MINUTES LATER MEAGAN'S P.O.V as the SCHOOL NURSE comes into FOCUS, standing over her. SCHOOL NURSE Meagan? Can you hear me? Do you know where you are? Meagan is laying on a couch, a cloth over her head. MEAGAN I was day dreaming and then I woke up but then it was like I was still dreaming and then I woke up and then I guess I fainted and now I'm awake again... SCHOOL NURSE Are you sure? Meagan stares at the nurse for a moment. SCHOOL NURSE (continuing) Meagan? MEAGAN I'm waiting to see if you're going to turn into Freddy. SCHOOL NURSE Freddy... I see. You've been watching too much CNN. That crazy "Freddy" cult thing -- it's all over the TV day and night -- you can't get away from it. No wonder you kids are all having nightmares. MEAGAN But this one was different... it felt real. SCHOOL NURSE But that's just it, Meagan... dreams aren't real. They're just broken fragments of the subconscious mind. MEAGAN Fear is real though, isn't it? And if nightmares are fear, then doesn't that make them real?! (gets excited) And if the nightmares are real then is reality like a dream?! SCHOOL NURSE (cutting her off) Meagan! You've got heat prostration... that's all. The nurse slaps a wet towel over her face. INT. SCHOOL HALLWAY - MOMENTS LATER Jesse is waiting for Meagan as she emerges from the nurse's office, muttering under her breath: MEAGAN Old witch... what does she know? She isn't even qualified to give a shot and she's telling me that my dreams aren't anything to worry about. JESSE So she said you were okay? MEAGAN Oh, sure... Madame Curie in there says it's just a case of heat pro- stration and an overdose of TV news. Ruined my makeup, too. JESSE So you're going back to class? MEAGAN No. She gave me last period off. JESSE Well, what are you bitching about? I could have a compound fracture of the skull and she wouldn't excuse me from P.E. MEAGAN Jesse! I've been having nightmares for almost two weeks now and they keep getting worse! Now I'm having daymares! I want to know why! JESSE Okay... well, didn't the nurse say it was heat probation? Meagan rolls her eyes in frustration. MEAGAN You don't understand... I want to know more about dreams. What they mean... why we have them. JESSE Okay, Meg, go look it up. You've got the rest of the day off, that's all I'm saying. MEAGAN That's a good idea. Why don't you cut last period and come with me? JESSE Sure. Where are we going? MEAGAN The library. JESSE You want me to cut school so we can go to the library? CUT TO: INT. LIBRARY - AFTERNOON Meagan pours through a big psychology book. Across the table, Jesse peers into another psychology book. MEAGAN Find anything? Jesse looks up suddenly. JESSE What? Oh, no... nothing yet. Over Jesse's shoulder we see he has a copy of ROAD & TRACK tucked inside his psychology book. MEAGAN Did you know that our sub-conscious retains everything that ever happened to us? Everything. From the time we're born until we die. JESSE Really? MEAGAN That's how Freddy gets at us... by using our sub-conscious fears. Fears our conscious minds have repressed or forgotten. JESSE I've got a news flash for you... Freddy's dead. MEAGAN I'm not so sure... if Freddy exists in our sub-conscious then he can never be fully erased. Like a bad memory... you may blot it out of your mind but it will alway be hiding someplace in your dreams. (off Jesse's disbelieving stare) Weren't you scared as a child by something so stupid that you're ashamed to admit it? JESSE No. MEAGAN No? JESSE Well, yeah. MEAGAN Well, what? What is it? JESSE Well... when I was kid, my brother took me to the carnival. And in the penny arcade there was this robot gunslinger... MEAGAN Black Bart. JESSE You know about Black Bart? MEAGAN Duh. You put your quarter in and he says, "Go ahead and draw, tenderfoot." And then you pull your gun out and shoot him. JESSE That's just it -- I never could! I'd point the gun right at him and shoot, and I could never hit the guy. So I always got killed. MEAGAN No one can hit him -- it's a gyp. JESSE Scared the shit out of me. Meagan tries to hide her smile. JESSE (continuing; flustered) Isn't that scary? I mean... for a kid? Meagan laughs. Somebody shushes her. JESSE (continuing; mad) Okay, smartass... what about you? What scared you the most as a kid? A dark mood falls over Meagan as her mind winds back. MEAGAN I remember... Lizzy wandered off one day and we couldn't find her. The police came and everything. I wasn't really worried until I saw her picture on TV... then I got really scared. (then) Jesse, I can't explain it... but I think something bad's going to happen. DISSOLVE TO: EXT. SPECIAL SCHOOL - AFTERNOON Lizzy sits on the steps of her school, clutching her books and Raggedy Ann doll... waiting. Behind her, wearing a protective helmet, another learning disabled kid - LEONARD - taunts her. LEONARD You're stupid! LIZZY No, you are! LEONARD They forgot you again! LIZZY No, they didn't! LEONARD Yes, they forgot and you're goin' to wait out here until it's dark and then the monsters are goin' come and get you! LIZZY No they won't, because I'm walkin' home! Lizzy gets to her feet and starts walking. Leonard calls after her: LEONARD Come back, Lizzy! You can wait with me! I got forgot too, you know! Lizzy keeps going, marching across the deserted school yard. Leonard turns to go inside the school when he bumps into a passing CULTIST. The cultist pushes him down as he follows after Lizzy. LEONARD (continuing) Okay... I'm going to have to report this! Lizzy walks briskly along when she gets the feeling she's being followed. She turns and sees a cultist standing behind a tree several dozen yards behind her. Lizzy turns away and quickens her pace but when she glances back, the figure is still standing... but closer. Scared, Lizzy turns and runs, dropping her books as she flees down the sidewalk. As she comes to the street, a big black hearse suddenly pulls up in front of her, the door swinging open wide. Burned arms reach out to grab Lizzy. She screams. The cultists grab Lizzy, pulling her into the car as it roars off down the street. CLOSE ON RAGGEDY ANN -- laying in the gutter. CUT TO: EXT. MEAGAN'S HOUSE - AFTERNOON Jesse's car pulls up to a sea of police cars parked in front of Meagan's house. Meagan gets out of the car and rushes inside. INT. MEAGAN'S HOUSE - CONTINUOUS ACTION COPS are everywhere as Meagan bursts into the house, calling for her family. Jesse enters behind her when Meagan's dad comes up, asking: MEAGAN'S DAD Didn't you get my message? MEAGAN What message? MEAGAN'S DAD I called the school after lunch... I had to stay late after work... I... Meagan's mother bellows from the living room where she is talking to a policeman taking notes. She is drunk and has been crying. MEAGAN'S MOM Don't you dare blame this on her, you sorry bastard! It's all your fault! (to Meagan) Where have you been anyway? MEAGAN The library. MEAGAN'S MOM A likely Goddamn story! Meagan's mom breaks down sobbing. MEAGAN Dad... what's wrong? What's happened? Where's Lizzy? MEAGAN'S DAD She didn't come home from school today. The police got a report that a girl fitting Lizzy's description was forced into a car by some crazies. They're pretty sure it was this "Freddy" cult. MEAGAN (shocked) Oh, my God... Meagan's dad puts his arm around Meagan and tries to comfort her. MEAGAN'S DAD Now don't worry. The police are doing everything they can. Meagan looks over and sees Murdoch talking to his men when a voice from upstairs calls down: TROOPER (O.S.) Hey, Cap'n... better have a look up here! INT. LIZZY'S ROOM - NEXT SECOND As Murdoch enters, he spots Lizzy's night table and the small glass menagerie there. Murdoch picks up the unicorn and admires it when a TROOPER draws his attention to the floor next to the bed. Laying there are several childlike drawings of Freddy, including one that has "Freddy Lives" scrawled across the top. Meagan enters and sees the drawings. She gasps. TROOPER Looks like she was in the cult all along. MEAGAN No... no, she wouldn't do that! Lizzy wouldn't join Freddy's cult! TROOPER I know it's hard to believe, miss. But a lot of good kids get caught up in this kind of trouble. Murdoch stares at the drawings, his jaw muscles tightening. He clenches his fist, pulverizing the little unicorn. MURDOCH Punks... Murdoch drops the broken pieces of the unicorn on the table as he exits the room, brushing past Meagan. INT. MEAGAN'S HOUSE - MOMENTS LATER Meagan's dad follows Murdoch to the door, asking: MEAGAN'S DAD Captain Murdoch... is there any- thing we can do? MURDOCH You can pray, sir. Pray we find your daughter before... well, before it's too late. But rest assured, if I can't persuade her to come back to her loving home, then I'll do what's best for her. I know you and your wife wouldn't want her to suffer. (to his men) Come on... I want to go talk to Erwin. Murdoch and his men say "good-bye" and quickly exit. EXT. MEAGAN'S HOUSE - MOMENTS LATER As the last of the cops drive away, Meagan pulls Jesse out of the house. JESSE Where are we going? MEAGAN Over to Stormie's. JESSE Stormie? I thought you and her weren't friends anymore since she stole that twenty dollars from you. MEAGAN That was her "klepto" phase... when she was dating that gang member. She dumped him a long time ago. JESSE I still don't understand. What has she got to do with Lizzy missing? MEAGAN She used to be in the Freddy cult. Maybe she knows where they took Lizzy. They exit to Jesse's car. CUT TO: INT. STORMIE'S ROOM - AFTERNOON Meagan's high-strung best friend -- STORMIE -- is blurting out at a mile-a-minute: STORMIE If I did know I would call the police, you know that. I love Lizzy. No telling what those freaks will do to her. Those Freddy cult guys are hard core. JESSE I thought you were in the cult? STORMIE I was in the cult for a week cause my boyfriend at the time... Slasher, he was. But I just liked the music and the clothes... when they were clean, but not like the violence and stuff. But that was just my "cult" phase... but I got past that. You know, just like my "gang" phase when I was dating Ramon and then before that was my "death rock" phase when I was dating Stuart... JESSE Uh, excuse me... but what phase are we in now? STORMIE Militant feminist, man-hating phase, what's it fuckin' to ya?! JESSE (to Meagan) Why don't you just let the cops find her? That guy Renton Murdoch -- he knows how to deal with these cultist psychos. He was the man who got Jason Voorhees. MEAGAN That guy in my dreams... STORMIE Jason kicked his ass. QUICK CUT TO: EXT. CAMP CRYSTAL LAKE - SOME YEARS AGO - NIGHT Jesse narrates a short, fuzzy, silent flashback as younger-looking Renton Murdoch is BLASTING away at Jason in panic. JESSE (V.O.) Well... yeah. But Murdoch put thirteen bullets in Jason before he hacked his head open. Jason cleaves Murdoch's head with a machete. Murdoch staggers back, raising his pistol. JESSE (V.O., continuing) But even with his head hacked open and his brains leaking out, Murdoch still managed to put his last bullet in Jason's eye. Murdoch FIRES, the bullet SMACKING Jason in the eye. Thick blood runs down the hockey mask as Murdoch's body hits the ground. INT. HOSPITAL ROOM- Murdoch lays in a bed, his head covered in bandages. Tubes and hoses running everywhere to all sorts of medical contraptions. STORMIE (V.O.) Well, one of my mom's boyfriends worked at the hospital where they took him. He said that Murdoch lost more than half his brain and what little that was left was all twisted up inside. And they had to replace his skull with a metal plate to keep that from leaking out. In a series of quick cuts we move in close on Murdoch's eyes -- dark and menacing -- staring out at us. STORMIE (V.O., continuing) They say he hasn't been the same since. CUT BACK TO: INT. STORMIE'S ROOM - CONTINUOUS ACTION JESSE So what's different about him? STORMIE One thing... he used to be a Democrat. Now he votes straight Republican. MEAGAN I think he thinks Lizzy joined the cult or something. STORMIE Oh, my God... he'll kill her. MEAGAN I've got to find Lizzy myself. I've got to find her and save her from Freddy before that crazy cop kills her. JESSE Just where are you going to look? I mean, these cult guys could be holding her anywhere. MEAGAN Murdoch said something about going to talk to somebody named Erwin. STORMIE Erwin Kelper! He used to be in the Freddy cult! I bet he knows where they took Lizzy! JESSE Not Squirmin' Erwin -- that freak that used to eat bugs? STORMIE (annoyed) Who else? (to Meagan; bright) Erwin is scary smart -- always brought home "A"s -- but he was kinda fucked up, too... I mean, who isn't really? Anyway, he quit the cult a few months back and the cops put him away for his own safety. They say Freddy's put a death hex on Erwin. JESSE A death hex? STORMIE Yes, a death hex. You know... where someone wants you dead! MEAGAN Where is he? CUT TO: EXT. SPRINGWOOD MENTAL CENTER - AFTERNOON Jesse, Meagan, and Stormie pull past the large sign and into the parking lot. As Jesse puts the car in park, Meagan turns to him and says: MEAGAN I want you to stay here. JESSE Why? MEAGAN Don't be mad... it's just that you might scare him. JESSE Scare him? STORMIE What she's subtly trying to tell you is that this needs a woman's gentle touch... butthead. MEAGAN Just stay here... okay? Jesse grudgingly agrees. Meagan kisses Jesse on the cheek. Stormie sticks her tongue out at him, then turns as she and Meagan walk toward the main entrance. INT. SPRINGWOOD MENTAL CENTER - MOMENTS LATER The CRIES of the insane echo through the building as the SECURITY GUARD escorts Meagan and Stormie down a row of cell doors. He stops at one, tapping lightly on the glass. SECURITY GUARD Yo, Erwin... you've got a couple of visitors. Now be a good boy... (to Meagan & Stormie) You've got five minutes. I'll be right down the hall if you need me. The guard exits. Meagan and Stormie peer through the thick window -- Erwin's padded cell appears vacant. They exchange anxious looks, then Meagan presses a little closer to the glass. MEAGAN Erwin...? SPLAT! -- ERWIN suddenly presses his horribly burned face to the glass as he screams: ERWIN SHOW ME YOUR ARMS! YOUR ARMS! Meagan and Stormie jump back, startled. Then they quickly bare their arms, turning them over for Erwin's inspection. ERWIN (continuing) Where do you shoot? MEAGAN Shoot? STORMIE He's talking about dream dope -- the stuff the cultists shoot up with so they can talk to Freddy. MEAGAN I don't do drugs. ERWIN You're not in the cult? MEAGAN No. ERWIN Didn't Freddy send you to kill me? MEAGAN/STORMIE No. ERWIN I don't trust you... better take off your clothes so I can check you for tracks. STORMIE Chill, Erwin. We're here for some hard data -- not a floppy disk. Erwin flops the arms of his straight jacket, gesturing to the inside of his cell -- empty except for a small mattress. ERWIN Well, what do you want? Can't you see I'm busy? MEAGAN Freddy's cult kidnapped my sister. STORMIE I told her you might know where they took her. ERWIN I already told the cops everything I know. MEAGAN Tell me... please. ERWIN Look... I'm sorry about your sister, but I've got my own problems with Freddy. I'm a marked man, you know. MEAGAN Then tell me why they took her... ERWIN To bear his child. Freddy wants to be human again. In order to do that he has to be "reborn". MEAGAN How can he do that? ERWIN He has to marry a virgin on holy ground. Then the cult consumate the marriage by impregnating her. STORMIE The whole cult? Yeech! ERWIN Freddy's the son of a hundred maniacs. It's sort of a tradition with him. MEAGAN So the cult gets Lizzy pregnant? ERWIN And Freddy enters the soul of the fetus through a dream state. Voila! Rebirth. There is a moment as the girls take this in, then: STORMIE That's the stupidest shit I ever heard. ERWIN Hey, they're not my rules... some- body else wrote 'em. MEAGAN Erwin... you've got to help me find Lizzy. You're my only hope. Erwin thinks about this for a second, then: ERWIN I'll help you find your sister, but you've got to help me. MEAGAN Anything. Just name it. ERWIN You have to help me kill Freddy. Meagan and Stormie exchange looks. STORMIE But Freddy's dead. ERWIN Freddy lives... (looks at Meagan) If only in our dreams. Stormie grabs Meagan by the arm and starts to pull her away. STORMIE Come on, Meagan... our five minutes is up. He's giving me the creeps. But Meagan stays put and asks Erwin: MEAGAN How can you kill a dream? ERWIN When it's not a dream. (then) Do we have a deal? Erwin presses his palm against the glass. Meagan thinks a moment, then puts her hand against the glass over his. MEAGAN Deal. CUT TO: EXT. STREET CORNER - AFTERNOON - A SHORT TIME LATER Meagan, Jesse, and Stormie are standing in front of a pay phone, arguing. JESSE No! I won't do it! MEAGAN Come on, Jesse! Please...? JESSE It's illegal! I could go to jail! STORMIE How will they ever know? Don't be such a pussy! JESSE Oh, yeah? Why don't you call then? STORMIE Okay, I will! MEAGAN No! They'll never believe her! STORMIE I can disguise my voice... (lowers voice) Hello, how do you do? My name is Jesse. I think I'm a man but I'm actually a wimp. MEAGAN They'll never believe that. Come on, Jesse... for me? JESSE Okay... okay... I'll do it. (to Stormie) And I'm not a wimp! Jesse sighs and steps into the phone booth. After a moment's hesitation, Jesse steps out and immediately both girls blurt out ten reasons why he should make the call. Jesse calls for quiet and as soon as both girls shut up, he says: JESSE (continuing) I need a quarter for the phone. Meagan fishes out a quarter and hands it to him. Jesse re-enters the booth. ANGLE IN PHONE BOOTH as Jesse dials a number. INT. SPRINGWOOD MENTAL CENTER - NEXT INSTANT The security guard picks up his phone as it RINGS. SECURITY GUARD Springwood Mental Center... how can I help you? JESSE (filtered; disguising his voice) There's a bomb planted in your building. SECURITY GUARD Who is this? JESSE If I were you -- I'd get my ass out of there. In the background, we hear Meagan and Stormie whisper something to Jesse. JESSE (continuing; adding) Oh, yeah... Freddy Lives. CLICK! -- The guard's eyes grow wide. EXT. SPRINGWOOD MENTAL CENTER - AFTERNOON -SECONDS LATER The peaceful quiet of the asylum is shattered by a fire ALARM. Soon all the INMATES start filing out into the yard, loosely herded by the GUARDS. Erwin files out with the others, still wearing his straight jacket. Erwin looks over at the parking lot -- Jesse's car flashes it's lights. Erwin starts to casually wander off towards the fence between himself and freedom when the SECURITY GUARD spots him and says: SECURITY GUARD Hey, Erwin... where do you think you're going? Erwin ignores him, still moving towards the fence. SECURITY GUARD (continuing) I'm talking to you, asshole! Erwin breaks into a run. The guard takes off after him. In the car, Jesse, Meagan, and Stormie watch as the guard closes the distance. JESSE He's not going to make it. MEAGAN We've got to do something! With grim determination, Jesse starts his car. Jesse's car tears out of the parking lot, racing for the fence. With a loud, metallic CHING, Jesse's car drives into the fence, knocking that section down. Erwin dances over the downed chain-link, diving into an open window. Then, with a SQUEAL of tires and the RENDING of metal, Jesse's car backs out of the fence, does a 180, and PEELS off. ANGLE INSIDE CAR as Stormie and Meagan help Erwin out of his straight jacket. Once freed, Erwin extends his hand to Jesse. ERWIN Hi, my name's Erwin. Thanks for busting me out of there! Jesse looks at Erwin's outstretched hand -- the fingertips are all heavily bandaged. JESSE Yeah, right... Look, Erwin, just do me one favor -- don't eat nothing disgusting. My stomach is tight enough as it is. The security guard runs up to the fence, huffing and puffing, watching as Jesse's car disappears down the street. Then he spots something in the fence and plucks it out... Jesse's front license plate. CUT TO: INT. ABANDONED BOILER ROOM - DUSK CLOSE ON LIZZY, screaming and crying as the cultists close in around her. They rip her sleeve off and inject her with a syringe. After a moment, Lizzy starts to settle down... falling asleep... The cultists lift Lizzy up over their heads and carry her towards the big boiler. Inside -- a raging INFERNO. LIZZY'S DREAM STATE P.O.V. -- as the cultists reach the boiler, it splits open in the middle like a giant gate. The two halves swing open wide to reveal... INT. HELL - NIGHT - CONTINUOUS ACTION A narrow rocky ledge extends out to a mausoleum atop a tall, narrow mountain. On either side of the ledge is a sheer drop to the bleak landscape below -- rivers of hot molten lava stretching out for miles, filled with LOST SOULS DROWNING and BURNING. Hundreds upon hundreds of voices are SCREAMING and MOANING -- a terrible chorus of the damned. The cultists carry Lizzy across the rocky ledge to the mausoleum. The outside of this ancient structure is engraved with weird murals depicting the evils of mankind. In the center -- a large iron gate that swings open as the cultists near. The cultists roll Lizzy over in their arms, holding her tight as they push her face forward into the mirror. The glass gives way like mercury, Lizzy's face disappearing into the mirror. ANGLE ON THE OTHER SIDE (UNDERWATER) -- Lizzy's face stares out into utter blackness. Then, some- thing large and evil looking swims up out of the darkness. Clawed hands reach out and grab Lizzy by the sides of the face as the huge, monstrous head moves forward -- evil lips parting -- tongue slithering out. The evil thing gives Lizzy a big, wet French kiss, locking it's lips over hers. Several slippery some- things slither into her mouth. Lizzy struggles, but the big evil thing is way too strong. Finally, it releases her and the cultists pull her back out. The cultists carry Lizzy out of Hell and back into the... INT. ABANDONED BOILER ROOM - CONTINUOUS ACTION Horribly burned hands slap Lizzy back from her semi- conscious state. Her eyes grow wide with fear again as she opens her mouth to scream. Suddenly, she doubles over and vomits up into a tupperware a cultist thrusts under her. Three evil-looking eels slither forth from Lizzy's mouth -- the Dream Demons. EXT. OLD POWER PLANT - DUSK Several shadows flee into the night as Jesse's car pulls up next to a run-down building. INT. ABANDONED BOILER ROOM - MOMENTS LATER Erwin leads Meagan, Jesse and Stormie down into the old, burnt out boiler room. They work their way towards the back, to a large table and a collection of sofas and easy chair scattered about. Erwin starts sniffing around, pointing out several used syringes laying scattered about the floor. ERWIN Damn! We must have just missed them! Meagan spots Lizzy's shirt sleeve on the floor. MEAGAN Oh, my God -- she was here! This is part of Lizzy's shirt! It's all torn! (grabs Erwin) Erwin... we've got to find her! ERWIN We're too late! There's no way... except... MEAGAN Except what?! ERWIN We could go after Freddy. MEAGAN How? Erwin goes to a boiler, bends down and reaches way up underneath. After fishing around for a moment, he draws out a well-worn Mutant Ninja Turtles lunch box. Inside -- a vile of liquid, several syringes, and several pairs of cult shades. ERWIN We'll inject ourselves with Dream Dope. It's a mild narcotic that brings on a dreamlike state. Meagan thinks about this for a moment, then nods her approval. MEAGAN Okay... let's do it! JESSE Meagan... we don't do drugs! I mean, what if one of us gets hooked or something? (whispers) We could turn out like him! Jesse jerks a thumb toward Erwin. ERWIN Don't worry about it. We need you wide awake anyway. JESSE What for? ERWIN We're going to go under and try to find Freddy. When we do, we'll grab him and bring him here. Then you kill him with this... Erwin hands Jesse an old rusty revolver. JESSE This rusty chunk of shit? What good is this? ERWIN It's not the gun, it's what's in it -- silver bullets blessed by a priest. JESSE Will that work? ERWIN (shrugs) Should. But then... JESSE (finishes for him) You don't make the rules... yeah, yeah. MEAGAN What should we do? ERWIN Have a seat over there and make yourselves comfortable. Roll up your sleeves and put these on... Erwin hands Meagan and Stormie each a pair of the sunglasses with flashing red diodes in each lens. Stormie puts hers on immediately and says: STORMIE Oh, cool! MEAGAN What are they for? ERWIN It's how the cult keeps in constant contact with Freddy. The little lights flashing are a sustained occular input that causes your brain to resonate at approximately the same frequency at which the dream state is most likely to occur. All of this went over Meagan's head. Stormie shrugs: STORMIE Whatever... (to Meagan; excited) Put 'em on -- they're really cool! Meagan and Stormie sit down in easy chairs, rolling up their sleeves. Erwin comes over and reclines the chairs, giving each girl an injection. Then Erwin takes a seat next to Meagan and injects himself. He lets the syringe drop to the floor as he lowers his glasses. ERWIN It helps to hold hands if you want to go together... Meagan clasps hands with Erwin and Stormie. Jesse watches with skepticism and concern. Erwin ushers a final warning: ERWIN (continuing) And remember... Freddy knows what scares you. Then all three FALL THROUGH their chairs into... INT. DREAMSPACE - CONTINUOUS ACTION Meagan, Stormie, and Erwin falling through dreamspace (fantastic digital effect tunnel), still holding hands. The girls scream as Erwin smiles and yells: ERWIN WHAT A RUSH, HUH?!! INT. ABANDONED BOILER ROOM - SAME TIME Jesse watches over Meagan, Stormie, and Erwin -- all asleep in their chairs. INT. NIGHTMARE BOILER ROOM - NEXT MOMENT Meagan, Stormie, and Erwin fall into a crazy night- mare boiler room (visually reminiscent of the Freddy pictures) with rusty catwalks, huge out-of-proportion fixtures above and a sea of boiling water below. As they get to their feet, Meagan hears Lizzy's voice: LIZZY (distant) Meagan... help me... please... Meagan enters a shaft, following the sound when suddenly, the shaft closes up behind her. Stormie and Erwin try to find the opening again but can't. ERWIN Freddy's trying to split us up... INT. ABANDONED BOILER ROOM - SAME TIME Jesse is standing in front of an old, full length mirror, practicing drawing the pistol. He pulls it and pretends to fire, blowing imaginary smoke from the muzzle as he says: JESSE Okay, Freddy... there's a new sheriff in Dreamland now. INT. NIGHTMARE BOILER ROOM - NEXT MOMENT Stormie and Erwin make their way through the creepy boiler room, calling for Meagan. A strange shadow stalks them -- it's Freddy. He drops down in front of Erwin and Stormie. FREDDY Looking for some-body? Freddy opens up his shirt to reveal a chest full of lost souls. In the center -- Meagan. Stormie charges Freddy, throwing her arms around him as she screams to Erwin: STORMIE I've got him! Wake us up! Wake us up! But Erwin is paralyzed with fear. STORMIE (continuing) Don't just stand there! Wake us up! FREDDY Hmmmmm... I feel like seafood tonight. Suddenly, Stormie's arms have become huge lobster claws. She jerks away from Freddy, but too late -- Stormie starts to change into a giant lobster-woman! Freddy smiles -- now he's wearing a chef's hat and apron. FREDDY (continuing) Stew on this, bitch! Freddy knocks the lobster-woman over the side. She falls into the boiling water far below -- KER-SPLASH! HARD CUT TO: INT. ABANDONED BOILER ROOM - NEXT INSTANT Stormie wakes with a start, yelling: STORMIE Shoot him! Shoot him! Jesse spins, aiming the pistol. But nothing is there. INT. NIGHTMARE BOILER ROOM - SAME TIME Freddy turns toward Erwin. FREDDY Well, well, well... if it isn't my ol' pal, Erwin. Erwin stares wide-eyed, frozen to the spot. FREDDY (continuing) I've got something special in mind for you... Suddenly, Erwin reaches into his sleeve and pulls out a pin. Freddy gawks -- surprised. Erwin pricks his finger. HARD CUT TO: INT. ABANDONED BOILER ROOM - NEXT INSTANT Erwin wakes with a start. Stormie smacks him. STORMIE You didn't help me, you pussy! I could've had him! (smacks him some more) You gutless... spinless... jelly fish! Jesse looks over to where Meagan is still sleeping. INT. ELM STREET - DAY (DREAM) Meagan comes down the sidewalk, still following Lizzy's voice... LIZZY (V.O.) Meagan... help me... Meagan... It leads her to her house. Meagan enters the front door. INT. MEAGAN'S HOUSE - CONTINUOUS ACTION Meagan sees her father is sitting at the kitchen table, reading his paper. The headline reads: FREDDY LIVES! MEAGAN Daddy? He looks up and quietly shushes her. MEAGAN'S DAD Shuuuuu! I'm trying to be invisible... And with that, Meagan's dad disappears. Only the newspaper remains. Then Meagan hears Lizzy's VOICE again... upstairs. As she comes down the upstairs hallway, Meagan passes her mother's room. The door is open a crack. Meagan looks in and sees her mother putting an empty bottle to her lips. The bottle sucks the life out of Meagan's mom, who shrivels up into an ugly ol' prune face. Meagan starts to help her mother when Lizzy's cry for help draws her to... INT. LIZZY'S ROOM - CONTINUOUS ACTION Meagan enters. She sees Lizzy on her bed, under the covers. LIZZY Help me... Meagan pulls back the covers to reveal that Lizzy is pregnant, her naked, swollen stomach protruding from her night gown. Something inside is trying to push it's way out. LIZZY (continuing) Meagan... Lizzy screams. Meagan moves to help her sister when Freddy's glove BURSTS OUT of Lizzy's stomach, stabbing Meagan in the chest. HARD CUT TO: INT. ABANDONED BOILER ROOM - CONTINUOUS ACTION Meagan wakes up suddenly. She looks up at Stormie, Erwin, and Jesse standing over her. STORMIE Are you okay? They help Meagan to her feet. MEAGAN (shaky) He got away... I had him and he got away. Oh, God... Lizzy... I lost her... ERWIN Well, atleast you're not dead. MEAGAN No... I'm not dead... (realizes) No... I'm not. But Freddy killed me! STORMIE He killed me, too. But look... Stormie raises her shirt up to show Meagan she is unharmed. Erwin sneaks a look and Stormie smacks him. Meagan gets to her feet, asking: MEAGAN Now that I think about it -- he's killed me in all my nightmares. But I'm not dead... what does it mean? ERWIN It means we've still got some time left. Until his remains are host to the Dream Demons -- Freddy can't hurt us. JESSE Hello. The Dream Demons...? ERWIN Freddy made a pact with Satan when he died... so Satan bestowed upon him the Dream Demons. They're the source of Freddy's power to manipulate our physical reality. Without them... he's powerless -- nothing more than a bad dream. (off Jesse's cynical look) Hey, like I said... I don't make the rules. MEAGAN But we've still got a chance, right? A chance to kill Freddy before he gets back his power? ERWIN We already tried that. There's no way for us to kill Freddy. He's too clever. He knows how to get to us. MEAGAN Then let's get somebody else. Some- body strong. STORMIE Yeah! We could hire somebody to kill Freddy -- like a hit man! ERWIN You would have to hire a thousand of them... or one really big guy who isn't afraid of anything. No fear. Nada. Then you got a shot. JESSE Where are you going to find a hit man? The yellow pages? In your dreams... Jesse's last three words strike Meagan like a thunder- bolt and she stammers out a name: MEAGAN Jason... JESSE Jason? MEAGAN Jason Voorhees... ERWIN (brightens) Jason Voorhees... that's brilliant! The perfect dream warrior... no fear. STORMIE Sounds like our man! JESSE Uh... excuse me, Einstein... but isn't Jason Voorhees dead? ERWIN Seriously dead. Buried up by Crystal Lake somewhere. But don't worry, I know how to bring him back to life. JESSE Somehow I just knew you would. ERWIN But that's not the problem. The problem is control. Once we bring Jason back from the dead... I'm not one hundred percent sure he'll do what we tell him. STORMIE Well, that's okay... as long as he doesn't chop us all up. Erwin rolls his eyes around -- uncertain. MEAGAN Erwin... I'm trusting you on this, so tell me the truth. Do you think if we do this -- if we go and get Jason and bring him back to life, that he could kill Freddy? ERWIN No doubt about. Jason could wreck Freddy on this side of the Dreamline. But if Freddy has home court advan- tage... I don't know. Too close to call. The trick would be to get Jason to enter a dream state, grab Freddy, and drag him out to our reality. MEAGAN I haven't got a choice. I've got to try something... (turns to Stormie & Jesse) I can't ask either of you to help me do this... it's illegal, immoral, disgusting... STORMIE Hey, we sisters have to stand together, right? Where you lead -- I'll follow. Count me in. Meagan embraces Stormie, then all three turn to Jesse. He looks them over and sighs: JESSE Let me get this straight... we're going to go dig one dead maniac up to fight another dead maniac? ERWIN That's about the size of it... and I'd be doing you a disservice if I said there weren't a modicum of risk involved. JESSE Meagan... I don't want to do this... MEAGAN You don't have to, Jesse... it's not your fight. I understand. JESSE But I damn sure don't want you to do it without me. Count me in. Meagan hugs Jesse. Erwin tries to hug Stormie but she pushes him away. ERWIN Look out Freddy... here we come. CUT TO: EXT. SPRINGWOOD AUTO YARD - NIGHT In his shack, listening to a small portable radio, is the NIGHT WATCHMAN. His small DOG suddenly perks up her ears and GROWLS low. The watchman turns down the radio. NIGHT WATCHMAN What's matter, girl... you hear somethin'? Then the old man hears it, too... A low RUMBLE. Moving closer. The night watchman steps out of his shack and squints into the darkness when a line of several hearses approaches. The lead hearse pulls up to the shack and the driver's window rolls down. NIGHT WATCHMAN (continuing) What's this? A funeral procession? A Freddy cultist sticks his face out of the window and says: CULTIST That's exactly what it is. NIGHT WATCHMAN (suspicious) Yeah? Whose? CULTIST Yours. BANG! -- the cultist SHOOTS the old man right through the head. The night watchman falls to the ground with a lifeless THUD. The little dog starts BARKING ferociously when another SHOT silences her as well. Another cultist leaps out of the hearse and runs to the gate, cutting the chain with a pair of bolt cutters. He swings the gate open and the funeral procession proceeds inside. INT. SPRINGWOOD AUTO YARD - A SHORT TIME LATER The cultists are standing around a small pit that two cultists are carefully excavating in the center of the wrecking yard. Inside the pit, the uncovered remains of Freddy Krueger -- nothing more than a pile of charred bones. Lizzy is brought forward, held by a couple cultists, and injected with dream dope as the needle is passed around. She no longer struggles, accepting her fate with droopy eyes. LIZZY'S DREAM DOPE P.O.V. -- as she watches one of the cultists reach down and put a rusty funnel into Freddy's broken jawbone. Her vision gets blurry... more surreal as another cult member steps forward with the tupperware. He pours the dream demons into the funnel. CLOSE ON FREDDY'S REMAINS as the dream demons swim around inside his skull. His bones start to bleed... blood becoming arteries and veins... vessels becoming muscle... muscle growing scarred flesh... There is a FLASH from the pit. Then suddenly, Freddy Krueger -- as you've known him, as you've loved him -- leaps out of the pit and cries: FREDDY Smokin'! Lizzy rolls her eyes up and faints. The cultists FIRE their weapons into the air and cheer as the building-high stacks of wrecked cars surrounding them HONK their HORNS and FLASH their LIGHTS. DISSOLVE TO: EXT. HIGHWAY - NIGHT Headlights as Jesse's car zooms past a sign that reads: CRYSTAL LAKE - 13 MILES. JESSE (V.O.) We're almost there... MEAGAN (V.O.) We should pull over and ask directions. STORMIE (V.O.) If it doesn't offend the men... ooops, sorry! There aren't any. JESSE (V.O.) Very funny. EXT. GAS STATION - NIGHT Jesse pulls the car into an ol' run-down service station. STORMIE I don't think they're open. MEAGAN It says, open all night. Jesse HONKS the horn and yells: JESSE Hey! Can we get some service out here?! STORMIE I don't think there's anybody here... Suddenly, a CRAZY OL' COOT appears on the opposite side with a shotgun. Everyone in the car jumps. CRAZY OL' COOT What do you kids want? MEAGAN We're looking for the old cemetery that's supposed to be around here... somewhere. CRAZY OL' COOT What do you want to know for? STORMIE We want to see it. CRAZY OL' COOT Ain't nothin' to see, girly... 'cept a bunch of ol' graves. JESSE Look, mister... can you give us directions or not? The old man gives the occupants of the car a going over with his one good eye, hesitating a moment over Erwin, who scrunches down in the back seat, hiding under a baseball cap. CRAZY OL' COOT You're not goin' up there to do somethin' stupid, are you? JESSE (laughs; nervous) Stupid? Like what? CRAZY OL' COOT Like dig up Jason Voorhees -- that's what! Everyone in the car takes a sharp breath -- cold busted! Then they start saying "No! No!" and shaking their heads innocently in a big performance that wouldn't fool a stick. JESSE (looks at Meagan) Jesus... why would anyone do that? CRAZY OL' COOT I dunno... but people do. STORMIE Been dug up a few times already, has he? CRAZY OL' COOT More times than I care to remember. MEAGAN Well, we're just doing an article for our high school newspaper about the dangers of breaking into cemeteries at night. You know, stuff that can get you hurt... The ol' coot scans the foursome again closely as he acquiesces. CRAZY OL' COOT Well... okay... as long as you're not going up there to do something stupid. (pointing) Take this road up about a mile and make a left at the ol' saw mill. That road will take you right on in... Eternal Peace Cemetery -- can't miss it. Jesse is already standing on the gas, leaving the ol' coot standing in a cloud of smoke and dust. EXT. ETERNAL PEACE CEMETERY - NIGHT Headlights skew across a rusty iron gateway -- ETERNAL PEACE CEMETERY -- illuminating a sign: TRESPASSERS WILL BE SHOT! Meagan, Jesse, Stormie, and Erwin enter the shadowy cemetery carrying lamps with shovels over their shoulders. As they search through the cemetery, Meagan asks: MEAGAN What's the story on Jason Voorhees anyway? STORMIE Where have you been? Jason was that guy who ran around in a hockey mask, chopping up camp counselors, duh? MEAGAN I knew that. What I mean was why? ERWIN It started a long time ago, back in the fifties, when Jason drown at Camp Crystal Lake. His mother went berserk and started killing the counselors. STORMIE She got her head chopped off by one of the girls she was trying to kill! ERWIN Right. And then Jason came back from his watery grave to get revenge. JESSE He came back from the grave? ERWIN Yeah. Chopped up a number of people before they finally caught up to him. MEAGAN What happened to him then? ERWIN They killed him. JESSE How can you kill somebody who's back from the grave? ERWIN Not very well apparently. Jason keeps coming back to life and chopping people up. It's a never ending cycle of terror up here at Crystal Lake -- a real problem. MEAGAN Why does he keep coming back to life and killing people? ERWIN They say he's looking for revenge on the camp counselor who murdered him as a child. Jason just happens to go about it in the socially unacceptable way of hacking through every teenager he finds until he gets the right one. (spots grave) Here it is... Erwin shines his light on Jason's grave. ANGLE ON TOMBSTONE -- JASON VOORHEES. Born:1945. Died:1953. Beneath the death date, crudely scratched into the stone: 1981, 1982, 1984, 1985, 1986, 1988, etc. Jesse and Erwin start digging. ELLIPSIS -- cemetery statues watching them dig. Stormie and Meagan take their turn. Then... Jesse hits something solid. Hands brush away the remaining dirt, exposing the coffin below. Jesse takes a sharp breath and then jams a crowbar under the lid -- forcing it open. The casket lid cracks open a bit when -- SSSSSS! -- noxious gas escapes. Everyone covers their mouth and nose, suppressing the urge to hurl. Then roaches... hundreds of roaches. Meagan and Stormie run off, screaming, batting at their hair and clothing. Jesse rolls around on the ground. Erwin sighs, plucks a roach off his shirt, and calmly eats it. CUT TO: EXT. ETERNAL PEACE CEMETERY - A SHORT TIME LATER Meagan and Stormie stand just outside the grave, holding the light and a can of bug spray. Their hair is up, covered in plastic shower caps. Duct tape around the cuffs of their pants. They aren't taking anymore chances with bugs. Jesse and Erwin open the casket. Everyone recoils at the stench. Then they shine their lights inside -- nothing but rotting chunks and a broken hockey mask. CUT TO: The kids putting several plastic trash bags full of Jason into the trunk of Jesse's car and slamming the lid closed. Everyone piles into the car, exhausted. In the back, Erwin picks his nose, unaware that Stormie is watching him, her mouth gaping in horror. Erwin becomes aware of Stormie's sickened scrutiny and pulls out his finger, presenting it to Stormie. ERWIN Look... the boogerman! (laughs) Get it?! Stormie slaps his hand away. STORMIE Get back, you nasty-ass bastard! Ug! I thought I had seen the last of those when my brother graduated third grade! ERWIN We just dug up a rotting corpse and you're worried about a little snot. Jesse looks over at Meagan, curled up in a ball beside him. She purrs: MEAGAN I'm exhausted... wake me when we get back home. ERWIN Uhhh... better not fall asleep -- we've still got a lot of work to do and Freddy's out there... waiting. This news sobers everyone up immediately. STORMIE Well, that means we've all got to stay awake! JESSE Duh?! MEAGAN I know! We'll sing a song! (starts singing) Row! Row! Row your boat, gently down the stream. Merrily, merrily, merrily, merrily... life is but a dream. Come on, everybody! Meagan leads the none-too-enthusiastic group in another chorus of "Row Your Boat" as Jesse's car roars off into the night. DISSOLVE TO: EXT. LONELY ROAD - NIGHT Meagan is leaning up against the door, murmuring softly to herself as she drifts off to sleep: MEAGAN ...merrily, merrily, merrily, merrily... life is but a dream. In the back seat, Erwin is nuzzled between Stormie's breasts, sucking his thumb. Both are fast asleep. Jesse stares at the road ahead, his own eyelids drooping. The car starts to weave. ANGLE OUT WINDSHIELD -- we flash past Freddy holding a cardboard sign by the side of the road: WILL KILL FOR FOOD. Jesse shakes his head -- nah! He tries to concentrate on the road, his eyelids falling once more. Jesse's car zooms past a billboard. Behind the bill- board -- a highway patrol car, a radar gun sticking out of the driver's window. CLOSE ON RADAR GUN as Jesse's car passes in the back- ground, the red digits cascading up. Freddy, now dressed as a highway patrolman, sits behind the wheel. The radar gun's display is reflected in his mirrored shades. It reads: KILL THEM. FREDDY Shouldn't dream and drive. Freddy starts the car and pulls out, but what comes out from behind the billboard isn't a patrol car -- it's Freddy's NIGHTMAREMOBILE -- big chrome pipes belching HELLFIRE. ANGLE IN JESSE'S REARVIEW MIRROR as Jesse's eyelids close and his head nods forward, revealing the night- maremobile closing from behind fast. The nightmaremobile runs up to the back of Jesse's car just an inch from the bumper. Freddy moves one of the dozen of levers on the dash. CLOSE ON FREDDY'S HOOD ORNAMENT -- a small version of Freddy's glove. It extends out towards the back of Jesse's car, one of the tiny knives inserting into the trunk lock and turning with a slight CLICK. The trunk lid opens. ANGLE INSIDE TRUNK -- the plastic bags with Jason's remains are moving! Freddy works another level and the tiny glove slits each bag. The various pieces of Jason (hands, boots, intestines, etc.) crawl out of the bag. FREDDY (continuing) Looks like the cat's out of the bag now! Freddy laughs as the tiny hand closes the trunk. The nightmaremobile pulls out from behind Jesse's car, BANGING into the rear quarter panel. WHAM! -- all four occupants of the car are jolted awake, startled. Meagan looks out her window and sees the nightmaremobile as it closes in again. MEAGAN It's Freddy! WHAM! SPARKS fly. Everyone screams. Freddy laughs as he falls back for another shot. Meagan sees the dozens of lost souls trapped in the back of the night- maremobile, staring out at her through the back window. A small yellow sign reads: LOST SOULS ON BOARD. Jesse fights to keep the car on the road when suddenly, the pieces of Jason ATTACK, BURSTING from behind the back seat. One hand crawls up the back of the front seat, leaping onto Jesse's throat. Jason's intestines EXPLODE out of the backseat, SLITHERING and SNAKING their way around Stormie and Erwin. One of Jason's boots wiggles under the seat, making it's way towards the gas peddle. The other boot is content to lay under the back window and kick Erwin in the head. As Meagan fights to pull Jason's hand of Jesse's face, she looks down and sees Jason's other hand between her legs. Meagan screams. Jason's boot stomps on the gas and Jesse's car lurches forward with the acceleration. The nightmaremobile SLAMS into the side of Jesse's car again, causing it to swerve violently from side to side. Inside the nightmaremobile, Freddy pulls another lever. CLOSE ON THE NIGHTMAREMOBILE FENDER as a panel opens up and a circular sawblade arm extends out, CUTTING into Jesse's car with a flurry of SPARKS. Inside, Meagan screams as the saw blade just misses her leg, CUTTING forward towards... CLOSE ON JESSE'S FRONT TIRE as the saw blade CUTS into it. The tire BLOWS and Jesse's car lurches off the road, veering into a tree line. CRASH! -- Jesse's car plows fender-first into a tree, the HORN stuck on, BLARING. Freddy laughs and kicks the nightmaremobile into overdrive, ROARING OFF and disappearing with an EXPLOSION of FIRE that wisps away in an instant. In the distance -- an old farmhouse. The lights go on inside. The passenger door opens and Meagan falls out onto the ground, bleeding from a slight scalp wound. A rear door opens and Stormie and Erwin spill out, locked in embrace and not seriously hurt. Meagan staggers around to the driver's side and opens the door. Jesse is laying unconscious against the steering wheel. Meagan pulls him off the wheel and the HORN stops. Jesse is splattered with blood and his leg is a mess. MEAGAN (continuing) Jesse's hurt real bad... we've got to get him to a doctor. Through the farmhouse window, Erwin and Stormie see the farmer on the phone. ERWIN Don't worry... an ambulance is on the way. Meagan cradles Jesse's head in her hands, crying: MEAGAN Oh, God... Jesse... Erwin goes to the trunk and opens it. Inside -- the garbage bags with Jason's remains still inside -- untouched. Erwin goes to Meagan and says: ERWIN Meagan... listen to me... The cops are on their way. If they find me and Jason Voorhees in the trunk there, we're finished. MEAGAN Go... get out of here. Take Jason and Stormie with you. STORMIE I'm staying with you. Erwin grabs the trash bags out of the trunk and says: ERWIN I'll call you at the hospital. STORMIE How? ERWIN Somehow! Erwin takes off, disappearing with Jason's remains into the night as SIRENS WAIL in the distance -- growing close. CUT TO: INT. HOSPITAL - JESSE'S ROOM - NIGHT Jesse is laying in a hospital bed, his leg in a special tent. Meagan and Stormie watch from the doorway as a DOCTOR checks Jesse's vitals. As he finishes, Meagan asks: MEAGAN Is he going to be okay? DOCTOR Yes. But he needs a lot of rest. His leg is broken in four places and he has four broken ribs and a concussion. Meagan sits down next to Jesse, taking his hand. Stormie turns to the doctor. STORMIE Hey doc, is there someplace I could get us something to eat? DOCTOR I'm afraid the cafeteria is closed. There are some vending machines in the lobby. (to Meagan) I'll be back to check on him in a couple of hours. The doctor exits. STORMIE I'll be right back... I'm goin' go score us some munchies. Meagan nods weakly. Stormie exits. Meagan lays her head on Jesse's hand. INT. HOSPITAL LOBBY - MOMENTS LATER Stormie is getting several bags of munchies out of the vending machine when she turns and sees Murdoch at the information booth, flashing photos of Jesse and Erwin. Stormie dashes for the staircase. INT. HOSPITAL - JESSE'S ROOM - SAME TIME Jesse and Meagan have fallen asleep. Jesse's heart monitor BEEPS... On the wall, an x-ray viewer flickers to life. Freddy peeks out from behind the other side. He snickers and ducks back down. Suddenly, Freddy's hand reaches up from inside the bed and grabs Jesse, pulling him down into the mattress. Meagan wakes and sees this, screaming as Jesse grabs onto the curtain. CLOSE ON CURTAIN ROD as the curtain pulls free of the rings. Jesse disappears into the bed, his screams echoing away. Meagan looks under the bed -- nothing. She rises up again, watching as Jesse's iv and electrode wires are pulled down after him. Meagan grabs a handful of tubes and wire and tries to pull Jesse back. But the pull is too strong and Meagan goes into the mattress. INT. OLD WEST SALOON (NIGHTMARE) - CONTINUOUS ACTION Meagan falls to the floor of a dusty ol' saloon. As she gets to her feet she sees Jesse's iv tubes running along the floor and out the door. Meagan follows them to the saloon door, where she stops and looks out into... EXT. OLD WEST STREET (NIGHTMARE) - CONTINUOUS ACTION Standing in the middle of the street is Jesse, dressed in a cowboy sheriff's outfit complete with hat, badge, and gunbelt. Meagan calls to him from the saloon door. MEAGAN Jesse! But Jesse can't hear her. He's too busy shaking with fear... staring at something coming down the street. It's Freddy. Dressed in a Black Bart cowboy outfit. FREDDY (ala John Wayne) Okay, Sheriff... This nightmare ain't big enough for the two of us... draw! Trembling with fear, Jesse fumbles for his pistol. He pulls it out and FIRES. Freddy laughs. Jesse FIRES again. Freddy just laughs. Jesse FIRES again and again and again and Freddy just laughs and laughs and laughs. From the saloon, Meagan screams: MEAGAN Jesse! Wake up! Wake up!! Freddy looks over at her, annoyed. FREDDY Three's a crowd, bitch! Why don't you just go get [BEEP] INT. HOSPITAL - JESSE'S ROOM - CONTINUOUS ACTION The SOUND of Jesse's heart monitor BEEPING erratically wakes Meagan with a start. She tries to wake Jesse. MEAGAN Jesse, wake up! WAKE UP!! INT. OLD WEST STREET (NIGHTMARE) - SAME TIME Jesse keeps FIRING at Freddy... until his gun CLICKS empty. Freddy smiles and pulls out the biggest Goddamn gun you ever saw and says: FREDDY Go ahead... make my dream! Freddy FIRES! HARD CUT TO: INT. HOSPITAL - JESSE'S ROOM - NEXT INSTANT Jesse's stomach EXPLODES with BLOOD -- splattering Meagan. Jesse's heart monitor BEEPS continuously -- flat line. Jesse is dead. A NURSE shows up to answer the alarm. She sees Meagan standing over Jesse's body, covered in blood, and screams. Stormie enters the room a half-second later and gasps. MEAGAN Freddy killed Jesse... Stormie reaches in and grabs Meagan, pulling her out of the room. INT. HOSPITAL - HALLWAY - CONTINUOUS ACTION Stormie drags a shell-shocked Meagan down the hall, the screams of the nurse fading into the distance. STORMIE Jesus... get a grip, lady. You'd think a nurse in a hospital would have seen a dead body before. MEAGAN Jesse... Just then, Stormie spots Murdoch and his men getting off the elevator. They hear the nurse's screams and come running towards Jesse's room. Stormie pulls Meagan behind the nurse's station just as Murdoch and company go thundering past. Then a VOICE on the P.A. says: VOICE (filtered) Attention. Would Meagan or Stormie please pick up the white paging phone for a message? Stormie and Meagan exchange worrisome looks. The announcement repeats itself again. Then again. Stormie can't stand it anymore -- she stands up and picks up the white paging phone. STORMIE (into phone) This is Stormie... Murdoch and his men come running past the nurse's station again. Stormie turns her back to them but Murdoch goes back to the nurse's station, asking: MURDOCH Did you see a couple of girls go by here a moment ago? Stormie gestures to the elevators. STORMIE Just missed 'em. Murdoch nods a quick thanks and takes off with his men right behind. Stormie exhales a giant sigh of relief as the HOSPITAL OPERATOR says: HOSPITAL OPERATOR (filtered) The message is from Erwin... he says to meet him at the side entrance in two minutes. Stormie hangs up and grabs Meagan, running for the staircase. EXT. HOSPITAL - NIGHT - MOMENTS LATER Stormie drags Meagan out of the hospital just as Erwin pulls up in an old battered pick-up truck. He throws open the door and Stormie pushes Meagan inside, climbing in after her and asking: STORMIE Where'd you get the truck? ERWIN Same place I've got Jason hid. STORMIE And where's that? ERWIN A place where no one ever goes. Stormie closes the door and the pick-up truck ROARS out of the parking lot. CUT TO: EXT. CAMP CRYSTAL LAKE - NIGHT The pick-up truck's headlights skew across a weather- worn sign, peppered with bullet holes: CAMP CRYSTAL LAKE Erwin drives the truck through the deserted camp, past the cabins, down towards the lake. He stops a short distance away from the pier and the three of them climb out. Meagan is still in shock, letting Stormie guide her as Erwin leads them down the pier to a small diving platform tied up to the end. STORMIE What'd you do -- take him for a swim? ERWIN Almost. Erwin jumps down on the diving platform. In the center, a large form is covered by a tarp. Erwin helps Stormie down onto the platform, leaving Meagan standing on the pier. She looks out over the lake -- eyes vacant. Erwin moves close to Stormie and, gesturing to Meagan, asks: ERWIN (continuing) Is she going to be alright? STORMIE I don't know. She's pretty fucked up. God, I don't know why I'm not... ERWIN You're a strong woman. STORMIE What's that supposed to mean? ERWIN Uhhh... nothing. I didn't mean anything. Stormie gestures to the tarp. STORMIE Is this him? ERWIN Yeah... (whips back tarp) Meet the new and improved Jason. ANGLE ON JASON laying spread eagle on the diving platform, cocooned in chicken wire with dozens of coiled leads trailing off into the water. Erwin has done a good job of sewing Jason back together with barbed wire and fishing line. His arms and legs have been reinforced with steel braces and even Jason's mask has been repaired, stitched down the middle with bailing wire. Jason looks nineties... and butch. STORMIE Why'd you put that stupid mask on him? ERWIN Take a look... Stormie bends down and takes a peek under the mask and quickly replaces it. STORMIE Good idea. ERWIN Not exactly a beauty queen entry, is he? STORMIE So what do we do now -- sing an Ozzy Osbourne song backwards or something? ERWIN I'm afraid it's not that simple... STORMIE I thought you said you knew how to bring him back to life? ERWIN I do! But when I was putting him back together, I noticed something was missing. Stormie thinks about this for a second, then: STORMIE Awwww, he won't be needing that... I mean, what girl would let him put his rotten ol'... ERWIN (cuts her off) No-no! Not that! It's his heart... it's missing. STORMIE Well... does it really matter? Can't you use an aquarium pump or something? ERWIN No... he has to have a heart. A human heart. A good one. Meagan speaks for the first time: MEAGAN I know where we can get a heart... A good one. CUT TO: EXT. MORGUE - PARKING LOT - NIGHT A sign reads: CITY MORGUE. Through the front window a GUARD can be seen sitting at the reception desk. Erwin, Stormie, and Meagan watch him from the pick-up, parked a safe distance away. ERWIN That guard in there might pose a problem. MEAGAN Do you think you and Stormie could keep him occupied for a few minutes? Erwin and Stormie exchange looks, then shrug -- why not? MEAGAN (continuing) Okay... let's do it. A few moments later, the guard looks up as the pick- up swerves wildly into the parking lot. He gets up and goes to the glass door, peering out. ANGLE THROUGH GLASS DOOR as Stormie and Erwin start making out -- hot and heavy. INT. MORGUE - NIGHT Meagan BREAKS a small window near the ceiling. She crawls onto the top of the cabinet and then drops to the floor. She shines her flashlight around the dark laboratory, illuminating anatomy charts, jars full of organs, etc. Crossing to the lockers, Meagan tentatively opens one of the drawers and shines her light inside -- ug! Wrong guy. She opens the next drawer -- ick! Even worse. Meagan opens a third drawer -- Jesse. Her lip starts to quiver as she caresses his face. EXT. MORGUE - PARKING LOT - SAME TIME At the glass door, the guard is watching the action in the parking lot, his breath fogging the window. He wipes the glass clean with his sleeve to get a better look. Inside the truck, Stormie and Erwin wrestle around. STORMIE Hey! Watch that! ERWIN I'm just trying to make it look real. STORMIE Just keep your hands above the bra, pizza face. The windows are starting to steam up. INT. MORGUE - SAME TIME Meagan pulls on a labcoat and puts on a pair of rubber gloves. Then she opens a drawer full of shiny instru- ments (saws, rib cutters, etc.) and selects a large knife. Meagan stands over Jesse's body. She pulls back the sheet, exposing his chest. Meagan raises the knife far above her head. MEAGAN Forgive me, Jesse... Meagan plunges the knife into Jesse's chest with a sickening THWACK! EXT. MORGUE - PARKING LOT - SAME TIME The windows of the pick-up are now badly fogged, obscuring the guard's view. He licks his lips, deciding to investigate closer. The guard unlocks the front door and starts toward Stormie and Erwin. They spot him coming and break their embrace. In another moment, the pick-up is PEELING out of the parking lot. The guard watches the truck go, shakes his head, and goes back inside to start his rounds. Up the street, parked with the lights off in the night shade of a large tree, Stormie and Erwin watch as the guard starts down the glass enclosed hallway towards the morgue. STORMIE He's head right for her! Do some- thing! Erwin panics for a moment, then HONKS the HORN. INT. MORGUE - NEXT MOMENT Meagan is trying to pull Jesse's heart out of his chest but it just won't come, some vein or muscle fiber keeps pulling it back. She jumps at the HORN, then starts pulling harder. In the hallway just outside, the guard hears the HORN and stops. He starts back for the front, when suddenly the HORN stops. Meagan hacks at the last bits of stringy goo that cling to Jesse's heart. As the last strand goes, Meagan tumbles backwards to the floor with a loud THUD. The guard hears that and turns back towards the morgue, drawing his gun. He tip-toes to the door and carefully unlocks it, leaving his keys in the lock. Taking a two-handed Weaver stance, the guard raises his foot and kicks the door. WHACK! -- the door flies open and the guard leaps inside like Marshall Dillon, snapping on the lights. He gasps, eyes going wide as he scans the room. One of the drawers is open... the stiff's chest has got a huge hole in it... blood spattered everywhere... a bunch of bloody footprints leading over to the cabinet... Suddenly, the guard sees Meagan half out the window and cries: GUARD Stop right there! Meagan rolls out of the window just as the guard FIRES. The unbroken section of the window SHATTERS. The guard curses and races for the... EXT. MORGUE - SECONDS LATER The guard comes running out just in time to see Meagan close the passenger door and the truck ROAR away. He shrinks, dejected -- no way to catch them now. The guard heads back inside to report this mess and finds that the door has closed and locked behind him. CUT TO: EXT. ETERNAL PEACE CEMETERY - NIGHT The crazy ol' coot is leading Murdoch through the cemetery. CRAZY OL' COOT They said they were writin' for some newspaper... MURDOCH Teenagers are notorious liars. CRAZY OL' COOT Well, after I heard about the accident on my police scanner, I came up here to have a look. When I found it I figured you'd want to know right away. MURDOCH You did the right thing. The ol' coot shines his light down into Jason's empty grave. CRAZY OL' COOT Damn kids... I just knew they were comin' up here to do somethin' stupid. The S.W.A.T. commander comes up to Murdoch. S.W.A.T. COMMANDER Just got a call on the radio -- three juveniles just broke into the morgue -- one male, two female. The guard is pretty sure the male is in the Freddy cult -- burnt face. CRAZY OL' COOT Sounds like the same kids I saw. MURDOCH Did the guard say what they took? S.W.A.T. COMMANDER Yeah... that murdered kid, Jesse -- they carved his heart out. (beat) They got away in a pick-up -- the guard didn't get the license. You want me to put out an A.P.B.? MURDOCH No... that won't be necessary. I know just where they're going, and just what they're up to. And this time... I'll be ready. CUT TO: EXT. CAMP CRYSTAL LAKE - NIGHT Meagan sits on the end of the pier, watching silently as Erwin sews Jesse's heart into Jason's chest using dental floss. Stormie comes up behind her and puts her jacket around Meagan's shoulders, sits down beside her and says: STORMIE You've got to quit blaming your- self for what happened to Jesse... it wasn't your fault. MEAGAN He didn't want to come with us... but he did anyway. He did it for me. STORMIE I'm not sorry I came... I don't think Jesse would be, either. MEAGAN I just can't believe he's dead. I keep thinking he'll show up any minute... ERWIN Well, that just about does it... Erwin finishes sewing up Jason and climbs back onto the pier, cutting the diving platform free. He kicks it off and it floats out into the lake, drifting free. Then Erwin herds the girls down the shore, leading them over to where a short trench has been dug leading from the water's edge. In the bottom of the trench -- an uncovered power cable. ERWIN (continuing) As you can see, I've excavated the power cable that runs across the bottom of Crystal Lake. I've cut away the insulation, exposing a patch of cable right near the water's edge. Erwin picks up a nearby bucket of water and sets it at the head of the trench. ERWIN (continuing) Now when I kick this over, the water will wash down the trench and bridge an eletrical gap between the cable and the lake. There's plenty of voltage, so it should work. STORMIE So you kick the bucket and Jason lives. ERWIN Yeah, right... (then) Okay, keep your fingers crossed... Erwin kicks the bucket over. The water washes down the trench, over the cable, and -- POW! Z-Z-Z-ZAP! A huge SPARK HITS EXPLODES. Then the lake begins to glow and the water begins to churn. Erwin and the girls jump back as ELECTRICITY ARCS from the lake, engulfing the diving platform. The ARCS of ELECTRICITY leap from the chicken wire onto Jason's body, his massive frame convulsing. CLOSE ON HOCKEY MASK as we PUSH IN -- the electricity spirals down into the eye hole like water running down a drain. CLOSE ON JASON'S EYE as it opens! We dive into the eye and take a fantastic dream/time travel to... OPTICAL TRANSITION TO: EXT. VOORHEES CABIN - 1953 - DAY CLOSE ON MASK (1950's version of a hockey mask) reflected in the water. A young hand reaches up and pulls off the mask, revealing the disfigured boy beneath. This is JASON -- AGE 9. JASON'S FATHER comes to the doorway of their run- down cabin in dirty longjohns, holding a bottle of rye. He bellows: JASON'S FATHER Jason! Git your ass over here! Jason jumps at his father's voice, hesitates only slightly, then runs toward him, stopping abruptly several paces away. JASON'S FATHER (continuing) What did I teach you, boy? Don't ever take your mask off out in public. I don't want nobody to see that ugly mug of yours. Jason stands, looking at his bare feet. His father smacks him upside the head, shoving him towards the woodshed. JASON'S FATHER (continuing) Go git in the woodshed. Jason's pace slows as he enters the dark shed -- he knows what's coming next. JASON'S FATHER (continuing) Drop them overalls and lay over them logs... Jason slowly complies as his father loosens his belt. Suddenly, JASON'S MOTHER is just outside the doorway, calling: JASON'S MOTHER Jason! Come here! Jason gives his father a sideways glance, then scurries towards his mother. JASON'S FATHER What are you doing woman? Jason's mother gives him a mason jar stuffed with dollars and change. JASON'S MOTHER I saved up some money... I want you to take and go on up to that summer camp just up the road. Tell the man you want to stay there. JASON'S FATHER Just what the hell do you think you're doing, bitch?! JASON'S MOTHER I'm sending him away for a few weeks. JASON'S FATHER You ain't sending him nowhere. (to Jason) Bring me that money, boy! Jason holds his ground for a second, unsure whom to obey, when his mother shoos him away. JASON'S MOTHER Go on now... go! Jason takes off up the road. His father sneers: JASON'S FATHER Goin' ag'in me? I'll take you to the shed, woman! Jason's mother pulls a knife from her apron. JASON'S MOTHER You ain't ever taking anyone to the shed ever again. Jason's mother charges at her husband, shoving him back into the shed with the knife. Jason looks back. Through the open window he sees his mother's arm coming down repeatedly with the knife, his father's arms flailing helplessly. Then both disappear from view. After a moment his mother appears in the door- way, spattered with blood. She smiles and waves to him, calling: JASON'S MOTHER (continuing) Go on, son... have a good time! Mommy will come and git you some day soon! Jason turns and runs to... EXT. CAMP CRYSTAL LAKE - 1953 - DAY Wearing his mask, Jason walks through the entrance to the camp with his jar of money. In the office, the HEAD COUNSELOR takes his money and shakes his hand. HEAD COUNSELOR Welcome aboard, son! I'm sure you'll have a great time! CUT TO: The other KIDS dance around Jason, taunting him... laughing at him... pointing and teasing... Jason breaks away, running towards the pier. Jason sits at the end of the pier, looking at his own reflection. He removes the mask and watches as the distortions in the water make his face look normal. Someone comes up behind Jason slowly. Jason isn't aware of their presence until a shadowy reflection appears behind his own. Jason turns to see who when he is suddenly pushed into the lake. Jason splashes to the surface, sputtering, trying to stay afloat. A hand pushes his head back under the water. JASON'S UNDERWATER P.O.V. -- a distorted image of whoever is holding him under. Jason thrusts out his arms, fighting to get back to the surface... fighting just to see who is killing him before he dies. HARD CUT TO: EXT. CAMP CRYSTAL LAKE - NIGHT Jason comes alive, thrashing around on the diving dock, the electricity all over him like a spider web. On shore, Erwin and the girls gasp. ERWIN Holy shit! It worked! Meagan and Stormie bounce, excitedly. But something is wrong. Jason thrashes around on the dock, unable to break the crisscross of high voltage chicken wire. MEAGAN It's kill him! Shut it off! Shut it off! ERWIN Shut it off... it suddenly occurs to me that I hadn't really planned for that contingency. STORMIE Just don't stand there! Do something! But all Erwin can do is scratch his head. Meagan rushes to the shore line and screams out over the lake: MEAGAN Jason! JASON! You've got to get up! Do you hear me? Get up! Jason clenches his meaty fists and SLAMS them down against the diving dock. SMASHING it to bits. Water rushes over him and -- ZZZZT! KA-POW! A power transformer on shore EXPLODES, causing Meagan and her friends to cringe. When they look back, the electrical light show fades away, leaving nothing but smoke and floating debris. Meagan and Stormie turn to Erwin, who shrugs shyly and says: ERWIN Well... it's off now. Meagan and Stormie begin a verbal barrage that would shrink any man to pus... much less Erwin. He cowers between them, offering quick excuses and humble apologies. All three are so wrapped up in laying blame that they never notice Jason's shadowy figure as it rises from the lake. Then they do see him... scream and run. Jason charges after the kids in his familiar "unstoppable killer" gait. Erwin ducks inside the tool shed as Meagan and Stormie dash past. He closes the door behind him and squirms out a tiny window just as Jason kicks open the door and steps inside. Erwin races around to the front and closes the door. He fastens the latch and padlock, then calls to the girls: ERWIN (continuing) Hey! Come back! I've got him locked up in the tool shed! Just then, the SOUND of a CHAINSAW as the blade RIPS through the tool shed door. Erwin screams like a girl and runs away. INT. MAIN CABIN - CONTINUOUS ACTION Meagan and Stormie run into the main room. Stormie spots a phone and goes to it, dialing frantically. MEAGAN Who are you calling?! STORMIE The cops! Who else?! MEAGAN Are you kidding?! They'll lock us up and throw away the key! STORMIE Fine by me! (clicks the receiver) Damnit! It's dead! Just then, Erwin bursts into the cabin, slamming the door shut behind him. ERWIN He's right behind me! Stormie and Meagan look out the window -- sure enough, Jason is storming towards them, holding the chainsaw. STORMIE (to Erwin) You're the one who brought him back to life! ERWIN And?! STORMIE Well, do something! Erwin screams and runs for the closet, hiding inside. Stormie clucks: STORMIE (continuing) Oh, some hero! Just then, the chainsaw RIPS through the front door. Meagan and Stormie scream and follow Erwin into the closet, closing themselves inside. They cower in the closet, listening... for a long moment... nothing but the sound of their heavy breathing. Then, with the RIPPING of WOOD, Jason chainsaws the closet door -- knocking it to the floor. Erwin draws out his pin and starts stabbing himself in the finger. Jason charges forward, when Meagan suddenly stands up in front of him and yells: MEAGAN STOP! To everyone's shock... Jason does. MEAGAN (continuing) Now... just stop! We're the ones that brought you back to life. And you have no right to kill us with that chainsaw! In fact... you owe us... STORMIE That's right! She gave you her boyfriend's heart, you know! MEAGAN That's right. Jason cocks his massive head like a perplexed pup. MEAGAN (continuing) Look! Here's his picture... Meagan takes off the necklace that Jesse gave her and opens the locket. She shows Jason the photo of Jesse inside. Jason drops the chainsaw and takes the locket in his humongous hands, gently touching the photo of Jesse with a meaty finger. MEAGAN (continuing) Now, I know that you've been through a lot. And I know that you're pissed off about being murdered and all. STORMIE (interjects) I know I would be! MEAGAN But if you help us kill Freddy Krueger... I promise to help you find the little bastard that killed you. What do you say? Have we got a deal? Meagan sticks out her hand to shake. Jason stares at it, looks back at the locket, then to Meagan. Finally, he reaches out his huge hand for Meagan's when... Brilliant, blinding white light blazes through the windows, freezing everyone to the spot. Anxious to get out of the closet with Jason, Erwin crawls across the floor and peeks out over the window sill. ANGLE OUT WINDOW -- a dozen police cars shine their lights towards the cabin, two dozen COPS aim their weapons. In the middle of this impressive show of force is Murdoch. He raises a bullhorn to his lips. MURDOCH (through bullhorn) You in there! This is Captain Renton Murdoch -- State Trooper! I am ordering you to come out with your hands up! I'll give you until the count of three... (beat) Three! Meagan turns to Jason, shoving him back into the closet. MEAGAN (whispering) Jason, you have to hide! Stay in here and don't come out until we tell you. Stormie... help me! Stormie helps Meagan stuff Jason into the closet, closing the door. Then they quickly smooth down their hair and clothes, moving towards the door. EXT. CAMP CRYSTAL LAKE - NEXT SECOND Meagan, Stormie, and Erwin come out with their hands raised high above their heads. As they walk towards the police cars, several of the S.W.A.T. team moves in and arrests them. As they are handcuffed and searched, Murdoch goes on the bullhorn again: MURDOCH (through bullhorn) Alright... anybody else left in there had better say their prayers! ERWIN There's no one else inside. MURDOCH Is that a fact? (into bullhorn) Okay... you had your chance! Suddenly, one of the cops points towards the cabin and shouts: COP Hey, look! All heads turn towards the cabin, where Jason's massive frame is filling the doorway. S.W.A.T. COMMANDER Holy Mary, mother of God... would you look at the size of that guy? MURDOCH (almost happy) I knew it! All the cops level their weapons at Jason when Murdoch suddenly steps forward, gesturing for everyone to get behind him. MURDOCH (continuing) Stand back! I'll handle this. Murdoch takes a few steps towards the cabin and sneers: MURDOCH (continuing) You... Jason raises the chainsaw -- he remembers Murdoch too. Murdoch goes for his gun, but instead of bringing out a pistol, he holds a laser designator. Murdoch fires. A big red dot appears on Jason's chest. Jason looks down at it like it was a harmless bug. He looks back up at Murdoch, who raises a radio to his lips and says: MURDOCH (continuing; into radio) Let her go. EXT. 60,000 FEET ABOVE CRYSTAL LAKE - NEXT SECOND A military jet flying above drops it's payload -- a laser-guided napalm bomb. EXT. CAMP CRYSTAL LAKE - SAME TIME A slight WHISTLE sound grows in the skies above Camp Crystal Lake. Jason looks up. SMART BOMB P.O.V. as it drops down on Jason -- homing in on the laser dot on his chest. BA-BOOM! -- Camp Crystal Lake EXPLODES in flames. All the cops take cover as FIRE RAINS DOWN on them. Only Murdoch stands his ground, his arms outstretched as he embraces the terrible sight. MURDOCH That'll teach you to fuck with the law, Voorhees! A cop behind him says: COP Uhh, sir... your hat's on fire. Murdoch looks up -- sure enough, his Smokey Bear hat is burning above the brim. Meagan watches as Camp Crystal Lake is consume in flames, her last hope of saving Lizzy -- gone. Then a cop shoves her into a police car with Stormie. Erwin is put into another car and the three exchange worrisome looks through the windows just before the cars pull away. As the cops start to pull out, one of them notices something moving amidst the flames -- a large BURNING form, walking towards the lake. As it stumbles out onto the pier, the cop turns to his partner and says: CURIOUS COP Hey... do you see that? But just then, the form falls through the BURNING pier, SPLASHING into the water below. The partner looks, sees nothing, and shrugs. PARTNER See what? CURIOUS COP I thought I saw something... He shrugs it off and exits after his partner. Murdoch, his hat still smoking a little, surveys the sight one last time before climbing into his patrol car and driving away. CUT TO: INT. POLICE STATION - CELLBLOCK - NIGHT A cell door SLAMS in front of Stormie's face. A cell door SLAMS in front of Meagan's face. Both girls are behind bars, separated by a cement wall. The hefty female DEPUTY in charge of the cellblock goes back to her desk. Both girls stand in their cells next to eachother, watching as the deputy goes back to her desk and begins to devour three combo-burritos. MEAGAN We've got to try and stay awake. STORMIE Getting something to eat might help. (calls to Deputy) Yo, Butch! DEPUTY MILLER It's Deputy Miller. STORMIE Excuse me, Deputy Miller but could we have something to eat? DEPUTY MILLER I thought you psychos only ate human hearts? STORMIE And I thought you pigs only ate donuts. DEPUTY MILLER Don't make me come back there. STORMIE (low; to Meagan) Cow! I hope she chokes on her three combo-burrito cud! Meagan leans up against the wall, sliding down to the floor in defeat. MEAGAN What am I going to do? I'll never be able to find Lizzy now. STORMIE You should be worrying about your- self... I know I am. Stormie plops down on her cot. MEAGAN I bet you're sorry you came with me now... STORMIE Nah... what are best friends for? Afterall, you stuck by me through all my crazy phases, I figure I owe you one big crazy phase, right? MEAGAN That's for being my best friend, Stormie. Just then, Deputy Miller steps in front of Meagan's cell, unlocking it. DEPUTY MILLER Come on, Meagan. MEAGAN Where are we going? DEPUTY MILLER Your parents are here. CUT TO: INT. POLICE STATION - NIGHT - MOMENTS LATER Deputy Miller brings Meagan out of the cellblock, where her mom and dad are waiting with Captain Murdoch. Meagan's mom rushes up and hugs Meagan. MEAGAN'S MOM Oh, Meagan... are you alright? Let me look at you... MEAGAN I'm okay, mom. MEAGAN'S DAD Your mother's been worried sick, Meagan. So have I. Meagan stands handcuffed, her hair mussed, her clothes bloody and soiled. MEAGAN Sorry. Today has been a bitch. INT. CELLBLOCK - SAME TIME The deputy is so busy munching down on her burritos that she doesn't notice the strange shadow that passes behind her. The shadow moves down the cellblock, accompanied by a slight SCRAPING. Freddy's glove materializes, raking the knives along the metal cross bars. Freddy stops at Stormie's cell, looking inside. Stormie is fast asleep. Freddy walks into Stormie's cell, passing right through the bars. Suddenly, Stormie wakes and, seeing Freddy, jumps to her feet and screams. STORMIE Help! Help! Freddy's here! He's here! But the deputy at the end of the cellblock doesn't respond, finishing off the rest of the burrito and licking her meaty fingers clean. Freddy puts his forefinger knife to his lips and shushes Stormie, pointing to her cot. Stormie looks over and sees her- self asleep. STORMIE (continuing) Oh, shit! I'm still asleep! She looks up at Freddy, who smiles and says: FREDDY You know what they say... when you sleep -- you die! Freddy flashes the glove of knives. INT. POLICE STATION - NEXT MOMENT MEAGAN'S MOM Meagan, Captain Murdoch here said you helped one of those cultists escape from a hospital? MEAGAN A mental hospital. MEAGAN'S MOM And he said you desecrated a cemetery and some other really terrible things. Tell me you had nothing to do with it. Tell me there's some mistake...? MEAGAN There's no mistake. (to Murdoch) What did you do with Erwin? MURDOCH Your boyfriend is headed back to the looney bin where he belongs. But don't worry, you'll be seeing him soon enough... at the arraignment. INT. CELLBLOCK - SAME TIME Freddy taunts Stormie as the circle around in the cell by slicing off his fingers, squirting green slime. Stormie winces a little but keeps her distance and cool. STORMIE You don't scare me, Freddy! Thanks to my various phases and many hours of watching violent televison, I have become immune to violence. Seen it all and done it all! Nothing you do can gross me out -- so why don't you give it your best shot, bitch! FREDDY Then maybe I'll just CUT to the chase! Freddy swings the glove but Stormie ducks, keeping her defensive stance. STORMIE I'm warning you, Freddy... my father is a drill sergeant in the Marine Corps and he taught me just how to defend myself against slimy bastards like you. FREDDY Oh I'm so scared, honey. Come on! Hit me! Punch me right in the nose! I dare you! Freddy juts out his chin, gesturing for Stormie to take a punch. Stormie throws a right and pops Freddy right in the nose. FREDDY (continuing; surprised) Owwwww! Stormie smiles but that soon fades as she realizes her fist is stuck in Freddy's nose. Freddy takes in a breath and Stormie's arm is sucked up past the elbow. She screams. Freddy takes a deep breath and snorts Stormie right up his nose, her screams turning into a faint BUZZ. Freddy smiles. FREDDY (continuing) Now that's what I call getting a buzz. INT. FREDDY'S NOSTRIL CAVERN - NEXT SECOND Now the size of a flea, Stormie is clinging to one of hundreds of pointed tree trunks jutting out from the circular walls -- Freddy's nose hairs. Stuck in those humongous hairs are clumps of icky gunk -- boogers. Sitting next to Stormie, a particularly large and rotund booger clump opens its eyes and says (in the distorted voice of Harry Manfredini): BOOGERMAN Hi there! I'm the Boogerman! Heh- heh... get it? Stormie screams, backing up into the "trees", trying to put distance between herself and Boogerman. BOOGERMAN (continuing) Aww, don't go... we can play "Star Wars". You can be Princess Leia and I'll be Jabba the Hutt! Boogerman licks his fat, nasty lips with a slimy green tongue -- he does kinda look like Jabba. Stormie screams again. INT. POLICE STATION - SAME TIME Meagan is getting more and more agitated. MEAGAN We're wasting time! We've got to close down all the churches -- Freddy has to marry Lizzy on holy ground! Meagan's parents stare at their daughter with confused, frightened looks. MEAGAN (continuing) Don't you understand?! He has to come to our reality to do it! It's our last chance to kill him! MURDOCH Okay, I think we've heard enough of this crap. Take her back to the lockup. A couple of DEPUTIES grab Meagan. She throws them off and they grab her again, roughly. Meagan's parents watch in pain and horror as the deputies drag their daughter back to her cell, kicking and screaming. MEAGAN Dad! Mom! Don't let them lock me up! I have to save Lizzy! MEAGAN'S MOM Oh, Meagan... you're sick. You don't even realize what you've done. MEAGAN I did what I had to do to try and save Lizzy! MURDOCH Yeah, including murdering your boy- friend and cutting his heart out. MEAGAN Liar! Freddy killed Jesse! He was already dead when I cut his heart out! Meagan's mom and dad gasp, recoiling with horror. MEAGAN (continuing; manic) Goddamnit, you don't understand! Freddy lives! FREDDY LIVES!!! Meagan's raving grows faint as she disappears into the cellblock. Murdoch pulls Meagan's dad aside. MURDOCH I know how you must feel... I had a dog once. I loved that dog. I treated her like my own daughter. We went camping, picnics in the park... I even had a little stocking for her nailed up on the mantle for Christmas. Then one day, she bit me... so I had to blow her brains out. (sighs) God, I loved that dog. INT. STORMIE'S CELL & NOSTRIL CAVERN - SAME TIME Freddy starts to dig in his nose with his forefinger knife. A giant knife blade comes charging up the nostril cavern, sending Stormie into hysterics. BOOGERMAN Uh-oh, Freddy's picking his nose again -- gotta go! Boogerman starts lumbering up into the back of the nostril cavern. Stormie watches the massive knife blade as it comes right for her, then at the last possible second she starts climbing after Boogerman. She pushes past the disgusting blob of goo, racing ahead. BOOGERMAN (continuing) Well, excuse me! INSERT -- Freddy pushes the knife way far back into his head. The giant knife spears Boogerman in the back, running him through and spilling his "Boogerman" guts out his front. Stormie gives a little squeal as Boogerman is pulled out, kicking and screaming. Freddy withdraws the knife from his nose, peering closely at the tiny Boogerman impaled on the end. He twists his mouth in utter disdain and flicks Booger- man across the cell. Boogerman screams as he flies across vast space, smack- ing into the far wall with a giant SPLAT! Boogerman flattens outwards into a thin pancake of Boogerman goo, his nasty head still alive in the center. Freddy reaches through the bars of the cell, his arm extending out in a grotesque fashion all the way to the deputy's desk. He feels around on the table until he touches the pepper shaker, drawing it back into Stormie's cell. Freddy sprinkles a small amount of pepper into his right palm and breathes it in deeply -- the specks of pepper becoming rocks that pelt Stormie as she clings to life deep inside the nostril. Freddy's face begins to distort, his nose wrinkling up -- the beginnings of a sneeze. FREDDY Ahhh... ahhh... ahhh--CHOO! Micro-Stormie comes blasting out of Freddy's nose with globules of snot. She flies across the massive cell, headed directly for the splattered Boogerman, screaming her head off. Boogerman sees Stormie racing towards him and he screams too. HARD CUT TO: INT. POLICE STATION - CELLBLOCK - NEXT INSTANT As the deputy brings Meagan back to her cell they hear a loud SPLAT! MEAGAN Stormie?! The deputy pushes Meagan back as she moves forward cautiously, glancing around the wall into Stormie's cell... then promptly puking combo burrito. Meagan runs up and looks. The wall to Stormie's cell is splattered with blood and bits. Meagan falls to her knees, sobbing as more DEPUTIES come running into the cellblock, answering the deputy's puke-choked scream. MEAGAN (continuing) Oh, God... what have I done? What have I done?! We BOOM OUT of this chaos and go to... EXT. LONELY ROAD - NIGHT An ambulance races along the road with it's emergency lights flashing. In back Erwin lays strapped to a gurney. Up front sit a DRIVER and an ATTENDANT. They chat disparagingly about the freak in the back, when suddenly a large form appears in the road just ahead. The driver slams on the brakes and the wheels lock up with a terrible SQUEAL. WHUMP! -- the ambulance plows into the form, knocking it some fifty feet down the road. The driver and the attendant stare out of the cracked windshield in shock. Finally, the driver turns to the attendant and says: AMBULANCE DRIVER I'll go check it out. You stay here. The driver gets out and goes to the form laying in the road. He bends down to examine the charred, mammoth carcass when a fist flies up, smacking the driver in the face. He falls to the ground, unconscious. The corpse sits up in the glare from the headlights -- it's Jason! Burnt and blackened but ready for action! He starts towards the ambulance. The attendant gets out and pulls his service revolver, emptying into Jason's chest. Jason recoils only slightly as BULLET HITS BURST his coveralls, then he grabs the attendant by the head as he snaps the empty pistol in panic. Jason slams the attendant's face into the side of the ambulance. In the back of the ambulance, a terror-stricken Erwin watches as a face shaped dent appears in the wall with a sickening WRENCHING of METAL and FLESH. Then... silence. RIP! -- Jason pulls off the back door of the ambulance and climbs inside, the shocks bottoming out under his weight. He reaches out for Erwin, who closes his eyes... waiting for the inevitable. Then... nothing. After a second, Erwin opens an eye. Jason is standing over him, hand outstretched. In his big, burnt palm -- Meagan's necklace. Erwin looks from the necklace to Jason. Jason thrusts out his hand impatiently. ERWIN You... want me to tell you where Meagan is? Again with the thrusting. ERWIN (continuing) Well why didn't you say so?! Jesus, for a minute there I thought you were going to kill me. (then) You're not, are you? Jason shakes his palm at Erwin yet a third time. ERWIN (continuing) Okay... okay! I'll take you right to her. Could you help me out of this? Jason reaches over and yanks out the gurney straps. Erwin exits out the back with Jason following close behind. Erwin climbs in behind the wheel, saying: ERWIN (continuing) I'll drive. Jason pushes Erwin aside so roughly that he slams into the passenger side door. ERWIN (continuing) Okay... you drive. As Jason climbs into the driver's seat, a CHIME goes off as a female COMPUTER VOICE in a pleasant tone says: COMPUTER VOICE Fasten your safety belt, please. Erwin fastens his. Jason watches him and pulls the safety belt across his massive chest -- it won't reach. Jason pulls harder, ripping the belt out of the bolts. The CHIME goes crazy. COMPUTER VOICE (continuing) Fasten your safety belt, please... Fasten your safety belt, please... Jason SMASHES the dashboard with his fist, silencing the voice and chime. He turns suddenly to Erwin as if to say, "Yeah?! What about it?" Erwin shrugs nervously: ERWIN Fuck the bitch. Let's roll! With tires SQUEALING, burning rubber and smoke, the ambulance roars away into the early morning. DISSOLVE TO: EXT. POLICE STATION - CELLBLOCK - DAWN Meagan stares through the bars of her cell at the sun as it peeks out over the horizon. The deputy gets up to leave for the six a.m. shift change. As she goes, she switches on the cellblock TV. ANGLE ON TV -- An early morning religious program is on. RELIGIOUS ANNOUNCER (filtered) This is Channel 12 -- Station W.G.O.D. -- where the "W" stands for "Worship" And now... "Daily Affirmation" with Reverend Lawrence Lovejoy... A shot of the REVEREND LOVEJOY at the podium in his studio, giving kind words of encouragement. REVEREND LOVEJOY Good morning, friends... the Good Book says that each morning brings a new light into our lives... The good reverend goes on about it always being darkest before the dawn, have faith and your prayers will be answered, etc. Meagan turns and watches the sunrise -- glorious. Tears stream down her cheeks. Then a commercial comes on: RELIGIOUS ANNOUNCER (filtered) You can own a videotape of Reverend Lovejoy's Daily Affirmation for only $19.95... CUT TO: EXT. RELIGIOUS TV STATION - MORNING In his booth at the main gate, the GATE GUARD watches as a procession of hearses approaches. As the first hearse reaches the gate, the guard steps out and says: GATE GUARD Hello. What can I do for you? A cultist sticks his head out the window and says: CULTIST We're here to see the Reverend Lovejoy. We need him to perform a wedding. GATE GUARD Do you have an appointment? CULTIST No. I have a Beretta. The cultist produces a pistol -- BANG! INT. STUDIO - MOMENTS LATER The REVEREND LOVEJOY is at his podium, his WIFE at the organ, waiting for the commercial break to be over. The FLOOR MANAGER counts down -- three... two... one... BAM! -- the cultists burst into the studio. The CAMERA OPERATOR and FLOOR MANAGER are killed. The Reverend Lovejoy and his WIFE, at the organ, are taken hostage. INT. POLICE STATION - CELLBLOCK - SAME TIME ANGLE ON TV as the cultists take the reverend and his wife hostage. Meagan watches, suddenly perplexed. INT. STUDIO - NEXT SECOND The cultists break into the control room, killing the DIRECTOR and STAFF. One slips into the sound booth, garroting the RELIGIOUS ANNOUNCER with a piece of wire. Another SMASHES the control board, killing the signal. All the feed monitors go snowy. INT. CELLBLOCK - SAME TIME ANGLE ON TV as the picture goes to static. Just then, the deputy appears in front of Meagan's cell. MEAGAN Something just happened at the TV station. DEPUTY Don't worry about it -- get undressed. MEAGAN What for? DEPUTY Time to get you cleaned up for court. Meagan looks back at the TV as she slowly starts to get undressed. INT. POLICE STATION - SHOWERS - MOMENTS LATER The deputy ushers Meagan into the showers. Inside, a naked group of mean, nasty, ugly JAIL HOUSE BITCHES are showering, washing hairy pits, flabby tattooed skin, and greasy hair. They eye Meagan like the dessert bar at Denny's as she crosses to the opposite side, sneaking into a corner. Meagan turns on the shower and drops the towel -- the bitches whistle and catcall. Just then, the deputy gets called away, leaving Meagan to the mercy of the bitches. The head bitch slides over to Meagan and says: HEAD BITCH What's the matter, honey... you don't like our company? MEAGAN I like you... sure. It's just that I usually shower alone, that's all. HEAD BITCH Oh! So you're shy? I like 'em when they're shy... The head bitch grabs at Meagan, who resists. But this bitch is big and tough and holds Meagan by the wrists as she tries to kiss her. The other bitches laugh. HEAD BITCH (continuing) Don't fight it, baby! You know you want me... Meagan scratches the head bitch's face. She backs off screaming, wiping blood from her face. Then she spits, reaches down (below the frame line) and produces a shiv. HEAD BITCH (continuing) If you won't give me a piece then I'll just cut one for myself... The head bitch moves in. Meagan takes a cautious step back, bumping into tile -- nowhere to go. She holds up her hands. MEAGAN Wait a second... I didn't mean to do that... I'm sorry. It's just that you come on a little strong, that's all. Just give me a little time to adjust to my new surroundings... The head bitch stops, curious. HEAD BITCH Are you saying you want me now? MEAGAN Yes... I want you. HEAD BITCH Prove it. Meagan comes up to the woman, raising her arms. In a flash, the head bitch has the shiv to Meagan's jugular -- a warning. Meagan carefully puts her arm around the bitch and kisses her full on the mouth. After a long, uncomfortable moment, they break. The head bitch smiles. HEAD BITCH (continuing) Now that's more like it! (to the others) Hey, this bitch is alright! The other bitches smile as the head bitch slips her arm around Meagan's waist and pulls her tight. HEAD BITCH (continuing) You're okay, honey... what's your name? MEAGAN Meagan. HEAD BITCH So... what're you in for, Meagan? MEAGAN (sniffles a little) Oh, my friend... HEAD BITCH The bitch that died last night? MEAGAN (starts to cry) Yeah... they said she had some disease that made her... explode! Oh, God! Please hold me! The head bitch holds Meagan tight as she sobs, smoothing her hair. The other bitches share a look of concern as one asks: BITCH #1 What's this bullshit about some killer funk make you explode? HEAD BITCH (to Meagan) Easy... honey. It's goin' be alright. But what I asked you is why you're in here? MEAGAN Oh... well... the cops? Well, they think I gave it to her... The head bitch suddenly springs back as if Meagan were Satan himself. She runs for the other bitches but they aren't having anything to do with her. All the bitches race for the exit. The deputy comes to the shower room doorway and shouts: DEPUTY What the hell is all the screaming about?! WHAM! -- the bitches run her over, stripping the keys from her belt. They unlock the cellblock door and go running into the police station, screaming butt-naked. After the bitches exit, Meagan's hand reaches out and drags the unconscious deputy into the shower. INT. POLICE STATION - NEXT SECOND The bitches come running butt-naked and screaming through the station. Several deputies chase after them, tackle them and try to cuff them. A brawl ensues. Chaos. Murdoch sits on a desk, reading a report. He looks up at the madness and mutters: MURDOCH Punks... INT. POLICE STATION - SHOWERS - MOMENTS LATER A DEPUTY enters the showers and sees a naked woman on top of a deputy, their arms locked in a struggle. The deputy cracks the naked woman in the back of the head with her baton and she falls to the side, revealing Meagan -- now dressed in the deputy's uniform -- laying on the shower floor. The deputy realizes her mistake too late -- Meagan sprays her in the face with mace and she sinks to her knees, screaming and clutching her face. Meagan leaps to her feet, grabs a towel to hold over her face (as if she had a broken nose) and starts to exit. On her way out, Meagan is passed by several DEPUTIES charging into the showers to restore order. She gestures them on, then slips into an emergency exit to freedom. EXT. POLICE STATION - CONTINUOUS ACTION Meagan exits the station just as a patrol car pulls up. She reaches in and grabs the JUNIOR TROOPER, pulling him out. Then she slips behind the wheel and ROARS off. The junior trooper calls after her: JUNIOR TROOPER Hey, that's Captain Murdoch's car! CUT TO: INT. STUDIO - SAME TIME The cultists surround Reverend Lovejoy as he nervously shakes his head, saying: REVEREND LOVEJOY I won't do it! It's a sin! Blasphemy! One of the cultists puts a gun to Mrs. Lovejoy's head. CULTIST Wedding or funeral... your choice. The reverend swallows and says: REVEREND LOVEJOY And who would be the bride? Lizzy is brought forth. The cultists take her arm and inject her with the dream dope. Lizzy's head lulls around as she chants softly: LIZZY One... two... Freddy's coming for you. The rest of the cultists shoot up -- passing the needle from one to another. LIZZY (continuing) Three... four... Better lock your door. The good reverend watches this with a lump in his throat. He shudders and asks: REVEREND LOVEJOY And the groom. CULTIST He's coming... Lizzy is almost asleep. LIZZY Five... six... grab your crucifix... The neon cross behind the podium begins to flicker. Then with a sharp SNAP of electricity, the cross falls over, turning upside down. It hangs there for an instant then -- POW! -- the cross EXPLODES, catching the curtains on FIRE. As the FLAMES consume the curtains, a hole in reality appears -- a Dreamgate. Freddy comes springing out, leaping in front of the podium. He laughs and turns to Lizzy, asleep on the bench. FREDDY That's for the lift sister! (to the cultists) Hiya, kids! CULTISTS (in unison) Hiya, Freddy! FREDDY Ready to get hitched? CULTISTS Ready, Freddy! FREDDY Then let's do it! Lizzy looks up and smiles. LIZZY I love you, Freddy... CUT TO: INT. POLICE STATION - AFTERNOON A DEPUTY comes up to Murdoch and says: DEPUTY We found your patrol car, Captain. It was abandoned near a local religious station. MURDOCH Religious station? Is there a padre there? DEPUTY Yes, sir. Reverend Lovejoy broad- casts out of that location. MURDOCH So that's where they're hiding. CUT TO: INT. STUDIO - SAME TIME Lizzy and Freddy stand before Reverend Lovejoy. REVEREND LOVEJOY ...and if there be anyone among you who has any reason why these two should not be joined in holy... Freddy holds up a finger -- "Ah-ah". REVEREND LOVEJOY (continuing) ...in matrimony. Let them speak now... (under his breath) ...please God... (aloud) ...or forever hold their peace. WHAM! -- Meagan bursts in. MEAGAN Stop! Everyone turns and looks as Meagan comes to the pulpit. MEAGAN (continuing; to Freddy) Take me, Freddy. Take me instead. FREDDY You're a virgin?! MEAGAN Oh, that's right -- tell everybody! Freddy moves close to Meagan, running a blade over and around Meagan's neck as she struggles to remain calm. FREDDY Mmmmmmm! Yes, you are a bit juicier than your retard sister... okay, you've got the job. (to cultists) Get her ready. EXT. RELIGIOUS TV STATION - NIGHT Outside, the cultists surrounding the outside of the station watch as dozens of police vehicles swarm to the fence. Murdoch and the S.W.A.T. commander get out of the lead car. Murdoch picks up his bullhorn and says: MURDOCH (through bullhorn) This is Captain Renton Murdoch -- State Trooper. I'm giving you until the count of three to come out with your hands up... A CULTIST SNIPER FIRES a shot at Murdoch, the bullet hit SMASHING the emergency lights atop his car. The other cops duck down, but not Murdoch, he turns calmly to the S.W.A.T. commander and says: MURDOCH (continuing) Hand me that flare pistol. The commander gives the flare gun to Murdoch, adding: S.W.A.T. COMMANDER Good idea. Throw a little light on them -- see if we can spot their firing positions... As the commander speaks, Murdoch aims the pistol carefully and FIRES. PHOOMPH! -- the flare streaks to the roof of the TV station, SMACKING the sniper. He BURSTS into FLAMES and tumbles to the ground, screaming. Murdoch hands the flare gun back to the commander, going back on the bullhorn and saying: MURDOCH (through bullhorn) Alright, now I'm through playing "nice guy" -- I want the rest of you punks to come out right now with your hands up. The cultists respond by filling the air with hot lead -- BULLET HITS RIDDLE the cop cars, SMASHING glass and PIERCING metal. The cops FIRE back, BULLET HITS EXPLODING all along the sides of the TV station. INT. STUDIO - NEXT MOMENT The cultists bare Meagan's arm and inject her with dream dope. She takes her place at the threshold beside Freddy. EXT. RELIGIOUS TV STATION - SAME TIME As the battle outside between the cultists and the cops RAGES, Murdoch and the S.W.A.T. commander squat down behind a fender to reload. S.W.A.T. COMMANDER Well, it doesn't look like they're going to surrender. MURDOCH What we're going to need then is somebody to charge their lines -- make a hole for us to slip in. S.W.A.T. COMMANDER Where are you going to find anyone that crazy? Just then, an ambulance comes ROARING through the police lines, causing the cops to scurry like mice. MURDOCH Here comes one now... (yells) GO GIT 'EM, SON! Murdoch squints to see who's driving... it's Jason! Erwin smiles and waves to Murdoch through the passenger side window as the ambulance zooms past. Murdoch curses, drawing his pistol and SHOOTING after the ambulance. The other COPS join in a moment later, BULLET HITS SPARKING off the back of the ambulance as it CRASHES through the front gate. Inside the ambulance, Erwin hazards a glance back at the cops, then he turns to Jason and says: ERWIN That was easy enough... Erwin looks ahead and screams. ANGLE THROUGH WINDSHIELD as three cultists stand directly in front of the speeding ambulance, FIRING machine guns. The glass EXPLODES just as Erwin ducks down. Two cultists suddenly scatter as Jason rams the ambulance into the middle one just before plowing into the side of the station with a CRASH. Erwin pushes down his airbag just in time to see a cultist closing in with a gun. He reaches through the smashed windshield and grabs the squashed cultist's machine gun laying on the hood. Erwin turns, SHOOTS the cultist just in time. As Jason kicks open the driver's side door he is greeted by two cultists SHOOTING at him. Jason RIPS OFF the driver's side door and hurls it at the two punks, knocking them down like bowling pins. Then Jason reaches back into the ambulance, pulls out the Jaws of Life and, with Erwin covering his back, starts towards the front door. INT. STUDIO - SAME TIME The wedding proceeds... REVEREND LOVEJOY Once again... if there be anyone among you who does not want these two people to be joined... let him speak now or forever hold his peace. Meagan looks around... no one says anything. The reverend clears his throat to continue when... WHAM! -- the studio door flies open and Jason appears in the doorway holding the Jaws of Life. FREDDY Uh, oh... The cultists attack Jason. Jason grabs the first one with the Jaws of Life -- folds him in half like a rag doll. Another attacks with a machete... bad idea. One more cultist down and now Jason owns the machete. Jason finishes off the last two cultists as Erwin barricades the studio door. The cultists on the other side start POUNDING. Jason starts swinging at Freddy with the machete, slicing through a camera cable. CLOSE ON CABLE as it falls to the floor. Freddy jumps back through the Dreamgate, closing it behind him. Erwin runs over to Meagan and Lizzy. He tries to wake them but can't. As Jason lumbers over, Erwin looks up and says: ERWIN I can't wake them up. Freddy's got them trapped! Erwin thinks for a moment, then rushes over to a couple of dead cultists. He takes their syringes. Erwin jabs Jason in the neck with two syringes full of dream dope. ERWIN (continuing) Go get him, boy! Jason staggers forward, falling into... INT. NIGHTMARE ARENA - CONTINUOUS ACTION Jason falls into a boxing arena. The ropes are entrails and atop each corner post is mounted a human head. The spectators are all DEMONS, MONSTERS, and the LIVING DEAD. Jason looks over at his opponent -- dressed in boxing shorts, shoes, and gloves -- it's Freddy. Jason raises his arms and finds he too is wearing boxing gloves. TED BUNDY steps into the ring. TED BUNDY (into microphone) Ladies and gentlemen... welcome to the fight of the century! I'm your ring announcer... Ted Bundy! BANG! -- a bullet hole appears in Ted's forehead, BLOWING his brains out the back. He falls over DEAD and the crowd cheers. Ted sits up and pulls the wig back over his shaved head and electric burns as he calls into the balcony: TED BUNDY (continuing) Verrrrrry funny, Oswald! ANGLE IN BALCONY -- OSWALD stands, his rifle still smoking. OSWALD (angry; defensive) It wasn't me! Ted Bundy gets to his feet and finishes the intro: TED BUNDY In my left corner, weighing in at only ninety seven pounds... the nightmare master himself! The one! The only... Freddddddddy Kruuuuuuugerrrrrr!!! Freddy holds up his arms and the crowd goes wild. TED BUNDY (continuing) And on my right... weighing in at a whopping four hundred and thir- teen pounds... that killer of countless teenagers... the big guy... (gestures to Jason) Jason Voorhees! CHEERS and BOOS. TED BUNDY (continuing) And the prize tonight... not one but TWO -- count 'em -- TWO virgins... ripe for the picking. Ted gestures to a large cage suspended over the arena. Inside -- Meagan and Lizzy clutch eachother. TED BUNDY (continuing) Hey, have one now and save the other for the ride home. That's what I did. LAUGHTER from the crowd. MEAGAN Kick his ass, Jason! DING! -- the bell sounds. The first round begins... Freddy starts towards Jason, cocking his glove for a blow when -- CH-CHING! -- knife blades jut out of the glove. He punches Jason in the stomach and starts RIPPING him open, rotten guts spilling out. Jason spots a cocktail waitress walking past with an axe in her head. This is BLOODY MARY. Jason reaches over the side of the ring and pulls the axe out of her head. Bloody Mary whips around, yelling: BLOODY MARY HEY! Jason swings with the axe -- SH-WACK! -- Jason SLICES OFF Freddy's arm. The crowd ROARS. Freddy looks down at the open armpit, GUSHING with ROTTEN BLOOD, and shrugs: FREDDY Oh, well... I just axed for that! Freddy GROWS a new arm, complete with glove of knives. Jason throws the axe at Freddy, who ducks it. The axe flies into the audience, SMACKING MUSSOLINI square between the eyes. He falls back to the floor. HITLER turns to EVA BRAUN and says disdainfully: HITLER Peasants... DING! The bell sounds. Freddy and Jason break, going into their respective corners. As Jason sits down in his corner, the HUMAN HEAD mounted on his corner post starts in: HUMAN HEAD That's it, kiddo! You're really giving it to him out there! Use the left more -- jab! Make him hurt! That's the ticket to a knockout! Up in her cage, Meagan clutches a terrifed Lizzy. INT. STUDIO - SAME TIME Erwin watches Jason sleep as the cultists BANG down the studio door. INT. NIGHTMARE ARENA - NEXT MOMENT DING! The bell sounds again and round two begins. Freddy and Jason get to their feet and close in on each other. Jason swings wide. Freddy ducks under Jason's massive fist just as the referee steps in for a close look. WHUMP -- Jason knocks the ref's head OFF, it goes flying up into the balcony. The crowd CHEERS. Jason chases Freddy around the ring, looking for an opening. Freddy backpeddles, tripping over the ref's decapitated body as several HUNGRY ZOMBIES drag him out of the ring, RIPPING his body apart and DEVOURING it. Up in their cage, Meagan and Lizzy grimace with disgust. Jason reaches down and grabs Freddy, hoisting him high above his head. Then Jason body slams Freddy to the mat. The crowd CHEERS. Jason starts jumping up and down on Freddy's back. Freddy reaches into his shirt and brings out a rusty can of spinach. In a grotesque parody of Popeye he opens the can -- full of nasty worms and maggots -- and gulps it down. Suddenly, Freddy throws Jason off his back and stands, huge muscles ballooning on his chest and arms. At the end of his right hand -- a heavy metal boxing glove. Jason gets to his feet in time to see Freddy cock the massive glove for a blow. CHING! -- dozens of spikes spring out of the metal glove. Freddy swings, knocking Jason into the ropes. He bounces off and falls to the mat. The fans go nuts. As Jason tries to get up, Freddy swings his right arm around and around -- the metal boxing glove turning into a giant mallet. Jason looks up just in time to see the mallet coming down. WHAM! -- Freddy drives Jason into the mat. The crowd goes wild. >From up in her cage, Meagan starts to scream: MEAGAN Jason! Get up! Get up! ANGLE UNDER THE MAT -- it's a dark, foreboding (under- water) abyss. Jason's legs kick, trying to get back up. Something slithers up from out of the deep... wisps of empty blackness clutching at Jason's boots. Freddy pushes down on Jason's mask, shoving him down. Jason struggles but keeps slipping. This looks like the end of Jason. Freddy laughs. MEAGAN (continuing) Jason! You've got to get up! JASON'S P.O.V. of Freddy looking down at him, pushing him down... drowning him... FLASH CUT TO: EXT. CAMP CRYSTAL LAKE - 1953 - DAY YOUNG JASON P.O.V. as he is being drowned. He fights to get to the surface... to see... who it is... Young Jason breaks the surface for an instant and his killer comes into sharp focus. It's FREDDY (AGE 13). His Camp Crystal Lake nametag reads: Hi! My name is Freddy! He pushes the young Jason down again, laughing. HARD CUT TO: INT. NIGHTMARE ARENA - NEXT INSTANT Freddy pushes Jason down into the abyss below the mat... laughing, when Jason snaps. With a burst of strength he kicks upward, coming up out of the mat. Jason grabs Freddy by the throat and seizes him up with him. Jason's momentum carries both of them up to the ceiling, where they CRASH through to... INT. STUDIO - CONTINUOUS ACTION Jason "wakes up", holding Freddy by the throat as he bangs his head into the lighting gridwork above the studio. A light EXPLODES and Freddy cries in pain... then realizes, he's been brought into the real world. FREDDY Oh, shit! Jason throws Freddy to the ground, then raises up a boot and stomps Freddy's head, SQUASHING it like a tomato. The Dream Demons squirt out. Just then, the cultists BREAK DOWN the studio door. They raise their weapons to fire, when their heads suddenly IMPLODE. They fall screaming to the floor -- dead. EXT. RELIGIOUS TV STATION - NIGHT - SAME INSTANT The remaining cultists SHOOTING it out with the police suddenly grab their heads, screaming. Their heads IMPLODE and they fall to the ground. Murdoch sees this and says to the S.W.A.T. commander: MURDOCH Now's my chance... give me sixty seconds to get in there then move in. Before the commander can reply, Murdoch is off and running into the station. INT. STUDIO - SAME TIME Meagan and Lizzy come out of their sleep-like trance and embrace. Then Meagan looks up at Erwin. MEAGAN What took you so long?! Erwin gestures to Jason, trying to keep his voice low so as to not hurt the big guy's feelings. ERWIN What ever you do... don't let this guy drive. Meagan smiles at Jason. MEAGAN I knew you would come... Jason and Meagan look over to where Freddy's body is fast decaying... turning back into blackened bones, scraps of cloth, and a rusting glove of knives. The Dream Demons squirm around on the studio floor, then swim into the open end of the camera cable and disappear. In the control room, Freddy's face appears on every monitor, laughing. ERWIN Oh, no! Freddy's in the transmitter! Erwin watches as an electrical Freddy-impulse races from the control room via a long thick cable running overhead. ERWIN (continuing) He's going for the satellite dish! If he uplinks with a communications satellite he can beam himself any- where in the world! We'll never be rid of him! Meagan and Jason look up at the Freddy-impulse shoots past them, going through the ceiling to the... EXT. RELIGIOUS TV STATION - ROOF - CONTINUOUS ACTION The satellite dish mounted on the roof. It begins to pulsate with an olive and red glow -- getting ready to beam Freddy. INT. STUDIO - SAME TIME Meagan reaches up and grabs the cable, pulling it hard. EXT. ROOF - CONTINUOUS ACTION The roof gives way, tilting the big dish just as it BLASTS the laughing Freddy-beam into the night sky. EXT. EARTH'S UPPER ATMOSPHERE - NEXT INSTANT The Freddy-beam just misses the satellite, ricocheting off one of the solar panels and sending the satellite tumbling into deep space. The deflected Freddy-beam now zooms towards the sun. Inside the beam -- Freddy sees the sun zooming up and screams. His face burns away, leaving a screaming skull. That too burns away, leaving the Dream Demons. One by one they burn up as the beam reaches the sun. ANGLE ON THE SUN as the beam EXPLODES, causing a solar prominence. INT. TV STATION - STUDIO - SAME TIME The ceiling collapses in on Jason, burying him under a ton of rubble and the big antenna dish. A ton of dust billows up. Just then, Murdoch bursts in. He sees Lizzy and Meagan and takes aim with the shotgun. Erwin sees this and jumps in-between them, yelling: ERWIN No! Wait! Murdoch FIRES. The shotgun blast knocks Erwin across the room, where he lands in a heap. Meagan and Lizzy run to his side. Erwin struggles to breathe -- a large hole in his chest. With fading strength, Erwin pulls his pin out and pricks himself. Erwin smiles and dies. MEAGAN Erwin? Erwin?! MURDOCH He's dead... and so are you if you don't put your hands up right now! Lizzy turns and attacks Murdoch. He knocks her to the floor, taking aim on her head with the shotgun as he says: MURDOCH (continuing) It's time I taught you girls some respect for the law! In a panic, Meagan snatches up a pistol from a fallen cultist and FIRES it at Murdoch's head. PTT-TWANG! -- Murdoch's hat goes flying off with a SPARK HIT, revealing his bald, hideous head -- a large open wound with a metal plate underneath. He turns towards Meagan with an evil grin on his face. MURDOCH (continuing) So... you wanna be a punk? Murdoch raises the shotgun, taking aim on Meagan. MURDOCH (continuing) Then die like a punk! Murdoch starts to squeeze the trigger when Jason's hand shoots out of the rubble pile behind him. Jason jams his hand down the back of Murdoch's pants and pulls up his briefs, lifting him a foot off the floor with a Jason-wedgy as he rises from the rubble. We see Murdoch's name written into his shorts. As Murdoch screams, Jason jerks the shotgun from his hand and jams it up his ass -- right through the seat of his pants. Murdoch's cheeks bulge out as the muzzle slams into the roof of his mouth. Jason cocks the shotgun and... BOOM! -- Murdoch's head and shoulders EXPLODE from his torso, leaving his broken spine sticking up out of shirt. Bits of Murdoch splatter the floor as his metal plate comes PINGING down, rolling around and spinning to a stop like a hubcap. Jason drops Murdoch (what's left of him) to the floor just as the S.W.A.T. commander and his men come charging in. They see Jason and raise their guns in panic. MEAGAN NO! Too late. The cops let loose with a BARRAGE of GUN- FIRE. BULLET HITS EXPLODE on Jason's chest. Meagan grabs Lizzy and covers her up as the bullets WHIZZ past. More cops hear the SHOOTING and come running. They start SHOOTING too. Soon the doorway to the studio is crowded with muzzle flash. More and more BULLET HITS SMACK Jason. A bullet hole outline appears on the wall behind him. The cops start running out of ammo and a cry goes up, "More ammo! More ammo!". VARIOUS INSERTS OF cops going for hideout pistols, opening their trunks and taking out ammo cans, passing the weapons and ammo up the staircase to the cops in the studio. Jason keeps getting SHOT. Pieces of his are flying off. Fingers shot off of a hand. A knee shot away to reveal the bone. Dozens of BULLET HITS going off of his chest and head. Finally, the cops start to run out of ammo. The SHOOTING subsides and finally grinds to a stop, leaving the cops knee-high in brass and a thick layer of gunsmoke in the room. As it clears, Jason still stands. He teeters a little, then falls backwards with a mighty THUD. Jason lays dying. Meagan rushes to his side. Jason reaches into one of the giant holes in his chest and pulls something out -- Jesse's heart. Jason hands the heart to Meagan. Then Jason's head rolls back -- he's dead. Meagan begins weeping as we pull up out of the studio, revealing her surrounded by Jason, Freddy, and Murdoch. DISSOLVE TO: INT. LIZZY'S ROOM - NIGHT Meagan tucks Lizzy into her bed. She gives her the Raggedy Ann doll and kisses her goodnight. As Meagan turns out the light, Lizzy asks: LIZZY You forgot to check under the bed. Meagan clucks and bends down, peering under the bed -- nada. MEAGAN No monsters here. LIZZY But what if they come back? MEAGAN Then we'll just have to kick their ass again. Lizzy giggles. LIZZY I love you, Meagan. MEAGAN I love you too. Go to sleep. INT. MEAGAN'S HOUSE - CONTINUOUS ACTION As Meagan crosses to her room, her parents call up to her from the bottom of the staircase. MEAGAN'S DAD Meagan? Meagan looks down at her parents. MEAGAN Yes, dad? MEAGAN'S DAD Your mom and I... well, we want to thank you for saving your sister's life... we know you went through a lot. MEAGAN'S MOM We're going to be there for you from now on... for both of you! And that nice lawyer we hired for you said he thinks he can get all the charges dropped... except maybe for the grave robbing and human desecration ones. MEAGAN'S DAD Everything is going to be fine. MEAGAN I know... MEAGAN'S MOM And I'm going to get sober... MEAGAN'S DAD We're going to be a normal, happy family again. MEAGAN I know... MEAGAN'S MOM Goodnight, sweetheart. MEAGAN Goodnight mom... goodnight dad. MEAGAN'S DAD Goodnight, Meagan. INT. MEAGAN'S ROOM - NIGHT Meagan is ready for bed, drawing back the covers, when the phone RINGS. She picks it up. MEAGAN Hello? FREDDY (filtered) I'll be seeing you in your dreams... Freddy's nasty tongue slithers out of the handset and licks Meagan in the face. She yelps and slams the phone down. MEAGAN (sighs) I know... Meagan puts the phone in a drawer and closes it. She climbs into bed and pulls back the pillow to reveal the pistol Erwin gave Jesse to kill Freddy. She smiles and puts the pistol back under the pillow. BLACKNESS: The phone RINGS. ROLL END CREDITS: Then... at the very end... CUT TO: INT. NIGHTMARE ARENA - SAME TIME Ted Bundy and all the spectators are looking up at the hole in the ceiling that Jason and Freddy made when they went back to reality... waiting. Finally, somebody says: MONSTER I don't think they're coming back. TED BUNDY Okay, folks... show's over. Every- body can go home now. All the monsters get grumbling and start to exit. CUT TO: BLACK... now it's over. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_French Connection, The.txt b/unformated_scripts/Script_French Connection, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..34f137cd59fc4d12502e69bb90dbde3fb7679ebe --- /dev/null +++ b/unformated_scripts/Script_French Connection, The.txt @@ -0,0 +1 @@ +Rev. April 26, 1971 THE FRENCH CONNECTION by ERNEST TIDYMAN and WILLIAM FRIEDKINDIRECTOR: William FriedkinPRODUCER: Philip D'AntoniEXT. LE VALLONOpening shot - High angle on Lincoln along small bay withboats.Ext. Bar - Waist to full figure Pan Right to Left. Detectivecomes out eating pizza, looking around. He crosses streetand stops against wall of impasse Michael.He looks O.S. left,His POV - L.S. of Lincoln behind fishing nets.Waist shot of Detective looking and eating.M.S. of Lincoln.C.S. of Detective looking O.S. Left.Pan Right to Left with Charnier coming out from Fonfon withthree friends and they walk to the Lincoln.Pan Left to Right with Lincoln passing in front of theDetective.EXT. CAFE LA SAMARITAINEHigh angle from balcony. Zoom on Detective seated at thecafe, reading a newspaper.Cut on Lincoln along sidewalk of the cafe, then zoom back todiscover Detective seated.EXT. MARSEILLE STREETSLow angle from stairs Rue des Repenties and Pan Left toRight to Rue Sainte Francoise following the Detective.Pan Left to Right with Detective from Rue des Repenties toRue Baussenque.Low angle between Rue des Moulins and Rue des Accoules withDetective passing by.Ext. Rue du Panier - The Detective comes out from the bakerycamera Right and starts to climb up Rue des Moulins with hisbread.EXT. STREETHigh angle - on No. 50 Rue des Moulins. Pan Left to Rightwith Detective coming up the street with his bread and goinginside his house, starting to open his letter-box. 2.INT. CORRIDORHigh angle - complete reverse. As the Detective starts toopen his letter-box in B.G. a hand pointing a gun moves inforeground and blows off half of the French Detective's headwith the first shot.Cut to Nicoli C.S. who just fired.EXT. A BAR IN BED-STUY - DAYA large man in a Santa Claus suit and white beard isentertaining a group of black children. He leads them inthe singing of a Christmas Carol (Hark the Herald AngelsSing). The man is DETECTIVE FIRST GRADE JIMMY DOYLE. Hisattention is split between the children and the activityinside the bar.INT. THE BAR - DOYLE'S POV - DAYThe place is crowded with mid-day drinkers. Dimly outlinedat the far end of the bar are TWO BLACK MEN involved in somekind of transaction in which a package is exchanged formoney. As the transaction seems to be completed, cut toEXT. THE BAR - DAYSanta Claus (DOYLE) starts to ring his big Christmas bell,above the singing. The bell is a signal to DETECTIVE SECONDGRADE BUDDY RUSSO. At this moment RUSSO is in the clothesof a hot dog vendor and is in fact working behind a hot dogwagon. At the ringing of DOYLE's bell he takes off hisapron, leaves the wagon, and runs toward the bar. DOYLE (as RUSSO passes him) The guy in the brown coat.INT. THE BAR - DAYRUSSO enter the bar on the run. He stops and looks over theroom.RUSSO'S POVThere are TWENTY or THIRTY MEN at the bar, at least TEN arewearing brown coats! The TWO MEN involved in the deal seeRUSSO and start to run. One (THE BUYER) takes off out ofthe back door. The other (THE PUSHER) jumps over the barand heads for the front entrance. 3.EXT. THE BAR - DAYTHE PUSHER dashes out past Santa Claus (DOYLE). RUSSOfollows him and all three give chase.EXT. BED-STUY TENEMENT ALLEY - DAYTHREE FIGURES running down a New York tenement alley, thefirst in flight, the others in pursuit. We pick up theincredible clutter of such an alley, mounts of rusting beercans, paper bags of garbage bulging and ripping open, oldbed springs, burned out mattresses, etc.EXT. BED-STUY TENEMENT ALLEY - DAYClose shot of BLACK PUSHER tripping on the tangle of trashgoing up against the wall in his stumble, face toward thecamera, and the figures of RUSSO and DOYLE leaping upon himfrom off-camera. There is a blur or fast struggle as DOYLEand RUSSO try to get his arms and put him against the wall.BLACK PUSHER writhes loose and we close in on a knife in hishand, plunging rapidly into RUSSO'S left forearm. RUSSO Son of a bitch!The words are both warning and a grunt of pain. As RUSSOtakes the blade and utters the words, we simultaneously goto DOYLE crouching and snatching his .38 out of the rightankle holster.EXT. BED-STUY TENEMENT ALLEY - DAYClose shot of DOYLE and the BLACK PUSHER, DOYLE pistol-whipping him into submission with three lightening chops ofthe gun to the PUSHER'S head. DOYLE continues to beat theman mercilessly into submission.INT. DOYLE'S CAR - DAY3-shot of BLACK PUSHER sitting between DOYLE and RUSSO.DOYLE is at the wheel. BLACK PUSHER is sitting on hishands, wrists manacled behind him, his head down and drippingblood onto the jacket and the canary-yellow turtleneck. Allthree are breathing hard. DOYLE What's your name, asshole? BLACK PUSHER Fuck you, Santa Claus!DOYLE hits him across the face. 4. RUSSO Your name is Willie Craven.BLACK PUSHER doesn't look up. DOYLE Who's your connection, Willie? What's his name?No response. RUSSO Who killed the old Jew in the laundromat?BLACK PUSHER's brow furrows, looks up just a little. BLACK PUSHER I don't... DOYLE Ever pick your feet in Poughkeepsie? BLACK PUSHER What? DOYLE Did you ever pick your feet in Poughkeepsie? BLACK PUSHER I don't know what you're talkin' about. DOYLE Were you ever in Poughkeepsie? BLACK PUSHER No... yeah... DOYLE Did you ever sit on the edge of the bed, take off your socks and stick your fingers between your toes? BLACK PUSHER Man, I'm clean. DOYLE You made three sales to your roaches back there. We had to chase you through all this shit and you tell me you're clean? 5. RUSSO Who stuck up the laundromat? DOYLE How about that time you were picking your feet in Poughkeepsie?The BLACK PUSHER'S eyes go to RUSSO in panic, looking forrelief from the pressure of the inquisition. RUSSO (in pain) You better give me the guy who got the old Jew or you better give me something or you're just a memory in this town. BLACK PUSHER That's a lot o' shit. I didn't do nothin'.The BLACK PUSHER's eyes are on DOYLE, frozen in confusionand fear. DOYLE You put a shiv in my partner. Know what that means? All winter I gotta listen to him gripe about his bowling scores. Now I'm gonna bust your ass for those three bags - then I'm gonna nail you for pickin' your feet in Poughkeepsie.EXT. HEADQUARTERS NARCOTICS BUREAU OF THE NYPD 12 OLD SLIPAND SOUTH STREETS - NIGHTDOYLE and RUSSO standing side by side on the front steps ofthe old First Precinct on the Lower East Side of Manhattan.RUSSO has his overcoat over his shoulders as a cape. Thesleeve of his left arm is rolled up over a blood-stainedbandage on the left forearm. DOYLE Havin' trouble? You're a dumb guinea. RUSSO How'd I know he had a knife. DOYLE Never trust a nigger. RUSSO He coulda been white. 6. DOYLE Never trust anybody. You goin' sick? RUSSO Not a chance.RUSSO nods in acceptance of the remark. The easy, synicalrapport between them is obvious: they are partners in abusiness where somebody is always getting hurt and pain ispart of the inventory. DOYLE Let's popeye around the Chez for a half hour, catch the end of the show and a couple drinks. RUSSO Some other time Jimmy, I'm beat.DOYLE reaches into the right side pocket of BUDDY's suitcoatfor a cigarette and matches. He lights up two in the pause,sticks one in RUSSO's mouth. DOYLE Come on -- one drink. Whatta you say? RUSSO Drink this. DOYLE Whip it out.INT. THE CLUB - NIGHTTHE TITLES COMMENCE THE FRENCH CONNECTIONTitles over a close shot of a chorus line, with lots of titsand ass and lean, long legs in a brassy blare of music. Wezoom back to the area where DOYLE and RUSSO are beginning tooccupy a table. RUSSO takes the seat on the right, eyesimmediately on all that ginch, while DOYLE standing, givestheir order. We do not hear the dialogue but DOYLE asksRUSSO what he wants BUDDY looks up and says "Cinzano." DOYLEturns and says "Two of these." DOYLE slips into the chairopposite RUSSO and the titles roll on. Unlike RUSSO who isconcentrating on the girls, DOYLE is digging the room andthe people who occupy the tables in it, as if he is the sortof man who cannot relax until he knows who is around him,why they are there. 7.INT. THE CLUB - NIGHTA long view from DOYLE's position of the room, a quickcertain survey that stumbles twice; on laughter that seemstoo raw and then over a flurry of activity by WAITERS andCAPTAINS serving a table on the main floor. DOYLE'sattention is apprehended by the noise and activity thatemanate from the same large table. DOYLE I make at least two junk connections at that table in the corner. The guy is the stripe combo, I know him too. RUSSO Hey, I thought we come for a drink.INT. THE CLUB - NIGHTA long view of the table with DOYLE and RUSSO very closeforeground, left and right. DOYLE is leaning on an elbow. DOYLE Who is that guy? RUSSO Policy man in Queens. DOYLE What about the last of the big-time spenders. You make him?RUSSO's eyes come off the show. It is a direct line fromDOYLE's gaze to the round, ruddy and arrogant face of SALBOCA, the apparent host of the table of EIGHT MEN AND WOMEN,the Men in dinner jackets with ties tucked under the collarsof blue or white lace-trimmed shirts, the Women in a mixtureof pant suits and Catskills cocktail party dresses, theirhair coiffed towers. RUSSO No, you? DOYLE Hunh-uh. Check the bread. He spreads it like the Russians are in Jersey. RUSSO He probably sells insurance. Owns a chicken farm in Hackensack. 8.Zoom in slowly on SAL as he deals tips and orders. ThroughDOYLE's eyes, we go from Guest to Guest at SAL's table,taking apart their manners and styles as they talk andlaugh, lost in the show chatter.INT. THE CLUB - NIGHTDOYLE finishing his drink, still looking at the table. DOYLE Dig who's just come over. The creep on the end.INT. THE CLUB - NIGHTThe camera pans down the table to dig the "creep on the end." RUSSO (VO) Jewish Lucky from the Bronx... He don't look the same without a number across his chest.INT. THE CLUB - NIGHTDOYLE close in right profile, SAL's table in the far blurredbackground. DOYLE Whatta you say we wait and give him a tail? RUSSO Give who a tail? DOYLE The greaser with the blonde. RUSSO What for -- you wanna play Hide the Salami with his old lady? DOYLE Come on -- just for fun --INT/EXT. DOYLE'S CAR - NIGHTThe view from the back seat of DOYLE's car. DOYLE is at thewheel, RUSSO packed uncomfortably into the corner at DOYLE'sright. Seventy-five yards away on the other side of thestreet the canopied entrance of the Club. A Continental isparked in front of the club. The DRIVER leaning on a fendertalking with the DOORMAN. DOYLE frisks his own pockets fora cigarette, coming up with a collection of laundry slips,crumpled notes, toothpicks and matches. 9.One of the slips of paper catches his eye as he is goingthrough the ritual of the cigarette mooch, a slip bearingthe name of a girl. His attention is really on the entranceof the Club and both his conversation and the cigarettebusiness are detached and incidental to the art of waitingthrough the stakeout. He stuffs the cards back into hispocket. DOYLE Monica? Who's Monica? RUSSO (handing him a cigarette) A and A, that's all you're interested in -- Arrests and Ass.As soon as DOYLE has finished lighting the cigarette SAL andhis PARTY come bubbling out of the Club noisily, a littledrunkenly. SAL waves to the attentive DOORMAN.DOYLE close, leaning forward over the wheel to put his handon the ignition key. He does not turn it. He is waitingfor the cover of noise from the starting of SAL's car.RUSSO is turning the opposite corner of the car into a bend,his head back, arms across his chest. DOYLE Cloudy, I'll lay odds he takes us to Little Italy.DOYLE reaches under his seat for the straw surveillancehat - throws it up to read ledge of car. RUSSO I'm telling you, Popeye, he owns a bagel mine in the Bronx.A long view of the Club entrance. SAL and ANGIE, a well-built "classy" blonde with good legs, get into their blackMercury sedan. The Mercury takes off towards First Avenue.We hear DOYLE's car start and we move off after them on thelast blink of tail-lights at the corner.EXT. BROADWAY - NIGHTCabs, Daily News and Times delivery trucks, bakery vans anda few cruising cabs, one or two passenger cars and a coastinggreen and black police cruiser -- this is the 4:30 a.m.traffic through which DOYLE moves.A rear-window view of SAL and ANGIE BOCA, in animatedconversation. His head is turned toward her, his handraised in a gesture. ANGIE is sitting in a corner with herback to the door, in profile to the back window. 10.Her blonde head bobbles with laughter over some remark SALhas made.A long overhead view of the two cars wheeling in and out ofthe sparse traffic.Close shot of the license plate on BOCA's car.Close shot DOYLE staring at license plate, memorizing it.EXT. RATNER'S - DAYBOCA and ANGIE exit restaurant, get into their car and driveoff. Hold for DOYLE's car as it passes through after them.EXT. MULBERRY STREET - DAYSide close view of SAL turning south into Mott Streetpanning to pick up the Italian names on the candy stores,funeral parlors, bars, grocery stores, social clubs.A long view of SAL's car from the DOYLE-RUSSO auto, over theshoulders of the two cops. DOYLE is leaning on the wheel ofhis car. He's against the curb about 100 yards behind SAL.Medium close view of SAL in the middle of Mott Street,walking quickly toward the opposite side of the street,hands in the pocket of his white raincoat. He glances overhis shoulder in the direction of DOYLE's car.Close of RUSSO who has come awake. The smart-ass demeanorhas dropped away. DOYLE turns to him and smiles. Thisdistrict is the heart of every illegal activity in New York.Close rear view of DOYLE and RUSSO ducking down to the levelof the dashboard, a reflex action. He couldn't see them atthat distance, although SAL, lighted by his own headlights,can be seen in the background walking around the cars,across the sidewalk and stopped at a recessed doorway.Medium close shot of SAL and partially visible FIGURE at thedoorway. With another glance up the street, SAL takessomething out of his raincoat pocket and steps up and intothe doorway.INT. DOYLE'S CAR - DAYClose from the front of DOYLE and RUSSO low against thedashboard. DOYLE It's a drop!DOYLE's face, close, light smile. 11.Long view of SAL walking down the sidewalk quickly for abouta quarter of a block while the headlights of his car, withANGIE apparently driving, move up with him. At anotherdoorway, he looks back and then steps inside.EXT. BROOKLYN BRIDGE - DAYLong view of SAL's Mercury moving over Brooklyn Bridge.Close shot of the DOYLE-RUSSO car from RUSSO's side. BUDDYnow interested, watching.EXT. BROOKLYN - DAYOverhead view of cars circling block, first Mercury turningcorner, then DOYLE's Ford.Long shot of the Mercury pulling up beside line of parkedcars (as seen from DOYLE-RUSSO car) stopping and parking.Hold on Mercury as SAL and ANGIE get out of it. SAL lockingit up, and starting to walk toward a line of parked cars.Close shot from rear seat of DOYLE and RUSSO glancing ateach other.SAL and ANGIE stop in the street beside beat-up white Dodge.Without a word they get in. Hold as they get in, SAL startsand they begin to drive out of the spot.Close on DOYLE. DOYLE It's startin' to cook, Cloudy, my man is cookin'...A series of impressionist traveling shots of the white Dodgeand DOYLE's Ford moving through Brooklyn Streets, picking upstreet signs of areas.Medium close shot of the white Dodge pulling into the curb.In near background, a candy-confectionery store.INT. DOYLE'S CAR - DAYClose shot of DOYLE and RUSSO in profile driving past thecandy store as SAL and ANGIE open door and go in.Close shot of DOYLE and RUSSO parked. DOYLE is looking inthe rear-view mirror while BUDDY is turned around on theseat, looking out the rear window.A long shot, from the DOYLE-RUSSO viewpoint of the candystore. The door is open, the street is deserted. Lightsare going on in the little shop. 12.Hold on the storefront as SAL appears, this time in a candystore operator's smock over a white undershirt, baggy slacks.He's carrying a stack of newspapers. Zoom in on SAL stackingthe Sunday Times and the Daily News on the rack in front ofthe store as ANGIE appears in the doorway. She's blackhairednow, the blonde wig gone, also wearing a grey cotton smockover a plain skirt and sweater, holding a cup of coffee. Wehold on them for a beat, then CUT TO:DOYLE and RUSSO close just looking at each other. The looksays everything about the freak case they have stumbled into.EXT. QUAY MARSEILLE SHIPYARD1) Tight two shot then, 2) cut into blue prints. CHARNIER En prolongeant les quais d'une trentaine de mètres on pourra recevoir des unités d'une cargaison de 500 tonnes.3) While he shows the extension, clean P.O.V. Of each quay.4) Dolly Left to Right with Notre-Dame in background. Theyfold the blue prints and moves. FOREMAN MARCEL Et combien d'hommes supplémentaires? CHARNIER Ca fera environ 10 hommes de plus par équipe. MARCEL Le Syndicat exigera un minimum de 12. CHARNIER Quelle importance. Ce qui compte pour moi c'est d'avoir un chantier qui puisse recevoir les plus grands bateaux du monde. MARCEL Dis moi vieille branche? Comment fais tu pour rester si jeune avec la vie que tu mènes? CHARNIER Quelle vie Marcel? J'ai plus rien foutu depuis que je suis descendu de ces cabines. 13.EXT. NUNNERYEXT. CORNICHE - HI-WAY (BERGER)Pan Left to Right Lincoln driven by Jean with Charnier behind.EXT. CASSIS CROSSROAD IN FRONT OF MARSEILLE SIGN POSTLincoln passing by.EXT. CASSIS HARBOUR FROM CASINOPan Right to Left with Lincoln passing by.EXT. CASSIS ROAD LEADING TO VILLAPan Right to Left with Lincoln arriving from main road toVilla.EXT. VILLA CASSISCamera in front of garage where the Lincoln stops. Charniercomes out with gift and walks Right to Left.EXT. VILLA CASSISPan Left to Right with Charnier walking along terrace withCassis bay in B.G., and we discover his wife, Marie. Shegets up. Dolly back. CHARNIER Bonjour chérie.They kiss each other and walk arm in arm back to us.EXT. VILLA CASSISClose 2-shot favouring her. He gives her the gift. CHARNIER Tu sais j'ai réfléchi longuement à ton cadeau pour le voyage. Je l'ai choisi moi-même. Tiens. MARIE Je peux l'ouvrir tout de suite? CHARNIER Si tu veux. 14. MARIE (opening the gift) Oh Alain! C'est merveilleux! Tu me gâtes. Je t'aime. Attends, je vais te montrer moi aussi ce que j'ai acheté. CHARNIER Encore du sho ping!EXT. VILLAL.S. Pan Right to left from under the trees following her asshe leaves Charnier to enter in the house.EXT. VILLAC.S. of Charnier along the terrace. He throws a fishingpole in the sea.EXT. VILLAPAN RIGHT TO LEFT with Marie coming back with a new coat. MARIE Regarde mon pêcheur de baleine... Tu sais il va faire très froid cet hiver. CHARNIER Avec ça tu pourras le supporter. MARIE Mais non, c'est pour toi. CHARNIER Pour moi? MARIE Regarde, il te va parfaitement bien! CHARNIER Formidable! Sans toi je m'habillerais encore en docker. (then, taking off coat) Je suis passé voir Françoise. MARIE Comment va-t-elle? CHARNIER Je n'ai jamais vu tant de sérenité. Elle m'a demandé de tes nouvelles et si nous étions heureux. 15. MARIE Le sommes nous? CHARNIER (he kisses her) Non!EXT. BOAT - CAR PARKComplete Pan Left to Right with Lincoln passing in front ofSamaritaine cafe.Driver pulls out. Charnier comes out from Lincoln and wefollow him as he crosses Left to Right and jumps into theboat which moves out.FROM BOATBack shot. Charnier standing in the moving boat and smokingas Marseille diminishes in B.G.OPENING SEA SHOTFrom the boat approaching Chateau d'If.ON PEERPan Right to Left as Charnier gets out of boat and starts toclimb up.High angle thru first stone door with sea in B.G. Charniercomes up and turns Right to Left.High angle -- Pan Left to Right -- Low angle, with Charniercoming up from 2nd arch to 3rd arch thru which we see thetower in B.G.EXT. CHATEAU D'IF - 1ST PLATFORMPan Left to Right with Charnier arriving on terrace.EXT. CHATEAU D'IF - CHARNIER - HIS POVNicoli back to us. He turns left shoulder as we approach tohim.EXT. CHATEAU D'IF - TWO SHOTDolly back preceding Charnier and Nicoli after they meet andPan Left to Right to the Rotonde. CHARNIER Ca a marché? 16. NICOLI Au poil.They turn around. CHARNIER Sale boulot. NICOLI Il fallait le faire. CHARNIER Il est en retard. NICOLI Je crois qu'on fait une erreur de le prendre avec nous. CHARNIER Une erreur! C'est génial. C'est une vedette à la télévision. Il peut aller partout sans être soupçonné... En plus il a besoin de fric. NICOLI J'ai pas confiance en lui. CHARNIER Sois gentil avec lui. On ne sait jamais. Il peut te faire travailler à la télévision.EXT. CHATEAU D'IFCut on Devereau arriving. He sees them.EXT. CHATEAU D'IFPan Left to Right bringing Charnier and Nicoli towardsDevereaux to finish in 3-shot. CHARNIER Henri c'est gentil d'être venu. Je vous présente mon associé, Pierre Nicoli. Henri Devereaux. DEVEREAUX Enchanté. (they shake hands) Alain, j'ai réfléchi à votre proposition et j'ai décidé d'accepter. 17.SURVEILLANCE MONTAGE OF SAL BOCA's activities. From time totime DOYLE and RUSSO are visible, but their dialogue is forthe most part VOICE OVER.INT/EXT. BROOKLYN CANDY STORE - DAYVarious shots of SAL and ANGIE. Several shots of DOYLE andRUSSO in the CANDY STORE: reading magazines, having lunchseparately. They are also seen in the LEATHER FACTORYacross the street observing the CANDY STORE. SeveralCHARACTERS enter the CANDY STORE from time to time and gointo the BACK ROOM.Following are a series of cuts (MOS) to be used with the V.O.dialogue of RUSSO and DOYLE.INT. CANDY STORE - DAYSAL counts the receipts. Two or three CUSTOMERS in the BG.SAL removes a tray of Ziti from the oven. ANGIE makes anorder to go.SAL removes garbage from the back area. RUSSO (V.O.) Our friend's name is SALVATORE BOCA. They call him SAL. He's a sweetheart. He once was picked up on suspicion of armed robbery. Tried to hold up Tiffany's on Fifth Avenue! In broad daylight! Could have got two-and-a-half to five, but they wouldn't prosecute. Also downtown they're sure he pulled off a contract on a guy named DeMarco.EXT. CANDY STORE - DAYSAL putting garbage into cans. Pan and Zoom to DOYLE andRUSSO in window of FACTORY across the street.INT. CANDY STORE - DAYANGIE carries bowl of hard-boiled eggs from rear of store tothe front. DOYLE (V.O.) His old lady?ANGIE makes a tuna sandwich on a roll. A cigarette danglesfrom her lips. SAL is in BG at cash register with customer. 18. RUSSO (V.O.) Her name's Angie... Fast filly... she drew a suspended for shoplifting a year ago... only a kid, nineteen according to the marriage license.From front of store looking to back. DOYLE (V.O.) Yeah, nineteen goin' on fifty. What else?RUSSO is at counter eating lunch with three others... ANGIEserving. She wears a sleeveless sweater; shows lots of tit.RUSSO digs... she digs him. A wise guy comes in, goes tothe back room. SAL follows. RUSSO (V.O.) He's had the store a year an'a half... takes in a fast seven grand a year.EXT. CANDY STORE - DAYPOV from FACTORY window... Two Wise Guys in big coats andhats pull up in a big car. They enter store. DOYLE (V.O.) So what's he doin' with two cars and hundred dollar tabs at the Chez?INT. CANDY STORE - DAYAngie shooting from back of store towards front. The TwoWise Guys enter, go to Back Room. SAL follows. They closedoor. DOYLE is at the magazine counter in front. He sitsdown with magazine. Orders coffee. RUSSO (V.O.) The Merc's in his wife's name. Dodge belongs to his brother.WARD'S ISLAND - DAYA heavy-faced, dirty looking man in a Sanitation Dept.uniform in a group of men practising with Sanitation trucks. RUSSO (V.O.) Lou... he's a trainee at the Sanitation School on Ward's Island. Served time a couple of years ago, on assault and robbery raps. 19.SEVERAL SHOTS - DAYEXT. CANDY STORELOU pulls up. As LOU picks up SAL. They drive to variousbuildings in Brooklyn. One or the other gets out briefly,then goes on. DOYLE and RUSSO watch from DOYLE's car.SUYDAM STREET DOYLE If that's not a drop or a pickup, I'll open a charge for you at Bloomingdale's. RUSSO Make it Alexander's, I like the toy department. DOYLE Toy wit' this will ya.EXT/INT. "MICKEY'S TWO DOOR" - DAY RUSSO There's about a hundred years' parole time in there night or day.SAL arrives alone. DOYLE and RUSSO in parked car acrossstreet. DOYLE They treat our boy like a king. Wonder why he don't bring his old lady?SAL flirts with the BARMAID. RUSSO There's your answer...THROUGH RIDGEWOOD - DAYRestaurants, stores, etc. DOYLE Who's the greaser?With SAL and his FATHER. RUSSO It's his father.DOYLE and RUSSO in parked car. 20. DOYLE I think we oughta burn him on suspicion. RUSSO Suspicion of what? DOYLE Makin' wine in the basement. (pause) He looks like that wop stooge used to drive for the Fracisi brothers.LOU joins them. He and SAL leave together after each kissesand embraces the old man. RUSSO Lay off with that wop stuff, will you?EXT. WEINSTOCK'S APT. BUILDING - DAYIn the East 80's. SAL exits. DOYLE That's the third time he come here this week. You got anything on the building?DOYLE and RUSSO in parked car. RUSSO The building's clean. I checked the tenant list -- Don Ameche, the actor lives there -- oh, and somebody else. Do the name Joel Weinstock ring a bell?TIME LAPSELate day. WEINSTOCK leaving building, nodding to doorman. DOYLE You're kiddin'DOYLE and RUSSO in parked car. RUSSO No sir -- this is where Joel lives. DOYLE He was the bank on that shipment outta Mexico three years ago. 21. RUSSO So I've heard.EXT. CANDY STORE - NIGHTSAL and ANGIE leaving. DOYLE Whatta you know -- he's takin' his wife out for a change.DOYLE and RUSSO in parked car.INT. LEATHER FACTORY - DAYAcross street from Candy Store. DOYLE and RUSSO at theprinting machine. DOYLE (at leather printing machine) Got a job for me when this is over, Mrs. Levene?They have a view of the Candy Store across street. Variouspeople go in and out. Next to DOYLE, at a stamping machine,is MRS. LEVENE, the factory owner. MRS. LEVENE What are you fellows looking for? What do you want from that nice candy store? DOYLE We have reason to believe it's a front for the biggest counterfeiting operation in the country. MRS. LEVENE What? DOYLE That's right. They're trying to steal the formula for Hershey bars --DOYLE continues his work at the print-out machine, whileobserving the candy store.We see SAL leaving the store. He crosses to his car, nearthe RUSSO car. As he passes it, he sees RUSSO locked inembrace with a lady in a babushka. As SAL drives off, weget a closer look at the "LADY" in the babushka: DETECTIVEJAMES DOYLE. 22.INT. RUSSO'S CAR ON TRIBORO BRIDGE CROSSING TO WARD'S ISLAND DOYLE What the hell am I drivin' for? I'm a first grade Detective. You're a second grade guinea. RUSSO I'm wounded. Oh, oh.SAL up ahead in the Mercury. DOYLE (at the wheel) What?EXT. WARD'S ISLAND - BRIDGEThe Mercury crossing the bridge to the Island. RUSSO He's goin' to Ward's Island. We'll get spotted. What the hell's he goin' there?DOYLE-RUSSO car B.G. DOYLE Maybe he's goin' to see his brother. DOYLE Or could be another drop. I guess he gets a free ride.EXT. BROOKLYN STREET - DAYA Brooklyn slum street on a morning in November. It isabout 11 o'clock and relatively quiet. A scattering oftenement URCHINS give the street some sound and life. Thereare a couple of dark shops on the street and a bar, allappearing to be closed. We look down the street and pick upDOYLE and RUSSO coming down it, walking very quickly. Theyare heading toward the bar. A young man is coming out -they grab him and throw him back.INT. BAR ROOM - DAYThe Young Man is thrown in, followed by DOYLE and RUSSO.There are about 20 or 30 PUETRO RICAN and BLACK MEN in thejoint, a couple of BLACK WOMEN. They are in all manner ofdress. Half of them are wearing shades. The bar is noisywith conversation, laughter and music. 23.DOYLE and RUSSO standing in the doorway, DOYLE slightly tothe left, RUSSO a little behind him. DOYLE's arms are athis sides. RUSSO's right hand is crossed over his belt,under his jacket and on the butt of his .38, ready, waitingto back his partner's play or respond to any move within thebar.DOYLE moving into the bar alone. He pulls the plug out ofthe Juke Box, plunging the room to silence. DOYLE Hands on your heads. Popeye's here!Twenty men raise hands to their heads as one. The raggle-taggle swarm plays a kind of human chicken, refusing to moveuntil the last moment then stepping out of his way. One ofthe customers doesn't. DOYLE What's my name? 1ST MAN Doyle. DOYLE What? 1ST MAN Mr. Doyle. DOYLE Ever pick your feet in Poughkeepsie? 1ST MAN What?DOYLE raises his left arm and pushes the MAN aside. TheMAN's eyes go to RUSSO, off-camera at the door, and back toDOYLE. He doesn't resist; he gets in line with the rest ofthem, a line formed about four or five feet from the bar,running the length of it.Close of DOYLE at the bar, holding an ashcan and skimmingthe metal underrailing with one finger, knocking off themagnetized key boxes into the ashcan. He isn't even lookingat them. His eyes are across the bar, staring down thecustomers.Close shot of the ashcan and the little metal boxes clinkinginto it.Close shot of DOYLE, the ashcan now on the bar, opening oneof the boxes, taking out the ten dollar bill, putting it onthe bar. 24.Then, opening another, taking out the glassine deck ofheroin. Then another, containing a glassine deck. Heempties the glassine envelopes on the bar into a cocktailmixer which he proceeds to shake. The shaker is half-filledwith tomato juice.DOYLE leaning over the bar toward the glaring crowd, poursthe mixture into the ashcan. DOYLE Milk shake anyone?He wiggles his finger. It is a command for THREE MEN tostep forward. The MEN do not move at first. DOYLE Move ass when I tell you.They move, shuffling, hesitatingly. But they move -- TWOBLACKS and A PUETRO RICAN. DOYLE Put it on the bar.Hands of the THREE MEN going into pockets.Close of a miscellany of keys, coins, cigarettes going ontothe bar -- with two hypodermics, six or eight marijuanacigarettes, a small plastic vial of barbiturates. DOYLE (collecting the works) All right, you three clowns step into those phone booths, you're goin' in. Go on. Stand in there till I'm ready for you.The three men turn and enter the individual phone booths.They stand, waiting, like contestants in the $64 Question. DOYLE Everybody goes when the whistle blows.RUSSO is with another man from whom he's just taken a set ofworks. RUSSO What's your story? DANCER Gimme a break, Mr. Russo. I'm in show business. 25. RUSSO You're in show business. DANCER S'right. DOYLE What do you do in show business? DANCER I'm a dancer. RUSSO All right, get up on that bar and dance. DANCER What? RUSSO Get up on the bar and show me how you work. If I like it you don't have to go in. DANCER You're for real? JERRY LEON Hey man, why don't you let the fella alone. RUSSO (a shout) Am I talkin' to you - JERRY LEON No, but I'm talkin' to you. RUSSO I'm tellin' you to shut up and stand over there. RUSSO (to Dancer) Get up there.The man climbs up on the bar. DANCER I got no music! RUSSO Fake it. 26.The man goes into a fast tap dance. But he only gets in afew steps -- DOYLE All right, that's enough, you're under arrest.RUSSO pulls the man off the bar, sends him into one of thephone booths.DOYLE coming down the front of the bar. He stops beforeanother man, who has just come out of the toilet. DOYLE What about you? Can you stand a toss? 2ND MAN I'm clean. DOYLE You don't use shit? 2ND MAN No. (he goes for his wallet) DOYLE Did I say you could move that hand -- I'm not gonna get stuck am I? 2ND MAN No - no. DOYLE Cause if I do.DOYLE frisks the man. Comes up with vial of pills and tworoaches. DOYLE Wise guy, huh? Let's see what else you got. (to RUSSO) - Buddy!He collars the man and shoves him towards the toilet.RUSSO, eyes moving everywhere, hand on the gun. 27. RUSSO If I see any shit on the floor, it's yours, so keep your eye on your neighbor.Inside the toilet of the bar. The MAN is up against thewall. DOYLE is only inches away.The MAN is an AGENT and this is the only way DOYLE can getimmediate information from him without destroying the man'scover. Their conversation is in whispers. And very fast. DOYLE How's everything? 2ND MAN Everything is everything. DOYLE How come there's nothing out there? That stuff is all milk. 2ND MAN There's nothing around. Nobody's holding. DOYLE I got a name - Sal Boca, Brooklyn. 2ND MAN Boca? DOYLE B.O.C.A. 2ND MAN Doesn't register. DOYLE Got a wife named Angie. 2ND MAN No, nothing. There's only some talk. DOYLE What? 2ND MAN Coming in this week, week after. Everybody going to get well. DOYLE Who brings it? 28. 2ND MAN Who knows? DOYLE Where do you want it? 2ND MAN This side.Door of toilet. There is a hell of a crash and slammingbehind it. Door opens and DOYLE steps out over the crumpledprostrate form of the INFORMER. He has just decked the manto continue the protection of the cover. He pauses halfwaydown the line as if he's speculating on beating up anotherone because he didn't get any information. But he decidesthat would be futile too. DOYLE I'm goin' check on this address in the Bronx, if you're bullshitting me, it's your ass. RUSSO Tell everybody we'll be back in an hour. DOYLE (to all) We're goin' now! Goodbye.EXT. PASSENGER SHIP - DAYClose shot of DEVEREAUX, New York harbor in the background,being interviewed by television reporters on his arrival inthe U.S. abroad a passenger ship. He is smiling, jovial,charming. REPORTER 1 How long will you be here? DEVEREAUX Not long enough. Two... perhaps three... weeks at most.Medium close shot of DEVEREAUX and THREE TV REPORTERS, asthey talk, a crane moves into action behind them and liftsout of hold. LA VALLE is with DEVEREAUX as Translator andInterpreter. GIRL TV REPORTER Why did you come by ship, Mr. Devereaux? 29. DEVEREAUX The next several weeks will be very difficult and the middle of the ocean is the only place where the telephone isn't ringing all the time. REPORTER What will be the viewpoint of your documentary. DEVEREAUX To make a Frenchman feel what it is like to be a New Yorker. LA VALLE That's enough now, ladies and gentlemen. M. Devereaux is due at his hotel in half an hour.Overhead the Lincoln comes down from the hold of the ship.EXT. WEST SIDE DRIVE - DAYA long view of the pier from the opposite (east) side ofWest Street, beneath the steel trusses and girders of theWest Side Drive and through the forest of cars that areparked there, the jam of traffic that develops around everyunloading vessel. It is a view that takes in the front endof the Lincoln inching off the pier. HENRI DEVEREAUX at thewheel, turns to his right. We watch until the point of viewon the sidewalk. ALAIN CHARNIER and PIERRE NICOLI arestanding there watching. When the car (off-camera) turnseast on the way to the garage, NICOLI glances to CHARNIER.CHARNIER does not look back.EXT. DORAL HOTEL - LINCOLN PULLS IN - DAYINT. POLICE OFFICE - NIGHTClose shot of WALTER SIMONSON at desk in the large squareoffice he occupies as a Lieutenant of Detectives in chargeof the Manhattan Narcotics Bureau. He is the immediatesuperior of RUSSO and DOYLE, head of the 200-man narcoticssquad that polices Manhattan. SIMONSON (with coffee cup) All that is great -- but you guys work Bed-Stuy. You're not supposed to be in Ridgewood.DOYLE, RUSSO and SIMONSON 30. DOYLE Detach us. Let us have a shot at it, at least until we see if there's anything here or not. Everybody wants Weinstock, right? So maybe here's a lead. We deserve it. SIMONSON You couldn't burn a three-time loser with what you're bringing in here. You know you stiffs could run yourselves an entrapment rap. The guy has done nothing -- Brooklyn is full of Candy Store guys with two cars who like to go to nightclubs. RUSSO Put this little candy hustler together with Joel Weinstock and it could be we stumbled into a big score. SIMONSON (moves to window) Big score! He's dealin' a few bags here and there on the side. DOYLE Simonson, I wouldn't be infringing on your coffee break if I thought he was a nickel and dimer. SIMONSON Your hunches have backfired before, Doyle.DOYLE, close, no comment.Back to SIMONSON. SIMONSON (moves back to stand at desk) Jimmy, what the hell's happening with you lately? (pause) You got more collars than any Narc in the bureau. What was it. Over 100 last year? Terrific. But who? (MORE) 31. SIMONSON (CONT'D) You stop and shake down a bellboy because he's got three joints in his sock. You hit a high school kid in short pants who looks like he's got a twitch.RUSSO. Getting it back on the track. RUSSO (moves in to desk) We got information that there's no shit in the street -- it's like a desert full of junkies with a big score coming in to make everybody well.DOYLE DOYLE This could be it, Walter. This Candy Store guy, putting on a big show in a fancy nightclub with known connections all over him. Then on our own, after working the whole day and night, we tail him out to Brooklyn and sit on him for a week practically, and who do we come up with? Joel Weinstock. (he leans forward) You gotta let us have it.THREE SHOT - RUSSO, DOYLE, SIMONSON SIMONSON (pause, he turns to RUSSO) You really believe all this crap? RUSSO I go with my partner.A pause. SIMONSON What'll it take? RUSSO First a wire. DOYLE Two wires. One on the store and one on his house. 32. SIMONSON You know I have to get a court order for wiretaps. RUSSO Try... okay? DOYLE We know you can do it, Walter.They start to leave.Close on SIMONSON. SIMONSON Popeye...Close on DOYLE at the door. RUSSO beside him.Back to SIMONSON SIMONSON You still pickin' your feet in Poughkeepsie?WIRETAP SEQUENCE "A"INT. BASEMENTRUSSO on phones -- checking notes on SAL. DOYLE readingcomics on cot. Tape machine clicks on -- tape is activated.RUSSO sits attentively.EXT. CANDY STORE - DAYShot of wire. 33. SAL (V.O.) RUSSO What's this crap. I just (He raps on table spoke to my wife and she with a coffee cup. says you're raisin' me a Doyle gets up.) halfa cent on the cups. C'mere and lissen to your big connection. WHOLESALER (DOYLE comes over) (V.O.) He's fightin' with somebody Yeah, well you know I about a halfa cent. shoulda raised this here a long time ago. We got a DOYLE inflation period... How we gonna keep Simonson from hearin' this? SAL (V.O.) I got your inflation. I can RUSSO get the same cups on Delancey If he does, we'll be back in Street for what I been Bed-Stuyvesant tomorrow. payin' you for the last year -- That's all I gotta do with you guys -- next time it'll be two cents on the cones, then two cents on the seltzer -- WHOLESALER (V.O.) C'mon Sal, I got my orders, too -- SAL (V.O.) Well, if you can't do better than that, you can stick the cups.EXT. AUTO GRAVEYARD (HUNTS POINT AND EAST RIVER) - DAYHIGH ANGLE: Close shot of CHARNIER, MARIE and LA VALLEwalking slowly together toward the camera. They are at theauto graveyard and the scene of an auction of cars towed offNew York streets by the Police Department. About twentyother men are walking around, looking at the cars.A POLICEMAN blows a whistle and the prospective car buyersgather around the auction trailer in the b.g. LA VALLE There are four auto graveyards like this one in the other boroughs, handling about a thousand vehicles a month. Those that aren't claimed are auctioned here once a month. MARIE Just for mistakes of parking? 34. LA VALLE No. Many are involved in crimes and confiscated... or just abandoned. This is, as you know, your prime source of scrap metal, M. Charnier. MARIE (off camera) Darling, may I have this one?Medium close shot MARIE, standing next to an LTD. MARIE It looks so lonesome here.CHARNIER and LA VALLE approach her. CHARNIER It would look even more lonesome in our garage.INT. THE AUCTION TRAILER - DAYWithin the large trailer, about TWENTY MEN are seated at twolong benches to each side. Some are standing to the rear.At the front, an AUCTIONEER stands at a lectern. To hisleft sits a CLERK at a small table. The AUCTIONEER wears asweater and hat. The buyers are tough types, young and old.All have inventory lists. The atmosphere is informal. TheCHARNIERS and LA VALLE enter the trailer at the back. AUCTIONEER Every car sold today must be removed at the purchaser's own expense. We have no keys or anything to start the vehicles with. You buy 'em as you see 'em and where you see 'em. All right, the first car offered is Number 24398. A Plymouth sedan. Do I hear fifteen dollars?The bidding goes up to forty dollars. A large BURLY MANwins the bid. He goes up to the CLERK and accepts the billof sale. AUCTIONEER We go to 24399 -- A Pontiac Station wagon. Do I hear ten dollars? LA VALLE (aside to CHARNIER) Notice he will never mention the year of the car. 35. AUCTIONEER I got a fifteen dollar bid going... Do I hear anymore... Eighteen... who'll say Eighteen? Twenty... Twenty-three... Anymore... Twenty-five. Twenty-five once -- Do I hear twenty-eight... All right, last call for twenty- five...Close shot of CHARNIER CHARNIER (aside of LA VALLE) And these are the cars we're buying for shipment?Close shot of CHARNIER, MARIE and LA VALLE. They are facingthe AUCTIONEER. LA VALLE Yes, sir. That man in the dark jacket is our buyer.Close shot of THE BUYER, LOU BOCA. He is very active andwins the present bid.WIRETAP SEQUENCE "B"INT. BASEMENTDOYLE and RUSSO playing Gin Rummy, listening at each end ofone phone - breaking up.EXT. HOUSE - NIGHTShot of wire. ANGIE (V.O.) (sleepy) Where are you? SAL (V.O.) Takin' care o' business, honey. ANGIE (V.O.) Takin' care o' business -- it's after midnight. SAL (V.O.) You know I hadda meet some people tonight -- 36. ANGIE (V.O.) -- Well finish all your meetin' people and get back here now -- and bring a pizza with you. SAL (V.O.) Where'm I goinna get a pizza this time o' night? ANGIE (V.O.) Well try, okay? SAL (V.O.) I don't know where I'm gonna find a pizza joint open. ANGIE (V.O.) Sal -- SAL (V.O.) Yeah? ANGIE (V.O.) Don't forget anchovies. (she hangs up) SAL (V.O.) This broad's crazy!EXT. WARD'S ISLAND (UNDER WEST ABUTMENT OF THE HELLGATEBRIDGE)Pick up CHARNIER, MARIE and MAURICE LAVALLEAs the camera plays over the bridge: (in French) CHARNIER (V.O.) It's beautiful. LA VALLE (V.O.) It was built in 1917 - and was one of the two heaviest bridges in the world. The arch is still the largest in the world. CHARNIER Who financed it? 37. LA VALLE Two railroads as part of a connecting railway which provided passage from New England to the South. It was actually the first railroad through New York City. MARIE Why is it called Hellgate? LA VALLE The river at this point is the most dangerous on the East Coast. Years ago, hundreds of ships went down here. CHARNIER If this bridge were in Europe, it would be on every tourist's sight- seeing list. LA VALLE Most New Yorkers never notice it - most Americans have never heard of it. CHARNIER Look how gracefully they conceived that arch. Like a bowstring. It was built from both ends. With no support in the middle. Beautiful. LA VALLE Mmm. MARIE Alain is the only man I know who can become as enthusiastic about a bridge as he can about a woman. CHARNIER Not any woman, Marie. Just one.EXT. OLD ROAD IN WARD'S ISLANDCHARNIER, MARIE and LA VALLE walking.(NEAR GARAGE) 38. LA VALLE I'm afraid the rest of Ward's Island isn't nearly as romantic - a pollution plant, a hospital, a training school for garbage men and that area over there, where the old cars are kept, prior to being processed for shipment to, among other places, The Charnier Shipping Company, of Marseilles, France.(NEAR CREMATORIUM) MARIE What is that old building? LA VALLE Oh, it's been abandoned for years. MARIE What was it? LA VALLE It was a crematorium. MARIE For garbage? LA VALLE For dead bodies.WIRETAP SEQUENCE "C"INT. BASEMENTDOYLE on phones. CHARNIER (V.O.) Allo... Salvatore... SAL (V.O.) Who's this -- CHARNIER (V.O.) ... Salvatore?...RUSSO enters with a bag of sandwiches and cigarettes. DOYLEwaves him to the phone. 39. SAL (V.O.) RUSSO ... Oh... yes... yeah... Who is it? hello... this is Sal... How are ya? DOYLE Sounds like a foreigner... CHARNIER (V.O.) Very well... you meet me RUSSO Wednesday at the hotel... (listening at the Okay? other phone) French... It's a Frenchman... SAL (V.O.) Good... good... great! DOYLE This is what we been waitin' CHARNIER (V.O.) for -- the stuff is here! Will I expect you? It's here! SAL (V.O.) What time? CHARNIER (V.O.) Twelve o'clock... yes... SAL (V.O.) Yes --The phone clicks off.DOYLE and RUSSO round each other and jump up and down liketwo kids.INT. WHIP GIRL'S APT.Close shot of NICOLI's face. He's being whipped, and iscaught in an ecstasy of pain and pleasure. The tempo of thestrokes rises. Suddenly it reaches a crescendo and hescreams out in orgasm.Close, full-length shot of a nude BLONDE GIRL, wearing onlyblack boots and silk panties. She's walking away from thecamera, throwing aside a small cat-o-nine-tails flagellantwhip. We can hear NICOLI's heavy breathing until the girlspeaks as she moves toward a couch.Medium close shot of NICOLI, tying his tie shrugging intoovercoat.Medium close shot of NICOLI, looking at the bills with apause to sort out the currency differences, then taking outfive twenties.Close shot of the WHIP GIRL taking the five then moving upto the look of annoyance and disappointment on her face. 40. WHIP GIRL You're Fifty Dollars short.The look of anger turns to one of consternation as NICOLIreacts to her. WHIP GIRL M'sieru - the tab for this scene is a hundred and a half. (he moves to door) Hey Frenchie - if you don't come up with the scratch, you're gonna run into my man downstairs.Medium close shot of NICOLI advancing on the WHIP GIRL asshe backs away and begins to cringe. He grabs her and hurlsher back across the couch.Close shot of the GIRL. WHIP GIRL Don't hit me. Don't. Please.We hear the door slam as she sobs. WHIP GIRL You filthy faggot sonofabitch.INT. CUTTING ROOM - DAYClose shot of two pro football players smearing each otheron the field, others falling on top of them.Medium close shot of DEVEREAUX at a Movie-ola working outhis narration (DIALOGUE IN FRENCH) DEVEREAUX This is the new American religion, professional football. It is where everybody goes instead of church on Sunday to express that peculiar American taste for bloodshed and violence.Several close shots of the violent action.Intercut with faces of the crowd.Close shot of DEVEREAUX. 41. DEVEREAUX These men, playing a "game" - make more money each year than many important business leaders, artists or government officials. (zoom out) It tells us something about this country and how its men live, or go to war with a smile, and sometimes die without a cause.The phone rings - it is CHARNIER. EDITOR It's for you - Alain Charnier.Hold close up of DEVEREAUX.INT. MUTCHIE'S BAR - NIGHTIn Lower Manhattan. There are SIX or EIGHT MATRONS stillthere, stevedores and truck drivers. Most of them areclustered at the far end of the bar, where MUTCHIE, a gray-haired gone-to-paunch Irishman with spectacles as thick aspop-bottle bottoms stands behind the mahogany bar. Thecluster of customers is involved in a typical New Yorksaloon argument.DOYLE is ignoring the debate and watching the television.He is approached by a small MAN in a long coat and baggysuit with suspenders. This is JESUS THE BOOSTER. JESUS Hey, Bo. DOYLE Hiya, Jesus. JESUS Can you use a new suit for Christmans? DOYLE Whatta you got?JESUS reaches into his trousers and pulls out three suits(jackets and pants). They are of the latest style andcolor, and still on hangers! JESUS Whatta you?... a 44... 46?DOYLE examines one of the jackets. 42. DOYLE Where'd you get this fag shit? JESUS This is what the tough guys are wearin'. You know I only steal from the best. It's Bonwit Teller. DOYLE Pass. JESUS Forty dollars -- was $250. DOYLE Whyn't you get it dry cleaned and burned.JESUS blends into the crowd and we pick up the dialogue ofMUTCHIE and his cronies, BAD EDDIE, LEE and PUGGY. MUTCHIE A big man could alluz beat a little man. That's why Wilt Chamberlain could murder Jim Brown if they ever fought. BAD EDDIE No chance. Brown'd kill him. MUTCHIE Chamberlain's seven foot tall, right? He's got a twelve-foot reach. It's geophysics. He's punchin' down on you with leverage. He cave your chest in. BAD EDDIE Best I ever seen was The Rock. He was the calmest and the meanest. Guys like Sugar'd be pukin' before a fight. Jake LaMotta'd be pukin'. Marciano was calm like he was goin' to church. What about the night he fought LaStarza? He hit him so hard he broke the blood vessels in LaStarza's arms. He was the strongest meanest bastard ever lived. PUGGY Hey, Mutchie, give us another bullet.MUTCHIE pours him a straight Scotch in a shotglass. 43. MUTCHIE Blackjack Burns coulds been the greatest ever -- PUGGY -- He was a stone tanker. MUTCHIE That's right, he couldn't fight legit. One night at the Garden about 1950, '51 -- he fought either Jake LaMotta or Gus Lesnevich, I think it was -- he took one o' those cream puff punches in the sixth -- the laziest left you ever seen -- missed him entirely. Down goes Blackjack without even workin' up a sweat and the whole Garden gets up in its feet and I swear to Christ, everybody starts singin' "Dance With Me Henry." LEE I fought a guy in Cleveland once. I knew he was a dirty fighter so I stick a crowbar in my crotch. Right here. Second round he gives me a shot -- Boom -- he breaks his hand, the fight's over. PUGGY Fuck it, I like nitroglycerin, that's my game. MUTCHIE What about you, Doyle? Who's the best fighter you ever seen? DOYLE (a few drinks behind him) Willie Mays. BAD EDDIE & LEE Willie Mays?! DOYLE With a baseball bat! One swing! Knock your fuckin' head off.TIME LAPSE. The DRINKERS are gone. MUTCHIE is at the barcleaning up. DOYLE is in the open adjoining kitchen areacooking breakfast. 44. MUTCHIE What ya doin' out so late? Hidin' from the cops? DOYLE I hear the health department is going to close this joint for selling dirty beer. I come by to help you carry out your money. MUTCHIE They'll close you down if they ever get a look at those busted-valise broads you run with. DOYLE You want some eggs. MUTCHIE Why not? DOYLE (looking around for bacon) Hey, Mutch! You want bacon? MUTCHIE Yeah! DOYLE (rattling pans, looking around) Where the hell is it? MUTCHIE Where the hell do you think it is, potato head?DOYLE opens the door to the icebox. MUTCHIE No wonder there's so many Mafia around. Ya couldn't find a Puerto Rican in Spanish Harlem.TIME LAPSE. Almost morning. Close on DOYLE and MUTCHIEeating bacon and eggs. MUTCHIE is standing behind the baras he eats, DOYLE is sitting in front of it. They both havea bottle of beer. 45. MUTCHIE I got this little chick I'm tryin' to hit on. She's about 20, 21... I take her to Jilly's last night and she's tellin' me about how she wants to settle down one day, get married... I says, "Hey, this is 1971, baby, I'm just a dirty old man lookin' to score with some pussy." DOYLE Strike out, eh? MUTCHIE Yeah. In the late innings. Ya look like a night's sleep wouldn't kill ya. DOYLE A piece of ass wouldn't kill me. MUTCHIE When ya go back on? DOYLE Morning. Sometime. MUTCHIE Whyn't ya stretch out on the pool table for a couple hours. The kid comes in at six will wake ya. A couple eggs and a beer is cheaper than keepin' a dog around the joint.EXT. MUTCHIE'S BAR - DAYClose of DOYLE going to his car. He stops for a light.DOYLE is red-eyed and in need of a shave. He fidgetsthrough his pockets looking for a cigarette but doesn't findone. As he drives along a GIRL CYCLIST comes into viewalongside.Our view is DOYLE's view of her long, lean tapered legs. Ifhe looks further, and DOYLE always looks further, he willsee there is a bra-band sweater covering her well-formedbreasts. The pendulous swing is there as she bends over thehandlebars.Close front view of DOYLE looking back to the light, thenback to the legs.Close outside view, the cyclist, of DOYLE leaning out thewindow with his badge in his hand. 46. DOYLE You got a pedaller's license? GIRL What? DOYLE You're under arrest.INT. SIMONSON OFFICE - DAYMedium close shot of RUSSO and SIMONSON. PHIL KLEIN, afederal narcotics agent, is reading aloud from an article inthe New York Daily News. MULDERIG is listening and sippingcoffee.Close shot of BILL MULDERIG, a Fed narcotics agent. MULDERIG Whatta you got -- four more years, Walter?Medium close of SIMONSON and RUSSO SIMONSON Three.Close shot of MULDERIG. MULDERIG Christ, by the time you get out all this shit'll be legal.Wide shot of room, taking in SIMONSON, RUSSO, MULDERIG andPHIL KLEIN. SIMONSON hands BUDDY a stack of warrants. SIMONSON (rises, to RUSSO) The judge gave you ten days on these. Klein and Mulderig will be sitting in for the Federals. Tell Doyle they'll make all the buys, and that they're to be kept informed of everything that goes down.SIMONSON turns to MULDERIG. SIMONSON You know Doyle, don't you Bill?Close of MULDERIG. 47. MULDERIG (rises) Sure, I know Popeye. The Master of undercover, whose brilliant idea of disguise is to limp into a room on his left foot and limp out on his right. Whose brilliant hunches cost the death of a good officer --Close of RUSSO RUSSO If that's how you're coming in, why not stay home and save us all a lot of grief.MULDERIG, close. MULDERIG That's just my opinion.RUSSO, close. RUSSO Whyn't you shove it up your ass!EXT. DOYLE'S APARTMENT BUILDING - DAYLong shot of RUSSO approaching housing project group ofbuildings. This is where DOYLE lives.INT. HALLWAY TO DOYLE'S APARTMENTRUSSO rings the bell. No response. He knocks. Againnothing. He hears a shower working inside the apartment. RUSSO Popeye.No answer. RUSSO Popeye. DOYLE (off, weakly) Yeah. RUSSO It's Cloudy. Open the door. DOYLE (off) I can't. 48. RUSSO Why not? DOYLE (off) Let yourself in.RUSSO reaches into his jacket pocket and gets a celluloidcard, his PBA card, which he slides into the door at thelock. He gives it a juggle and the lock is free but thedoor moves grudgingly.INT. DOYLE'S APARTMENT - DAYThe door to DOYLE's apartment, a close view from inside.There's a bike propped against it and BUDDY RUSSO is tryingto push it open from the outside. RUSSO (behind door) What the hell you got holding the door?The bike teeters and falls with a crash and RUSSO comes intothe room puzzled, exasperated.INT. APARTMENT - RUSSO'S POV - DAYDOYLE is anklecuffed to the bedpost at the foot of the bed. RUSSO What happened to you? DOYLE (sleepy) The crazy kid handcuffed me to the bed. With my own cuffs.The shower goes off. RUSSO puts the bike upright on itsstand and squeezes the horn, which makes a loud beep.The BIKE GIRL appears in the bathroom door, wrapped in atowel. BIKE GIRL Oh!RUSSO sees key on dresser - tosses it to DOYLE. There areclothes all over the place, the GIRL's cycling outfit,DOYLE's pants and shoes and socks. The decor is completelyimpersonal. RUSSO looks up. 49. RUSSO (looking at scrapbook on dresser) You oughta get plastic covers for this stuff like I did - your scrapbook's a mess like everything else in your life.RUSSO goes to chair. DOYLE Gimme my pants.RUSSO, who is half sitting on them, pulls the pants looseand hands them to DOYLE. DOYLE You got the warrant? RUSSO (sitting) We also got Bill Mulderig and Phil Klein.Close on DOYLE, buttoning his pants. DOYLE What do we need those pricks for?Medium close on RUSSO picking around through the clothes,coming up with a pair of panties. He holds them out. RUSSO Because by actual count our bureau has exactly nine hundred eighteen dollars and fifty-four cents to make buys and Mulderig's Feds can get all of Uncle Sam's money he wants by just asking.DOYLE sitting on bed, strapping the holster on his ankle.He checks his gun. DOYLE Throw 'em in the bathroom, will you? How good are the warrants? RUSSO (on the move down hall, at bathroom door) Sixty days. Here. Don't mention it. 50.DOYLE is checking various items that go in his briefcase -notebook, handcuffs, book of laws, field reports, pencils,binoculars, candy bars, etc.Medium close shot of RUSSO looking toward the bathroom door. RUSSO Hi!RUSSO looks back to DOYLE. There is the sound of a kickstandbeing kicked back in place, the door opening and the GIRLleaving.Medium close shot of DOYLE tying the shoes, wincing. Lookingup to the departing GIRL. RUSSO Drive carefully!EXT/INT. RUSSO'S CAR - DAYClose shot of BILL MULDERIG in back seat. BUDDY is infront, next to DOYLE at the wheel. MULDERIG Strictly small potatoes.We can see DOYLE working to keep up with the black Mercuryas they cross the Brooklyn Bridge in fairly heavy traffic.The Mercury cuts around in and out, DOYLE plunges after him. MULDERIG You really know how to pick 'em, Doyle.RUSSO turns his head in anger. MULDERIG Still wearing your gun on your ankle?No answer. MULDERIG Somebody told me the reason you did that was so's when you met a chick and rubbed against her she wouldn't know you were a cop.No answer. MULDERIG I said that was bullshit. It must be some kind of fast-draw gimmick or something. 51. RUSSO Knock it off, Bill. MULDERIG He's gettin' too far ahead. You're gonna lose him.DOYLE cuts into the next lane to a lot of horn-blowing andcomes to a dead, screeching stop. DOYLE sits up sharplyerect in the seat, craning to see where SAL is going. Hethrows open the door and hurls himself out.EXT. BROOKLYN BRIDGE - DAYRear medium close shot of DOYLE climbing up on the side ofthe car to look ahead, then jumping down and running off.DOYLE running as hard as he can.Medium close side shot of SAL turning off the bridge ontothe FDR Drive, moving quickly and smoothly uptown.DOYLE running to a stop, and staring ahead. Breathing hard,horns are blowing on the bridge and they drown out the wordsas he curses, "Dirty Sonofabitch."INT. RUSSO'S CAR - DAYRUSSO is on the blower. RUSSO Phil -- it's Cloudy -- we lost him --Static comes over the two-way radio.EXT. BOCA'S CAR COMES OFF RAMP, PAN TOINT. KLEIN'S CAR - DAYKLEIN is parked on Pearl Street below the Brooklyn Bridge. RUSSO (V.O.) He just got off the Bridge - He's all yours if you can find him. Sonofabitch!KLEIN starts his car.EXT. A PARKING GARAGE IN THE EAST 40'S - DAYSAL emerges from the garage and heads toward Madison Avenue.He passes a man looking in a store window, PHIL KLEIN.KLEIN follows him. 52.EXT. A STREET IN THE EAST 40'S - DAYSAL stops abruptly at the corner and turns around. KLEIN isforced to pass him and cross the street.SAL crosses the street to his left, at a right angle to KLEIN.EXT. MADISON AVENUE - LATE DAYSAL moving north on Madison Avenue. He is walking in atriangular trap of foot surveillance. We begin to learnthis when we fall back twenty feet behind SAL and pick upthe figure of JIMMY DOYLE, moving at exactly the same pace.While he keeps looking forward after SAL, he also looksregularly to the left, across to the West side of Madisonwhere we quickly zoom in on the figure of BILL MULDERIG, whois on an even line opposite SAL and moving almost preciselyin step with the subject of their surveillance. MULDERIGkeeps an eye on SAL but is also glancing north ahead of SALto BUDDY RUSSO, who is 20 or 30 feet ahead of SAL, thusforming the triangle of the A-B-C tail.SAL bobbing along.DOYLE following.MULDERIG keeping pace.RUSSO up front.SAL suddenly turning East at the Northeast corner of 46thStreet, the block occupied by the Roosevelt Hotel.MULDERIG yanking at his right ear.RUSSO spinning around, hurrying back toward the corner.DOYLE turning East at the Southeast corner of 46th Street.RUSSO coming around the corner looking to DOYLE.DOYLE indicating the Roosevelt entrance with his chin whileMULDERIG comes up to join DOYLE.RUSSO moving quickly into the Roosevelt entrance on 46thStreet between Madison and Vanderbilt.INT. ROOSEVELT LOBBY - DAYRoosevelt lobby stairs with ALAIN CHARNIER, PIERRE NICOLI,SAL greeting. CHARNIER Excuse me. 53. RUSSO (he is moving through the jam they form on the stairs) Excuse me.We move into the lobby of the Roosevelt and then spin aroundquickly, to watch CHARNIER, NICOLI and SAL moving upstairsand out the door.EXT. DAYA distant view from the Northeast corner of 46th Street andMadison Avenue of the Roosevelt Hotel marquee and the threemen under it, CHARNIER, NICOLI and SAL. They are in animatedconversation.DOYLE and MULDERIG on the point-of-view corner acrossMadison, MULDERIG with his back to the camera, DOYLE talkingand watching over Mulderig's shoulder.Close shot DOYLE's face, eyes bright with excitement.Long view of CHARNIER, NICOLI and SAL under the marquee fromDOYLE's view, zooming in on CHARNIER, who continues to talk,look up, then look back to SAL. DOYLE You take Sal. I'll stick with the beard if they split.EXT. MADISON AVENUE - DAYRear view of ALAIN CHARNIER and PIERRE NICOLI strollingslowly down Madison Avenue in the Forties.An overhead view of the pair, CHARNIER and NICOLI, includingDOYLE 20 or 30 yards behind, RUSSO across the street, evenwith him.CHARNIER and NICOLI window-shopping at Walter's Electric,49th and 3rd Avenue.RUSSO looking quizzically, puzzled, from a doorway.CHARNIER and NICOLI are engaged in a running conversationthat we cannot hear. But what CHARNIER is saying is simplythat he wants to get a pack of cigarettes before they turnback and stop for dinner.RUSSO looking to DOYLE for a signal. 54.EXT. A CIGAR STORE - DAYDOYLE already beginning to feel the cold, rubbing his handstogether, at the front of the place CHARNIER and NICOLI haveentered, trying to figure it out as CHARNIER and NICOLIemerge, CHARNIER ripping the cellophane off a pack ofcigarettes, and they turn back in DOYLE's direction.DOYLE, face to face with CHARNIER and NICOLI. Straining tohear, he picks up a few words of French. Without losingstride he steps off the curb and cuts across the street,moving south, away from them, as they come north. Buthalfway across the street, we pick up RUSSO coming in hisdirection, sharp enough to pick up the tail where DOYLE hadto drop it.EXT. RESTAURANT - DAYMedium close view through window of ALAIN CHARNIER andPIERRE NICOLI sitting at a table near the front windows of asmall restaurant.EXT. STREET - DAYA long shot of street zooming in on JIMMY DOYLE who isfreezing his ass off in the shadows of a doorway across thestreet from the restaurant. He is dancing from one foot tothe other, his shoulders hunched, occasionally cupping hishands to his ears.INT. RESTAURANT - DAYA medium close shot of WAITER holding a bottle of SainteEmillion out for CHARNIER's inspection. CHARNIER looks,frowns, shakes head negatively.DOYLE's feet. He's standing on one foot, the other raisedand he's squeezing it with a chapped hand, as if trying toget circulation back into it.INT. RESTAURANT - DAYMedium close shot of NICOLI watching the WAITER scoop coq auvin onto his plate.Close shot of CHARNIER taking a large forkful of food intohis mouth, chewing and nodding at NICOLI.EXT. STREET - DAYMedium shot of DOYLE looking up to RUSSO who comes bearing apaper bag which he hands to DOYLE. 55.Medium close shot of RUSSO standing in front of DOYLE whileDOYLE fishes a piece of pizza out of the bag and lets itfold into his mouth, then licks his fingers. RUSSO You want the red or the white? DOYLE Pour it in your ear.EXT. RESTAURANT - DAYMedium close view of CHARNIER through the window of therestaurant, sipping expresso.INT. RESTAURANT - DAYClose shot of the pastry tray, rows of Napoleons, strawberryand peach tarts, a frothing-frenzied rum cake, etc.NICOLI close, looking like he's about to have an orgasm,glancing toward CHARNIER and then the tray.EXT. RESTAURANT - DAYClose shot of RUSSO peering at the restaurant. DOYLE's faceright behind him, peering over RUSSO's shoulder, trying todrink coffee from a paper container and also moving slightlyagainst the cold and the pain of the shoes.EXT. FIRST AVENUE - DAY (EXT. COPAIN)Rear long view of CHARNIER and NICOLI on Madison in theForties strolling to a corner where NICOLI is splitting forthe Edison Hotel (West 46th Street) while CHARNIER goes onto the Westbury on upper Madison. They part with a wave anda nod. Hold on them as BUDDY RUSSO comes into view, movingoff after NICOLI. DOYLE follow CHARNIER.EXT. WESTBURY HOTEL - CHARNIER ENTERS - DAYINT. WESTBURY HOTEL - DAYClose shot of the elevator floor indicator rising from 1 to 6.Medium close shot of DOYLE turning away from the elevatordoors and walking toward the registration desk.Close shot of the DESK CLERK. DESK CLERK Yes sir? 56.Medium close shot of DOYLE leaning on elbow on the counter,half-turned to keep an eye on the elevators. DOYLE That guy just walked in. What's his name?Close on CLERK and DOYLE. DESK CLERK I'm sorry, I don't know who you mean. DOYLE (showing badge) He got off on six. DESK CLERK We have four rooms and six suites on six. There's a man in almost every one of them.Close of DOYLE. DOYLE Little shorter than me. Well- dressed. About forty-five or fifty with salt-and-pepper hair, a beard.Close of CLERK. Thinks it over. DESK CLERK There's nobody like that on six.DOYLE AND CLERK DESK CLERK Perhaps he's visiting a guest. DOYLE No, I figure he stays here. Where's your registration?CLERK gets out registration log book, goes through list asDOYLE waits. DESK CLERK There may be two... no, three who could fit it. DOYLE Names. 57. DESK CLERK A Mr. Paul Ganapolos, he's here alone. DOYLE Where from? DESK CLERK Des Moines. DOYLE What's he do? DESK CLERK Businessman. Owns a department store in Des Moines, I think.DOYLE is taking down the information on a pad. DESK CLERK Mr. and Mrs. Alain Charnier, would be another. He's in shipping. DOYLE Yeh? Who else? DESK CLERK And a Mr. Michael Lowenstein, I don't know what he does. DOYLE This Charnier guy. He's in shipping? DESK CLERK I think so. But they're in Room 408. On the fourth floor.Close of DOYLE. DOYLE Where's he from?CLERK DESK CLERK Marseilles.DOYLE AND CLERK DOYLE (gives him a dumb look) 58. DESK CLERK That's in France. DOYLE Yeah, I know.EXT. WESTBURY HOTEL ON MADISON AVENUE - NIGHTMedium close shot of DOYLE standing in another doorway, thisone in Madison Avenue, opposite and a little up the streetfrom the Westbury. It is about 2 o'clock in the morning andthere's not much traffic. DOYLE looks like a man almost tootired to stand. We hear a car pull up (off camera).INT. RUSSO'S CAR - NIGHTView from the front seat of a sedan of DOYLE falling intothe corner of the back seat. RUSSO reaches across the seatfrom the camera to hand DOYLE a brown paper container ofcoffee. He opens it between his knees and scalds his mouthwith it. RUSSO hands over another gift, a pint of CanadianClub. DOYLE takes a big swig.Rear close view of BILL MULDERIG at the wheel of the car,looking at DOYLE in the rear-view mirror. MULDERIG You about ready for a break?A view of MULDERIG at the wheel, RUSSO twisted around in theseat, looking back at DOYLE and putting the cap back on thebottle. When DOYLE isn't sipping at the coffee-whiskey,he's looking out the window of the car at the entrance ofthe hotel. He looks beat. DOYLE The guy's a frog -- I'm pretty sure. Also he made me. Stayin' on four but went up to six -- cute. RUSSO The other guy's a frog too. Checked in at the Edison. Had a hooker sent up. MULDERIG Christ you should o' collared him right there. DOYLE Who's on him? RUSSO Phil Klein. 59. DOYLE What about Sal?RUSSO RUSSO We put him to bed for the night.MULDERIG MULDERIG Why don't you do the same, Doyle? You look like shit.DOYLE AND MULDERIG - INTERCUT DOYLE (to MULDERIG) Look. My partner and I found this case and I don't want no Feds screwing it up. MULDERIG Case? So far I haven't seen a damn thing. DOYLE Bill, keep shootin' your mouth off and I'll knock you into the middle of next week.RUSSO, close. RUSSO Jimmy, cool it. Nothin's goin' down tonight. Cop a few zzz's while you can.Close shot, DOYLE.INT. WEINSTOCK'S APARTMENT - NIGHTClose shot of CHEMIST with a small lab layout spread infront of him -- burner, test tubes, etc. The MAN's wearingan ordinary business suit and both the table and thebackground indicate that this is not a lab, but somebody'slibrary or den -- and a fashionable one, with photos, asigned picture of Lyndon Johnson, etc., on the panelled walls.The CHEMIST is running a Thiele test on a small mound ofpowder. Heroin from CHARNIER's shipment.Medium close shot of JOEL WEINSTOCK and SAL BOCA sittingopposite the CHEMIST. 60.SAL has a glass of beer in front of him, WEINSTOCK a brandysnifter containing a splash of amber cognac. Both areinterested; SAL quite nervously.The CHEMIST immerses a capillary tube, a tiny instrument thesize of a needle into an open kilo of heroin.He pours a small quantity of mineral oil into a burnmeistertest tube and preheats the oil over the open flame of a tinyalcohol lamp.He removes a 15-in thermometer from its leather case,fastens the capillary tuve (now totally immersed in theheroin) to the bulb of the thermometer with a rubber band.He places the bulb, with capillary attached, into an openrubber stop and inserts the entire apparatus into theburnmeister tube, about three inches in.With a small metal clamp he holds the rig over the lamp.We watch closely with the CHEMIST, WEINSTOCK and BOCA as thewhite heroin powder slowly, agonizingly dissolves into themineral oil andThe mercury rises slowly up the thermometer to 220° - 230°.The faces of the three men are filled with wonder andanxiety. As the mercury continues to rise they become acheering section, rooting the hometeam home.The longer it takes for the powder to dissolve, the purerthe heroin. The mercury stops at 240°! CHEMIST Absolutely dynamite! 89.5 proof! Best I've ever seen! If the rest is like this, you'll be dealing for two years on this load.Close on WEINSTOCK, relaxed, smoking a large cigar. WEINSTOCK Retail is not my end of the business. Are you telling me it's worth the half million?Medium close of the CHEMIST. CHEMIST How many kilos? SAL Sixty. 61. CHEMIST Six kilos at eight big ones a kilo... (he nods) I'd say it should be able to take a seven to one hit in the street. SAL By the time it gets down to nickel bags it's at least thirty-two million!Medium close of WEINSTOCK and BOCA. WEINSTOCK Thank you, Howard. Take what's left there with you and goodnight.The CHEMIST packs his apparatus and leaves. SAL I guess we got a deal, eh?Medium close shot of WEINSTOCK alone, appraising BOCA. WEINSTOCK We got a test. A deal for half a million dollars, maybe.SAL, whose cool is easily shattered. SAL Joel, the man is in a hurry. He wants the bread and he wants to go back to France. He ain't gonna hang around and play games. He's one o' the shrewdest cats I ever run across.WEINSTOCK, close. WEINSTOCK What am I, a shmuck? What's the hurry? He could see a couple of shows and visit the top of the Empire State Building.INTERCUT SAL, WEINSTOCK SAL Joel, don't jerk me. I spent a lot o' time settin' this one up. 62. WEINSTOCK So whatta you want a badge? It's your first major league game Sal. One thing I learned, move calmly, move cautiously. You'll never be sorry. SAL I been damn careful up to now. WEINSTOCK Which is why your phone lines are tapped and the Feds are crawlin' all over you like flies. SAL I'm straight, Joel. They haven't got shit on me. Look, I'm tellin' you, he'll take the deal somewhere else.WEINSTOCK WEINSTOCK He could go someplace else with his sixty kilos of heroin and see how easy it is to pull together a half million cash. He wouldn't find there was any hurry to do this kind of business.SAL, a little desperate. SAL Look, the stuff is here. We could set up the switch in an hour. I'm tellin' you, Mr. Weinstock, he'll split if we don't move. This guy is everything they say he is.WEINSTOCK taking SAL apart with his eyes over the cigar. WEINSTOCK What about you, Sal? Are you everything they say you are?Close of SAL's worried face.EXT. NEIGHBORHOOD STREET - NIGHTClose side view of DOYLE driving; popeyeing right and left,looking for everything and nothing. 63.View over DOYLE's right shoulder through windshield of ayoung Black HOOKER leaning against a lamppost, smiling at apassing PEDESTRIAN. Hold on her as the car moves on,DOYLE's head turning as he continues to move with the traffic.Rear close view of DOYLE leaning over the back seat, lookingas he backs the car.Close shot of the HOOKER looking up smiling, then the smilefading.Medium close view of DOYLE and the HOOKER. DOYLE You own that lamppost? HOOKER No. DOYLE Then how come you're leaning on it.Close shot of HOOKER. DOYLE I ever bust you? HOOKER I never seen you before.DOYLE and the HOOKER. DOYLE Get your ass in the car.DOYLE looking right and left, the form of the GIRL climbinginto the vehicle. He puts surveillance hat on back seat.INT. DAN'S LUNCH - DAYDOYLE is standing at an island counter in a coffee-doughnutsjoint. The COUNTERMAN is paying no attention to him but isinstead emptying coffee from a large dispenser into a pot. DOYLE You gonna wait on me or am I gonna sit here all day?The COUNTERMAN responds quickly to DOYLE's voice.Close shot of DOYLE biting into a huge jelly doughnut, thejelly squeezing out onto his fingers. 64.A kid pushes a broom past, getting rid of a collection ofcigarette butts, etc. DOYLE Hey!Close shot of KID, about 16, looking up from the broomtoward DOYLE. DOYLE (off camera) C'mere... C'mere!Medium close shot of DOYLE and the KID, DOYLE eating anddrinking. DOYLE Can you stand a toss, Hector? KID What you mean? DOYLE You still dealin' shit? KID Jesus, no, Doyle. I'm clean. I'm working twelve hours a day here.Close shot of DOYLE talking around a mouthful of doughnut. DOYLE When they going to make you chairman of the board?Medium close shot of DOYLE and the KID. DOYLE puts down thecoffee cup. Waves the KID closer. The KID moves closer,DOYLE frisks him quickly, expertly, then rips up the kid'sjacket and takes a 12-inch toadsticker out of the kid'swaistband.Close shot of DOYLE looking at the knife, snapping thebutton and watching the blade flash out. DOYLE You clean your fingernails with this.Close shot of KID. KID Rather be caught with it than without it. 65.DOYLE, pushing button and letting the blade fall into closedposition. DOYLE Yeah, I guess so.DOYLE hands the knife back to the kid. HECTOR goes back towork. DOYLE eats.EXT. DAN'S LUNCH - DAYDOYLE climbing back into his car, knees on the seat, reachingover into the back.Close shot over the rear seat of DOYLE picking up the strawhat, which has been jammed into the corner by the contoursof the Hooker's tail. He straightens it as much as possibleand throws it under the driver's seat.EXT. MADISON AVENUE - DAYMedium shot of DOYLE on foot popeyeing up Madison Avenue inthe vicinity of the Westbury. As unobtrusively as possible,he's looking for the tail that should be there coveringCHARNIER. DOYLE is on the East side of the street, and theWestbury is on the West. He pokes his head into a couple ofdoorways, checks the cars parked at the curb, looks up to acouple of the mezzanine shops along the street. He seesPHIL KLEIN and ANOTHER AGENT talking together totallyoblivious to the front entrance. MULDERIG in a cigar storelooks to his wristwatch, then goes inside the store.Close shot of DOYLE frowning, puzzled. There doesn't seemto be anybody alert. He looks over to the hotel.Westbury Hotel entrance from DOYLE's Point of View. CHARNIERsteps out of hotel entrance, turns south. The two AGENTSand MULDERIG have not seen his exit.Close on DOYLE in a doorway.CHARNIER, carrying an umbrella, strolling blithely down thestreet, in DOYLE's direction but on the opposite side of thestreet. Zoom in on his face, reflecting no concern, noproblems, then zoom back to DOYLE's position. Pan to thehotel entrance as DOYLE looks for somebody else. Where thehell is CHARNIER's surveillance?Very quickly, DOYLE's nervous glances.CHARNIER close.A long view of the street. 66.CHARNIER moving along.The hotel entrance.Close shot of DOYLE going through the glancing movements,his eyes showing CHARNIER getting farther and farther downMadison Avenue. But there's still nobody following him.Medium close shot of DOYLE scrambling out of the doorway andmoving down the street after CHARNIER.Rear view of CHARNIER stopping at a newsstand, buying a copyof the Times.DOYLE in a doorway, peering out and down the street.Medium close front view of CHARNIER strolling along, glancingat the headlines of the Times, an umbrella hooked over hisleft forearm as he walks.Close shot of CHARNIER's polished shoes, moving quickly downsubway entrance stairs. Hold on the empty stairs. ThenDOYLE's painful, scuffed shoes, follow.EXT. SUBWAY PLATFORM - DAYClose shot CHARNIER standing on the subway platform, lookingat the Times, glancing toward the tracks and the rumble of atrain in the distance.Side rear view of CHARNIER close in the foreground, DOYLEmoving into view in the background, not looking towardCHARNIER, keeping his face turned mostly away from theFrenchman.Long shot of the platform. DOYLE right, CHARNIER left asthe train pulls in. CHARNIER is folding up his paper toboard. DOYLE is moving toward the train.INT. TRAINCHARNIER getting on train toward camera.Close side shot DOYLE getting on train, leaning over to lookafter CHARNIER's movements.EXT. SUBWAY PLATFORMCHARNIER getting off train.DOYLE puzzled, hesitating, then getting off his car.Long shot of CHARNIER opening the Times again. 67.Medium shot of DOYLE moving quickly to phone booth againstthe wall.DOYLE close, barking into the phone. DOYLE I'm sittin' on Frog One.MULDERIG in phone booth at Westbury. MULDERIG Yeah, we got the Westbury covered like a tent.DOYLE DOYLE The Westbury? Balls. I got him down at the subway at Times Square. What the hell's goin' on? I make him coming right out of the hotel free as a bird. Not a soul awake.Close shot of CHARNIER strolling past the telephone booth,DOYLE looking down. DOYLE I don't care how many bartenders are sick. I don't work in that joint. What the hell kind of a union are you running down there?Long view of CHARNIER and DOYLE about thirty feet apart onthe platform, a second train approaching.INT. SUBWAY TRAINA close view of DOYLE just inside the doors of the carsneaking a peek at the platform. We can see that CHARNIERis not there. He's on the train. Suddenly CHARNIERreappears on the platform. DOYLE steps off.EXT. SUBWAY PLATFORMLong view from DOYLE's vantage point of CHARNIER standingwith his back to the train, looking up like a man who can'tmake up his mind, then turning to his left, away from DOYLEand getting back on the train.INT. SUBWAY TRAINView from interior of DOYLE car of JIMMY DOYLE nipping backonto car. 68.INT. TRAIN - CHARNIER'S CARClose view of subway doors hissing shut and an umbrellabeing raised at the last moment by an off-camera hand(CHARNIER's). The doors jerk open in the safety spasm.There is a blur of the a fabric moving across the camera,blocking the view of the doors. It is only a moment. Whenit clears, the doors are closed again, the umbrella is gone.But we don't know what happened and the train isn't moving.INT. SUBWAY TRAIN - DOYLE'S CARRear close view of DOYLE peeking into the forward car to seewhere CHARNIER is sitting.INT. TRAIN - CHARNIER'S CARQuick, shocked close view of that car, revealing thatCHARNIER isn't there among the twenty passengers dozing ormoping in their seats. There is a blurred flash as ifDOYLE's own eyes are spinning frantically back to thewindows of his own car.EXT. SUBWAY PLATFORMMedium shot of DOYLE jumping out of train, CHARNIER jumpingback on - train takes off.INT. SUBWAY TRAIN - CHARNIER'S CARA close view of CHARNIER's face. He is smiling directly atDOYLE. He gives him a little wave.A view from CHARNIER's position of DOYLE chasing the train,anger and hatred and frustration storming across his face.EXT. HENRY HUDSON PARKWAY - MOSHOLU EXITA long view from the bottom of the steep embankments aboveHarlem River Drive in Washington Heights. Sprayed along theface of the cliff is a disaster -- an overturned city busand a car with which it apparently collided. The scene islighted with flares. Police rescue WORKERS and FIREMEN arescrambling up and down the face of the cliff. They arecarrying BODIES out of the bus and the car, COPS pullingthem out through the windows, leading them on stretchers.There are shouted orders and some moans and cries from thewreckage. In the foreground is LT. WALTER SIMONSON, involvedin the operation, but also involved in a hassle with DOYLE,MULDERIG and RUSSO who are standing with him. An officerapproaches SIMONSON with a set of heroin works. 69. OFFICER (to SIMONSON) This belonged to the kid who was drivin' the sports car. 17 years old. His girlfriend OD'd in the car. We found this set of works in her arm.Medium close shot of DOYLE and SIMONSON. DOYLE couldn'tcare if Rome was burning on the hill; he's only interestedin his case. DOYLE (to MULDERIG) Where the hell was the surveillance? "Go to bed." That's all you could say. You couldn't keep track of a bleeding elephant in a snowbank.SIMONSON, eyes on the hill, glancing to DOYLE with irritation. SIMONSON Jimmy, it doesn't matter anymore. If there was a deal it must have gone down by now. We blew it! We blew our cover and we blew the warrants -- MULDERIG Charnier and his wife checked out of the Westbury. Nicoli checked out of the Edison -- RUSSO This fella Nicoli's got a record in France, Walter. He's wanted for questioning in the murder of a French cop. DOYLE I say we keep sittin' on Boca. MULDERIG That's crazy. You lost the Frog in the subway and you blew our cover. If they haven't moved already they're not gonna move now. DOYLE Walter, I can make this case if the Feds will get the hell out of my way. 70. MULDERIG With pleasure -- it's all yours. Walter, if anything develops outta this charade give me a call.Medium shot of SIMONSON, DOYLE, MULDERIG and RUSSO. Lightsflashing around them; stretchers going by with bodies. RUSSO (to MULDERIG) My ass. The only reason you're in this is because you've got a big expense account for buying junk and you like to see your picture in the papers. DOYLE (to SIMONSON) This is my case. Get these guys off my back and let me handle it.SIMONSON SIMONSON For chrissake, will you come off that "my case" bullshit. This has been a whore's dream from the start.DOYLE, close. DOYLE The deal hasn't gone down yet Walter -- I know it, I can feel it.Close shot of MULDERIG MULDERIG The last time you were dead certain we ended up with a dead cop.A fist, DOYLE's, comes from off-camera and connects withMULDERIG's chin. As his head flies back.DOYLE and MULDERIG slugging and grappling with each other,RUSSO leaping in to yank them apart. SIMONSON grabbingMULDERIG's arm and holding him back.SIMONSON, close. SIMONSON (roaring) That's enough. Get the hell out of here. 71.DOYLEShot of SIMONSON, MULDERIG, DOYLE, RUSSO, in a cluster. SIMONSON (on way up hill, turning back) Jimmy, you wasted two months - no collars are comin' in while you two been out jerkin' off. Now go back to work, you're off Special Assignment.EXT. LA GUARDIA AIRPORT - DAYMedium close side view of SAL BOCA's Mercury pulling to theWashington-Boston shuttle parking lot at La Guardia airport.SAL takes his ticket from the automatic vendor and drives in.We hold for the next car driven by PHIL KLEIN, a federalnarcotics agent who is on his tail.INT. AIRPORT - DAYMedium close shot of SAL BOCA writing out the ticket orderform.Close shot of the form; SAL filling it out in an almostilliterate scrawl. Under destination SAL fills in Washing...and the camera raises its eye to a close shot of PHIL KLEINon the opposite side of the counter, filling in his form.Close side shot of PHIL KLEIN standing right behind SAL inthe shuttle line.EXT. DEPT. OF COMMERCE, WASHINGTON, D.C. - DAYCHARNIER and an UNDERSECRETARY on the steps of the building,shaking hands. Two other OFFICIALS are on hand and while wedon't hear their conversation, their manner is extremelyattentive to CHARNIER. CHARNIER It has been highly informative and a personal pleasure to see you again. UNDERSECRETARY I only hope we cut through to some meaningful proposals in the next month or so. The pleasure was mine, Mr. Charnier. When will we see you again? CHARNIER Soon, probably in the Spring. 72.Close shot of CHARNIER. CHARNIER Goodbye. UNDERSECRETARY (off camera) Goodbye. Good trip home.EXT. WASHINGTON STREET - DAYMedium long shot of CHARNIER walking across street,diagonally toward the camera, removing the identificationcard from his lapel.Rear close shot of CHARNIER joining SAL BOCA on the sidewalkand the two of them moving off together.Close shot of SAL, somewhat nervous about trying to peddlehis problems to CHARNIER. SAL Everything's smooth. Beautiful. I will need a few more days though, the boys think we oughta cool it for awhile -- make sure there's no heat. CHARNIER (manner outwardly pleasant) You must take me for an imbecile. Why do you think I asked you to meet me in Washington? I haven't spent five minutes in New York City without the company of a gendarme. SAL Look, I'll level with you -- I need a little more time -- I got to shift gears. CHARNIER Are you having trouble raising the half million? SAL Hell no -- my end is covered -- my associates just feel we ought to wait for a more opportune time to make the switch.Stop, Cover. 73. CHARNIER It has to be by the end of this week. SAL Look, Mr. Charnier, you got to be reasonable. CHARNIER It's your problem. SAL It's yours too!Full length shot of CHARNIER and BOCA, CHARNIER leaning overto shake his hand. CHARNIER So nice to have seen you again.CHARNIER turns and walks off, leaving SAL looking after himas we zoom back to a Point of View about a hundred yardsdown the street.Close of PHIL KLEIN, just watching.INT. AIRPLANE - DAYClose shot of MRS. CHARNIER, sitting by the window of twoseats on the shuttle, looking out and babbling at CHARNIER.(DIALOGUE IN FRENCH). MARIE Look, darling, they sell these at the Smithsonian.She extracts a necklace and bracelet of shark's teeth froman elegant alligator bag.Camera moves back to take in CHARNIER looking from the WallStreet Journal to the native craft bracelets. CHARNIER Are you sure it is dead? MARIE I'm going to put them on the cat. CHARNIER That's a relief.Close shot of CHARNIER, tenderly, lovingly. 74. CHARNIER You did find something for yourself, of course.MARIE, close. MARIE Of course. But I am not going to tell you what it is until we are back in Marseilles.CHARNIER and MARIE. He folds up the paper, smiling at her. CHARNIER Excuse me a moment, darling.CHARNIER's view of the plane interior, walking back towardthe rear of the cabin. The seats are occupied by military-business-government TYPES making the shuttle run. Not everyseat is filled. We come to an empty one on which someonehas deposited an attache case. It is the seat next toPIERRE NICOLI, whose hand reaches out to remove it and wefollow the arm to NICOLI's face.Close shot of CHARNIER and NICOLI sitting. (DIALOGUE INFRENCH) CHARNIER I'm afraid they've become a bit... over-cautious. Our American friends. NICOLI What happens to the schedule? CHARNIER We must follow it. NICOLI But will they?CHARNIER shrugs. CHARNIER I don't know. Boca is scared. He's not strong enough. He sees policemen in his soup. NICOLI He is not wrong. CHARNIER Mmmmm. That bastard who followed me on the subway, he's the eager one. 75. NICOLI Let me take him out.Close of CHARNIER. CHARNIER There'll be someone else. NICOLI What difference does it make? We'll be out of the country Friday.Close shot of CHARNIER alone.EXT. SIDEWALK OUTSIDE DOYLE'S APARTMENT BLDG. - DAYA complex of buildings similar to Lefrak City. A mediumclose view of a LITTLE GIRL about to run DOYLE down with atwo-wheel bicycle. Two shots ring out in quick successionand tear up the concrete at a point where he would have beenwalking a moment earlier.DOYLE diving for the cover of a tree. The rifle goes off athird time and MOTHERS begin to scream on the benches of theplayground area. DOYLE (yelling) Everybody, down! Get down on the ground!DOYLE behind the tree, pulling his gun out of the ankleholster. He holds the gun ready and tries to look around.Ping, another shot that drives him back.Long panning view, DOYLE's view, from the ground, of all therooftops in the area. A blank. The background sound isstill screaming crying. "Call the police." "The man's got agun." "Help! Help!" The view is still slow, careful underthe pressure of the panic. There's another shot.Long shot of rifle smoke rising from NICOLI's sniper position.Exterior view of the concrete tunnels, DOYLE running fromthem toward the building, dodging and ducking behindplayground equipment and benches as he does. He's shoutingas he runs. DOYLE Get down! It's a sniper. Get down!Medium shot of DOYLE dashing into the lobby of his buildingto a Spanish kid in the window of building. 76.EXT. ROOFTOP - DAYExterior shot of rooftop door opening slowly, DOYLE comingthrough the opening, gun at the ready.Panning shot of the rooftop, DOYLE's view, stopping for abeat at the rifle and box of cartridges lying beside theparapet, moving on. The roof's empty. DOYLE sees NICOLIbelow, grabs rifle and cartridge.DOYLE running to the parapet, looking over.Shot of the street, traffic, elevated tracks in the distance.Long searching look of the streets and the people. Theview, which is DOYLE's, passes over one man in a dark suit,stops and goes back. Zap! It's NICOLI walking quickly butnot in any panic toward the El.DOYLE's face. He runs to parapet, fires at NICOLI. Misses.DOYLE running across the roof and through the door.DOYLE bursting out of the elevator at the bottom, through acrowd of WOMEN and KIDS who scream as they did in theplayground.Medium close view of DOYLE running as fast as he can.Medium close shot of the entrance to the El. DOYLE cominginto view from off-camera, running to a stop deciding whichto take. He runs across the street to the downtown sidefrom which he saw train approaching.DOYLE going over the turnstiles in a leap, gun still in hisright hand.EXT. PLATFORM OF EL - DAYBroad view of platform, DOYLE emerging looking right and left.DOYLE's view across tracks. There's NICOLI, standing with agroup of people.DOYLE looking up tracks to see if he can get across.Training pulling in an opposite side. Train pulling inright in front of DOYLE. DOYLE Stop that guy. He's wanted by the police!Side medium close shot of DOYLE turning and plunging backthrough the doorway of platform exit. 77.INT. TRAIN CAR - DAYIn one corner of the train is a transit policeman. He'sobserved Doyle shouting and gesturing at NICOLI who sitsnervously aware of the policeman's presence. Long longsbetween them. Finally, the officer decides to approachNICOLI.NICOLI panics and runs. The officer goes after him andtraps him against the door between cars.INT. TOKEN BOOTH - DAYClose shot of DOYLE with badge at token booth. DOYLE Where's the next stop? Going into the city? TOKEN ATTENDANT (glancing out in direction the train was hurtling) 25th Avenue.INT. TRAIN - DAYNICOLI and the TRANSIT POLICEMAN struggle, as the handful ofpassengers watch. NICOLI pulls his .45 and clobbers theofficer on the side of the head.Close of NICOLI going from one car to another, opening doorson the rear, moving through yet another crowd.EXT. STREET - DAYMedium close shot of DOYLE running into the street, forcinga driver to stop. DOYLE moving so hard he falls against thehood of the car then dashes around to the door and jerks itopen. DOYLE Police!Medium close shot of DOYLE dragging MIDDLE-AGED MALE DRIVERout from behind the wheel as he shouts. DRIVER What the hell? DOYLE (diving behind the wheel) Police! Emergency! 78.DOYLE has a pistol in his hand. The man falls backsputtering. DOYLE jams car into gear and it roars off.INT. SUBWAY TRAIN CAR - DAYNICOLI pounds on the door of the Motorman's cab with his gun.After a long moment - the door cracks open. Close shotNICOLI pushing his way into the cab of the subway MOTORMAN,sixtyish, worn and frail looking.MOTORMAN looks down. He follows the glance to NICOLI's .45.EXT. STREET - DAYSide close view of DOYLE screeching to a stop to avoidplunging into a panel truck. DOYLE sticks his head out thewindow to look up at the tracks as the DRIVER of the truckscreams. TRUCK DRIVER Blind sonofabitch!Overhead view of the tracks, train roaring along them.DOYLE's view.INT. SUBWAY TRAIN - DAYThe tracks racing by from the view of the train. We'reapproaching a station.INT. MOTORMAN'S CABIN - DAYNICOLI's close view of the MOTORMAN, the gun on the man. NICOLI Don't stop! Continue on to the next station! MOTORMAN I got to stop. NICOLI Touch the brake and I'll blow you in half. MOTORMAN The signal lights are automatic. If I go through a red I'll be automatically braked.The MOTORMAN pales, his hand goes to his left side in agesture of anxiety, possibly pain. 79.EXT. SUBWAY ENTRANCE - DAYSide close view of DOYLE screeching to a stop, the carbumping up on the sidewalk and DOYLE plunging out the doorwhich he leaves hanging open. He races around the car forthe steps to the El.EXT. SUBWAY PLATFORM - DAYSide view of train roaring through the station withoutstopping.INT. SUBWAY TRAIN - DAYMedium close shot of CROWD on train pushing toward theMOTORMAN's cab. They are upset over the missed stop. TheCONDUCTOR seems to be the most annoyed.He's pushing hardest toward the camera to complain. VOICES Didn't stop. Went right through there... Hey, man, that's my station... Where the hell's he going? Hey, stop the car...Close shot of NICOLI's back, half in the MOTORMAN's cab, ashe faces the CROWD. Now the cries turn to: VOICES He's got a gun... The motorman's gone crazy... Oh my God! NICOLI Get back. CONDUCTOR Hey, you can't...Side view of NICOLI, the MOTORMAN in the background theCONDUCTOR leaping at NICOLI. NICOLI burns him; one gut shot.The car turns to pandemonium of screams. The CONDUCTOR ishurled back into the crowd by force of the blast. TheMOTORMAN throws back his head in fright, and the beginningof a coronary.EXT/INT. DOYLE'S CAR - DAYClose shot of DOYLE from back seat, twisting, turning thecar in a wild demonstration of pursuit driving around cars,braking, roaring ahead. 80.We move out through the windshield for a lurching, spinning,twisting view of the tracks overhead, the street signs andlights flashing by in a reeling montage of movement, thetrain roaring above it all.INT. SUBWAY TRAIN - DAYClose side shot of NICOLI turning to cover the MOTORMAN, whois clutching in pain, slumping toward the controls. MOTORMAN (gasping) I can't breathe.NICOLI glances quickly to his left, out the window to thenext station.Long, low view of the tracks, partially NICOLI's view.There are red blinkers on the side of the tracks. Redlights up ahead. That's the back of another train. It hasstopped and we're hurtling toward it.Wide shot of screaming pack of subway riders, fighting theirway back from NICOLI, succeeding only in turning themselvesinto a tightly contained mob. Now the words they cry are: VOICES We'll crash. Won't somebody please help me. Murder He's a killer. Crash. We'll crash! Stop. Stop the train.EXT. DOYLE'S CAR - DAYSide close view of DOYLE driving while he's looking up. Heskids through a red light, narrowly missing a pedestrian andan oncoming group of cars.Long, low view of the train from DOYLE's position.INT. SUBWAY TRAIN - DAYClose shot of cord dangling above a sign that says "Pull forEmergency Stop Only." It just dangles, wobbles, forgotten inthe panic.EXT. DOYLE'S CAR - DAYClose side shot of DOYLE driving, skidding on streetcartracks, panning upward to show the car pulling ahead of thetrain. 81.INT. SUBWAY TRAIN - DAYClose shot of NICOLI from behind, looking out the window ofthe car where we see ourselves hurtling toward the othertrain, now only about 100 yards away. Hold on the trainahead. The MOTORMAN collapses over the throttle.Rear close shot of NICOLI plunging into the panicky riderswith gun in hand, trying to get out with them to some rearcar.EXT. SUBWAY STATION - DAYMedium close of DOYLE arriving at the station.INT. SUBWAY CAR - DAYBack end of subway car looming up at high speed.EXT. 62ND STREET STATION - THE TRACKS - DAYThe leader train sits waiting about twenty yards out of thestation. As the onrushing train approaches, it passesthrough the yellow signal light at the rear of the station.EXT. CLOSE SHOT THE TRIP LOCK - DAYAs the onrushing car pulls equal to the red signal light atthe front of the station, the tiny trip lock on the tracksprings up, activating the safety brake. The trains avoidcollision by a few feet as the front car screeches to a halt.INT. THE ONRUSHING TRAIN - DAYThe passengers are thrown violently to the ground.NICOLI gets to his feet and forces open one of the doors.EXT. 62ND STREET TRACKS - DAYNICOLI makes his way out of the train and runs along thetracks for a few yards, narrowly avoiding the third rail.He climbs onto the station platform, to the shock andamazement of several onlookers. He is dazed and disheveled,no longer a hunter.EXT. ENTRANCE TO THE 62ND STREET STATION - DAYNICOLI staggers down the stairs to the street, unarmed.DOYLE is waiting at the foot of the stairs.NICOLI sees him, turns in desperation to run back up. 82.DOYLE has his .38 drawn. He fires three shots into NICOLI'sback.NICOLI stiffens and falls backward coming to rest at DOYLE'sfeet. DOYLE collapses next to him.EXT. CANDY STORE - DAYSAL and ANGIE emerge and get into the Mercury.EXT. MANHATTAN STREET - DAYLong shot of the Mercury stopped. SAL gets out and walksquickly to the garage entrance and down the ramp as ANGIEdrives off in the Mercury. Pan toEXT/INT. DOYLE'S CAR - DAYClose shot of DOYLE and RUSSO from the front. DOYLE looksafter ANGIE's car.INT. GARAGE - DAYMedium close shot of RUSSO from the rear as he walks downthe ramp toward a glass attendant's booth in the background.We pan around the garage looking for SAL but don't find him.As RUSSO approaches the booth, we see the figure of a manpartially obscured by the door and the entrance framework.Close shot of RUSSO from the front. RUSSO Hey, Mac, have you seen...?Close shot of the man turning. It is SAL BOCA.Close shot of RUSSO and BOCA in face-to-face confrontation. RUSSO ...the guy who runs this joint?There's a tense pause as BOCA looks at RUSSO.Close shot of BOCA. SAL Yeh. He's over getting my car.Medium close shot of GARAGE ATTENDANT holding the door ofthe Lincoln open for SAL, shutting it and taking the ticketfrom the windshield. As BOCA puts car in gear and drivesoff, we pan to BUDDY RUSSO standing there watching. TheATTENDANT walks up. 83. ATTENDANT Can I help you...?Medium close shot of ATTENDANT and RUSSO. BUDDY, ignoringthe ATTENDANT, watching the Lincoln take off, then breakingloose and running toward the ramp.Close shot of RUSSO from DOYLE's viewpoint, piling into thecar. RUSSO He's in the brown Lincoln - foreign plates.Close shot of DOYLE throwing the car into gear and shootingdown the street.Long view of the street from DOYLE's windshield of theLincoln in the distance. We pick up speed and weave throughtraffic in pursuit.EXT. STREETS - DAYImpressionistic shot of Lincoln and DOYLE's car windingthrough Brooklyn streets.Long shot of the Lincoln, SAL BOCA parking it, getting outand locking the doors, looking around and walking away.The Mercury comes around a corner, ANGIE at the wheel. Thecar stops and SAL gets in.As the Mercury takes off, Detective PHIL KLEIN follows inhis car.Close shot of DOYLE and RUSSO in their car parked severalcar lengths and across the street from the Lincoln.NIGHTLong shot of the Lincoln, zooming on the glittering car. Inthe BG, eight youngsters are playing a game of street hockey.INT. DOYLE'S CAR - NIGHTClose shot through windshield of DOYLE and RUSSO. MULDERIGand KLEIN in their car. DOYLE Timezit? RUSSO Four. 84.EXT. DOYLE'S CAR - NIGHTLong view over the hood of DOYLE's car to the street. Wecan see the Lincoln. The lights of a car appear on the leftand come down the street past the Lincoln, slowly, like aman looking for a place to park. We can make out, but justbarely with the help of the street lights, four people inthe car.DOYLE in close profile, the foreground, picking up a cornerof the Lincoln in the background. While we are looking insilence, there is a glimmering flow in the far corner, thebeginning of approaching headlights again. They grownbrighter and DOYLE's foreground profile turns to watch itcome. DOYLE (softly) Same car. RUSSO Third time around.RUSSO and MULDERIG straightening up, leaning close to windowto peer out.Long view over the hood of DOYLE's car of the approachingvehicle, which suddenly switches off its lights and turns onits parking blinkers. It comes abreast of the Lincoln andstops. The men get out and chase the Lincoln.View through windshield at the four men. DOYLE is now upstraight and at the wheel. He's leaning forward, his handon the key of the car. He glances back to MULDERIG. DOYLE (to car radio) Let's him 'em.View of the hood. All hell breaks loose, headlights,including DOYLE's flash on and form a spotlight on theLincoln and the figures around it. Frozen in the headlights,confused, startled, and disbelieving are FIVE PUERTO RICANSwith a variety of auto-stripping tools in their hands: lugwrenches, tire irons, pinch bars, monkey wrenches, etc.DOYLE drives right up to them. The camera leaps out of thecar with him and runs toward the men. We hear voicesshouting. VOICES Police! Don't move... get you... hands up... you're under arrest... 85.EXT. STREET - NIGHTClose view of DOYLE holding his gun on one of the terrorized-looking Puerto Ricans. The KID's hands are risingtentatively. He's too scared to move. DOYLE Up! Up, you sonofabitch!In the background, the scene is being duplicated by two orthree others.Overhead view of this headlight and flashlight arena ofabout 10 or 12 DETECTIVES forming small clusters, throwingthese guys up against cars, pulling their arms around behindthem and throwing cuffs on them while others rapidly friskthem for weapons, taking away one pistol, a couple of knives.MULDERIG and DOYLE looking at their MAN up against theLincoln as RUSSO finishes snapping handcuffs on him. DOYLE Of all the goddam cars they had to pick to steal hubcaps.Close shot of the front end of the Lincoln, upended on ahoist attached to a police tow truck. The area is lessbrightly lighted by headlights now. Some cars have departedwith the Puerto Rican AUTO STRIPPERS. DOYLE's interestfocuses on the car. We pick him up as we pan to him sittingon the running board of the tow truck, talking with itsDRIVER, who is making a report on a clipboard. MULDERIG andRUSSO are standing nearby, talking to TWO PLAINCLOTHESMEN. DOYLE (looking up and around) A bunch of lousy little spic car thieves. MULDERIG Nothing in there except a New York street map. DOYLE Tumble it. One end to the other.RUSSO jotting in his note pad, then glancing up to the off-camera DOYLE.DOYLE, medium close, hands jamming into his pockets, staringat the ground with RUSSO and MULDERIG. 86.INT. POLICE GARAGE - DAYA montage as the Lincoln is being disassembled. First it isweighed. We then see the MECHANIC drain the gas, pull apartthe transmission and check through the brake drums, rip outthe seats.MECHANIC ducking out from under the car, moving toward off-camera DOYLE. MECHANIC Nobody's been under there with anything but a grease gun since if came off the line.DOYLE's hand reaches out from off-camera and takes acigarette package out of the MECHANIC's pocket. DOYLE I don't buy it. The stuff is on this car. MECHANIC Then you find it. I can't.INT. POLICE SERGEANT'S OFFICE AT GARAGE - DAYShot of DEVEREAUX and LA VALLE. LA VALLE The car was lost sometime this evening. First they send us to Pier One -- then they send us here -- DESK SERGEANT I don't understand why you had it parked on the waterfront. You're staying at the Doral and you lose your car somewhere out by the Brooklyn Bridge. LA VALLE In point of fact, M. Devereaux is scouting locations for a film for French Television. He left the car to look at some point of interest. DEVEREAUX (moving, excitable) We were told by the Police Commissioner's office that the car was brought to this garage. I demand its immediate return. 87. DESK SERGEANT If you'll be patient, Mr. Devereaux. DEVEREAUX (moving) I have been patient enough. There is no reason I should have to waste time with this red tape. LA VALLE Mr. Devereaux is an extremely important guest of this country. He is working with the absolute cooperation and participation of your government. Here are his credentials from the French Consulate. (showing them) Unless you wish to see this episode portrayed in his film I suggest you locate his car immediately.Shot of DOYLE and RUSSO near the Lincoln, now up on hoists.Police MECHANIC in background. MECHANIC What are you looking for? Is it as big as an orange or an elephant's ass? I've been over every inch -- top to bottom. If you could give me a club -- to the size... RUSSO (doing rough figures on a piece of scratch paper) What was the weight of the car when you got it, Irv? MECHANIC (consulting his notes) 4,839 pounds. RUSSO (consulting Lincoln Specification Book) You're sure? (he does quick addition) The manufacturer's spec says it should weigh 4,719 pounds. This one's carrying roughly 120 extra pounds somewhere.He produces a copy of a ship's manifold. 88. RUSSO When it was booked in at Marseilles it weighed the same. 120 pounds overweight. Jimmy has to be right.The THREE MEN turn again to stare at the Lincoln. TheMECHANIC lowers the hoist, thoughtfully. MECHANIC I ripped everything out except the Rocker panels. DEVEREAUX What's that?They look at each other for a long moment.MECHANIC starts to undo the side Rocker pans. JIMMY pullsthe pan off and sticks his arm into the enclosure. Feelingaround inside he pulls out the first kilo-sized plasticcontainer as several others start tumbling out after. BUDDYand DOYLE are smiling at each other as they continue to pullthe bags out. Several of the other MECHANICS in the garageare gathered around the happy moment. They repeat thisaction on the other side of the car.RUSSO enters garage sergeant's bullpen. DEVEREAUX and LAVALLE are still arguing with the SERGEANT. RUSSO Got it for you, Randy -- it just came in from downtown. Who's Devereaux? LA VALLE This is M. Devereaux. RUSSO I'm sorry, Mr. Devereaux, but we get reports on a couple hundred vehicles a night. Sometimes it's a little tough to keep track. DEVEREAUX You mean the car's here now? RUSSO Yeah -- fine -- it's okay -- not even a scratch. You're all set. (handing DEVEREAUX keys)RUSSO walking with DEVEREAUX and LA VALLE. 89. RUSSO Someone stole it right off the street, huh? You're gonna have to pay the tow away charge. DEVEREAUX I was told these things happen in New York -- but one never expects it. RUSSO Yeah. Well, it's in perfect shape. You must lead a charming life.INT. HOTEL LOBBY - DORAL - DAYMedium close shot of DEVEREAUX striding through the lobbytoward the camera. (DIALOGUE IN FRENCH) CHARNIER Henri...Medium close shot of DEVEREAUX turning to face CHARNIER, whohas been waiting for him. CHARNIER Did you pick up the car? DEVEREAUX It is waiting for you in the garage. CHARNIER Did they follow you? DEVEREAUX I wasn't looking. CHARNIER Henri... I need one more favor from you. I know I am imposing... DEVEREAUX My friend, I am not sure about what is going on -- but for me, I am finished. CHARNIER Not quite -- you are in it whether you like it or not. The police know you brought the car into the country. This makes you an accomplice. 90. DEVEREAUX An accomplice to what?! What have you gotten me into, Alain? You asked me to do you a favor -- and I did what you asked -- but you've taken advantage of me. I have my reputation --CHARNIER pulls DEVEREAUX further aside. CHARNIER Calm down -- Henri! You must trust me -- this is an extremely complicated situation to which there is a simple solution if you do exactly what I tell you. It's worth more money to you. DEVEREAUX Goodbye.DEVEREAUX turns and walks into the crowded lobby leavingALAIN standing alone.EXT. HOTEL STREET - DAYMedium close shot of the Lincoln. We can't see the driverimmediately. As we follow the car, it hesitates; hornssound and it moves ahead with a jerk.INT. LINCOLN - DAYClose shot of CHARNIER at the wheel of the Lincoln, tryingto make out street signs and directions.EXT. TRIBORO BRIDGE - DAYMedium shot of the Lincoln going across the Triboro Bridge.EXT. WARD'S ISLAND - DAYCHARNIER's view through the windshield as he drives alongthe new road and turns left on the old service road.EXT. OLD SERVICE ROAD - WARD'S ISLAND - DAYHellgate Bridge overhead in BG. Lincoln drives along oldroad and into abandoned garage.INT. WARD'S ISLAND GARAGE - DAYView from CHARNIER's POV out the window of the building.Faces appear beside the car. First BOCA's, then WEINSTOCK's,then LOU BOCA and two MECHANICS. 91. BOCA Keep going. Right in there. FIRST MECHANIC Over there. On the right. SECOND MECHANIC The clear spot.INT. GARAGE - DAYMedium close shot of the Lincoln. The Rocker panels areopen and the junk is being unloaded. CHARNIER is standingby two suitcases of cash. He takes a bundle out of thesuitcase, riffs the deck of bills with his fingers to makesure it's money all the way through; puts it in a separatestack that will go into the rocker panels of a nearby junkcar. WEINSTOCK is standing next to the CHEMIST, with histesting equipment. The MECHANICS are under the Lincoln andpassing out the kilos of heroin, BOCA is helping them. Thekilos are concealed in the floor boards of the old garage.Close shot of CHARNIER's hands, working on the money.Close shot of the CHEMIST taking a sniff, then a taste.Close shot of SAL BOCA and MECHANICS continuing to unloadpacket after packet after packet of heroin.Close shot of CHARNIER as the stacks of money are loadedinto the car.Close shot of BOCA taking a bottle of Seagram's Seven Crownout of a brown paper bag.CHARNIER extends his hand. WEINSTOCK takes it; they shake.CHARNIER close, looking back at the car as the rocker panelsare restored to the Lincoln. The junk car with the moneysecreted is removed.Medium shot of SAL BOCA and CHARNIER getting in the Lincoln.In the b.g. a tow truck hauls the battered junk car out toawait shipment.EXT. WARD'S ISLAND BRIDGE - DAYLong view from the bridge of the Lincoln coming toward thecamera over a small rise.View from Lincoln, between SAL and CHARNIER, over the hoodof the car and to the entrance to the bridge. There is apolice blockade. Standing in front of it are DOYLE, RUSSO,MULDERIG and PHIL KLEIN. 92.CLOSE-UP CHARNIER.CLOSE-UP DOYLE. He gives CHARNIER a little wave.Long view of the Lincoln stopping in the middle of thebridge. Zoom in on it as SAL hurriedly turns it around,smashing into the side of the bridge as he does.Medium shot of the Lincoln racing back across the island.The Mercury roars past WEINSTOCK's car, heading toward thebridge.WEINSTOCK's car coming to a stop.Close shot of the CHEMIST and WEINSTOCK in the car, turningback to the island.INT. LINCOLN - DAYClose shot of CHARNIER and SAL. SAL driving, CHARNIERlooking out the back window. The police cars, slowly, beginto gun engines and start the pursuit. The sirens begin towail.INT. GARAGE - DAYThe Lincoln roaring into the asylum toward the camera,screeching to a stop. SAL and CHARNIER leaping out. Theyrun toward Crematorium Building.Medium long shot of SAL running off. SAL (shouting) Bulls!CHARNIER hesitates. Then runs into the darkness of theCrematorium.EXT. CREMATORIUM - DAYPolice cars screeching to a halt around the building. Somecircling to the back to cut it off. DOYLE, RUSSO, MULDERIG,KLEIN and others getting out and running toward the entrance,taken by the Lincoln.EXT. JUNK GRAVEYARD - DAYClose shot SAL BOCA and the two MECHANICS at the autograveyard. The MECHANICS start to run and are pursued byKLEIN and TWO OTHER COPS. SAL decides to shoot it out.RUSSO in pursuit. 93.After a chase around the graveyard RUSSO burns SAL who diesamong the wrecked cars.WEINSTOCK and the CHEMIST emerge from the cars. Hands inthe air. They give up without a struggle. RUSSO Phil, you take that side, Bill, go around the other way.INT. CREMATORIUM - DAYLong shot, we can see somebody running, hear his footsteps,but can't tell who it is.Shot of DOYLE entering.Shot of DOYLE, gun in hand, going around corner of longcorridor, looking down it.Shot of MULDERIG running down one of the corridors and intoa cell littered with abandoned furniture, sinks, toilets, etc.Long view of the hallway. Halfway down, LOU pops out andfires wildly at the camera.DOYLE close, pulling back, then leaning out and blazing awaytwice.Long shot of LOU, staffering into the corridor and collapsing.DOYLE running down the corridor leaping over LOU's body andcontinuing to run to bisecting corridor.INT. CELLAR - DAYDOYLE comes down the stairs and into the cellar. In theforeground, behind a pile of ripped-out wall and floorboards,there appears to be the crouched silhouette of a man. DOYLEexits.DOYLE's view down second corridor. At far end of it afigure flitting past. RUSSO Jimmy?Close shot of RUSSO at the head of a flight of stairs. RUSSO Jimmy?DOYLE's P.O.V.: A shadow figure ducks into one of the rooms. 94.Close of DOYLE up against a wall. DOYLE (a whisper) Cover the other side -- Frog Number One is down there.RUSSO scrambling along the Crematorium wall.DOYLE moving slowly down the opposite wall.Medium shot of DOYLE approaching the end rooms. A figureslips out of one of them, shrouded with shadows.Close of DOYLE firing twice into the camera.Close shot of the figure. It's AGENT BILL MULDERIG spinning,dropping, his own service revolver clattering on the concrete.Medium close shot of DOYLE standing over MULDERIG's body,two or three COPS coming up, including RUSSO. RUSSO (leaning over the body) He's gone, Jimmy. Bill is dead.DOYLE full figure, close. A long pause -- and then -- DOYLE The sonofabitch is in here somewhere. I saw him -- I'm gonna get him.DOYLE exits down the corridor. The others staring after him.EXT. CREMATORIUMWithin the building no one is visible. Overhead, theHellgate Bridge, sounds of New York, jets, auto traffic, andan approaching Penn Central train. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Frequency.txt b/unformated_scripts/Script_Frequency.txt new file mode 100644 index 0000000000000000000000000000000000000000..9bfba5d631cf3efea3416c3f0e564d923729c21a --- /dev/null +++ b/unformated_scripts/Script_Frequency.txt @@ -0,0 +1 @@ + The Child is the Father of the Man. - William Wordsworth ...the theory of black holes was developed before there was any indication from observations that they actually existed. I do not know of any other example in science where such a great extrapolation was successfully made solely on the basis of thought. It shows the remarkable power and depth of Einstein's theory. There is still much we don't know, such as what happens to objects and information that fall into a black hole. Do the reemerge elsewhere in the Universe, or in another universe? And can we warp space and time so much that one can travel back in time? Maybe someone will come back from the future and tell us. - Stephen Hawking FADE IN: The legend reads: OCTOBER 10th EXT. MANHATTAN BRIDGE - PREDAWN - 1969 Darkness. Headlights bounce off thick sheets of RAIN. 6,500 gallon Esso OIL TRUCK barrels over wet studded pavement, heading towards Manhattan. It's going fast. Too fast. Up ahead...at the BASE OF THE BRIDGE: A large reflective sign - lit up by arc lights: MEN AT WORK. There are TWO WORK CREWS, several hundred feet apart. THE FIRST CREW is CON ED. A corrugated vacuum tube feeds into an open MANHOLE. A WORKER drops into the hole. THE SECOND CREW is CONSTRUCTION. They're at the apron of the bridge securing lumber supports for the roadbed. It's late and the men are tired. A mistake is made. A FORK LIFT loaded with LUMBER fails to negotiate a turn...whacks into an abutment... spilling its load onto the roadway. Bad timing, because right now that Esso OIL TRUCK hits the OFF RAMP. Not a lot of time for the driver to react to a roadway spewed with lumber. He does his best. Slams the brakes, spins the wheel, hits the horn, but it doesn't matter: 18 wheels skid across the blacktop - spitting thick smoke and burnt rubber, lifting off the slick pavement...twisting...flipping...hemorrhaging oil from its ruptured tanks...grinding its way towards... MEN AT WORK. Seconds to react as an 80,000 pound juggernaut of death plows through parked cars like paper...crushing the Con Ed equipment...lurching to a halt on top of the MANHOLE. EXT. FIRE STATION - 9TH BATTALION - CONTINUOUS TWO FIRE TRUCKS (1000 Gallon Pumper and Mack Tiller Ladder) pull into the street. EXT. LADDER TRUCK JUMPER SEATS - MOVING - CONTINUOUS SIRENS wail, cherry tops spin. FRANK SULLIVAN, 40, is strapped into an open-air jumper seat. A real life hard charger, Frank is the kind of iron's man fire fighters want coming in after them, should they get caught in harm's way. Kind-hearted and hard-fisted, he has the grace and courage of a man living by his convictions. Across from Frank sits GRAHAM GIBSON, 20. A good-looking African-American, "Gib" is a Fire Fighter Fourth Grade, a tank man... and one nervous probie. Through a window into the CAB, we SEE LT. BUTCH FOSTER, 50, on a walkie-talkie. A beefy old pro who's been through more fires than he can remember. A walkie-talkie sits in a cradle between Frank and Gibson. BUTCH'S VOICE (through walkie-talkie) ...oil all over the street. Cracked water and gas mains. Four companies coming in... Butch's voice continues as Frank calmly absorbs the information, while at the same time. FRANK (re: rain) Oh, man. Hope it ain't like this in Baltimore tomorrow. GIBSON Baltimore? FRANK The game, Graham. The Series? Gibson taps his wristwatch. GIBSON Oh, yeah. Damn. My watch is busted. FRANK Hey, Rookie. Be cool. Just stay with me. This is what we do. GIBSON (still tapping his watch) I seem nervous, huh? Frank laughs. Gibson grins, relaxes a bit. Frank checks his ROLEX DIVER'S WATCH. Multiple SIRENS fill the dawn. FRANK It's 5:30, Gib. BUTCH'S VOICE (through walkie talkie) ...two Con Ed men trapped in an underground electrical conductor vault. Frank's eyes harden. His game face sets up. EXT. MANHATTAN BRIDGE - CONTINUOUS A tableau of impending danger. Thick black OIL bleeds from teh truck onto the street...pouring underneath the rig...and into the MANHOLE. POLICE urgently cordon off the area, evacuating the workers. EMERGENCY PERSONNEL deal with the badly injured TRUCK DRIVER. Firemen wedge sandbags between the hull of the truck and the three-quarters covered manhole -- trying to divert the oil away from the underground vault. FIRE COMMANDER O'CONNELL yells at his men to finish the job and get the hell away. The BIG TRUCKS ARRIVE. PUMPER ENGINE and Frank's LADDER TRUCK -- rapidly guided into position by men on the ground. Frank, Gibson, Butch and the rest of the unit are on the ground instantly and ready for orders. They are looking at a nightmare ready to happen. Frank takes in everything. FIRE COMMANDER O'CONNELL and a CON ED SUPERVISOR approach. BUTCH (deep irony) A fun one. FRANK Yep. COMMANDER We got high voltage cables ripped loose in the underground. They hit water, that fault's gonna arc. Frank looks at the tanker over the manhole. There is now nobody around it. FRANK Why haven't they killed the juice? SUPERVISOR Switches are shorted out. FRANK You're shitting me! SUPERVISOR Wish I was. Oldest part of the system down there. We're on it, but it's gonna take awhile. FRANK We gotta go underground. Get those guys out, now. SUPERVISOR We tried. Bulkhead door's rusted shut. Won't budge. COMMANDER The block is being evacuated. I don't want anybody... including our boys...within fifty yards of that tanker...it's a fucking bomb. Frank has been staring at the capsized rig. Butch knows what he's thinking. But it's too late. Frank is gone...slogging through the oozing oil to the hull of the tanker. He kneels over the three-quarters covered manhole, using a flashlight to peer into the darkness below. Sparks from the loose cables spit off flashes of light as the cables hiss and slap against the ceiling and walls of the vault. FRANK This is the Fire Department. Frank Sullivan. You guys okay? CON ED WORKER #1'S VOICE Please man, you gotta get us out of here... FRANK That's exactly what we're gonna do. And Frank is up, heading for his truck, signaling Gibson. FRANK (CONT'D) (yells to Con Ed Supervisor) How do we get to the vault door? SUPERVISOR There's a manhole at Canal and Bowery. BUTCH'S VOICE Forget it, Frank. No way you reach those men in time. Frank grabs a "halaghan claw tool" and a walkie-talkie. Gibson nervously picks out two helmet lights...and they are off and running. FRANK (yelling back) I can do it, Butch. Me and my 'tank man' here. COMMANDER O'CONNELL (to all, and into walkie) Start spraying down the street. Let me know when we are fully evacuated. EXT. MANHOLE - CANAL & BOWERY - CONTINUOUS Frank uses the "adz" to rip open the heavy manhole cover. INT. MANHOLE TUNNEL - CONTINUOUS Frank and Gibson descend into the tunnel, strap lights on their leather helmets to illuminate the damp darkness. They race down the subterranean passage. The stench is thick. Butch's voice suddenly booms out of the walkie-talkie: BUTCH (via walkie) Frank, you hear me? Frank? FRANK (into walkie) Yeah, Butch? BUTCH (via walkie) The gas level is getting serious. The underground's combustible - it could flashover. I want you to abort! Now! Get the hell out of there! Frank picks up the pace. Charges ahead. Guy's got balls. GIBSON (into walkie) Frank. We gotta go back. Frank... FRANK (calling back to him) Stay with me, Gib. We're gonna do this. GIBSON (charging after him) I should'a been a fucking mailman. Frank reaches the rusted 'submarine-like' VAULT DOOR. Pounds on the door... a faint response. He goes to work on it with the halaghan tool. Gibson arrives...pretty rattled. Frank gives him a wink and a smile. It's gonna be okay. BUTCH (via walkie) Frank, where are you? Frank digs down, suddenly the DOOR GIVES WAY Oil and water rush from the VAULT, pouring over Frank and Gibson, foaming into the tunnel. But the door is mounted three feet off the ground. There is still three feet of oil and water trapped inside. And the smell of gas is now overwhelming... FRANK (into walkie) We're in, Butch. Frank probes the dark vault with the FLASHLIGHT BLADE. Through smoke we see TWO MEN huddled in the corner, trapped by three loose 'HOT' CABLES - WHIPPING AROUND THE TINY VAULT LIKE AN ELECTRIC HYDRA. Con Ed Worker #2 shivers, ankle broken, leaning on older Con Ed Worker #1. FRANK (CONT'D) Time to go home, fellas. Gibson sprays the room, clearing out most of the smoke. Frank steps into the vault. CON ED WORKER #1 Careful. If the hot end of those cables hits you, it'll conduct to the water and we're all fired. Frank drops to his knees, ducking under the cables, shuffles to center of the vault. Places his hands at opposite ends of the halaghan tool, hoping for the cables to pass directly over his head. A hairy beat, then... Frank jackknifes out of the water, ramming the halaghan into the ceiling. It worked. The teeth on the "claw-end" and the spike on the "adz-end" are embedded into the concrete -- STAPLING THE CABLES TO THE CEILING. Make that balls of steel. FRANK Go, Gibby! Everybody move it. Gibson and Con Ed worker #1 help injured Worker #2 out of the vault. Frank checks to make sure they've cleared the vault and lets go of the tool. Frank jumps into the tunnel, hoists the injured worker over his back and races back down the tunnel. FRANK (CONT'D) (to Gibson) Haul ass, that claw ain't gonna hold for long... (into walkie) Take cover -- she's gonna flash! EXT. STREET - OIL TRUCK - CONTINUOUS O'Connell and the few remaining cops & firemen run for it... INT./EXT. MANHOLE - CANAL & BOWERY - CONTINUOUS Frank, Gibson and the Con Ed men scramble towards the manhole. Butch and another fireman are waiting up top. They help the men -- who are covered in oil and slime -- up onto the street. And then they all tear away from the manhole...around a corner... collapsing on the pavement against a building. K-A-B-O-O-M -- A MUFFLED EXPLOSION The vault ignites, the tunnel "FLASHBACKS" -- a towering geyser of FLAMES AND DIRT ERUPTING out of the manhole from which Frank has just escaped. In the distance, FLAMES erupt out of the other manhole...engulfing the OIL TRUCK...blowing it into a million pieces. Through the INFERNO at the base of the Manhattan Bridge, Frank can see that no one is hurt. His eyes glistening with adrenaline and relief, he sits back against the building and throws an arm around Gibson. FRANK You did good, Gib. Real good. Frank looks over at the hyperventilating Butch and smiles. FRANK (CONT'D) Elvis has left the building. INT./EXT. MIDTOWN TUNNEL - MORNING Inside the tunnel. Dark. Moving fast. Flashes of LIGHT bounce off the shiny tile walls. The deep throated ROAR of a '67 HARLEY battles with Martha & the Vandellas' HEAT WAVE. We are with Frank, wearing a leather jacket with the insignia of his fire-fighting unit emblazoned on it, and a New York Mets BASEBALL CAP pulled down tight, as he rockets his chopper through traffic, out of the tunnel, and up into... EXT. QUEENS - STREETS - CONTINUOUS CREDIT MONTAGE begins as Frank cruises home. It has STOPPED RAINING. Frank passes by billboards and other evidence of the approaching METS/BALTIMORE ORIOLES World Series. He circles a LITTLE LEAGUE ball field waving to some OLDSTERS. EXT. SULLIVAN HOUSE - QUEENS - CONTINUOUS Frank glides the Harley alongside his house. A feisty DALMATIAN PUPPY ELVIS barks his welcome from behind a fence. Feeling fatigued, Frank dismounts and enters teh backyard, playing for a moment with Elvis while he uprights a TRAINING BICYCLE, tidies up BASEBALL EQUIPMENT, and glances up at a HAM RADIO ANTENNA secured to the roof, before entering through a backdoor. There is a sense of routine to all this. INT. SULLIVAN HOUSE - KITCHEN - CONTINUOUS The kitchen is empty. Breakfast dishes in the sink. Frank flips on the RADIO. It plays out under the rest of the MONTAGE as coverage of the oil truck crash blends into other news stories. A note on the refrigerator reads: 8:15. Hey, Bud. I'm off to work. Johnny's at school. Elvis is fed. I luvs you. Setting a grapefruit and a slice of toast on the table, Frank glances at the Daily News. But his eyes are tired, he stares off into space...letting go. INT. SULLIVAN HOUSE - MASTER BATHROOM - CONTINUOUS A radio in the bedroom is tuned to sports news. Frank soaks in a hot bath. He looks like he might fall asleep - and does. CREDITS END. INT. SULLIVAN HOUSE - MASTER BEDROOM - AFTERNOON CRASH! A SOFTBALL BLOWS through the window from the BACKYARD, landing on the rug next to the bed. Frank bolts awake, staring at the busted window. He checks the clock. It is 5:15. He steps to the broken window. SEVERAL SMALL BOYS scurry from the yard. Two others, JOHNNY SULLIVAN and GORDO HERSCH, both 6, stand frozen in place. Elvis tears in circles around them. All is very quiet. Then, from somewhere beyond the bedroom door, we HEAR The Beatles' BACK IN THE THE USSR... INT. SULLIVAN HOUSE - KITCHEN - CONTINUOUS JULIA SULLIVAN, 32, is rockin' out, chopping vegetables. JULIA (singing to song) ...show me 'round the smokey mountains way down south... Adorable, sweet and strong. Strawberry blonde hair, sapphire eyes, soft earthy vibe. A beauty. Frank, wearing FDNY sweats, moves into the kitchen flipping the softball from hand to hand. Julia turns to him and rolls her eyes at the sight of the ball. Say no more. FRANK Hey, bud. JULIA Hey, bud. Without breaking stride, he gives her a smack on the lips and steps to the screen door to the back porch. EXT. SULLIVAN HOUSE - BACKYARD - CONTINUOUS Johnny stands nervously outside the door. Elvis sits at his side. Gordo watches from the safety of his own porch next door. Frank opens the screen door, casts a stern look down at his son. FRANK Looks like two weeks worth of allowance, Chief. JOHNNY I know. Sorry, Dad. FRANK Glad to hear that. And Frank drops the softball into Johnny's mitt, closes the screen door and turns back into the kitchen. Johnny turns away into the yard. INT. SULLIVAN HOUSE - KITCHEN - CONTINUOUS With a shrug, and sharing a kids will be kids smile with Julia, he grabs a cold Rheingold from the refrigerator and heads into... INT. SULLIVAN HOUSE - FAMILY ROOM - CONTINUOUS ...past a CONSOLE TELEVISION, to the HI-FI FRANK (calling to Julia) How about a little of the King? JULIA (O.S.) (from kitchen) Well, why not a little of the King? Julia crosses her eyes, as if she could stop him. Frank moves to change records. INT. SULLIVAN HOUSE - KITCHEN Suddenly, a PAN of spaghetti sauce bubbles over. JULIA Damn. FRANK (O.S.) You alright? JULIA I think I ruined the sauce...again. As Elvis' SUSPICIOUS MINDS plays, Frank steps back in, moves up behind Julia, and takes her in his arms. FRANK What's the matter, Jules? Trouble workin' an eight hour shift, watching the kid and whipping up a little bolognese? JULIA You didn't marry Donna Reed. FRANK I'd go with you and Chinese take-out over her any time. And he turns her around and they start to dance as Frank sings along to Elvis, badly. FRANK (CONT'D) (singing lyrics) Caught in a trap, I can't walk out, because I love you too much b-b-baby. We follow the music as it drifts out into the YARD where we can SEE Johnny and Gordo looking in at the weirdness. JULIA How was your tour? FRANK The usual. Frank spots Johnny and Gordo staring at them. He winks at the boys and swings Julia into a Fred Astaire dip. JULIA (loaded) Butch called. FRANK Did he? JULIA He did. FRANK It was under control, Bud. Butchy's just getting tight in his old age. JULIA Nothing wrong with old age, Frank...long as you get there. With a laugh, Frank drops Julia into another dip. As the music fades, we... EXT. SULLIVAN HOUSE - DUSK CLOSE ON: BICYCLE TRAINING WHEELS lying on the sidewalk. Johnny is precariously perched on his fire engine red BICYCLE. He wears a police badge and a whistle around his neck. Frank stands beside him, holding on to the bike seat. We're on a quiet side street next to house. It's the last light of the day. Hold on Johnny's eyes...fear. FRANK Okay, start pedaling. JOHNNY Daddy put the wheels back on. I'm gonna fall. FRANK Don't think about falling, just keep pedaling. JOHNNY Daddy, I'm scared. FRANK C'mon, Chief, show some guts. Johnny takes a gulp of air, doesn't want to disappoint his father, nods okay. He starts pedaling. Slowly moving forward. Frank holds on to the seat. Frank's still hanging on - jogging along side. FRANK (CONT'D) I'm gonna let go! Frank let's go. Johnny's pumping those little six year-old legs, but he starts to wobble out of control -- CRASH! Johnny starts to cry, quickly gets up and runs back to the house. Julia comes out of the kitchen door. Johnny runs into her arms. FRANK (CONT'D) Don't quit on me now, Chief. Johnny tears himself from Julia's arms, runs inside. Frustrated, Frank lights up another cigarette. JULIA Don't be so tough on him Frank, he's six years old. (softer) He just needs to know you're right there behind him. Frank takes a deep drag on the butt. Steps onto the YARD and stares up at the starry night. ANGLE ON UPSTAIRS WINDOW INT. SULLIVAN HOUSE - JOHNNY'S ROOM - CONTINUOUS JOHNNY'S POV: Frank standing in the yard, wishing on a star. Johnny looks up at the sky and makes a wish of his own. PULL BACK & PAN UP TO STAR-STREWN SKY, CAMERA RACING TOWARDS: EXT. OUTER SPACE - CONTINUOUS Countless points of light blaze across vast blackness. A luminous blue sphere floats peacefully below EARTH. We are 22,000 miles away in geosynchronous orbit. MULTI-BILLION DOLLAR PIECE OF HARDWARE drifts into and fills the frame - 1 1960's COMMUNICATION SATELLITE, NASA & HUGHES logos affixed to the glistening aluminum hull. All is still for some moments. But then a sound disturbs the quiet of the cosmos. It's coming from the horizon. From something that looks like a hole in the fabric of space. Bright streaks of starlight swirl around into that hole. And slowly the satellite begins drifting towards it - pulled in by some invisible force. FOLLOW THE SATELLITE AS IT IS SUCKED INTO THE VORTEX. INT. SPACE ANOMALY - CONTINUOUS We look through the ripple of warped space-time. As if holding a lens to one eye, we glimpse two earths at once -- two identical North Americas. The two earths turn slightly... EXT. SULLIVAN HOUSE - DUSK - 1998 THROUGH the screen door, we are CLOSE ON A MAN'S FACE, staring out... JOHN F. SULLIVAN, 35. John's eyes tell us he needs more than just a shave and a good night's sleep. This man has demons. Right now he is LOOKING OUT AT: SAMANTHA TAYLOR, 33. A knockout. Dark blonde hair, piercing blue eyes. Not happy. She jams a suitcase into the back seat of her car and starts back for the house. JOHN So, that's it, Sam? You're just walking out? INT. SULLIVAN HOUSE - KITCHEN - CONTINUOUS Samantha strides in past John towards a washer/dryer. SAMANTHA I've been walking out for the last six months. You didn't notice...or care. She grabs clothes from teh dryer and exits to... INT. SULLIVAN HOUSE - LIVING ROOM - CONTINUOUS ...towards a stairway beyond, John not far behind. JOHN Fine, go ahead and save the whole world, Sam. (sipping his beer) You don't gotta worry about me. SAMANTHA Damn you. I tried. But you wouldn't help me. INT. SULLIVAN HOUSE - MASTER BEDROOM - CONTINUOUS Samantha steps into the bedroom to an open suitcase and travel bag. She starts jamming the clean clothes into the suitcase and then begins to close the case and bag. JOHN You're right. We should've quit a long time ago. Sam can't hold back anymore - she cries openly. JOHN (CONT'D) It's not your fault. It's mine. I can't change. Wish I could, Sam. But I can't. And suddenly Samantha's tears turn to anger. SAMANTHA That's not true and you know it. John has no reply. All he can do is watch as she takes her stuff and heads for the door. SAMANTHA (CONT'D) Goodbye, Chief. John stands immobilized in the middle of the room. He looks down and spots a TEDDY BEAR half stuck under a reading chair. And then to a photo of him and Sam at a CARNIVAL SHOOTING GALLERY. Sam's holding the teddy bear. John turns at the SOUND of the backdoor slamming. Looks out a window down to Samantha getting in her car and driving away. INT. SULLIVAN HOUSE - KITCHEN - CONTINUOUS John enters, goes straight for a half empty bottle of BUSHMILLS IRISH WHISKEY. As he brings the bottle to his mouth...BRRRRING. The PHONE. INT. SULLIVAN HOUSE - FAMILY ROOM - CONTINUOUS Swigging Bushmills as he steps to a combination portable phone/answering machine, John takes off his jacket. We notice two things: an NAPPED DETECTIVE SHIELD and a .38 REVOLVER. BRRIING. John grabs the phone. JOHN What? It don't matter, Lady. Why?... Cause I don't got no friends or family. BANG. Slams down the phone. And stares around the room. WE'VE BEEN IN THIS HOUSE BEFORE -- 29 YEARS AGO. This was Frank and Julia sullivan's house. Time has not been good to it. Furnishings haven't changed much, but the house is missing the warmth it had when a family filled it with love. John's eyes dart to a PHOTOGRAPH next to the desk. It is a picture of THE SULLIVAN FAMILY from back then. Too many memories. He grabs his coat, heads out... EXT. LITTLE LEAGUE BASEBALL FIELD - QUEENS - EVENING The field is EMPTY. Covered in shadows. John sits alone on the top row of the BLEACHERS, cradling his bottle of BUSHMILLS. He takes a long pull. As he stares down at the empty field, his eyes slowly drift over to home plate... AUDIO FLASHBACK: a VOICE rises up out of the darkness. The voice of memory... ANNOUNCER Batting next. Johnny Sullivan. We hear the SOUNDS of CHEERING parents. The CLAPPING, WHISTLING & SHOUTING is hauntingly juxtaposed against the empty playing field and bleachers we see on the screen. CRACK: sound of the bat solidly connecting with the ball. CAMERA follows invisible runner from home to first base. ANNOUNCER (CONT'D) Sullivan's safe at first. Batting for Johnny's father is...Coach Newman. John takes a deep breath, glances from first base back to home plate...then looks off into the distance - a cold thousand yard stare. EXT. SULLIVAN HOUSE - NIGHT John shuffles up the pathway. The SOUND of a TV - X-FILES - filters out from inside the house. INT. SULLIVAN HOUSE - CONTINUOUS John walks in the front door. GORDY JR., 8, carrying an overstuffed BLT, whizzes by... GORDY JR. Hi, Uncle John. John notices smoke filtering out of his kitchen. JOHN I'm not your uncle, kid. (yelling into kitchen) Gordo, what are you doing here? GORDO (O.S.) Sully! Is that you? Follow John into the kitchen. INT. SULLIVAN HOUSE - KITCHEN - CONTINUOUS Meet GORDON HERSCH, 35, computer geek, lovable dough boy. Last seen by us in 1969 as a six-year old. GORDO Hey, Sull. My cable's out again. JOHN What the hell is that smell? John glances at a mound of burnt bacon dripping on the stove. GORDO Can you believe Ellen still won't let me cook in the house? I melt one lousy frying pan, y'know? Gordy Jr. scoots into the kitchen. GORDY JR. John, guess what? Dad's taking me fishing. Wanna come? JOHN Wish I could, Gordy. But you bring me back a big one. GORDO Hey, OK if Gordy uses your old gear? JOHN I think it's somewhere in the closet... if you can find it. Gordy Jr. runs out. O.S. sounds of him rummaging through hall closet. GORDO So Yahoo went up another two points. Man, did we miss the boat on that one. John puts the Bushmills bottle down, and grabs two Molsons. JOHN Coulda, woulda, shoulda, pal. John laughs, hands Gordo a beer, and lights up a cigarette. GORDO Sam called Ellen. John reacts. Nothing else needs to be said. A beat, then... GORDO (CONT'D) Why don't you come with us? Three days of fresh air and barbecue would do you some good, man. GORDY JR. (O.S.) Dad, John, c'mere... INT. SULLIVAN HOUSE - ENTRY HALL - CONTINUOUS Gordy Jr. sticks out of the closet, attempting to drag out a large BLACK STEAMER TRUNK, stenciled with yellow letters. GORDO Hey, Gordy, what 'ya doing? GORDY JR. Dad, check it out. Fire Department! Can I open it up? John thinks about it for a second. Noting the curious glee in little Gordy's face, nods OK. Gordy Jr. pops open the latches, opens the trunk. Gordo crouches down beside his son, checks out the dusty contents. HOLD ON JOHN'S REACTION to what Gordy Jr. finds in the trunk. GORDY JR. (CONT'D) Wow. Gordy Jr. reaches in and takes out: FDNY HELMET & JACKETS. Briefly puts on the enormous helmet, then sets it aside. Reaches back into the trunk and pulls out the disassembled pieces of a 12 gauge SHOTGUN. GORDO Hey! Gimmie that! Gordo takes the shotgun from the boy and places it gingerly inside the closet. Simultaneously, Gordy Jr. hands off a leather-bound SCRAPBOOK to John. Before John can react, Gordy Jr. lifts up an AMATEUR RADIO TRANSCEIVER. GORDY JR. What's this, Dad? ANGLE BACK ON JOHN Powerful memories fill his face. GORDO John, that's your Dad's old ham radio. Remember? Remember how we used to beg him to let us talk on that thing? CLOSE ON the transceiver and microphone - mint condition 1965 Yaesu FT 101, and a "Silver Eagle" Astatic D-104 microphone. JOHN/GORDO This is not a toy. GORDY JR. Can we try it Dad, can we try it? Gordo looks at John. JOHN What the hell. INT. SULLIVAN HOUSE - STUDY - CONTINUOUS Glass doors separate the study from the family room. The HAM RADIO is set on a dusty wooden desk. Scotch-taped to the top of the radio is a diagram for the radio setup and "QSL" cards: certificates from around the world acknowledging "contact" with "WB2YXB" -- FRANK SULLIVAN, BAYSIDE NY. Gordo hooks up the radio. Gordy Jr. shuts off the TV. GORDY JR. So this was what people used before the Net, huh? GORDO Man, do I feel old. GORDO TURNS THE RADIO ON. Shows Gordy how it works. Gordy rotates the tuning dial, nothing but "dead bands." STATIC. JOHN It's junk, kid. Nobody uses those things anymore. KNOCK. Front door opens. John's head turning around. Meet ELLEN, 35, Gordo's wife. The grown-up in the family. ELLEN Gordo, do you know what time it is? (a beat) Hi, John. JOHN Ellen. Ellen notices John's weary look but says nothing. We get the sense she knows what is wrong. ELLEN C'mon Gordy, let's go. GORDY JR. Oh, mom... EXT. SULLIVAN HOUSE - CONTINUOUS Gordo and family pour into the yard between the two houses. John shuffles out behind them. Gordo and Gordy Jr. quickly disappear into their house, but Ellen lingers for a moment - looking back at John standing alone. ELLEN You all right, John? JOHN Oh, yeah. Ellen holds her glance for a moment. John smiles, thinly masking his sadness. Ellen nods okay, and she is gone. John looks up at the stars, then down to the HAM RADIO ANTENNA on his roof, now looking raggedy from 29 years of neglect. INT. SULLIVAN HOUSE - FAMILY ROOM - LATER CLOSE ON TV: LARRY KING is interviewing STEPHEN HAWKING. John is back on the Bushmills. He races clumsily for the CORDLESS PHONE. CLOSE ON SPEED DIAL BUTTONS. John hits #3. JULIA (answering machine voice) Hi, this is Julia. Please leave a message after the tone. JOHN Hey, Ma, it's me. Checking in. Probably at work. Anyways, I'll see you tomorrow night. Love you. John puts down the phone. Stares at the FDNY trunk. He stumbles to it. Sits down and opens it up. It's filled with his Dad's stuff. He picks up and leafs through the old SCRAPBOOK - PHOTOS and CLIPPINGS illustrate FAMILY HISTORY... A quick glimpse of Dad's high school baseball team; Mom and Dad's 60's wedding. CLOSE ON PHOTO: John at his First Communion pictured with his MOTHER - WE SENSE LOSS AND SADNESS IN HIS EYES - THIS BOY LOOKS HURT. A folded newspaper drops out. John picks it up. Front page of the DAILY NEWS. Top half READS: "October 13, 1969. AMAZIN'S TAKE GAME 2 - SERIES EVEN." The lower half READS: "FIREMAN KILLED IN WAREHOUSE BLAZE" He shoves the paper back in the scrapbook. Puts the album down - he can't deal with those wounds. He glances up at the TV: LARRY KING Is this anomaly connected to the space storm and the NASA satellite that disappeared in 1969? HAWKING We don't know. But given the similarities of their location and appearance, this is a question that merits further investigation. NOTE: Larry King's show plays for the duration of this scene. John settles in, takes off his work shirt. Underneath he has on a T-shirt. We notice a NICOTINE PATCH on his arm. Doesn't stop him from burning another Marlboro. JOHN IS SUDDENLY STARTLED BY A NOISE FROM THE STUDY - A LOUD BURST OF STATIC. FRANK (over radio) CQ 15, here is WB2YXB, by for call. John gets up, Bushmill bottle in hand, and stumbles into... INT. SULLIVAN HOUSE - STUDY - CONTINUOUS FRANK (O.S.) CQ 15, come in 15. Approaching the desk, John sits down at the radio. Reaches out to the mic -- presses down on the red squawk bar. JOHN Uh, hello? FRANK (O.S.) WB2YKXB, who've I got? JOHN (slightly slurred) Name's John. In the BACKGROUND of FRANK'S VOICE, we barely hear WALTER CRONKITE interviewing someone. FRANK Are you licensed to broadcast, buddy? JOHN Look, I don't really remember how this thing works. FRANK Listen, you can't broadcast without a license. Unless this is an emergency, you gotta get off the band. JOHN (chuckling) Pal, my whole life's an emergency. A pause. FRANK Where are you transmitting from? JOHN Queens, New York. FRANK Whatta ya know. Bayside, born and raised. JOHN I thought these things were for talkin' around the world. FRANK 15-band closes down at night. During the day you can chew the band with China if you want. JOHN I can't believe people are still using these things. As John releases the squawk bar, the distant sound of Frank's TV filters out of the HAM. FRANK Can you hold on a second? And then John hears the sound of a door closing. FRANK (CONT'D) Sorry 'bout that. So Queens, you psyched for the Series? JOHN (taking a swig) I don't really follow baseball anymore. FRANK What? JOHN I got fed up with all the bullshit. FRANK Fed up? Lemme tell you something, in a 1000 years, when school kids study America, they're gonna learn about three things: the Constitution, Rock 'n' Roll, and Baseball. Despite his mood, John has to smile. FRANK (CONT'D) How can you live in Queens and not love the Amazin's? John warms to the topic of his boyhood heroes. JOHN If you're talking The Amazin' Mets, well, that's different. You know people talk about Seaver, but I'll love Ron Swoboda til the day I die. Static crackles out over the radio. The signal weakens. FRANK (through static) I'm right with you, man. He's got the heart of a lion. Hey, how 'bout the first game of the Series? JOHN Yeah. It was all over after Buford nailed Seaver's first pitch outta the park. More static. FRANK No way, brother. Ain't gonna happen. BZZZSSSSHHHH - loud static. THE SIGNAL IS GONE. JOHN Who the hell was that? Behind him, on TV, Larry King and Hawking continue talking. INT. SULLIVAN HOUSE - STUDY - NIGHT - 1969 ANOTHER FINGER PRESSING DOWN ON THE RED SQUAWK BAR... FRANK SULLIVAN. Seated at the polished wooden desk. FRANK Hello, Queens. You there? Silence. The signal is gone. Frank leans forward, jiggles the frequency dial, trying to regain the signal. No luck. Slightly frustrated, he stands and opens the glass doors to the family room where Julia is watching TV - a very young STEPHEN HAWKING is being interviewed by WALTER CRONKITE, 52. JULIA Frankie, Johnny wants to say goodnight. FRANK (a little distracted) Sure. He starts to take a step into the room, and stumbles over Elvis, sleeping by the door...KNOCKING INTO and CRACKING a GLASS PANE in one door. INT. SULLIVAN HOUSE - STUDY - 1998 John, dog tired and more than a little wasted, gets up from the desk, inadvertently leaving the Ham Radio ON, and shuffles for the family room through the glass doors. CAMERA HOLDS, CLOSE on the GLASS PANE...CRACKED in the exact same spot where Frank knocked into it 29-YEARS AGO. INT. SULLIVAN HOUSE - JOHNNY'S BEDROOM - NIGHT - 1969 Frank unpins the police badge from Johnny's shirt, takes the whistle from around his neck. He pulls up the covers and softly kisses Johnny's forehead. You can tell he loves this kid more than anything in the world. FRANK (lullaby-like) Take me out to the ballgame, take me out with the crowd. Buy me some peanuts and cracker jack... INT. SULLIVAN HOUSE - FAMILY ROOM - 1998 John plops down on sofa, half asleep. The TV drones on. JOHN ...I don't care if I never get back. FADE TO BLACK. The LEGEND reads: OCTOBER 11th - FIRST GAME OF THE WORLD SERIES Blue sky. A SOFTBALL soars into view. It drops down and into a WILLIE MAYS' style basket catch by Frank Sullivan. EXT. LITTLE LEAGUE BASEBALL FIELD - QUEENS - DAY - 1969 The same Little League field that Frank circled on his Harley yesterday, October 10, 1969. And the same field at which John sat in the stands drinking last night, October 10, 1998. We are in the 9th inning of a friendly SOFTBALL GAME between the local COPS and FIREMEN. A lot of NYPD and FDNY T-shirts, sweats and caps. Plenty of Mets stuff, too. Having made the catch, Frank coolly pulls the ball from his mitt as he starts running toward the infield diamond. Tagging up at 3rd, sorely tempted to try for home is SATCH DELEON, 30, NYPD Detective. Satch feints for the plate, Frank feints the throw. For a maddening, gleeful moment, Frank has Satch caught between 3rd and home. In the STANDS, Johnny Sullivan, Marge Hersch and the FAMILIES of the other ballplayers scream for whomever they want to win this game of chicken. On the SIDELINES, Johnny, Gordo and the other KIDS serving as BATBOYS and WATERBOYS, jump around in anticipation. At HOME, Butch Foster stations himself to take the throw. Suddenly, Satch fakes to 3rd, then bolts for home. Frank pegs it to Butch, who tags the sliding Satch. Game over. SATCH Lucky throw, fire boy. FRANK (jogging in) Luck, my ass. They square off. Pretending to fight. Julia steps between them. And they all descend into laughter. Frank and Satch each wrap an arm around Julia and start off. Within a step, Johnny slips in under Frank's other arm. FRANK (CONT'D) (to Johnny) See that, kid. Practice. Practice. INT/EXT. BUTCH'S HOUSE - DAY - LATER Close on a TV: PRESIDENT NIXON tosses the first ball to open the 1969 WORLD SERIES. REVERSE to see many of the PLAYERS and FAMILIES from teh softball game are parked around a couple of TVs watching the game. BEER flows from a keg. SOFT DRINKS are passed around. HAMBURGERS and HOT DOGS are cooking on the BBQ. Satch sits with Johnny and Gordo and some other kids. Frank and Julia tend the BBQ. Butch brings out some beers. A fun day. EXT. CONSTRUCTION SITE - DAY - 1998 A DETECTIVE'S CAR pulls up next to a couple of BLUE & WHITES at West 155th St. The Northern tip of Manhattan Island. Across construction barricades is a half-torn down GREEK RESTAURANT. Several UNIFORMS can be seen beyond it, looking at something on the ground. As John exits the car, the passenger door swings open and we MEET a guy we haven't seen in 29 YEARS - SATCHEL DELEON, 59. Shaved head, square jaw. A ram-rod straight, craggy warrior. Thirty-plus years on the force now endow him with a rare combination of smarts, guts and sense of humor. SATCH (as they walk) Don't choke on your pride, Sull. You ain't ever gonna catch another one like that. JOHN She made up her mind. Nothin' I do is gonna change it. SATCH Nothing you're willing to do. Spotting John and Satch, a UNIFORM approaches them. They keep on walking. JOHN What's the story? UNIFORM Survey crew found a body. Actually a skeleton. Over here. The uniform leads John and Satch around some overgrown weeds to SEE a patch of freshly unearthed dirt...out of which sticks a HUMAN SKULL and COLLAR BONE. In the B.G., a CRIME SCENE unit can be seen arriving by van. SATCH Be real careful when pulling it out. And get the dirt around it. As Satch turns to talk to a second UNIFORM and a couple of SURVEYORS, John notices a man raking leaves in a yard not far away. As he starts to him, to Satch: JOHN I think I'll visit the neighbor. INT. SHEPARD RESIDENCE - DAY - CONTINUOUS CLOSE ON FRED SHEPARD, 72. As the scene unfolds, we can SEE the half torn down diner/crime scene through a window. Satch oversees the operation. MRS. SHEPARD, 70, hands John a cup of coffee. JOHN Thanks. John looks out the window. MR. SHEPARD Used to get breakfast there all the time back from the boat. Them Greeks were good people. Once that McDonalds opened up on Dyckman, they lost all their business. John glances around the room - notes family PHOTOGRAPHS. There's a picture of Shepard in younger days on a commercial fishing boat. Next to it a faded black and white picture of Mrs. Shepard, 35. A few pictures of the Shepards and their YOUNG SON. And at the end, a color photograph of the same son, about 20, in DRESS BLUES, graduating from the Police Academy - CLASS OF '64. JOHN Your son on the job? MR. SHEPARD Was. Carl died in the line of duty. October '69. JOHN I'm sorry. Shepard points to a frame above the fireplace: Distinguished Service Medal, CARL SHEPARD, awarded posthumously. MR. SHEPARD My boy lived and bled blue. Silence. Mr. and Mrs. Shepard stand very still. John discreetly glances at his watch. EXT. CONSTRUCTION SITE - MOMENTS LATER THUNDER in the distance. CRIME SCENE personnel have made some progress in unearthing the skeletal remains. A couple of drops of rain tap the ground and the bones. John stands looking down at the skeleton. A long beat. And then he turns to Satch and they start for the car. Behind them, the skeleton is carefully pulled free from the ground. WE SEE its wrists are BOUND with GLASS TAPE. INT. JULIA'S APARTMENT - MANHATTAN - EVENING - LATER CHINESE TAKE-OUT CARTONS are placed in a microwave. WIDEN TO REVEAL the woman holding the cartons: JULIA SULLIVAN, 29 YEARS OLDER than the last time we saw her. But she looks okay, she looks happy. We are in the kitchen of Julia's Upper West Side apartment. It is raining. We notice THE GEORGE WASHINGTON BRIDGE outside a BAY WINDOW. JULIA (calling out) I thought it'd be nicer to eat here. JOHN (O.S.) Sounds good. JULIA (walking into the other room) I'm sorry Sam couldn't make it. JOHN (lying badly) Yeah, those grad school applications are driving her crazy. Julia hands John a Coke. Close on her face - she feels her son's pain. JULIA I'm sure everything'll work out. (beat) She really loves you... JOHN (changing the subject) So how are things at the hospital? JULIA Fine. You know Dr. Schwartz retired last month? JOHN No kidd'n, he musta been pushing 90! JULIA Close. Beat. JOHN So how'd you like LION KING? JULIA Oh, I loved it. I wish you'd gone. JOHN I know. I'm sorry. Work. JULIA You work too hard, John. JOHN Look who's talking. They share a laugh. And then slowly the laughter dies. John's expression changes as he quietly lights a cigarette. Julia knows what he's thinking... JULIA 29-years tomorrow. A long beat. JOHN I wish I could remember him better. Truth is, most of the stuff I know is from the stories you used to tell. But they're not mine. They're not my memories. They're yours. Julia glances at an old photo of Frank, then back to John. JULIA You would have liked him, John. And he would have liked you. PING. The microwave timer sounds off. INT. SULLIVAN HOUSE - STUDY - CLEAR NIGHT - 1969 CLOSE ON Frank's dog, Elvis. Poking his nose in a carton of Chinese take-out on the floor. An arm drops into frame - scruffs the puppy's back. The Rolex diver's watch tells us the arm belongs to Frank. WIDEN TO REVEAL: Frank sitting at his desk. He fires up an unfiltered LUCKY STRIKE, pops a Rheingold. Next to him a Daily News headline - NASA INVESTIGATES SPACE STORM. FRANK ...WB2YXB calling unidentified station, Queens. CQ 15. JOHN (O.S.) (over radio, sounds like he's had a few drinks) Hello? FRANK I been Q-ing you all night. How the hell did you do it? JOHN (O.S.) Huh? FRANK The World Series. You called Buford's homer. JOHN (O.S.) Wasn't too tough, buddy. Game happened almost thirty years ago. FRANK What are you talking about? I'm talking about this afternoon. JOHN (O.S.) This afternoon? Frank puts his finger on the squawk bar, about to say something, but just at that moment his son Johnny appears in the doorway in his pajamas. JOHNNY Daddy, come up and sing the baseball. FRANK (to Johnny) I'll be up soon, Little Chief. INT. SULLIVAN HOUSE - STUDY - RAINY NIGHT - 1998 John Sullivan's face, thunderstruck. The camera stays on John. He puts down his drink. FRANK (O.S.) Sorry 'bout that. JOHN What'd you just say? FRANK (O.S.) Oh, that was my kid. John looks up at the photo on the wall: FRANK, JULIA AND SIX YEAR OLD JOHNNY SULLIVAN (CIRCA 1969). A beat, then: JOHN You call your son Little Chief? FRANK (O.S.) Uh huh... JOHN What'd you say your name was? CUT TO CLOSE ON FRANK Frank...Frank Sullivan. NOW BACK ON JOHN Is this some kind of joke? Gordo is that you? Are you fucking with me? FRANK (O.S.) Look pal, I'm just askin' how you... JOHN You're telling me your name is Frank Sullivan, you live in Queens and you just saw the first game of the '69 Series...live? FRANK (O.S.) Right...and I'm asking how you called the game. JOHN Gordo, if this is you, so help me... FRANK (O.S.) What the hell does Gordy have to do with it? John's POV - top of radio - in FADED PEN, on a piece of masking tape, is written: "WB2YXB" JOHN What'd you say your station...uh, your call letters were? FRANK (O.S.) W...B...2...YXB. The call letters hang in the air. A breath, then... JOHN Now you listen to me. My name is John Francis Sullivan, I live at 1060 41st, where I've lived my whole life. And I saw the first game of the '69 Series at my Uncle Butch's house with my father... FRANK (O.S.) What? JOHN 29-years ago. CUT TO: Frank dropping his cigarette in the ashtray. It rolls out and lies smoldering on the desk. He doesn't even notice. FRANK 29 years...? BACK ON JOHN My dad's name was Frank Patrick Sullivan, he was a fire fighter and a die-hard Mets fan. And every night when I went to bed he sang to me... (softly, almost singing) Take me out to the ball game, take me out with the crowd... Beat. FRANK (O.S.) What the hell... JOHN I'm dreaming this. Shit, this is a dream. FRANK (O.S.) I'm not dreaming. John reaches out to touch the radio. But he stops, his hand hovering just above it. JOHN So you're Frank Sullivan, huh? It's 1969 and you're sitting at your desk in the study, just chewin' the rag? BACK ON FRANK. He smells smoke, sees the cigarette burning a hole in the desk. Spooked, Smokey the Bear just started a fire. FRANK Christ! Frank beats out the flame with the newspaper. JOHN (O.S.) What's going on? FRANK (lying) Nothing...I just spilled something. CUT TO: A DISTINCTIVE BURN SCAR GRADUALLY MORPHING ONTO JOHN'S DESK. John pushes the Bushmills to the side, staring at the scar. It hits him - hard. JOHN Oh my god. FRANK (O.S.) What? JOHN You just burned the desk. FRANK (O.S.) What's happening? John rubs his fingers over the old burn scar. JOHN You burnt the desk...I can see it. Eerie quiet, the only sound is the rain outside John's window. BACK ON FRANK That's impossible. JOHN (O.S.) What if it's not... ON JOHN reaching out, touching the radio. JOHN (CONT'D) Dad...? FRANK (O.S.) Johnny...? Shockwave. A long moment of absorption. INTERCUT Frank and John. FRANK (CONT'D) How could this be happening? JOHN I don't know. FRANK We gotta be bouncing off the mother sun spot of all time. JOHN Sun spot? FRANK Yeah, that's how Hams work. JOHN Wait a sec...there was something on the news. Something about this space anomaly. I think they said it was connected to some storm in '69. Frank glances at DAILY NEWS HEADLINE - SPACE STORM. He says nothing for a long beat, struggling to understand. FRANK You sound...ground up...? JOHN I'm thirty-five years old. FRANK Thirty-five? That would make it... JOHN 1998. Frank pulls back from the radio... FRANK 1998...? This is wrong. Who are you? Why are you doing this? JOHN I'm not doing anything. (beat) Look, I don't know what's going on. But I swear on my life, I"m here at your old desk, on your Ham, in our house, right now...in 1998. John's voice has a conviction that Frank cannot deny. FRANK It's really you, isn't it? JOHN Yeah...I think so. Silence. Both men trying to wrap their minds around the reality of the situation. Slowly accepting. FRANK Thirty-five? Jesus, you're almost as old as I am... (long beat) What's your life like? You married? Got kids? Beat. JOHN No, not yet. FRANK Too busy playin' ball, huh? JOHN Nah, I gave it up. ON FRANK Johnny gave up baseball? FRANK You happy? John takes a sip, the answer caught in his throat. FRANK (CONT'D) You're still my Little Chief, right? JOHN I'm trying to be, Dad. I'm tyrin'. (pausing) It's good to hear your voice. (quiet beat) I missed you...so much. Quiet beat. A burst of static crackles the air. JOHN (CONT'D) (re: static) What's that? FRANK I think I'm losing you. JOHN No wait, don't go! FRANK It's okay. I'm still here, Chief. JOHN But you're not...you're not still here. More static. The signal breaks up, then returns weaker. FRANK What are you talking about? JOHN I lost you. FRANK What? JOHN I never knew you, Dad. FRANK Why? JOHN Fire. FRANK On the job? JOHN It was an abandoned warehouse - hit by lightening. (beat) Butch told Ma it was just one wrong turn. Said it wasn't your fault. You went with the training, with your instincts. (beat) If you'd just gone left instead of right, you would've made it. FRANK That can't be...that's not gonna happen. JOHN It did, Pop. It did. FRANK When? JOHN October 12, 1969. Heavy static now. They can barely hear each other. FRANK But that's tomorrow. JOHN (fully realizing) Tomorrow. Jesus...it hasn't happened. It doesn't have to happen. Both men frantic. Their words overlapping... JOHN (CONT'D) Don't go. Don't go in that warehouse... FRANK I don't understand. Final blast of static. The SIGNAL is GONE. The BAND is GONE. INT. SULLIVAN HOUSE - JOHNNY'S BEDROOM - NIGHT - 1969 Moonlight casts a glow over the sleeping Johnny. Frank steps in and stands looking down at him. EXT. ROOF OF JOHN'S HOUSE - NIGHT - 1998 John crawls out a window, through the rain, onto the roof. JOHN'S POV Rusted Ham radio antenna, half-fallen over. John scoots over to it, straightening it. But he slips, sliding down the roof, coming to rest against the chimney. A light pops on from an upstairs window across the street. Gordo appears in the window. Does a double take when he sees John, sitting on the roof, soaked, drunk. GORDO (sliding open window) Sull! What the hell! JOHN I talked to him Gordo. I talked to my Dad. Gordo's heart starts to break. His best friend has slipped over the edge. GORDO C'mon, man. Get inside. I'll come over. We'll play some Nintendo. JOHN No. I gotta tell him the address, so he doesn't go in. GORDO Go in where? JOHN The warehouse. Buxton seeds. It's tomorrow. GORDO I know pal. I remember. Twenty-nine years tomorrow. The LEGEND reads: OCTOBER 12th - SECOND GAME OF THE WORLD SERIES EXT. ABANDONED WAREHOUSE/BUXTON SEED CO. - AFTERNOON - 1969 BLACK CLOUDS, EARTH SHATTERING THUNDER. A massive BOLT OF LIGHTNING rockets out of the menacing sky STRIKING THROUGH A WINDOW on the 3rd floor of the warehouse. A FIRE BEGINS. INT. FIRE HOUSE - 9TH BATTALION/REC ROOM - CONTINUOUS GAME 2 plays on TV. Butch, Gibson and the rest of the unit sit around enjoying the game. A very distracted Frank stands watching from the doorway to the kitchen. We are in the bottom of the 9th with the Baltimore Orioles' Brooks Robinson coming to the plate. GIBSON Oh, man. Robinson is gonna nail it and we're gonna be dead. SUDDENLY THE ALARM SOUNDS, moving the groaning firemen reluctantly to action, and freezing Frank in surging anxiety. Gibson is up and passing Frank...who begins to move like he's in a trance. A RAPID MONTAGE of Frank, Butch and the others readying to head out. Gibson grabs a little TRANSISTOR RADIO. BUTCH Let's move it, gentlemen...three alarm. Lit up abandoned warehouse. West 49th. Frank looks like he's going to throw up. EXT. MANHATTAN ST. - COP BAR - DUSK - 1998 John, lost in thought, rounds a corner towards the bar. EXT. STREET - LADDER TRUCK - MOVING - AFTERNOON - 1969 The LADDER & ENGINE trucks barrel out of the firehouse. As SIRENS SCREAM, Frank and Gibson secure themselves into position. Gibson excitedly switches on his radio to the game. He notes that Frank is not the least bit into it. GIBSON Sully, you cool? Frank seems not to hear him. GIBSON (CONT'D) Frank. Hey, man. You alright? FRANK I'm alright, Gibby. From the RADIO we HEAR the last play of the game as Brooks Robinson grounds out 3rd to 1st. METS WIN! CHEERS are heard in the streets and from the CABS of the racing fire trucks. Gibson whoops it up. Frank barely acknowledges the win. INT. COP BAR - DUSK - 1998 John moves through the crowd of cops - ad lib greetings - slides into a booth occupied by Satch and Gordo. GORDO How you feeling? JOHN Better. SATCH You get your roof fixed? John shoots a look at Gordo, who quickly changes the subject. GORDO Can you believe it, Yahoo goes up another point today... EXT. BUXTON WAREHOUSE - DUSK - 1969 Located off the East River in lower Manhattan. The 9th Battalion Fire trucks are first on the scene. A couple of GREEN & WHITES are already there, uniform cops keeping a few onlookers at a safe distance. FLAMES shoot out from the 4th and 5th FLOOR WINDOWS. Starting to lick their way up to the 6th floor and roof. SMOKE billows out of the windows on the 3rd and 2nd floors. Lighter smoke spirals out from the door on the 1st floor. Frank, Gibson and other firemen under Butch's command take stock of the situation and start to deploy. HOSES are run from HYDRANTS to the PUMPER TRUCKS. The LADDER is swung into position for an assault on the roof. GIBSON Bastard's moving fast. BUTCH Thank God it's abandoned. (to the men) Surround and drown...nobody goes in. Frank nods in agreement. Directly above them, another BOLT OF LIGHTNING CRACKS through the darkening sky. A death shudder creeps up Frank's spine. And for the first time in his life, Frank Sullivan is SCARED SHITLESS. Frank stares up at the sky, transfixed. THUNDER punches the sky with a huge roar. RAIN starts to fall. And in the distance, as if from inside the burning building, a FAINT SCREAMING is first heard, and growing louder. FRANK Hear that? BUTCH What? Suddenly, out of the building runs a STONED TEENAGE GIRL screaming and babbling incoherently. GIRL Help! Help! Oh, god. Help. She's up there. She's trapped! Please! Immediately galvanized, Frank moves to the girl. FRANK Hey, hey. It's gonna be okay. We're gonna help. Okay? Okay. She starts to calm down. FRANK (CONT'D) Now tell me, who's up there? GIRL My girlfriend, Molly. FRANK Where? GIRL In a room...an office...or something. We live there. Top floor. Something fell on her. I couldn't help her. Please, you gotta...gotta... Frank looks to Butch. A beat. Butch gives him the nod. Frank and Gibson gear up and go. INT. COP BAR - DUSK - 1998 GORDO You realize that if you'd bought a thousand dollars worth of Yahoo in '96, it'd be worth fifty-grand today? SATCH You doin' okay, John? JOHN Tough day, you know. Satch and Gordo nod in sympathy. Gordo raises his glass. Satch and John follow. A yearly ritual. GORDO & SATCH To your dad. JOHN To my dad. INT. BUXTON WAREHOUSE - DUSK - 1969 Frank and Gibson step into the warehouse. Butch behind them. Flames haven't reached this area yet, but the ROAR of the fire above them is deafening, and smoke billows down THE STAIRWAY before them. They sprint towards it and start up. ONE FLOOR. TWO FLOORS. THREE FLOORS, and suddenly they are face to face with a WALL OF FIRE blocking access to the 4th floor. Frank and Gibson stop and stare into the inferno. FRANK It looks open on the other side. GIBSON Don't know what's behind it. FRANK One way to find out. And he barrels through the line of fire onto the 4th floor. Gibson starts to do the same when the 5th floor gives way above Frank, sending burning timber and debris cascading around him and cutting off Gibson's route. Now Frank's only way to go is up the stairs toward the 5th floor. He turns to Gibson. Coming up behind him is Butch. Across a gulf of flames Frank yells and waves at them to get the hell out. And then suddenly, part of the 3rd floor around Gibson and Butch starts to go. FRANK (CONT'D) (screaming over fire) Get out...while you still can... Frank turns and bolts for the 5th floor as a huge flaming BEAM CRASHES down onto the stairway behind him, forcing Gibson and Butch to scramble like hell back down the stairs. FRANK (CONT'D) (soft) ...it's not your time. INTERCUT WITH EXT. BUXTON WAREHOUSE - CONTINUOUS Fire fighters are efficiently and expertly hard at it. Running out lines. Extending ladders. Moving a FIRE BOAT into place - all communicating via walkie-talkies all on teh same frequency. The BIG LADDER is now in place. As it telescopes up, the ROOF MAN, BILL CAWLEY, begins his climb. PUMP TRUCKS and THE FIRE BOAT keep pumping water onto the blaze. But no matter. For the moment, this is one OUT OF CONTROL NIGHTMARE FIRE. BACK TO Frank reaching the 5th floor. It's an inferno. He keeps moving, tearing up the stairs for the 6th floor. GIBSON (O.S.) (over walkie) Gotta be another way up, Frank. FRANK (into walkie) Then fuckin' find it. (heading in) I'm going for the girl. BUTCH (O.S.) (over walkie) Billy, you better get up top. EXT. WAREHOUSE BUILDING/LADDER - CONTINUOUS ROOF MAN edges up the ladder, as it telescopes above him. ROOF MAN This is Billy, Frank. I'm on my way. South side. INT. WAREHOUSE - CONTINUOUS FRANK (reaching 6th floor) Glad to hear it. See you on top. FIRE has torched OPEN a GAPING HOLE IN THE ROOF. Frank peers around through the smoke and fire and rain. Then he sees, huddled in the temporary saftey of the corner of an OFFICE, but trapped by a fallen CONDUIT, the GIRL, passed out from smoke inhalation. FRANK (CONT'D) (into walkie) I've found the girl. INT. WAREHOUSE OFFICE - CONTINUOUS A HIPPIE CRASH PAD Frank dashes into the office and heaves the conduit off the girl. He hoists her over his shoulder and heads out. EXT. WAREHOUSE - CONTINUOUS Butch and Gibson exit the warehouse past the HOSE CREW already working its way into the building. They look up to the top of the warehouse where the LADDER is haltingly inching its way up the side of the building. INT. BUXTON WAREHOUSE/6TH FLOOR - CONTINUOUS The fire on this floor is now a raging inferno. Flames shoot up from the stairway below through the open roof. Surrounded by fire, Frank, carrying the girl, strides for what looks like a WINDOW on the south side of the floor. FRANK (into walkie) It's real hot in here, Billy. I'm coming out quick. But apprehension rips across Frank's eyes as he reaches the window and looks down to see. EXT. BUXTON WAREHOUSE - CONTINUOUS The top end of the ladder FROZEN some 10 FEET BELOW THE WINDOW. BETWEEN WALKIE-TALKIES. ROOF MAN I'm jammed up here, Frank! INT. BUXTON WAREHOUSE - CONTINUOUS FRANK Oh mother... EXT. BUXTON WAREHOUSE - CONTINUOUS Butch and Gibson are now by the base of the LADDER TRUCK which is near the canal side of the building. Butch screams at the ladder OPERATOR. BUTCH What the fuck, GINO! Tell me! LADDER OPERATOR/GINO Gear box cracked, Butch. We're fucked. BUTCH (into walkie) Frank! Frank! INT. BUXTON WAREHOUSE - 6TH FLOOR - CONTINUOUS FRANK I know, Butch. I know. Frank clicks off the walkie-talkie and turns to survey the hell around him. The STAIRWAY IS GONE. To the RIGHT is a DOOR, flames around it, but none coming from the room beyond it. To the LEFT, another DOOR, a metal one, this one surrounded by fire - flames licking out all around it from room beyond. EASY CHOICE. Frank turns, heads towards DOOR ON THE RIGHT. No. Wait. HE STOPS. SOMETHING'S WRONG. HEART POUNDING, LUNGS COLLAPSING, EYES & SKIN BURNING, EVERY FUCKING BRAIN CELL SCREAMING...THINK! WE HEAR JOHN'S WORDS ECHO IN FRANK'S HEAD: JOHN (V.O.) ...one wrong turn... (beat) If you'd just gone left. And for the first time in his life, Frank Sullivan goes against his instincts and his training as he... TURNS BACK AROUND AND GOES THE OTHER WAY. INT. COP BAR - DUSK - 1998 Gordo is in the middle of a story when... GORDO ...principal calls us in 'cause Gordy hacked into the school system - sent out a little X-rated e-mail. (nervous laughter) Scary, huh? Eight-years old. SATCH Just keep him away from girls. ...something happens - TIME STUTTERS AND REPEATS: SATCH (CONT'D) (repeat) Just keep him away from girls. The effect is like a phonograph needle stuck in the groove. It lasts only a second and nobody seems to notice. Nobody except John, who looks wildly disoriented. He grabs hold of the edge of the table as if to keep his equilibrium. John breaks into a cold sweat. His HEART POUNDING AWAY. INT. BUXTON WAREHOUSE - DUSK - 1969 Franks reaches the door on the LEFT. White heat and flames shoot everywhere...A FUCKING FURNACE. He tires to open it. IT'S LOCKED! WHAM! Frank kicks at it. WHAM! WHAM! The door blows open and flames leap out, the energy of the blast tossing Frank and the unconscious girl back onto the floor, fire surging over their heads. But then... He sees something on the other side of the doorway, inside the room, on the far wall.: A SMALL METAL SWINGING DOOR. INT. BUXTON WAREHOUSE/CHUTE ROOM - CONTINUOUS Frank cradles the girl. Gets down on his knees, crawling under the heat. Reaching the SWINGING DOOR. Pushes it open, revealing: A smooth metal SPIRAL SEED BAG CHUTE. Frank rips open his jacket and bundles the girl to him. He works himself and the girl onto the top of the chute. The ROOM BEGINS TO SHAKE. BRICKS TUMBLE OUT OF THE WALL. The whole GODDAMN BUILDING is going to COLLAPSE. Frank lurches forward until he and the girl start to move down the chute. INT. WAREHOUSE CHUTE - CONTINUOUS As Frank and the girl plunge through the bowels of the inferno...large portions of the building begins disintegrating around them...a giant storm of BRICKS, MORTAR, METAL AND BURNING WOOD biting their tails... Gaining speed through each up-rushing floor...5-4-3-2...Frank and the girl zoom down towards the END OF THE SLIDE only to find IT'S BOARDED UP. OH SHIT! Frank grips the girl tight, raises his BOOTS, bends his knees, and like a HUMAN BATTERING RAM, SMASHES THROUGH THE ROTTED PLYWOOD BOARDS EXT. BUXTON WAREHOUSE/EAST RIVER CANAL - CONTINUOUS THEY'RE AIRBORNE. Frank and the girl. Floating in SLOW MOTION out over the CANAL and landing in the water between the WAREHOUSE DOCK and the FIREBOAT. A YELL snaps Butch's and Gibson's attention to what is happening. Gibson starts running for the CANAL, ripping off his coat and hat before leaping into the water. But Frank is getting pulled down by his fire tank and the weight of the girl. Finally, Gibson reaches him, taking the girl. Frank quickly sheds his jacket and the tank. Butch stands watching on the dock. He takes a moment to close his eyes in thankful prayer. GIBSON You okay, man? FRANK (starting to giggle) Elvis has left the building. Hitting the water has shot the girl back to consciousness. A look passes between her and Gibson. A look he won't forget. SILENCE. Then the thunderous SOUND of the WAREHOUSE CAVING IN on itself, sending flames shooting high into the sky. Frank lies back, floating on the water, the rain pelting around him, letting the miracle of it all, take him over. FRANK (CONT'D) (soft) Little Chief. CRASH! A GLASS OF WHISKEY SHATTERS ON THE TABLE. WE AR: INT. COP BAR - DUSK - 1998 It happens again. Time stutters and repeats. As if the film sprockets were caught in the projector. CRASH! The GLASS SHATTERS AGAIN! CRASH...CRASH... Camera ratchets into the exploding storm of the flying glass, ice and whiskey. And then time stops as we hold close on a frozen shard - in it, the cracked reflection of John's eye. The camera moves through the reflection and into. JOHN'S EYE A burst of light and then...distorted images. Like looking at reflections through a smashed mirror. The cracks gel, and we are in... MONTAGE. A SERIES OF QUICK FLASHING IMAGES. 1969: Frank, Johnny, Butch and Satch at the World Series. 1971: Johnny and Gordo sitting on Frank's lap, at the Ham. 1972: Frank and Johnny, playing catch. 1976: Johnny winning a swimming race at Longbranch Boys Club, Frank cheering. 1984: Frank, Julia and Satch beaming with pride as John graduates from the police academy. These images appear as DISJOINTED FRAGMENTS OF NEW MEMORIES - A PAST THAT DIDN'T EXIST BEFORE. A past where Frank Sullivan didn't die in that fire. It's like watching random frames from the Sullivan Family's 8mm home movies as John's brain struggles to absorb decades of NEW MEMORIES in the span of seconds. JOHN'S POV Normal vision slowly returning. The broken glass is rocking on the table. INT. COP BAR - CONTINUOUS GORDO John. John, you all right? JOHN (a whisper) Longbranch...? GORDO What? John doesn't respond. SATCH You're not looking too good. JOHN Whoa, I just...I just... GORDO What is it? Beat. JOHN My father didn't die in a fire? GORDO Huh? JOHN My father didn't die in a fire? GORDO Fire? What are you talking about? He had cancer, John. JOHN Cancer. It was the cigarettes. Right? The cigarettes? GORDO Yeah, lung cancer. Ten years ago. His hand shaking, John takes a long sip of his beer. Gordo and Satch exchange a concerned look. SATCH Maybe you outta lay off a little... JOHN Gordo, I wasn't dreaming. I talked to him, it was real. GORDO Huh? JOHN The Ham radio. That's how come he didn't die in the fire. A loaded silence. Three guys looking at each other, thinking very different things. INT. SULLIVAN HOUSE - STUDY - NIGHT - 1969 FRANK (into radio mic) Johnny? Johnny? You there? C'mon, Chief, answer me... Nothing but static. Frank jiggles the frequency dial. FRANK (CONT'D) Chief? (louder) Chief, are you there? Silence. And then a voice... JOHNNY (O.S.) I'm right here, Daddy. Frank turns. Johnny, sleepy faced, wrapped in his blankie, stands just outside the room - he looks a little scared. FRANK It's okay, Chief. (beat) C'mere. Johnny shuffles over, Frank lifts him up on his knee - brushes the hair out of his face...and gets an idea. EXT. SULLIVAN HOUSE - MOMENTS LATER Streetlights flood the tree-lined street. Frank & Johnny standing next to the little red bicycle. FRANK Okay, partner, whatta you say we tame this bronco. CLOSE ON Johnny's eyes: SHAME & FEAR - doesn't want to disappoint his father again, but too scared to get on the bike. Frank reaches out, holds Johnny's hand. JOHNNY I'm scared. FRANK Don't be scared. This time I'm right behind you if you fall. JOHNNY Daddy, Daddy, I can't. FRANK No, but we can. We can do it together. Spirit and guts, Chief. A long beat. Johnny takes a deep breath, nods OK, slowly getting on the bike. Frank's holding on to the seat. FRANK (CONT'D) Take your time. I'm not gonna let go 'til you say okay. Johnny takes a gulp of air, starts pedaling. Slowly moving forward. The bike picks up some speed. FRANK (CONT'D) You ready? JOHNNY Wait... FRANK I'm right here behind you... Frank's still running alongside, holding on to the seat. JOHNNY Okay! Frank lets go. Johnny keeps pumping those little six-year old legs. A bit wobbly at first, but he's gonna make it. On Johnny's eyes: determination & self-confidence. FRANK (clapping) Yes! That's it! You got it, you got it! Way to go, Chief! JOHNNY I'm doing it! I'm doing it! ON FRANK'S FACE The proud father. FRANK (under his breath) Atta boy. OVERHEAD SHOT Johnny blissfully riding around Frank in a big gentle circle. Frank slowly spins around keeping his eyes on his Little Chief. INT. SULLIVAN HOUSE - STUDY - NIGHT - 1998 John walks in the front door, takes off his coat... The house looks different. Cleaner, furnishings less ragged. John moves through his home, taking in the subtle changes. He reaches the study. And there, beside the desk, is something that makes him stop: A PHOTOGRAPH on the wall beside the desk -- FRANK, JULIA & FOURTEEN YEAR-OLD JOHNNY SULLIVAN. JOHN Oh my God... The picture changed. John aged from 6 to 14. Julia's hairstyle and clothes changed from 60's to 70's. Frank's hair receded and grayed. Jon is staring at evidence of a history that didn't exist before. John grabs the old family scrapbook he found in Frank's trunk. Opens it, unfolds "FIREMAN KILLED" CLIPPING. The main headline still reads: "OCTOBER 13, 1969. AMAZIN'S TAKE GAME 2. 2-1 LEAD. SEE SPORTS." But the sub headline now reads: "FIREMAN RESCUES RUNAWAY FROM INFERNO" John turns, stares at the radio questioningly. He starts to sit down at the desk when he spots something on the front edge of it. WORDS CARVED INTO THE WOOD, 29 YEARS AGO by fire fighter Frank Sullivan. The day John saved his father's life: I'M STILL HERE CHIEF The last letter is missing. But then a patch of wood starts to morph - as if it were being carved by an invisible knife. A BURST OF STATIC. RADIO CRACKLES TO LIFE. FRANK (O.S.) (through radio) ...can you hear me? CUT TO: CLOSE ON FRANK One hand on the squawk bar, the other holds the jack-knife he is using to finish carving the letter F. JOHN (O.S.) (through radio) Dad...? FRANK Chief?! Is that you? INTERCUT FRANK AND JOHN JOHN Yeah, it's me. FRANK You're the voice of an angel, Johnny. If you hadn't told me, no way I would'a ever made it. Frank cuts himself off in mid-sentence. JOHN Dad, you there? You okay? FRANK Yeah. I'm okay. (beat) What about you? I want to know. About you. And your mom. John hesitates for a moment. Lights up a smoke. JOHN We're doing all right, Dad. We're doing good. FRANK Tell me. JOHN It's hard to explain. Something happened today. It was like a dream. And when I woke up I had all these new memories. Good times. Times we never had before. FRANK I'm glad. But John looks troubled. Something bothering him. He takes a hit off his cigarette. JOHN Dad, I gotta tell you this...cause you should know. Cause I still remember. FRANK What, Johnny? What is it? JOHN What it was like when you died in the fire... Both men are silent for some moments. The hum of static. A breath, then -- JOHN (cont'd) We needed you. I needed you. So many times...I wished for you. But you weren't there for me. (beat) Mom tried. But she was hurting. I used to hear her, every night, for years, crying herself to sleep. Frank grips the radio mic, stunned. FRANK I didn't think... The static grows. John leans into the mic JOHN Well, you think about it. And you remember, cause I don't wanna lose you again. I don't ever want Mom... John's voice cracks, choking back the tears. FRANK (over static) You won't. I swear to God you won't. I love you, son. A blast of static. The signal is gone. It is quiet. John leans back. Takes a breath. Reaches out for the phone. CLOSE ON PHONE'S THREE SPEED DIAL BUTTONS. John HITS #3. JULIA'S VOICE (through answering machine) Hi, this is Julia. Please leave a message after the tone. JOHN Ma, it's me. Call me. We gotta talk. As John slowly hangs up the phone, something catches his eye. Something that wasn't there yesterday. LONGBRANCH BOYS' CLUB SWIMMING TROPHY...A GREAT SUMMER. INT. HOSPITAL - EMERGENCY ROOM - LATE NIGHT - 1969 Through several glass windows a CLOCK READS: 11:52 PM. Julia and other medical personnel are working on a heart attach victim and they are winning. She is in charge and she is impressive. Cool...efficient...expert. A sixth sense causes her to look up to see: FRANK. Standing behind the windows. Motionless. Gazing at his wife. Julia holds on him for a split second, concern and surprise etching across her face. She turns back to her work, then says something to another ER nurse, who nods okay. Satisfied the patient is out of the woods, she peels off her gloves and heads for the door. INT. HOSPITAL - EMERGENCY ROOM/HALLWAY - CONTINUOUS Julia steps through the door as Frank approaches. JULIA Frank...what's wrong? FRANK Nothing. I just wanted to see you. He takes her in his arms, snuggling his head against her neck, losing himself in the scent of her hair. FRANK (cont'd) (whisper) I'm not goin' anywhere, Jules. For the rest of your life. It's hard to tell, we can't see his face, but it looks like Frank is crying. JULIA Frankie, what is it? But Frank is silent. So they just stand there, holding each other. And then Julia notices the burn and scrape marks on Frank's arms and neck. JULIA (cont'd) I got a bad feeling today...I was worried. FRANK I'm here. Bruised but not broken. Frank pulls his head back, looks into his wife's eyes and kisses her on the mouth. It's a long kiss. As they come up for air. JULIA Where's Johnny? FRANK I tucked him in at Gordo's. JULIA You give him his drops? FRANK One in each ear. (beat) What would you do without me? JULIA Probably marry some rich doctor and never have to work... Julia sees something through a glass door that stops her short. A YOUNG INTERN is standing over a gurneyed PATIENT. The YOUNG INTERN is changing the I.V. BAG. JULIA (cont'd) What's he doing? Frank, I gotta... He knows she's back on the job. Waves "no problem." INT. HOSPITAL EMERGENCY CUBICLE - CONTINUOUS Julia interrupts the Young Intern as he hooks up the bag. JULIA Excuse me doctor, is that Benazepril? INTERN Yes. Julia quickly shuts off the I.V. JULIA I gave this patient 50 mills of Benedryal on admittance. (unhooking I.V. bag) Mix them and he's dead. INTERN Why wasn't I made aware? JULIA It's in his chart. The intern steps back: "Oh shit." Julia takes charge. The patient stirs: a SCRAGGLY HIPPIE, looks kind of like Pacino in SERPICO. A breathing mask covers his bearded face. Barely conscious, his eyes focus on Julia. After a quick double check of the patient, Julia looks up. Through the glass door she can see Frank watching. FRANK (mouthing to words) I love you, Bud. JULIA (mouthing back) I love you more. The clock on the wall now reads: 12:01 AM. And the LEGEND reads: OCTOBER 13th - WORLD SERIES TRAVEL DAY INT. FUNERAL HOME - DAY - 1969 SURREAL IMAGES. SOMEONE'S POV... MEN and WOMEN, standing and sitting, seen only from teh waist down. All wearing dark cloths and speaking in hushed voices. A recognizable VOICE? The edge of a CASKET? A NIGHTMARE. INT. SULLIVAN HOUSE - BEDROOM - LATE NIGHT - 1998 John is bathed in SWEAT. He twists to CAMERA and his eyes pop open. A glazed, confused look pours out of them. SEE past an empty bottle of BUSHMILLS on the night stand - a clock READS 12:01 AM. INT. FUNERAL HOME - DAY THE NIGHTMARE REPEATS - like some horrible instant replay. MEN and WOMEN, standing and sitting, seen only from the waist down. All wearing dark clothes and speaking in hushed voices. FLASHES OF FACES SWIMMING INTO THE POV...indistinct, blurring into each other. Is that UNCLE BUTCH? SATCH? GIBSON? INT. SULLIVAN HOUSE - BEDROOM / BATHROOM - MOMENTS LATER A terrified and disoriented John stumbles out of bed. He moves to the bathroom. But he stops. Something is wrong. The bedroom has changed. It looks like a DUMP. John shakes his head, trying to blink away the nightmare. But the room does not change back. He goes to teh bathroom. Splashes his face. He looks up to the mirror and... INT. FUNERAL HOME - DAY The same horrible instant replay. Flashes of faces swimming into the POV... JOHNNY'S POV He is CROUCHED UNDER A TABLE. STARING AT THE CASKET. Alone. Bewildered. Crying. A MAN, seen only from teh waist down, approaches the table. As he crouches down his face drops into the frame. It is FRANK. His face etched in a terrible pain. INT. SULLIVAN HOUSE - KITCHEN - EARLY MORNING The kitchen looks different: dirtier, uncared-for. John looks different too: like a guy on the tail end of a lifetime bender. He cracks open a Bushmills. Pours a couple of shots into his instant coffee. Several sips to settle his nerves. He reaches for the cordless phone and HITS SPEED DIAL #3. CASHIER (V.O.) Noah's Deli. Can you hold? Confused, John clicks down the receiver. His hand is shaking as he punches the speed dial button for the second time. CASHIER (V.O.) (CONT'D) Noah's Deli. On the slam of John's phone, we got to... INT. JULIA'S APARTMENT - HALLWAY - MANHATTAN - MORNING John knocks on the door. It opens to reveal a Jamaican woman clutching a crying infant, a toddler hanging off her leg. Behind them we half recognize Julia's apartment. We know it's her apartment because of the BAY WINDOW and the view of THE GEORGE WASHINGTON BRIDGE. But everything else is different. Different furniture. Different pain job. John stands speechless. The Jamaican woman regards him... JAMAICAN WOMAN Can I help you? JOHN (relaxed) I'm looking for Julia Sullivan. JAMAICAN WOMAN I think you have the wrong apartment. JOHN But this is her place. 910 Riverside. Apartment 3C. JAMAICAN WOMAN I'm sorry, but no one by that name lives here. John just stands there, lost, questioning his grip on reality. Liquor on his breath, fear in his eyes, he is a scary sight. Jamaican woman does the smart thing - she slams the door. INT. 23RD PRECINCT - DETECTIVE SQUAD - COFFEE ROOM - LATER ON SATCH, scavenging the fridge while absorbed in some papers. Through the open door he SPOTS JOHN across the squad room. Even at that distance, Satch can see John's unsteady walk and fucked up demeanor. Satch's eyes go to stone. INT. 23RD PRECINCT - MEN'S ROOM - CONTINUOUS John leans over the sink, wet paper towels pressed to his face. He barely reacts to the SOUND of the door. He does react to the silence that follows. Satch stands in the doorway...looking him over. JOHN What? A long silence. SATCH Another rough night, huh? That it? JOHN Yeah. That's it. John moves for the door. But Satch grabs him, slams him against the wall. Startled, John freezes. SATCH Do not disrespect me. Disrespect yourself all you want. But not me. Or anybody else around here. You got that? John shrugs, sagging against the wall. SATCH (CONT'D) This is getting real old, John. And I'm tired up to here with it... JOHN I'm sorry. I just...you know...I... SATCH And I'm tired of the I'm sorrys. I don't need 'em. What I need is a partner I can count on. (pause; softens) I care about you. Not cause of me and your old man. Not cause of your mom. But because of you. Satch steps back. An awkward beat. SATCH (CONT'D) We got the preliminary forensics on that skeleton. (opening door to the squad) Your gonna want to look at it. INT. 23RD PRECINCT - DETECTIVE SQUAD ROOM - CONTINUOUS Satch and John approach their adjoining desks. Satch slides an 8X10 PHOTO off the top of an OLD YELLOWED POLICE FILE and hands it to John. It is a picture of the skeleton discovered behind the Greek Diner. But what catches John's attention, what picks at his subconscious, is the decaying GLASS TAPE binding the wrists. SATCH Bad memories... (re: photo) You imagine the odds...us diggin' up a Nightingale Murder? John looks from the photo to the file on Satch's desk. It reads: NIGHTINGALE MURDERS. John slowly sinks into his chair. SATCH (CONT'D) She makes ten. JOHN Ten? No. I remember this case. Three. He killed three women. SATCH What're you talking'? You know better than anybody, John. You've read this file a thousand times. John fixes on the file. Then slowly reaches for it. It's filled with police and forensics reports. And PHOTOS. Crime scene shots of 9 DEAD WOMEN. Linked by TWO gruesome details - they were all GARROTED, wrists bound with GLASS TAPE. John turns over the last PHOTO and his heart stops...his universe crashing down on him. CLOSE ON THAT PHOTOGRAPH: A MURDER VICTIM. GARROTED. GLASS TAPED WRISTS. JULIA SULLIVAN. JOHN No. INT. SULLIVAN HOUSE - JOHNNY'S BEDROOM - NIGHT - 1969 Julia is at the door watching Frank tuck Johnny in. Johnny wears his Mets' cap and cradles his baseball glove. He's in that exhausted/excited kid moment before sleep sets in. FRANK & JOHNNY (very soft) Buy me some peanuts and cracker jack...I don't care if I never get back... Johnny's eyes close. JULIA Boy is he excited about the game tomorrow. FRANK He ain't the only one. INT. SULLIVAN HOUSE - KITCHEN - LATER Marvin Gaye plays from the HI-FI. Frank grabs a beer, as Julia comes in -- putting on her coat while taking her keys from a hook. She's wearing her nurse's uniform. JULIA I'm off. FRANK (turning to her) Wish you weren't. JULIA (stepping to him) Do you know how much I love you? Frank takes her in his arms. Starts to move her to the music. FRANK Yeah, actually I do. They kiss. And dance. And kiss. And dance. He starts to slip her coat off. She laughs and wriggles away from him. Naughty boy. And she is out the door. EXT. SULLIVAN HOUSE - NIGHT - 1998 John pulls in past SAMANTHA'S CAR as she comes out the back door with the Teddy Bear and other stuff she left behind. John gets out of his car, clutching the 'Nightingale' file. his eyes are red, swollen by tears and booze. SAMANTHA John, are you all right? The answer is no. He looks terrible, as haunted as any man could possibly be. He doesn't mean to, but he snaps -- JOHN What are you doing here? Samantha jumps, frightened. SAMANTHA Ellen said you were working. I just wanted to pick up the rest... John turns, lost and ashamed. Sam walks to her car and starts to cry. INT. SULLIVAN HOUSE - STUDY - CONTINUOUS John enters, plunks the Nightingale file on the desk.; He stares at the FAMILY PHOTOGRAPH on the wall. JULIA IS MISSING. A look of loss in Frank and John's faces. John fingers the Nightingale file. A nightmare. He hits the ANSWERING MACHINE BUTTON to hear Samantha's halting message. As that plays... INT. SULLIVAN HOUSE - KITCHEN - CONTINUOUS John steps to teh counter and pours himself a stiff Bushmills. Turns and steps back into... INT. SULLIVAN HOUSE - STUDY - CONTINUOUS John collapses in the chair. Stares at the words carved in the desk - I'M STILL HERE CHIEF. He rubs his fingers over the smooth carving...his eyes going to the radio. A quiet moment. John slowly puts his hand on the squawk, leans into the mic... JOHN Dad, you there? Can you here me? (silence) Dad? I need you to be there. A long beat. The hum of static. And then... FRANK (O.S.) (through radio) Right here, Chief. Sorry I lost you last night. Damn thing keeps cutting out. JOHN Dad...Dad... There's... I need to... INTERCUT FRANK AND JOHN. FRANK Are you alright"? JOHN (sipping Bushmills) Something happened, something... FRANK What? Johnny, what's wrong? JOHN It's Mom. FRANK What? What is it? JOHN She's not here. FRANK Whatta you mean she's not here? JOHN She...she died. It's like it just happened. FRANK She just died, your mother just died? JOHN No Dad, it happened a long time ago, a long time ago for me. A dreadful moment of silence. FRANK When? JOHN October 22, 1969. FRANK Jesus Christ...that's...ten days from now. (beat) How? Silence. FRANK (CONT'D) Johnny, I gotta know. Long beat. You could hear a fuckin' pin drop. JOHN She was murdered. Eerie silence as John's words hang in the air. FRANK Murdered? Why? JOHN There was this case. A serial. He murdered three women, all nurses, between '68 and '69. The papers called them the Nightingale Murders. They never caught him. But the killings just stopped. FRANK What kinda twisted animal. JOHN Dad, we did something. Something to make it worse. FRANK Whatta you mean... JOHN He didn't just kill three women anymore. He killed ten. FRANK What are you talking about? JOHN Something we did changed the case...changed history. (beat) Mom wasn't dead. But then after you didn't die in the fire something must have happened. And this guy, this Nightingale guy, he kept on killing...it was like a spree...seven more women. FRANK I gotta take her away, John. I'm gonna take your mother away. He can't hurt her if I take her away. JOHN I don't know... (beat) What about the other women? FRANK I'll warn them. JOHN That'll never work. They'll just think you're crazy. FRANK What can we do? You don't even know who this guy is. JOHN No. Nobody got... (realizing) Wait a minute. I might not know who he is, but I know where he's gonna be. I got the case file. We know what he's gonna do before he does it. FRANK So what should I do? Call the police? You think they'll believe me? JOHN They will if they catch him in the act. You can make that happen, Dad. You can tail the victim and call it in at just the right moment. FRANK I don't know, John. I'm a fire fighter. This is...this is different. JOHN I do know. I'm a cop. This is what I do. John takes a long sip from the Bushmills. JOHN (CONT'D) You ever talk to a victim's family? The one's left behind? They don't act like what you'd think. There's panic and fear. But mostly, it's like there's this logic problem. And if they could only solve it, everything would be okay. (a breath) But if you look real close - look at their eyes - you can see it. Just a glimmer. But somewhere they know. They know their world is never gonna be the same. FRANK What if the radio stops working? Christ, what if I can't reach you again? JOHN Then you get Mom the hell out. But Dad, those other women weren't supposed to die. We don't try to stop this guy, we're gonna live with that for the rest of our lives. Frank takes a deep breath, swallows some air. FRANK What do I gotta do? John grabs the THICK YELLOWED POLICE FILE. Opens to homicide report on Karen Reynolds. CLOSE ON FORENSIC PHOTO KAREN REYNOLDS' CORPSE JOHN The next victim was Karen Reynolds...It happens tomorrow. (reading) Case file says she left St. Vincents at six. Show'd up at Cozy's Bar around six thirty. She walked outta that bar around seven-thirty. They found her dead in an empty lot behind the place at eight o'clock. Frank jots down teh info. FRANK Why not just get the cops to watch the bar? JOHN They'll question her. Whatever they tell her could change what happens. (beat) No, I want you to follow her. See if anybody's watching her, hittin' on her. I'm betting somebody's gonna walk outta that bar with her. When they do, you call the cops. Close on NIGHTINGALE FILE on John's desk. Zoom in on the date below KAREN'S HOMICIDE PHOTO: October 14, 1969. The LEGEND reads: OCTOBER 14th - 3RD GAME OF THE WORLD SERIES INT./EXT. KOREAN GROCERY - EVENING - 1969 A woman waits to pay for a mini pack of Kleenex and some gum. KAREN REYNOLDS. A wool coat over her Nurse's uniform. Frank's and John's voices continue over the scene. FRANK (V.O.) What do I tell them? JOHN (V.O.) Tell 'em there's a homicide in progress... cause by the time they show up there will be. As Karen moves to the cash register, the CAMERA WIDENS TO REVEAL FRANK, awkwardly pretending to read a magazine. Frank readies to follow her when he suddenly trips over a crate of vegetables and goes down on one knee. Karen looks in the direction of the accident, and for a split second, her eyes lock with Frank's. Embarrassed, Frank looks away as he rights himself. Frank edges out of the grocery store as Karen steps into the street and dodges traffic towards a corner BAR/RESTAURANT at the end of the block, past a heavily overgrown VACANT LOT. Frank follows Karen across the street and finds himself, just as Karen enters the bar, at a point near the murder site described by John. He pauses to stare at it. INT. COZY'S BAR & RESTAURANT - MOMENTS LATER Frank enters the place. Sort of a singles atmosphere, but a comfortable one. It's HAPPY HOUR. On the TV, the Mets' Gil Hodges offers his analysis of Game 3. Frank looks about, down the bar and into an area with booths and tables. A few folks at the bar. A group of YOUNG WOMEN laughing in a booth. But NO KAREN REYNOLDS. Frank's blood runs cold in a spasm of panic when... WOMAN'S VOICE Hey, Chuck. BARTENDER Hey, Karen. Frank wheels around just as Karen passes him from teh LADIES ROOM. There is the trace of a bump, enough for Karen to take note of Frank. Ad lib EXCUSE ME. She then starts moving down teh bar towards the booth of young women. Frank checks out everyone in the bar, not knowing quite what he's looking for. Karen slips into the booth with her friends. Ad lib HELLOS. Frank orders a beer, but his eyes are fixed on the booth. Karen and a friend take note of Frank staring at them. Embarrassed, he turns away, checking his watch: 6:40PM. And at just that moment a SCRAGGLY MAN passes by, taking a seat at the end of the bar. We have seen this man before. INT. 23RD PRECINCT - DET. SQUAD - MEN'S ROOM - NIGHT - 1998 Satch and a YOUNG DETECTIVE stand at the sinks, washing up. YOUNG DETECTIVE Is that really how you got the Son of Sam? Parking tickets? Satch shrugs a yes. Wipes his hands and heads out into the squad. The Young Detective follows. INT. 23RD PRECINCT - DETECTIVE SQUAD - CONTINUOUS CLOSE ON SQUAD ROOM WALL CLOCK: 6:45PM John's at his desk. Keeps glancing at the phone, fiddling with the NIGHTINGALE FILE... A PHOTOGRAPH OF KAREN REYNOLDS. Satch passes John on his way to the coffee machine. SATCH Any word on our bones? John shakes his head no. Young Detective joins Satch at the coffee machine. John overhears: YOUNG DETECTIVE But how'd you think of it? SATCH You're pulling over with a .44 bulldog tucked in your pants getting ready to blow somebody's brains out...I figure the last thing you're thinking about is alternate side of the street parking. Young Detective nods, impressed. John is less impressed. JOHN That's what we need here, Satch. A lucky break. SATCH That wasn't luck, Johnny boy. That was smarts and ten plus on the job. INT. COZY'S BAR & RESTAURANT - NIGHT - 1969 BOTTLE OF RHEINGOLD drops into frame next to half empty one. BARTENDER From the girls, pal. All of 'em. Frank glances at the women in the booth. They're all looking at him, smiling. A big one from Karen. His watch says 7:05. Taking the new bottle, Frank steps from the bar, past the Scraggly Man and walks to the booth. Charmingly shy, Frank is kind of at a loss for words. FRANK I was, uh, I'm not really... YOUNG WOMAN #1 (noting Frank's jacket) Fireman, huh? FRANK (noting wedding ring) A married fireman. YOUNG WOMAN #3 Oh, what the hell. Have a seat. What's your name, fireman? FRANK Frank. And Frank takes a seat, sliding in next to Karen. An awkward moment for him as she takes a closer look at his face. KAREN Do I know you? FRANK I don't think so. KAREN (puts it together) From the Korean market up the street. (laughing) Mr. Lee make you pay for those veggies. YOUNG WOMAN #1 You following her, Frank? You're not some kind of stalker or something? FRANK I follow fires, nothing else. General laughter all around. INT. 23RD PRECINCT - DET. SQUAD - NIGHT - 1998 John has a CORKBOARD set up next to his desk. On it he has arrayed several photos of the Nigthingale victims under the dates of their murders. He looks over at the photos, then at the forensics photo of Karen Reynolds on his desk. BRRING! John shoots a look at the wall clock. It reads: 7:45. JOHN (grabbing the phone) Sullivan. (beat) You're kiddin'... (grabbing pen; scribbling) Satch is alerted by John's sudden burst of energy. JOHN (CONT'D) Mario, you are the best...right, right, right. Spell it out for me. INT. COZY'S BAR & RESTAURANT - NIGHT - 1969 At the bar, the Scraggly Man stares at Frank and the women. Franks checks his watch as he tells a story. It's 7:50. FRANK Yeah, it was a close call, but... KAREN Close! The news said it was a miracle you guys got out alive! FRANK Close is just close if you're still alive to talk about it, y'know/ The women around him are clearly enraptured. In B.G. - at the bar - the Scraggly Man, looking frustrated, slides off his stool and strides out of the place. INT. 23RD PRECINCT - NIGHT - 1998/EXT John hangs up the phone. Satch looks at him, "Whatta we got?" JOHN Our lucky break. Mario ID'd the dental. Mary Finelli...reported missing April 16, 1968. SATCH (looking at corkboard) April 16...? That means she was the first. JOHN Which means he probably knew her. SATCH This case just got hot. We pull on this string... But for some strange reason John has stopped listening to Satch. Something else has got his full attention. It is the Nightingale file that lays open on his desk. It is changing...Karen Reynolds' forensic photo disappears. In fact everything about her, all evidence of her murder - police reports, photos, witness reports - is GONE. John's eyes shoot to the corkboard. The head shot of Karen Reynolds and the date of her murder are also GONE. John looks between the file and the board. JOHN (whisper) Dad... EXT. SULLIVAN HOUSE - FRONT PORCH - NIGHT - 1969 Frank and Julia stand on the porch, eyes on Johnny - up past bedtime, proudly riding his bike up and down the street. JULIA (a stretch and a yawn) I think I'm gonna head up, take a shower. (slight smile) You wanna tuck the monster in and join me? Frank doesn't take the bait. JULIA (CONT'D) What's the matter? Beat. FRANK There's something I gotta take care of. Something I need to tell you about. JULIA Okay... FRANK I've been talking to this...guy...this cop...on the HAM...and, uh, he... JULIA Honey, what is it? Just tell me. FRANK I've been talking to Johnny...on the radio. JULIA I know. He loves that thing. FRANK No. Not our Johnny. I mean, it's Johnny...but not now...in the future. It takes her a moment to absorb what he just said. And then she gets it... he's talking about a game. JULIA Sounds like fun. She kisses him on the forehead and heads into the house. JULIA (CONT'D) I'll be upstairs...if you want to play. FRANK I'm serious. JULIA (O.S.) So am I. A quiet beat. And then... JOHN'S VOICE (over static) Karen Reynolds is alive and well. We did it, Dad. We are now... INT. SULLIVAN HOUSE - STUDY - NIGHT - 1998 & 1969 FRANK (O.S.) (over the HAM) I'll be damned. JOHN Did you see him? Do you know who he is? INTERCUT FRANK AND JOHN FRANK No. I just kept talking to her. (beat) There was a lot of guys in that bar - could'a been any of 'em. JOHN It's okay. This is working. This is gonna work. FRANK Whatta we do now? JOHN (consults file) Sissy Clark, 190 Riverside Dr., apartment 3C. Tomorrow. (skimming file) She's a nursing student. Paying her way as a cocktail waitress at the Peppermint Lounge, on west 63rd. Left work at two A M...killed in her apartment, between two thirty and five. Frank jots down the info. Fires up a Lucky. FRANK Got it. JOHN Dad, I think I may be able to get you enough information to make sure the DA can nail this bastard. FRANK How? JOHN Coupla days ago they dug up a body in Washington Heights - Mary Finelli. Girl disappeared in '68. Turns out she was his first kill. Which means he probably knew her. Most serials know their first victim. I'm gonna do some checking - see if I can put any of this together... FRANK All right, I'm with you. (beat) I just hope we know what the hell we're doing. A soft burst of static. The signal returns a little fuzzy. FRANK (CONT'D) Tell me something good, Chief. Tell me about the future. JOHN (lighting up a Marlboro) Well they found out cigarettes give you lung cancer. Frank takes a beat, contemplating the cigarette in his hand. FRANK What else, John. It must be different, huh? Are people living on the moon? JOHN Didn't happen, we got enough problems down here. FRANK What are we like in...1998? JOHN (lying) We're okay...we're good, Dad. FRANK (groping for good news) Hey, what about the Amazin's? They pull it off? JOHN You really wanna know? FRANK Yeah, you betcha. JOHN Well, game five was the big one. It turned in the bottom of the 6th. We were down 3-0. Cleon Jones gets hit on the foot - left a scuff mark on the ball. Clendenon comes up. The count goes to 2 2. High fastball. He nailed it. Weis slammed a solo shot in the 7th to tie. Jones and Swoboda scored in the 8th. We won, Pop. FRANK Wow. Julia walks into the study. FRANK (CONT'D) Hang on a sec, John. JOHN (over the HAM) You there? ON FRANK realizing something. FRANK Jules, I want you to say hello to somebody... (re: radio) I'm on with John - that guy I told you about. JULIA The future guy? FRANK Yeah, but, no kidding around, he's a good guy, a real good guy... Sensing that somehow this is important to her husband, Julia gives in, willing to play along with his radio game. She shares Frank's chair, he puts his arm around her. FRANK (CONT'D) John, say hello to my wife...Julia. JOHN H-hi. JULIA Hey, future boy. Frank tells me you're a cop? JOHN Yeah, that's right. Hearing voices, Johnny, Gordo and Elvis wander in from the family room. They are in their pj's...a sleepover. Julia gives them a smile, turns back to the radio. JULIA My six year-old here keeps telling me he wants to be a policeman. Right after he retires from the majors. We just gave him a badge and a whistle for his birthday. JOHN Yeah...I remember. (smiling) I used to play cops and robbers but y-- ...my mom wouldn't let me have a toy gun. JULIA You're mom sounds like she's got some smarts. JOHN She's pretty special. JULIA Are you a good cop, John? JOHN I try to be. JULIA Then I'll bet she's real proud of you, huh? JOHN Yeah. I just wish I'd told her how proud I was of her. JULIA I'm sorry. I didn't realize... (beat) But she knew, John. A mother knows what's in her son's heart. Little Gordo reaches for the microphone. JULIA (CONT'D) I better go. It's been good talking with you. Julia scoops Johnny up, carrying him off to bed. But little Gordo does not follow...fascinated by the radio. GORDO I wanna talk on the radio. Frank laughs, as Gordo climbs up on his lab. GORDO (CONT'D) This is the Space Cowboy. I'm an intergalactic traveler from the Federation planet earth. JOHN Gordo? GORDO How'd you know my name, mister? John sits back, marvelling at how young Gordo sounds. A thousand childhood memories playing in his head. And then he lights up...realizing the opportunity. JOHN Hey, Gordo. My name is Santa Clause. And I'm gonna give you the biggest Christmas present you ever had. Gordo looks at Frank: is this for real? Frank nods, smiling. GORDO I better give you my address then. JOHN Oh don't worry kid, I know where you live. Now I want you to go upstairs and write this down, buy Yahoo. You got that Space Cowboy. Y-a-h-o-o. It's a magic word and I never want you to forget it. GORDO You got a deal, mister. I mean Santa. The sound of Julia's voice calling Gordo to bed. Gordo scampers out. Static filters through both radios, then... FRANK John, you still there? JOHN I'm right here, Dad. FRANK You all right? JOHN Yeah, I think so... FRANK Don't worry, Chief. I'm not gonna let anything happen to her...no matter what. BZZZZ-SHHH. A burst of loud static. The band goes dead. John takes a beat to come down. He gets up, making his way into the KITCHEN. There's a half-full bottle of BUSHMILLS on the counter. John reaches out to grab but the bottle. But then he stops. It is time to stop. John turns on the faucet and dumps the booze down the drain. The LEGEND reads: OCTOBER 15th - FOURTH GAME OF THE WORLD SERIES INT. FINELLI HOUSE - MARY'S ROOM - DAY - 1998 CLOSE ON a white vinyl DIARY with a blue heart shaped padlock held by a hand. A page is turned and the name ALAN SILVER comes clear. RACK FOCUS TO an old Catholic High School yearbook on the dresser below the diary and a PICTURE of DARYL ADAMS, 18 years old. JOHN'S VOICE Can I keep these for a little while? On SOPHIA FINELLI, 55, a profound sadness sits at her core. FINELLI Detectives' been through that stuff already back then. John nods. A beat. FINELLI (CONT'D) You'll bring them back soon? JOHN Promise. John pulls a clear plastic BAG from his pocket with a patch of the partially disintegrated clothing found on Mary Finellis skeleton. JOHN (CONT'D) Do you know this? Mrs. Finelli gasps in recognition, her eyes turning to a closet door. John opens the door to reveal MARY's CLOTHES, lined up in perfect order. Visible among them is a "Candy Striper" uniform... a perfect match with the patch John holds. FINELLI Mary volunteered over at St. Vincents' after school. She loved it...was going to become a doctor. Silence. Tears start to run down her cheeks. John understands this woman's pain. He looks around the room at Mary's possessions. Faded pictures. Mary and her family. Mary and her friends. FINELLI (CONT'D) Her room...I just couldn't...it should only be her room...you know? John does know. FINELLI (CONT'D) I'm happy you found her, Detective. It makes it easier...now, to know for sure. You know? Silence again. John nods. INT. 23RD PRECINCT - MEN'S ROOM - AFTERNOON John and Satch stand at the urinals. JOHN Okay, lemme walk you through it. SATCH Mind if I shake it off first...so's I can concentrate better. John waits for Satch to finish. Then, as they head out into the hallway... JOHN Three guys show up in both the yearbook and diary. INT. DETECTIVE SQUAD - INTERROGATION ROOM - CONTINUOUS The first guy passed away ten years ago. The second one died in Vietnam. The room has a HOLDING PEN opposite the door. A table is pushed up against the door wall and a more elaborate layout of the murder victims, paperwork, and calendar/timeline graphs sit on the table and are pinned on a cork board. Mary Finelli's uniform is there. John shows Satch a photo in Mary Finelli's year book. JOHN The third one is Daryl Adams. Satch looks, nods, and steps back. Waits for more. John hands him Daryl Adams' rap sheet. JOHN (CONT'D) I ran him through BCI...got a hit. Busted for sexual assault: March 22, 1970. Eight days after the last Nightingale murder. SATCH So you figure the murders stop 'cause he's off the street. Then by the time he gets paroled, he's smartened up enough to control himself? JOHN Not the first time that's been true. I'm telling you, I got a feeling about this guy. This is the guy, Satch. SATCH Uh, huh. JOHN What? SATCH I'm just trying to figure what interests me more: the possibility that Daryl is the guy, or you making him absolutely the guy. EXT. NEW YORK ST. - PEPPERMINT LOUNGE - EVENING - 1969 SISSY CLARK steps off a BUS. She crosses the street towards the club. The bus moves out and WIPES FRAME, revealing Frank sitting at the intersection on his Harley. Sissy enters the club. Frank guns the Harley into an alley. INT. PEPPERMINT LOUNGE - EVENING - MOMENTS LATER Business is light at this hour. The BARTENDER is setting up. The Flying Nun plays on a couple TV's over the bar - the audio drowned out by loud Motown music. Frank enters and looks around. No Sissy. This time he does not panic. He sits at the bar. INT. RESTAURANT - KITCHEN - DUSK - 1998 CLOSE ON the 47-year old face of Daryl Adams. A notably unimposing guy. He is not a happy camper. He is one of two PLUMBERS installing fixtures in the kitchen of a new place. Several other people are at work getting the kitchen ready. So as not to be overheard... DARYL That was over thirty years ago. I paid for that and then some. JOHN You go to Xavier High School, Daryl? DARYL Yeah. JOHN You remember Mary Finelli? DARYL (mentally steps back) What are you saying? JOHN You know what I'm saying. DARYL No, I don't. JOHN Well, I think you do. INT. PEPPERMINT LOUNGE - EVENING - 1969 HAWAII FIVE-O plays on the TV's, the ROLLING STONES over it. Frank sits at the same place we last saw him, watching Sissy and scanning the crowd, trying to find a face that might give him pause. Sissy, looking sixty and terrific in her Go-Go waitress outfit, moves about doing business. She steps to the bartender t0 give her drink orders and pick up prepared drinks, coming within inches of Frank. SISSY Give me a couple Bloodys, Gus, and a Dewars on the rocks. She casts a friendly eye at Frank. SISSY (CONT'D) How ya doin' there? FRANK Just fine. You? SISSY Right now, just fine. Ask me later, fireman. And she's off with the drinks. He checks his watch. It reads: 9:35PM. INT. 23RD PRECINCT - INTERROGATION ROOM - NIGHT - 1998 A clock on the wall reads: 9:35PM The Nightingale murders display has been removed. Daryl sits at the table in the middle of the room. John sits opposite him. Satch leans against the two-way mirror wall. JOHN Sexual assault, Daryl. Five years. But you got lucky, right? You got away with something else. Something you figured nobody knows about. DARYL What I know is what I told you. JOHN Let me tell you what I know, Daryl. You went to Saint Xavier with Mary. You lived five blocks from her. You liked her. But she ain't interested. That must've hurt, huh? DARYL So what? JOHN So, what'd you do about it, Daryl? DARYL Nothing. Satch can see this is going nowhere. INT. PEPPERMINT LOUNGE - EVENING - 1969 The 11 O'clock NEWS is on TV. A "Super" shows the Mets won Game 4. Score 2-1. Mets lead series: 3-1. CREEDENCE CLEARWATER PLAYS out of the sound system. Sissy takes the order from a LONG HAIRED GUY down the bar, his back to the camera, and starts towards the cash register area. The bartender serves Frank another club soda. As Frank drinks the bartender pulls a PACK OF CIGARETTES from his shirt pocket. But the pack is empty. BARTENDER You spare a smoke? FRANK I'm trying to quite. Turns out those things'll kill you. The bartender laughs, as Frank stands and heads for the bathroom. INT. 23RD PRECINCT - INTERROGATION ROOM - NIGHT - 1998 A CLOCK reflected in the two-way mirror. 12:15PM. Satch stands drinking a cup of coffee behind the mirror. Before him, through the glass, sits Daryl Adams, with John pacing like a panther ready to spring. Suddenly, he slaps down crime scene homicide photos of several women in front of Daryl, who blanches... DARYL Oh, my God! What is that?! Why you showing me this shit!? JESUS! JESUS! Get those away from me! JOHN Nicky Moore. Patty Ryan. Mary Finelli. These names mean anything to you, asshole? Julia Sullivan! She mean anything? She means something to me! John looks like he's about to hit Daryl, but he glances towards the two-way mirror, controls himself. INT. PEPPERMINT LOUNGE - EVENING - 1969 Nilsson's EVERYBODY'S TALKIN' fills the air. A sexy WOMAN approaches Frank wearing an Emma Peel body suit. Sissy stands nearby, giving drink orders to the bartender - she can't help but smile at the following. WOMAN You fight fires, honey? FRANK Yep. That's what I do. WOMAN I bet you do. The bartender leans into the PA at the bar and announces. BARTENDER Last call. Frank flashes his wedding ring at the sexy woman. Smiles at her and shrugs "I'm sorry." INT. 23RD PRECINCT - INTERROGATION ROOM - NIGHT - 1998 The clock reads 1:30AM. John sits at the end of the table, opposite Daryl. His quiet masks the dark menace he is barely in control of. Daryl stares at him like a deer caught in the headlights. Satch sets a Coke before Daryl and starts to leave the room. SATCH I gotta take a leak. (to Daryl) You need to use the head? You can, y'know. If you want to. Daryl shakes his head "no." INT. PEPPERMINT LOUNGE - EVENING - 1969 End of the night. The place winds down. An old movie on the TV's. Elvis' SUSPICIOUS MINDS plays softly. Frank watches as Sissy picks up her last tip and heads to the back to change into her street clothes. SISSY See you, Fireman. Don't talk so much next time. Frank smiles, checks the time. 2:00AM. He looks around. Nobody suspicious about. He starts up for the bathroom... INT. OBSERVATION ROOM - NIGHT - 1998 Satch enters with a fresh cup of coffee, settles back to watch. INTERCUT - INTERROGATION AND OBSERVATION ROOMS With great ceremony John removes his watch, his gun, and lastly, his badge, and sets them off to one side. JOHN You know, Daryl, sometimes, despite all the training we cops go through. Despite all that we are taught about right and wrong. Despite all that we would like to honor in ourselves, we can come to a place where we don't give a fuck. Know what I mean? And John starts up from his seat and walks toward Daryl. JOHN (CONT'D) You are going to tell me what I need to know, Daryl. SUDDENLY, in the door strides... SATCH John. John freezes. Looks towards Satch. SATCH (CONT'D) Got a minute? JOHN Yeah. Sure. Satch opens the door and steps out. John collects his watch, badge and gun and follows. INT. SQUAD HALLWAY - CONTINUOUS SATCH He ain't our guy, John. JOHN Just cause he didn't want to look at the photos doesn't mean he isn't the doer. Not everyone fits the profile. Long beat. SATCH If he was gonna give something up he would'a done it already. John pauses for several seconds, then nods slowly. INT. PEPPERMINT LOUNGE - MEN'S ROOM - EVENING - 1969 SUSPICIOUS MINDS filters in. Frank zips up, heads to the sink. Bends over to wash his hands, and suddenly. His face is smashed on the edge of the sink. He twists to the floor, fighting to maintain consciousness. A black Frye boot explodes into Frank's gut. He rolls over, looks up at the LONG HAIRED GUY from the bar. Frank seems to recognize him. We know him too - SCRAGGLY MAN. But we don't know his name yet. So we'll call him... KILLER You following me? CLOSE ON Killer's eyes, evil fuckin' black dots. He lifts Frank to his knees. Then rips a fist into Frank's face. KILLER (CONT'D) I asked you a question, asshole. Frank is clearly incapacitated. Killer lifts him to his feet so they are eye-to-eye. FRANK (barely able to speak) Mary Finelli... A look of absolute shock wipes across the Killer's face. KILLER Who the fuck are you? Caught off guard, Frank is able to slam his knee into Killer's balls. Killer goes down like a stone, but Frank is too battered to take advantage. He collapses on top of Killer, who pushes him off, scrambles up, and delivers a massive kick to his head. Frank is out cold. Quickly, Killer rolls Frank over and rifles his pockets finding his WALLET. He grabs something from it, then tosses it aside. He then takes something out of his pocket, a thin leather garrote. He coils it around his hands and snaps it taut. He bends down to start the job when suddenly, the bathroom door opens and... TWO very stoned MEN stumble in. STONED MAN #1 Whoa, dude. Is he okay? KILLER Yeah. He just needs a little time kissing the porcelain. And Killer muscles Frank into a toilet stall and puts his head in the bowl. He closes the door, quickly leaving. In the stall, Frank spills onto the floor, his legs sticking out into the bathroom. His face flush to the tile, his eyes trying to focus on something lying just outside the stall... His WALLET. EXT. 23RD PRECINCT - PARKING LOT - NIGHT - 1998 John gets in his car. Sits there, staring into the night. INT. PEPPERMINT LOUNGE - MEN'S ROOM - EVENING - 1969 Frank starts to come around. He reaches out and grabs his wallet off the floor. His money still there. Credit cards, too. But something's missing. His DRIVER'S LICENSE. SUDDENLY PANIC SEIZES FRANK. INT. APARTMENT HOUSE STAIRWELL - LATER Frank tears up the stairs... INT. APARTMENT HOUSE CORRIDOR - SISSY'S DOOR - CONTINUOUS Frank bangs on it. Scared. Desperate. FRANK OPEN UP, OPEN THE DOOR...ah...ummm...THIS IS THE POLICE. Frank keeps banging on the door. A NEIGHBOR'S DOOR swings open a crack. AN OLD LADY peers out from behind a security chain. Frank stops banging. FRANK (CONT'D) It's okay, Ma'am. I'm the police. Old Lady skeptically looking him up & down - noticing Frank's bruised face. She quickly closes the door. Frank reaches inside his jacket pocket, pulls out a small bent metal wire, homemade LOCKPICK. He goes to work on Sissy's lock. CLICK, CLICK, CLICK - got it. He opens the door, steps inside. INT. SISSY'S APARTMENT - CONTINUOUS It's dark. And then a sound...scratching and popping, the sound of a PHONOGRAPH NEEDLE makes when it reaches the end of the vinyl and is scratching against the label. The wind catching a curtain allows the shaft of a street light to beam brightly into the room, and in one swift moment, Frank is staring at a NIGHTMARE: Sissy Clark's murdered body. Her dress hiked above her waist. Her panties ripped off. Paper stuffed into her mouth. Her hands bound with glass tape. Frank is transfixed and sickened by Sissy's twisted face, her eyes frozen open in horrible death. EXT. SISSY'S APARTMENT HOUSE - CONTINUOUS Frank staggers out of the building towards his Harley. He bends over and blows his dinner, then mounts the bike and kicks the motor over. As he roars off down the street, WE SEE in the building window... THE OLD LADY looking down at him. The LEGEND reads: OCTOBER 16th - FIFTH GAME OF THE WORLD SERIES INT. SULLIVAN HOUSE - STUDY - MORNING - 1969 & 1998 FRANK He killed her John. He killed her and I didn't do a thing to stop it. INTERCUT FRANK AND JOHN. JOHN It's not your fault, Dad. FRANK Yes it is...we did this. We changed everything. (pausing) I've been having bad dreams, Johnny. Dreams where I die...in the fire. (soft) I was supposed to die in that warehouse. JOHN No. ANGLE ON Frank. Trembling, overcome by an awful combination of fear, guilt and shame. FRANK This is wrong...it's like we cheated... JOHN I know... (beat) But Dad, you can't go back. You didn't die in that fire. And no matter what you do, nothing is gonna change that. So all we can do is deal with this...and try to make it right. FRANK I don't think I can. I'm not a cop. I can't. I can't stop this guy. JOHN But we can, we can do it together. Spirit and guts, remember? FRANK Johnny, I know, but... Frank starts to light up a Lucky. But he stops, stubbing the cigarette out. JOHN I need you to believe in me. To believe that we can do this. FRANK John, he's got my driver's license. JOHN What? FRANK He took my driver's license, John, he knows where we live. JOHN He took your wallet? FRANK No, he tossed the wallet, but he kept the license. JOHN He touched your wallet! Where's your wallet? FRANK In my pocket. JOHN We got him! Dad you got him! FRANK What? JOHN His prints. You've got his prints. I'll run them through criminal index. You gotta get me that wallet. FRANK How the hell am I gonna do that? JOHN (thinks) Listen to me, very carefully, take your wallet out, just touch it on the corners. FRANK What... JOHN Please, Dad, just do it. FRANK Okay, okay... Frank does as John asks. Taking out his wallet. FRANK (CONT'D) I got it. JOHN Right, now I need you to tape it up on the outside, where he touched it, so the prints keep. FRANK Huh? JULIA Then you gotta hide it somewhere. Somewhere where nobody's gonna find it...for 29 years! (looking around the room) Put it under the loose floorboard by the window! FRANK (getting it now) I gotcha, I gotcha Chief! JOHN It's gonna work, Dad. We're gonna stop him. FRANK Hang on. Frank fishes around the desk drawer for some electrical tape...quickly ripping off strips of tape...covering the wallet. Then he goes to the window. Crouches on the floor, digging his nails around edges of the loose floorboard. BACK TO JOHN getting up. FRANK (O.S.) (CONT'D) (over the HAM) Okay. John scrambles to window. Crouches down on floor, reaching to find: FRANK'S WALLET COVERED IN ELECTRICAL TAPE! John goes back to the radio. JOHN We're in business. Just sit tight...and don't worry. And John is up, grabs gun & shield. Sprints for the door. INT. POLICE FORENSICS LAB - DAY - 1998 CLOSE ON SPLIT COMPUTER SCREEN: LEFT SCREEN: A FROZEN IMAGE - A BLOWN UP THUMB PRINT. RIGHT SCREEN: HUNDREDS OF FINGERPRINTS FLASH ON AND OFF - THE COMPUTER IS SEARCHING FOR A MATCH. BINGO. The right screen freezes. A THUMB PRINT... A MATCH! Pull back to reveal John, standing over a forensic computer technician, HECTOR. Hector hits a few more keys, a photograph pops on the screen - it is NOT DARYL ADAMS! JOHN What the hell? Hector hits another key, the man's name and photo pops up... CARL SHEPARD HE'S 30 YEARS OLDER than when he tangled with Frank in the men's room last night, but this is the killer- Carl Shepard. Below Shepard's photo, various biographical information: social security, address, current employment, and a New York City Police Department Discharge - September 1973. ON JOHN A strange look of recognition. JOHN (CONT'D) The old neighbor's son...the cop. But he's dead. HECTOR What are you talkin' about? I know this prick. He worked outta Brooklyn North. JOHN (realizing) He never died... EXT. SHEPARD RESIDENCE - LATER John exits his car to find Fred Shepard watering his plants. JOHN Just came by to wrap up over there. Thought I'd say "hello." SHEPARD Glad you did. Come on in. Buy you a cup of coffee? INT. SHEPARD RESIDENCE - CONTINUOUS They enter the living room. No Mrs. Shepard. John's eyes fix on the police academy graduation PHOTO of CARL SHEPARD. His gaze then shifts to photos of Mrs. Shepard. JOHN (beat) Wife around? SHEPARD (a startled half-laugh) No. No. Well, sort of. In my heart. Been dead 29 years. JOHN Oh. Sorry. How so? MR. SHEPARD Well, she, Eve was murdered, Detective. An ugly one to tell you the truth. John's breath catches. His look shifts back to the photo of Carl Shepard. Mr. Shepard reaches to open an album. There are several photographs of the young Mrs. Shepard. A couple where she is dressed in a NURSE'S UNIFORM. John is stunned. One can only imagine what is now racing through his mind. MR. SHEPARD (CONT'D) The mother of a cop, and they never found the bastard who did it. Blown away, John looks out the window to where Mary Finelli's skeleton was found. JOHN Happens that way sometimes. (beat) Son still on the job? MR. SHEPARD Nah. Doin' P.I. work now. Got caught up in them Knapp Hearings. Set up by some dirty cops who needed a fall guy. Hurt him bad. Would've broken his mother's heart. John can only stay inside himself and wonder at the madness of the world. INT. BROOKLYN WATERFRONT RESTAURANT - LATER John walks past the lunchtime crowd, makes his way to the BAR. Grabs a stool two...seats away from...Carl Shepard. John orders a soda, glances over at Shepard. Their eyes meet. John holds his gaze. A slight nod... JOHN You used to be on the job? SHEPARD Yeah, long time ago. I know you? JOHN I look familiar? SHEPARD (looking him over) No. What house you work? John gets up, slides next to Shepard. JOHN The 2-3. Homicide. SHEPARD A hot shot, huh? JOHN Nah, just working the job. SHEPARD I hear that. JOHN As a matter of fact, I caught a case that goes back to your day...one of the Nightingale murders. Beat. SHEPARD No kiddin'? JOHN No. Missing teenager. Disappeared thirty years ago. Found her bones last week. Buried behind some old diner, up by Dyckman street. Mary Finelli. John waits again for Shepard's reaction... SHEPARD Huh. JOHN (sipping drink) Talk about dumb luck. Odds of anybody finding that girl, thirty years later. And then the chances of hitting a dental...forget about it. Bets part is she's the first victim. She knew the doer. I'm betting those bones are gonna do a lot of talking. Shepard says nothing, but his eyes are burning into John. JOHN (CONT'D) The past is a funny thing. We've all got skeletons in the closet. You just never know when they're gonna pop up and bite you in the ass, Carl. John slips something on the bar, next to Shepard. It is a crime scene photo of Shepard's murdered mother. He reels back, totally losing his veil of composure. He is freaked. SHEPARD Who are you? JOHN I'm the train wreck you didn't see coming. And I'm gonna steal your life away. You went down 30 years ago. You just don't know it yet. And with that, John gets up, leaving Shepard stunned. INT. SULLIVAN HOUSE - DAY - 1969 & 1998 Johnny and Gordo sit cross-legged in front of the TV. THE WORLD SERIES is on. Game 5. First inning. Julia is busy bringing in groceries from her car. INTERCUT FRANK AND JOHN. FRANK You're telling me this maniac is a cop? What the hell am I supposed to do with that one? JOHN Call the FBI. Use a pay phone. Don't give 'em your name, Dad. Just tell 'em that it was Shepard who killed Finelli and Clark and the others. That he's the Nightingale. In the B.G. of Frank's house a DOORBELL RINGS. Julia can be seen going to answer it. It is Satch. There are ad lib greetings that we don't clearly hear. JOHN (CONT'D) Tell them where Finelli's body is buried. They'll be able to connect him to her. Same high school. Same class. I'm betting they search his place they find some souvenirs. Satch steps into the study...1969. FRANK Okay, I'm on it. (sees Satch) Hey. SATCH Hello, Frank. Frank's hand lifts off the squawk bar. He notes Satch's tone and demeanor. FRANK What are you doing here, Satch? You off today? JOHN (O.S.) (over the HAM) Dad, you there? SATCH Frank, we need to talk... FRANK (into radio) John, hold on a second. (to Satch) I'm in the middle of something important here. You mind if... Frank suddenly spots something through the front window. Satch's partner, PHIL HAYES, and TWO UNIFORMS out at the curb. Half a penny drops. All his senses go on alert. And instinct kicks...he hits the squawk bar. FRANK (CONT'D) Satch, you gotta just give me...Satch is here John. You hear me? Satch is here. SATCH I'm sorry, Frank, but you need to come outside. Frank releases the squawk bar. Johnny and Gordo remain fixed on the game, oblivious to anything else. In the kitchen, we can see Julia moving around putting away the groceries. JOHN (O.S.) (over the HAM) Dad, what the hell is going on? FRANK (into mic) Just a minute, John...okay? Don't go away. Julia now becomes aware of the tension in the voices in the other room. She looks outside and sees Phil and the uniforms. She looks at Frank and Satch with confusion. Frank hits the squawk bar again. He wants John to hear this. FRANK (CONT'D) What is going on here, Satch? What are those guys doing out there? SATCH I think you know, Frank. FRANK No, I don't. SATCH Let's go outside and talk. We need to do that. FRANK About what? SATCH Let's go. Do us both a favor. A long beat. Frank sees Julia staring at them. She is now a bundle of growing anxiety. Frank stands up. FRANK Okay. (to Julia) It's okay, Bud. I'll be right back. (into radio) Stay there, John. And then he and Satch walk out the front door. EXT. SULLIVAN HOUSE - FRONT YARD - CONTINUOUS ...and towards a spot halfway between the house and the cops. From inside the house, Johnny and Gordo have begun to take in the activity. SATCH Where were you last night, Frank? The rest of the penny drops. Frank stalls, trying to think FRANK What do you mean? SATCH Do you know where I found this? And he hands FRANK his missing DRIVER'S LICENSE. Frank looks like a truck hit him. SATCH (CONT'D) 415 Greenwich St. #302. Under the body of a murdered woman. FRANK No. This isn't what you think. SATCH I wanna be wrong here. But we need to go to the precinct and talk about it. FRANK Okay, okay. I need to go say something to Julia and finish up with the guy on the radio. SATCH You can talk to Julia. Forget the radio. Frank nods. Takes stock of the cops by the cars and heads back into the house. INT. SULLIVAN HOUSE - CONTINUOUS Julia, who has been watching through a front room window with Johnny, moves to meet Frank. Behind Frank, Satch signals Phil and the uniforms that all is okay, giving Frank a couple of steps on him. Frank steps into the house and wraps his arms around Julia, turning so he can see both Satch outside and where he wants to go inside. FRANK Trust me, Bud. Do that for me. INT. SULLIVAN HOUSE - STUDY - CONTINUOUS Frank moves Julia toward teh desk, lulling Satch a moment, then quickly steps to the HAM radio and hits the squawk bar. FRANK John, you there? JOHN (O.S.) (over the HAM) Yeah, Dad. What the hell is going on? FRANK Satch is busting me for Sissy Clark's murder. John... Julia stares dumbfounded at Frank. SATCH (O.S.) Frank. Satch strides by Julia and reaches to take Frank's elbow. Frank wheels at the sound of his name and the touch, and he lurches back from Satch. FRANK ...you gotta help me, Chief. -- and the movement yanks the mic cord to the radio tight, dragging it to the edge of the desk. Johnny tears into the room and clutches onto his mother. "Daddy, Daddy!" SATCH That's not the deal, Frank. Don't do this to your family. And Frank throws his hands up in front of his chest in an "I give up" gesture. JOHN (O.S.) Dad! Dad! What's going on? Satch?! And the HAM radio CRASHES to the floor in 1969. SMASH CUT TO: 1998. The HAM RADIO TRANSFORMING...a large dent appearing in its casing before John's eyes...dials cracking. Dread creeps into John's face as we SMASH CUT TO: JOHN'S POV We see what John sees in 1998. But we also go inside his mind and glimpse flashes of new childhood memories. Memories of seeing his father arrested for murder. Images that match JOHNNY'S POV from moments ago in 1969. INT. 17TH PRECINCT - INTERROGATION ROOM - DAY - 1969 Frank sits at a metal table bolted to the floor, Satch sits across. Phil stands. Two cups of coffee on the table. The room is very bare. Cinder block walls. Padded locks and bars over the windows. A small metal cabinet against the far wall. Satch and Phil smoke. Frank does not. FRANK Carl Shepard. Detective out of the 15th precinct. Satch stares at Frank with utter incredulity. Phil lights a smoke, tossing the pack and the matchbook on the table. FRANK (CONT'D) I swear, Satch. SATCH Uh, huh... (beat) Uh, huh. And you got this from the guy you were talking to on the radio when I came in? FRANK As nuts as that sounds, yes. SATCH Uh, huh. FRANK Satch, would you listen to me here. Just you and me. Can I talk to you here, alone? Satch looks over at Phil. SATCH Give me a little time with this guy. Phil nods his understanding, steps out of the room. SATCH (CONT'D) Frank, this is not the time to be worried about covering up if you had a thing with this girl. FRANK He's not gonna stop, Satch. He's gonna keep on... SATCH Are you listening to me? You're in a world of shit. An eye witness has you outside the dead girl's apartment. We got your prints all over the place. Plus the fucking driver's license, Frank. (beat) You gotta give me something here. Something I can believe. It's quiet for a moment. And then a sound filters in under the door. The sound of cops cheering. It's the World Series. Frank sits up - takes a beat. FRANK What if I could prove it to you, Satch? SATCH How's that? FRANK What if I told you that in the bottom of the 6th we're gonna be down 3-0. And Cleon Jones is gonna get hit in the foot. It's gonna leave a scuff mark on the ball. SATCH Frank, please... FRANK The next batter, Clendenon, hits one outta the park. SATCH Frank, this is insane... FRANK In the bottom of the 7th, Weis is gonna hit a solo home run. Jones and Swoboda are gonna score in the 8th. The Mets are gonna win 5-3. (beat) Go watch the game, Satch. SATCH Go watch the game? Go watch the fucking game? Frank, they're gonna make you for Sissy Clark's murderer. It matches the Nightingale's profile. You understand what that means? We hear the bolt slide, the knob turns and the door opens. PHIL His wife is here. She wants to talk to you. Satch nods okay to Phil. He closes the door. SATCH Whatta you want me to tell her? Frank struggles for an answer...but comes up speechless. Satch looks like his heart is breaking. Unable to comprehend how Frank could have slipped this far. A long beat, then... FRANK She's in harm's way. He's gonna be coming for her. Satch snorts, incredulous. Frank reaches over the table and takes his hand, deadly serious. FRANK (CONT'D) Promise me, as a friend. October 22, don't let her out of your sight. Satch nods okay. They have an understanding. INT. 17TH PRECINCT - SGT'S DESK - MOMENTS LATER Satch walks down the stairs. Julia alone on the bench. She sees Satch approaching, stands up, looking at him for an answer, for an explanation...for hope. SATCH (after a beat) Let's walk, get a cup of coffee. Julia nods okay. They exit the precinct house and into... EXT. 17TH PRECINCT - CONTINUOUS ...the street. Around the corner we catch sight of someone familiar - someone Julia and Satch don't recognize: Shepard. INT. 17TH PRECINCT - SGT'S DESK - CONTINUOUS Shepard approaches the desk, flashes his shield at Sergeant. SHEPARD You got a collar in here for the Nightingale murders? DESK SGT. Yeah. SHEPARD I'm working with one of the victims outta Brooklyn North. You mind I take a shot at him? DESK SGT. That's Deleon and Hayes' collar. SHEPARD They around? DESK SGT. Just missed Deleon. Hayes is up in the squad. SHEPARD Where's the collar, in the cells? DESK SGT. No, I think he's up in interrogation. SHEPARD I'll go find Hayes. Shepard turns, gliding through the lobby like a shark... INT. COFFEE SHOP - MOMENTS LATER Satch and Julia sit at a booth in the back. Satch stirs his coffee, trying to start a very hard conversation. As he struggles to begin, the camera notices something in the B.G. At the counter: a few stray people gathered around watching the WORLD SERIES on an old TV. AUDIO COMES UP. INT. 17TH PRECINCT - HALLWAY - CONTINUOUS Shepard passes the COFFEE ROOM. It is packed with detectives, gathered around a TV...watching the game. Phil Hayes is among them. And as Shepard passes, Phil half catches a glimpse of him as he glides down the hall and enters. INT. 17TH PRECINCT - INTERROGATION ROOM - CONTINUOUS Frank looks up to see Shepard, who quickly closes the door behind him... and unholsters his gun. An eerie moment. SHEPARD On your feet. Frank waits a beat. Then very slowly, he stands. SHEPARD (CONT'D) Now turn around, face the wall. Frank steps back, slowly turning. Shepard holsters the gun. Kicks Frank up against the wall as he reaches into his pocket and takes out the leather garrote we saw in the Peppermint Lounge Bathroom. He coils it around his hands. SHEPARD (CONT'D) How did you know? Frank is trembling. FRANK (facing the wall) You twisted animal... SHEPARD Evidence says you're the animal. (snapping garrote tight) That's why you hung yourself. But Frank turns. FRANK You try putting that thing around my neck and I'll rip your throat out. You want me dead, use the gun. Shepard smiles, unfazed... SHEPARD Let me draw you a picture. You live at 1060 41st Ave. You have a wife who works at New York Hospital. And a six-year old at P.S. 130. Shepard gives Frank a look that would make a Marine Drill Sergeant shit his pants. Shepard knows Frank's weakness, the one thing that would make him submit to death. Closing his eyes, Frank turns to face the wall...But the door handle rattles, someone is outside coming in. Shepard quickly yanks Frank away from the wall, shoving him in a chair at the interrogation table. The door opens. PHIL What the hell is going on here? FRANK You got to help me. He's trying to kill me. Shepard just laughs. Phil scans the room - everything looks normal, a cop questioning a perp. SHEPARD Mind if we take it outside? Phil shrugs okay. SHEPARD (CONT'D) (to Frank) I'll be right back. Shepard and Phil step out - bolting the door behind them. INT. 17TH PRECINCT - HALLWAY - CONTINUOUS Shepard and Phil stand outside the door. SHEPARD ...didn't mean t step on your toes. They sent me up from downstairs, I thought you'd be in there with him. PHIL What are you looking at him for? INT. 17TH PRECINCT - INTERROGATION ROOM - CONTINUOUS Frank's expression begins to harden. His eyes search teh room. CLOSE ON his EYES. He looks like John - controlled rage piercing through that Sullivan thousand yard stare. He stands, turning around, looking for something, anything that he can use to get the hell out of there. His mind's racing, fire fighter training kicking in. And then he looks up - just below the ceiling, above the door - a 2'X2' ELECTRICAL CONDUCTOR BOX. Follow Frank's eyes to something else. An AIR CONDITIONER MOUNTED IN THE WINDOW. Frank goes to the window. Runs his fingers along the air conditioner's thick electrical cord - thinking. He unplugs it. And then he RIPS cord out of the unit, exposing wire. INT. 17TH PRECINCT - HALLWAY - CONTINUOUS A loud cheer rises out of the coffee room - the game is heating up. Shepard and Phil are still standing outside the interrogation room. Shepard flashes a smile, having said something that makes Phil laugh... PHIL Yeah, half the uniforms are either at the game or on the street. It's gonna be a riot if they pull it off. SHEPARD (glancing down the hall - in direction of sound of TV) What's the score? INT. COFFEE SHOP - CONTINUOUS Julia's crying. Satch has no words to comfort her, now way of explaining any of this. He reaches out across the table...taking her hand. And as they sit quietly. CAMERA tracks towards the counter. And we hear something that Satch does not. The sound of a voice. TV ANNOUNCER. THE SERIES... TV ANNOUNCER (O.S.) Cleon Jones thinks he's hit. I think the ball hit him in the foot... INT. 17TH PRECINCT - INTERROGATION ROOM - CONTINUOUS Frank uses the heel of his shoe to rip the plug off the other end of the electrical cord. Both ends now have exposed wires. INT. 17TH PRECINCT - COFFEE ROOM - CONTINUOUS Close on a MATCH. Pull back to reveal Shepard lighting Phil's cigarette, then one for himself. They are inside the squad's coffee room now. All eyes on the TV: TV ANNOUNCER Hadges is coming outta the dug out. He's calling for the ball. Can we get a shot of the ball? Shepard inhales deeply, sneaking a glance down hall at the closed interrogation room door. INT. COFFEE SHOP - CONTINUOUS Satch looks past Julia, distracted, curious. SATCH Can you excuse me for a second? Julia seems bewildered as Satch gets up out of the booth, making his way through the restaurant and towards the TV. INT. 17TH PRECINCT - INTERROGATION ROOM - CONTINUOUS Frank, in full throttle, drags a chair against the wall. Climbs on the chair, uses a dime to unscrew the ELECTRICAL CONDUCTOR BOX. He then unscrews the master fuse and SHOVES ONE END OF THE ELECTRICAL CORD'S EXPOSED WIRE AROUND THE FUSE CYLINDER. After re-tightening the fuse, and careful not to touch the other end of the cord, he jumps off the chair. FOOTSTEPS. Frank freezes. Someone's walking down the hall. INT. 17TH PRECINCT - COFFEE SHOP - CONTINUOUS Wall to wall cops. Mesmerized by the game, especially Phil. TV ANNOUNCER There's a scuff mark on the ball! The umpire has reversed his decision. He's sending Jones to first base! The cops erupt. Cheering. SHEPARD (yelling over the noise) You mind I go back at teh fire boy for a while? I won't lay a hand on him, just want to see what he's got? PHIL Go ahead, knock yourself out. Shepard gives Phil one last smile, then slips out - casually heading down the hall...towards the interrogation room. INT. 17TH PRECINCT - INTERROGATION ROOM - CONTINUOUS Frank, sweating bullets now, takes the two coffee cups off the table and pours their contents ON THE FLOOR. The coffee forms a SMALL PUDDLE which Frank is careful not to let slip over the door saddle. He puts the cups down. Then opens the cabinet, rifling through, finding a can of LYSOL spray. Sounds of cops cheering filter in under the door. INT. COFFEE SHOP - DAY - CONTINUOUS Satch is riveted to the TV as Clendenon steps up to the plate. Strike on. Satch jumps - Julia has come up behind him, touching him on the shoulder. She looks mad: how the hell can he be watching the ball game at a time like this? JULIA What's going on, Satch? Beat. SATCH (dumbfounded) I don't know. INT. 17TH PRECINCT - SQUAD ROOM - CONTINUOUS All eyes on the TV. Another strike to Clendenon. 0-2 count. INT. 17TH PRECINCT - INTERROGATION ROOM - CONTINUOUS The door knob turns. The door half-opens. Shepard sticks his head in, scanning the room. He relaxes a bit when he sees Frank sitting quietly at the table. Shepard opens the door a little further, takes a half step into the room...and into the puddle of coffee! Frank raises his arm. He's holding the live electrical cord. Shepard: What the fuck? Frank flicks the cord...which lands like a snake at Shepard's feet...in the puddle of coffee. 5,000 volts surge through Shepard's body. SPARKS AND SMOKE SHOOT OUT OF CONDUCTOR BOX... INT. 17TH PRECINCT - SQUAD ROOM - CONTINUOUS CLOSE ON TV. Clendenon still up. 1-2 count. The wind up... But something is wrong with the TV. A spark shoots out of the back of the set. And then the entire 17th Precinct goes DARK. Frank has shorted out the electrical system. The cops look at each other in a moment of pissed confusion. INT. 17TH PRECINCT - INTERROGATION ROOM - DAY Frank lunges over the table, smashing a wooden chair over Shepard's head. He's in overdrive. Kicking the still live cord out of the coffee puddle, he then drags Shepard's body into the room, shutting the door. Frank quickly rips off Shepard's SPORTS JACKET, pocketing Shepard's WALLET and BADGE. And then, moving very fast, Frank grabs the LYSOL can and the matches Phil left on the table. He LIGHTS A MATCH and holds it IN FRONT OF THE LYSOL CAN. He points the can at the ceiling - at the FIRE ALARM SENSORS. Hits SPRAY button - Professional Fire Fighter ingenuity - HOMEADE BLOW TORCH. INT. 17TH PRECINCT - HALLWAY - CONTINUOUS FIRE ALARMS sound off. SPRINKLER SYSTEM kicks in, water gushing from the ceiling. Cops begin to move, investigating. INT. 17TH PRECINCT - INTERROGATION ROOM - CONTINUOUS Frank cracks open the door and slips out. As the door closes, Shepard's eyes pop open. INT. 17TH PRECINCT - HALLWAY - CONTINUOUS Sprinklers rain down on Frank as he moves down the hall. Through the darkness he can see someone coming. It's Phil. Frank covers his face...searching for a place to disappear. INT. COFFEE SHOP - CONTINUOUS Nobody breathes. All eyes on the TV. The count is now 2-2. The pitch is a high fastball. Clendenon takes a massive swing. He nails it. HOME RUN! The coffee shop breaks into cheers. Everyone screaming their heads off. Everyone except Satch, who just stands there, in complete and utter shock. Julia looking at him questioningly. SATCH (yelling over the madness) He was right! Everything he said. He was telling the truth. JULIA Then you believe him? SATCH Yeah I do. You bet your life I do. And they hug. The weight of the world sliding off Julia's shoulders. But someone is trying to get Satch's attention. It is the counter man, he's holding a phone. Satch takes the phone, beat, his face goes ashen. SATCH (CONT'D) I'm on my way... He drops the phone, heading for the door. SATCH (CONT'D) (to Julia) Wait here, I'll send a uniform. And Satch is gone. INT. 17TH PRECINCT - HALLWAY - CONTINUOUS Power is still off. Sprinklers still gushing. Amidst the chaos, a bathroom door swings open. A man steps out. A cop. Leather jacket, gold shield. It's Frank. He slips through the madness, heading down the hall and towards the stairs. EXT. 17TH PRECINCT - CONTINUOUS Satch races down the crowded block...dodging celebrating Mets' fans...bolting up the precinct steps into the house. INT. 17TH PRECINCT - INTERROGATION ROOM - CONTINUOUS Phil runs in. Scanning the room. But it is empty. No Frank. No Shepard. Just a puddle of coffee on the floor. INT. 17TH PRECINCT - SGT'S DESK - CONTINUOUS Satch charges into the lobby. The lights start to flicker back on. Chaos giving way to order. Satch heads for the stairs. And there is Frank, wearing Shepard's jacket and shield. But in his hurry, Satch has not spotted him. Frank quickly steps behind a pillar as Satch tears by him and up the stairs. Stay with Frank as he turns...calmly walking by the Sergeant's desk, gliding out the precinct door and... EXT. 17TH PRECINCT - CONTINUOUS ...disappearing into the street. FRANK (little smile) Elvis has left the building. INT. APARTMENT BUILDING - HALLWAY - DAY - 1998 John stalks down an apartment building hallway, gun drawn. He reaches a door. Two locks and a bell. Fuck 'em. John smashes his bulk into the door...one...two...three times. It bursts off its hinges. John charges in. Place is empty. Like somebody got the hell out in a hurry. A few odds and ends left behind in the haste...including a pile of unpaid bills. CARL SHEPARD. John's eyes glaze over in rage and fury. But then he sees something that makes him stop and think. There is a telephone on the floor, in a corner. John stares at the phone, wheels spinning. He reaches in his coat and takes out his notebook. Flipping through pages. Notes on Shepard: social security, address, DMV registration, and a series of phone numbers...home, office, cellular. John runs to the phone. Punches in the cell number. Ring. SHEPARD (over phone) Hell- JOHN You have the right to remain silent. If you give up that right... INTERCUT SHEPARD AND JOHN Shepard is in his car, over a bridge, on the run... SHEPARD Who the fuck is this? JOHN Anything you say can and will be used against you in a court of law. SHEPARD Sullivan? JOHN You have the right to speak to an att -- SHEPARD Fuck you, asshole. JOHN It's a small world, Carl. And I'm gonna find you. Real soon. INT. SHEPARD'S APARTMENT - WEST 74TH ST. - DAY - 1969 CLICK, CLICK -- dead bolt turning... Front door opens and SHEPARD WALKS IN. His '69 apartment is far nicer than the place we just left John in '98. Shepard runs to the bathroom. Rips off the toilet's tank lid, reaches down and pulls out a .357 Magnum Colt Python, wrapped in clear plastic. He rips off the plastic, shoves the pistol in his waistband, heads into the kitchen. He gropes behind the refrigerator, close on an envelope glass taped to back of the fridge. Shepard's hand finds the envelope...he rips it loose. And then he opens it - revealing its contents, souvenirs, POLAROID PHOTOS OF THE NIGHTINGALE MURDERS, WOMEN'S JEWELRY, NEWSPAPER CLIPPINGS... Shepard takes out a match to burn the photos. But then... The broom closet door bursts off its hinges. Frank instantly on top of Shepard. The souvenirs go flying in the air. Frank pummels Shepard's head and back. But Shepard smashes his elbow in Frank's Adam's apple, lands a solid uppercut square on Frank's nose. Frank's eyes watering up, VISION BLURRING. CLOSE ON Frank's hand, groping for the handle of a glass pitcher atop the kitchen counter. Shepard reaches for his gun, points the .357 at Frank's head. Shepard's finger squeezing the trigger. It's over. But... FRANK SMASHES THE GLASS PITCHER down on Shepard's skull. Shepard drops. CRACK, the gun fires, BLASTING AIR. FRANK scrambles for the window. He's outta there, expertly thundering down fire escape. EXT. ALLEY BEHIND SHEPARD'S APARTMENT BUILDING - CONTINUOUS Frank hits the pavement, twisting his ankle. Hears metal rattling, looks up. Shepard's clattering down after him. Shepard tries to get off a shot through the fire escape grid. BANG! The shot ricochets wildly. Frank takes off, limping and staying close to the building out of the line of fire. The streets are still empty, the city glued to their TV's. Frank hits CPW. He glances left, right, straight ahead. Central Park. Frank runs into the park. INT. SHEPARD'S APARTMENT - W. 74TH ST. - DUSK The door is kicked open. Satch and Phil enter, guns drawn. They take in the damage from the fight. Following the trail of blood back to the kitchen. And there, strewn across the floor are Shepard's photos of his victims, the newspaper clippings, the jewelry, and the envelope with the glass tape still on it. Satch knows. EXT. CENTRAL PARK BRIDGE - UNDER CONSTRUCTION - CONTINUOUS Frank hears pounding footsteps - Shepard is catching up. Frank's adrenaline kicking in, sprints around a bend in the path, reaches long wooden bridge spanning Central Park Lake. The bridge is being restored. Barricades across the entrance. Frank hurdles over the barricades, runs onto the bridge. Shepard trips in the dirt. Gets back up, reaches the bridge, knocks over a barricade, runs to the middle of the bridge. FRANK'S DISAPPEARED. Shepard stops, listens - nothing. EXT. CENTRAL PARK BRIDGE - UNDERNEATH - CONTINUOUS Frank dangles below the bridge, holding onto the steel girder of substructure - 8 ft. above water. Not moving a muscle, not making a sound, barely even breathing. CLOSE ON SEWER RAT Crawling on Frank's arm. Caught off guard, Frank flinches, sending the rat tumbling. EXT. CENTRAL PARK BRIDGE - TOP OF BRIDGE - CONTINUOUS Bridge side railings have been removed for construction. Shepard hears something hit the water. Rushes to the side of the bridge, points his gun at the water. BANG! Shepard leans out further aiming the gun at the water. Shepard's outstretched arm only a few feet from Frank's head. Frank silently swings his body forward reaching out... Snags Shepard's arm, pulling him hard, over the side. SHEPARD FALLS, grabs for something, anything. Wraps his arms around Frank's leg, hangs on tight. Frank struggles, kicks wildly, trying to shake Shepard off. Shepard hangs on with his left arm. Pulls out the gun with his right. He aims it at Frank's head. Cocks back the hammer. FRANK LETS GO. KERPLUNK. They plunge into: EXT. CENTRAL PARK - LAKE - CONTINUOUS Murky water, thick with dirt and slime, 5' deep. Frank's hanging on to Shepard's arm, trying to wrestle the gun free. But Shepard's using his free hand to gouge Frank's eyes. Frank bites down hard on Shepard's wrist. The gun sinks silently to the muddy lake bottom. But Shepard gets both hands on Frank's throat. Shoving his head into the shallow water. Shepard's grip is like a vise, Frank futilely tries to pry Shepard's fingers open. Frank is blinded by polluted water. Starting to lose consciousness. Desperately, he searches the muddy lake bottom for the gun. But he's getting weaker, fading out... Then he feels something. A BRICK, fallen off the bridge, half buried in the mud. Frank struggles to dig it up. Summons his last ounces of strength, yanking it back and forth, it's getting loose. But Shepard's hands are squeezing tighter. Frank finally goes limp. A few last bubbles float to the surface. Shepard smiles. Catching his breath, slightly loosens grip on Frank's lifeless neck. Frank springs off the lake bottom, rises out of the water like a jack-in-the-box. Holding the brick with both hands, he swings. CONTACT. The brick smashes against Shepard's head. Knocking him to yesterday. He drops like a rock. Frank waits for Shepard to come up for air. Nothing. Frank crawls out of the water, collapsing onto the embankment. He just lies there, heart pounding, chest heaving. And suddenly, Frank is startled by a MASSIVE ROAR - the sound of eight million New Yorkers screaming in unison. The Mets have just won the World Series. Frank laughs, slowly getting to his feet. EXT. CENTRAL PARK WEST & 65TH - PAY PHONE - DUSK Frank's dripping blood and filthy lake water. The streets have instantly erupted with celebrating Mets' fans. A giant party. Cars whiz by, honking their horns, passengers leaning out, pumping fists in victory. Frank has to yell above the racket. DESK SGT. (over phone) 17th Precinct. FRANK Detective Deleon. DESK SGT. (over phone) Hold on. INT. 17TH PRECINCT - SQUAD ROOM The Nightingale evidence from Shepard's kitchen floor is spread all over the squad room. SATCH Deleon. INTERCUT FRANK. FRANK Satch, you gotta listen to me... SATCH Frank. We know. We know it's Shepard. FRANK No kidding. I'm on the corner of 65th and CPW. Come get me. Frank clicks down the receiver, slides in a dime, dials another number. A beat, then... JULIA (over phone) Hello? Frank smiles, and we dissolve to EXT. CENTRAL PARK - LAKE - NIGHT The area cordoned off. Detectives and uniforms. EMS wagon. An inflatable boat is being placed in the lake. Two police frog men are climbing into their gear. Pan over the scene to find Frank and Satch. Frank's got a blanket wrapped around him. They talk quietly as Satch walks Frank to a waiting green and white squad car. SATCH You missed a hell of a game, Frank. FRANK Next time lets put some money on it. SATCH (to the uniform driver) Get him home safe. Satch sticks out his hand...Frank takes it. They hold each other's grip for some moments. Frank starts to say "thank you", but Satch silently cuts him off. Frank climbs in the car. Satch closes the door, taps on the roof, Frank is on his way home. INT. SULLIVAN HOUSE - JOHNNY'S ROOM - LATER JOHNNY is asleep in bed. Elvis sleeps at the foot of it. In the shadows next to them, Julia sits very still in a rocking chair, half-asleep, half-awake. Staring out the window. Her eyes are bloodshot. She has been through hell. A faint STAIRWAY CREAK. Elvis stirs. He looks up to SEE: FRANK standing in the doorway. He looks a wreck. FRANK Hey, bud. JULIA Frank... And she is out of the chair. They meet in a hug. Over her shoulder Frank takes a long look at his sleeping son. INT. SULLIVAN HOUSE - STUDY - LATER Relatively cleaned up, but very bruised, Frank is at the desk, trying to repair the DISASSMBLED RADIO. Julia comes in and sets down a cup of coffee. She kisses him on the top of his head, casts a wondering eye on the radio, and leaves. EXT. SULLIVAN HOUSE - NIGHT - 1998 John pulls into the driveway and stops. He stares out the window, exhausted. And then something catches his attention. A SOUND. Coming from inside the house. The HAM RADIO? He bolts from the car, runs to the door, scrambles to get the backdoor key into the lock, as -- FRANK (O.S.) (over the HAM) John, John? You there? Johnny? INT. SULLIVAN HOUSE - KITCHEN - CONTINUOUS John barrels into the kitchen, leaving door ajar, and runs... INT. SULLIVAN HOUSE - STUDY - CONTINUOUS - 1969 & 1998 John hits the squawk bar on the HAM which... JOHN I'm here, Dad. I'm here. INTERCUT FRANK AND JOHN. FRANK We did it, John. We stopped him. A short pause, John looks confused. He sits down. JOHN Wait. Something's wrong. I don't... FRANK What's wrong? JOHN I don't remember. Why don't I remember? WHACK! CLOSE ON FRANK, the back of his skull smashed by the butt of a .45 wielded by CARL SHEPARD. FRANK hits the floor with a thud, Shepard looming over him, reaching for a set of handcuffs. INT. SULLIVAN HOUSE - STUDY - NIGHT - 1998 JOHN Dad? Dad? What's... WHACK! The butt of a .45 smashes the back of JOHN's skull. He tumbles to the floor...fighting to stay conscious. CARL SHEPARD stands over him, the gun pointing at his head. SHEPARD My turn to steal your life. INT. SULLIVAN HOUSE - STUDY - NIGHT - 1969 Shepard stands over Frank. Frank tires to struggle up. Shepard forces him back down, tromping a boot into his chest. SHEPARD You're a clever fuck, fireboy. And he snaps a handcuff on one of Frank's wrists then wrenches him to a steel radiator in the family room where he circles the pipe to the floor with the handcuff chain and attaches the other cuff to Frank's other wrist. INT. SULLIVAN HOUSE - STUDY - NIGHT - 1998 John is woozy. He reaches down to his holster - it is empty! Shepard has got John's 9mm in his left hand. Holding the .45 to John's head, Shepard pops the clip out of the 9mm and tosses it aside. He then snaps a handcuff around John's wrist, begins dragging him to the radiator. John's FOOT ERUPTS up into Shepard's groin. The .45 goes flying across the room. For a suspended moment, both men are riveted to the .45 spinning on the floor. INT. SULLIVAN HOUSE - FAMILY ROOM - NIGHT - 1969 Frank, struggling to breathe, is slumped by the radiator staring up at Shepard's groin. The .45 goes flying across the room. For a suspended moment, both men are riveted to the .45 spinning on the floor. INT. SULLIVAN HOUSE - FAMILY ROOM - NIGHT - 1969 Frank, struggling to breathe, is slumped by the radiator staring up at Shepard, who is staring back with pure menace. The SOUND OF A SHOWER can be heard upstairs. Shepard looks up. Smiles. SHEPARD Time to meet the family. FRANK (struggling to breathe) This is between you and me. SHEPARD Not any more. INT. SULLIVAN HOUSE - MASTER BATHROOM - NIGHT - 1969 Julia luxuriates in a steaming shower. Singing, softly. INT. SULLIVAN HOUSE - FAMILY ROOM - NIGHT - 1998 A BRUTAL STRUGGLE FOR THE GUN between John and Shepard. INT. SULLIVAN HOUSE - FAMILY ROOM - NIGHT - 1969 Frank desperately tugs at the handcuffs. Steel bites down on his wrists. INT. SULLIVAN HOUSE - MASTER BEDROOM - CONTINUOUS Julia smiles as she sees a figure through the curtain. JULIA Hey, Bud. Want to join me? And the shower curtain flies open to reveal SHEPARD. SHEPARD Sure do. Julia lets out a bloodcurling scream and plasters herself against the shower wall. INT. SULLIVAN HOUSE - FAMILY ROOM - CONTINUOUS Frank reacts to the scream and tears with everything he has in him to rip away from the radiator. No way. INT. SULLIVAN HOUSE - JOHNNY'S ROOM - CONTINUOUS Johnny stirs awake at the sound of the scream... INT. SULLIVAN HOUSE - FAMILY ROOM - NIGHT - 1998 John and Shepard are in a desperate TUG OF WAR over the gun. They KICK viciously at each other. Butting heads. But John is still woozy from the head wound and Shepard is still very strong. BANG! The gun goes off. INT. SULLIVAN HOUSE - MASTER BEDROOM - NIGHT - 1969 Julia is paralyzed against the wall. Staring into the dead as-marble eyes of Shepard. He looks her up and down. SHEPARD Nice. INT. SULLIVAN HOUSE - FAMILY ROOM - CONTINUOUS Frank's wrists are bleeding. He can't get out. But then he sees something. Something he can use. His WATCH. Frank struggles to unfasten the watch strap. He does it. He pinches the metal clasp with his thumb and forefinger and guides it to the keyhole in the left handcuff. He works it. Nothing. Then CLICK. He's out! INT. SULLIVAN HOUSE - FAMILY ROOM - NIGHT - 1998 John Shepard fight furiously. But John has managed to get control of the .45's TRIGGER. He squeezes it. BANG. ANOTHER ONE. BANG! BANG! INT. SULLIVAN HOUSE - MASTER BATHROOM - NIGHT - 1969 Shepard's hands are moving towards Julia's breasts. SUDDENLY she lashes out, DIGGING HER NAILS DEEP INTO SHEPARD'S FACE...TEARING FLESH, DRAWING BLOOD. INT. SULLIVAN HOUSE - FAMILY ROOM - NIGHT - 1998 CLOSE ON SHEPARD, struggling with John. A LARGE SCAR ETCHES ONTO HIS FACE, in the exact spot where Julia dug her nails in 29-years ago. BANG!! BANG!! INT. SULLIVAN HOUSE - MASTER BATHROOM - NIGHT - 1969 Shepard grabs Julia by the throat. Slams her against the wall, knocking her unconscious onto the shower floor. He touches the GASH on his face, stares at the blood. INT. SULLIVAN HOUSE - FAMILY ROOM - NIGHT - 1998 BANG! BANG! John keeps squeezing that trigger. CLICK. CLICK. No more bullets. Shepard lets go of the gun, heave John over and grabs him by the neck...strangling him. INT. SULLIVAN HOUSE - MASTER BATHROOM - NIGHT - 1969 Shepard is on top of Julia in the shower. He uncoils the garrote, snaps it taut, and starts around her neck. And then a SOUND. Instantly recognizable. Beyond adequate description. But once you've heard it, you don't forget it... CHUUT, CHUUT, CHUUT: THE SOUND OF A 12-GUAGE PUMP-ACTION SHOTGUN RATCHETING AROUND THE CORNER. Shepard's head spins about. FRANK STANDS IN THE DOORWAY, SHOTGUN AIMED AT SHEPARD'S FACE. FRANK Get your fucking hands off my wife. SHEPARD Don't. Don't do it, Frank. You're not a killer. He is right. Frank hesitates. Shepard LUNGES, grabbing the shotgun barrel. BOOM! Frank FIRES. BUCKSHOT RIPS THROUGH THE AIR. SHEPARD'S RIGHT HAND EXPLODES...blood spattering everywhere. Like a wounded animal, Shepard bolts, blowing past Frank. Frank gently wraps Julia in a towel. The fading sound of Shepard thundering down the stairs. Out the door. And then softer footsteps. Coming closer. Johnny appears in the doorway. Safe and sound. INT. SULLIVAN HOUSE - FAMILY ROOM - NIGHT - 1998 SHEPARD RIGHT HAND GOES LIMP AROUND JOHN'S NECK. HE STARES IN SHOCK AS HIS HAND BEGINS TO DISFIGURE. John starts to choke back to life... And then something happens. Some kind of SHOCK-WAVE ripples through the house -- bending light - bizarrely distorting everything in its path, including Shepard and John. The shock-wave is over. But the house is different. Changed. Shepard scans the changed room - disoriented, bewildered. CRASH! John pounces. Pounding blows to Shepard's head. John is on top of Shepard, hands on his neck. As John squeezes the life out of him, Shepard struggles to reach down his leg with his good hand... There's something down there. An ankle holster. Shepard strains to get his hand on the gun. He does. In a flash, Shepard has the gun to John's temple. CLICK. Shepard cocks back the hammer. SHEPARD You were the kid. I remember now. Keeping the gun pressed against John's temple, Shepard gets to his feet. SHEPARD (CONT'D) But this time, no Daddy. John closes his eyes. It's over, he knows he's gonna die. SILENCE. Then a sound. A sound we've heard before. A sound you never forget. Music to our ears. CHUUT, CHUUT, CLICK: THE SOUND OF A 12-GAUGE PUMP-ACTION SHOTGUN RATCHETING A ROUND IN THE CHAMBER. Shepard looks up to see: MAN HOLDING SHOTGUN. B-O-O-O-M: SHOTGUN BLAST: Buckshot ripping into Shepard. Impact lifting him off his feet. He lands dead on the floor. CLOSE ON JOHN'S FACE Opening his eyes. Looking up at the doorway. Blinking through shotgun smoke, trying to focus. Not believing what he sees. FRANK SULLIVAN - AGE SIXTY-NINE John looks up at his father, speechless. FRANK I'm still here, Chief. EXT. LITTLE LEAGUE BASEBALL FIELD - MORNING - SOME YEARS LATER We are soaring high above a baseball diamond. Clear light air, you can see for miles. Float down to the field... The first taste of Spring and Softball. Picnic baskets. Flowers. Kites flying. Children running. The bleachers filled with families and loved ones. Among them sits SAMANTHA. She's smiling, she's glowing...she's pregnant. PULL BACK to reveal SATCH, GORDO, ELLEN & GORDY JR. A dalmation puppy scampers at their feet, barking in recognition as... Frank Sullivan steps into the batter's box. CLOSE ON Pitcher: 22 year-old African-Amerasian, a muscular beanpole. Embroidered on the back of the his FDNY jersey is his nickname: PHIRE POWER. Quick shot of first baseman. GRAHAM GIBSON - once a nervous PROBIE, now a seasoned vet. And one hell of proud father. GIBSON (to pitcher) Take it easy on him son, he's older than Moses. Frank sneers at Gib, then glances up at GIB's WIFE in the bleachers. She looks familiar, it's the girl Frank saved in the warehouse 29-years ago. PHIRE POWER twirls his arm... Frank takes a big swing...contact...the ball fouls back behind the plate. Towards the parking lot. Where among the old Chevys and Fords sits a brand new MERCEDES. The custom license plate reads: YAHOO. CRASH! Frank's foul ball comes down hard. As the Mercedes' windshield spiderwebs we hear an off-camera scream... It is Gordo, jumping up, running across the field. From the parking lot his eyes meet Frank's. An I'M SORRY shrug, and Frank turns his attention back to the game. The next pitch is high and outside. Frank takes a looping swing...driving the ball to the gap in right center. Frank jogs to first. An easy single. From first, Frank glances over at the third base coach: JULIA. Her hair pinned up under a Mets cap, Julia puts two fingers in her mouth and belts out a loud whistle as... The next batter steps out of the dugout. It is John Sullivan. CLOSE ON John as he makes his way to the plate. Check out his eyes: they're different, he looks like his father. They've got that Frank Sullivan sparkle. John steps into the batter's box, cocks back to wood. FRANK Bring me home, son! Bring me home! PHIRE POWER uncorks the fastest softball pitch you've ever seen. John jumps on it. Rips a massive shot to deep center, way over the fence. The crew in the stands are on their feet, cheering. Frank rounds third, John catches up. A double high-five from Julia and they jog home together. The game is over. Frank puts his arm around John. Heading for the bleachers. A little boy totters up to them. Jumping into John's arms. His name is Frank Jr. JOHN Hey there, Chief. John gives his son a kiss, glances up at Samantha in the bleachers. They share a smile. And as they step off the field, his little boy reaches up, takes John's hat off his head and puts it on his own... FRANK JR. Elvis has left the building... CLOSE ON John's face. In his eyes, bliss. CUE Bruce Springsteen's: TAKE ME OUT TO THE BALLGAME. END CREDITS ROLL OVER: Archival film footage. 1969 World Series. Game Five. The last pitch. Mets win. Shea stadium erupts. Fans stream onto the field. Lifting the players on their heads. The madness continues for a while, then slowly fade to Fifth Ave. Mets' ticker tape parade. It's a hell of a party. diff --git a/unformated_scripts/Script_Friday the 13th Part VIII_ Jason Takes Manhattan.txt b/unformated_scripts/Script_Friday the 13th Part VIII_ Jason Takes Manhattan.txt new file mode 100644 index 0000000000000000000000000000000000000000..949608340aa87ebb80c72fd2b6138f92d37a1717 --- /dev/null +++ b/unformated_scripts/Script_Friday the 13th Part VIII_ Jason Takes Manhattan.txt @@ -0,0 +1 @@ +FRIDAY THE 13TH PART VIII: JASON TAKES MANHATTAN Written by Rob Hedden FADE IN: EXT. CRYSTAL LAKE - NIGHT A dark, rumbling sky. Haze clings to the lake as we float across it, clearing to bring the opposite shoreline into view. A few scattered streetlights. Dilapidated cabins. An abandoned campsite. CAMP CRYSTAL LAKE. We continue to drift towards it, hearing the faint sound of seductive music and an occasional giggle. A small HOUSEBOAT floats into our foreground, its interior light flickering as TWO BODIES move around inside. INT. HOUSEBOAT - NIGHT A teenage boy and girl, JIM and SUZY, are slow-dancing. Jim's lips softly touch her lissome shoulders. JIM Well...how do you feel? SUZY Ask me in about five minutes. She bites his ear, giggles, then kisses him fully.. JIM I'm talking about graduation. Being totally free to do whatever we want now. Her hands slip inside his Pendleton shirt. He sighs. SUZY It feels excellent. Her mouth finds his again. After a long kiss, he gently pulls away from her with a teasing smile. JIM Gotta throw the anchor over. He leaves the cabin. She slips under the bed sheets. EXT. HOUSEBOAT DECK - NIGHT as Jim tosses a small anchor overboard. TIGHT ON WATER SURFACE as the weighty object splashes, sinking into black oblivion, pulling its cable down with it. JIM glances at the lake, at their eerie surroundings. He feels a chill, heading back inside. EXT. UNDERWATER - NIGHT (TANK) as the anchor drifts to the lake bottom, dropping a few feet from a THICK POWER CABLE which rests in the lake silt. INT. HOUSEBOAT - NIGHT as Jim returns with an uneasy expression. He crawls on top of the bed, kissing her again, but not with the same enthusiasm as before. SUZY What's wrong? JIM Nothing. He starts to pull off his shirt and join her. She senses his anxiety. SUZY C'mon, Jimmy. Something's bothering you. Jim pauses, turning off the mood music. JIM It's just that we're right around that old summer camp where all those murders took place. The boat creaks. She's instantly nervous. SUZY What murders? JIM Never mind, you don't want to know about it. SUZY Tell me. JIM There's nothing to worry about, Suzy. The guy's dead now, somewhere at the bottom of this lake...if you believe the stories. (beat) Let's drop it, okay? He starts to kiss her again. She stops him. SUZY What stories? He doesn't want to go into it but Suzy's face insists. JIM There was this boy named Jason Voorhees who drowned in Crystal Lake... FLASHBACK Eight year old JASON is desperately trying to tread water, flailing his arms like a marionette to get attention as he gulps down gallons of mossy lake water. YOUNG JASON Hhhhelp....me....I'm drowning... JIM (V.O.) None of the counselors heard him. YOUNG JASON Mmmmmmommy.... ...And Jason finally slips under the surface for good. INT. HOUSEBOAT - CONTINUOUS JIM A bunch of years went by and everybody forgot about it. (beat) That's when the murders started. FLASHBACK MONTAGE (STOCK) as our senses are bombarded with QUICK CUTS of assorted teenagers just about to die, their screams echoing over each other. We do not see the attacker. As the cacophony reaches a screeching crescendo, CUT BACK TO: INT. HOUSEBOAT - NIGHT as the silence hits us hard again. SUZY Jason did it...? JIM' That's what some people thought. But they were wrong. FLASHBACK (STOCK) as MRS. VOORHEES comes directly at camera wielding a huge knife and a primal scream. INT. HOUSEBOAT - NIGHT JIM His mother blamed the counselors for his death and tried to kill them all. (dramatic pause) She got her head chopped off by one of them. We don't need to see this clip...Suzy's reaction is quite sufficient. SUZY So the murders stopped? He gives her a long, penetrating look. JIM No. FLASHBACK MONTAGE (STOCK) We're bombarded with QUICK FLASHES of a hockey masked JASON wreaking havoc on assorted teenagers...brandishing everything from hatchets to knives to chainsaws. Just as Jason is about to stab us, CUT BACK TO: INT. HOUSEBOAT - NIGHT Suzy flinches as if she were getting the knife. JIM Legend has it that Jason came back to avenge his mother's death, vowing to kill every teenager from the area. (beat) And every now and then, the murders start up again. The boat lurches slightly, tugging at the anchor cable. She's scared: he's frightened himself a little, too. JIM Forget about it, Suzy. They're just stories. He brushes her hair back, kissing her cheek gently, finding the nape of her neck again. She closes her eyes, trying to dismiss what he's dredged up. But she can't. Suzy begins to rationalize. SUZY We're the last graduating class, right? Jim's kissing her body, putting Jason behind him. JIM Right. SUZY I mean, Lakeview High just closed its doors for good, right? JIM Right. SUZY So there's no reason for him to come back because there won't be any of us around...right? Jim stops, looking her squarely in the eyes. JIM Right. Except that Jason isn't real so none of it matters anyway. She starts to relax, returning his kisses. EXT. UNDERWATER - NIGHT (TANK) as the anchor drifts along the lake floor, tugging hard on the power cable. Camera TRACKS along the cable, coming to a RUSTY SET OF CHAINS TANGLED AROUND IT. INT. HOUSEBOAT - CONTINUOUS as Jim slides on top of Suzy. Thoughts of Jason are starting to slip away along with their clothes. EXT. UNDERWATER - NIGHT (TANK) as the chains emit a dull tinkle due to movement from the tugging anchor. Camera continues to TRACK again...and we find to our horror that the waterlogged, fish-eaten body of JASON IS SECURED BY THESE SAME CHAINS. (NOTE: Jason's face is obscured.) INT. HOUSEBOAT - CONTINUOUS Teenagers in love, lost in not-so-innocent passion. At the same moment: EXT. UNDERWATER - NIGHT (TANK) The anchor tugs one last time and RIPS THROUGH THE CABLE. SPARKS INSTANTLY FLY, chasing along the cable, finding the chain which secures Jason and ENGULFING HIM IN ELECTRICITY. EXT. HOUSEBOAT - ON LAKE SURFACE (EFX) as BRIGHT FLASHES OF BLUE LIGHT strobe-under the surface. ARCING CURRENT chases up the anchor cable, sparking across the hoist. EXT. CAMP CRYSTAL LAKE - WIDE SHOT FROM WATER as the electricity feeding the streetlights is abruptly extinguished, plunging the campsite into darkness. INT. HOUSEBOAT - CONTINUOUS as Suzy's eyes flash open. SUZY Did you hear that? JIM Hear what? He pulls her back down. SUZY C'mon, I'm serious. He knows the mood is broken. JIM All right, I'll check it out. He slips on his jeans, exiting the cabin. She pulls the sheet up around her fearfully. EXT. UNDERWATER - NIGHT (TANK) as the cable smolders, void of electricity now. TRACK to find the chains again...but they're dangling loosely. JASON IS GONE. INT. HOUSEBOAT - CONTINUOUS Suzy is tensely kneeling on the bed now. The black void of night is all she sees out the cabin door, which Jim has left open. An uncomfortable amount of time passes. SUZY Jimmy...? No answer. Her heart starts to pound. SUZY Jim...? Again, nothing. She wraps herself in the sheet, moving towards the open door. The ship creaks again. SUZY'S POINT OF VIEW as she grows closer to the doorway, nothing but pitch- black beyond it. SUZY Stop screwing around, Jim. I mean it... ...And just as she reaches the door: A HOCKEY MASKED MONSTER leaps out, clutching a HUGE KNIFE. Suzy barely has time to scream before JASON PLUNGES THE KNIFE INTO HER CHEST. SUZY stands there in speechless shock, looking down at her mortal wound. But there's no blood. THE MONSTER pulls the knife back out, pushing the blade in and out with his hand. It's a retractable rubber knife. JIM pulls off the hockey mask with a huge grin, tossing it aside. JIM Gotcha good, baby cakes. She doesn't know whether to hug him with relief or kick him in the balls. He pulls her back onto the bed, laughing. EXT. HOUSEBOAT - CLOSE ON HOCKEY MASK sitting dormant on the deck, where Jim tossed it. A SHADOW FALLS ACROSS IT...followed by a SLIMY, DECOMPOSING HAND. The hand grabs it like it's an old friend, pulling it away. INT. HOUSEBOAT - CONTINUOUS as Jim holds his angry girlfriend down on the bed, trying unsuccessfully to kiss her. JIM All right, all right -- I'm a major ass. SUZY And you'll never do it again. JIM And I'll never do it again. Forgive me? SUZY No. She's resisting only for effect. Her legs curl around him, finally giving in. EXT. HOUSEBOAT - NIGHT A deadly-sharp SPEAR GUN rests in its rack outside the cabin. JASON'S HAND REMOVES IT. INT. HOUSEBOAT - CONTINUOUS The sheets begin to roll like waves as they work each other. Thoughts of Jason are nonexistent now. ANGLE - CABIN DOOR Nothing there for a moment...then a pair of moss-covered BARE FEET SLOSH INTO FRAME. SUZY closes her eyes with pleasure... ANGLE - CABIN DOOR ...and camera RISES from the mossy feet, up the bloodless legs and torso to ultimately reveal the hockey-masked face of our anti-hero: JASON VOORHEES. SUZY lets out a broad smile, her eyelids fluttering. They stay open long enough to regard the visitor in the doorway. She tries to choke out a warning to Jim, who's just collapsed himself. SUZY JJJJJJJJason... He doesn't follow her glance, smiling instead. JIM Uh-huh. You must really think I'm an ass. But she continues to stare in horror as: JASON raises the spear, taking aim. ANGLE - SUZY AND JIM Hs starts to kiss her but she bolts up with a blood- curdling SCREAM. A second later, JASON FIRES THE SPEAR, PIERCING HER NECK, PINNING HER TO THE HEAD BOARD. Jim stares point-blank at his dead girlfriend, not able to assimilate it quickly enough. He spins around to see the monster himself. JIM Ohmygod... Jim springs off the bed, looking around for anything to defend himself with, grabbing the bedside lamp. He SMASHES IT OVER JASON'S HEAD which has little effect. Jim scrambles to get past him, but Jason LIFTS JIM IN THE AIR, SLAMMING HIM DOWN ON ONE OF THE SPIKED BEDPOSTS. EXT. CRYSTAL LAKE - NIGHT as the HOUSEBOAT silently drifts onward. The lone silhouette of Jason emerges from within, taking the helm. He's back. FADE OUT/MAIN CREDITS. FADE IN: EXT. HARBOR - ESTABLISHING - DAY Only the faintest sign of daylight can be seen through a thick blanket of gray fog. In the distance, speckled lights outlining a smaller LUXURY CRUISE SHIP intermittently appear. EXT. DOCKSIDE - DAY Standing at the boarding ramp is CHARLES MCCULLOCH, clipboard in hand. He's just finished checking off a pair of new-agey SENIOR GIRLS. McCulloch is approaching fifty, wearing a tie and unwrinkled clothes, as well as the disposition of a stern puritan. MCCULLOCH Remember girls, the shuffleboard tournament will start at six p.m. sharp. A non-attendance will restrict your time in port, understood? They nod for his benefit, exchanging derogatory whispers as they head up the ramp. Camera ADJUSTS to find a small parking lot adjacent to the docks, where several cars are just now arriving -- parents dropping off their high school seniors, hugging them bon voyage. CLOSER ANGLE PARKING LOT as SEAN ROBERTSON walks toward the ship with pal MILES WOLFE. Sean's a tall, nice looking, somewhat serious guy; Miles is shorter, athletic and more extroverted. MILES You're telling me this boat has a pool with a three meter board? SEAN It's a ship and that's right. Plus a disco, gym, game room and a lot more. MILES I think I'm gonna blow off New York and just stay on this thing. MCCULLOCH You'll do no such thing, Mr. Wolfe... Camera ADJUSTS to reveal McCulloch, holding his list, checking off their names. MCCULLOCH Your itinerary has been carefully planned and make no mistake, it will be executed accordingly. MILES (under his breath) Of course...wouldn't want to risk enjoying this trip. McCulloch gives him a frown. Sean steps up to him tentatively. SEAN Which cabin is Rennie in, Mr. McCulloch? MCCULLOCH Rennie's not coming. He's devastated. SEAN But I thought... MCCULLOCH She changed her mind. (eyeing list) Let's see...Mr. Wolfe is in stateroom one-eleven and you, Mr. Robertson, are in two-twenty-five. A booming VOICE from above interrupts them: ADMIRAL ROBERTSON (O.S.) Sean -- where the hell have you been? We're already into early departure protocol... ANOTHER ANGLE Standing on the upper deck is a no-nonsense, uniformed Navy man, ADMIRAL ROBERTSON. The captain of the ship. And Sean's father. Sean's sadness about Rennie's absence is immediately replaced with anxiety. SEAN Be right up, Dad. He and Miles head up the gangway, both boys giving McCulloch one last glare. INT. '76 BMW 2002 - DAY Behind the wheel is MISS COLLEEN VAN DEUSEN, thirties, attractive, a progressive attitude. RENNIE WICKHAM sits next to her -- she's seventeen, pretty, slightly withdrawn. Rennie's dog TOBY, a border collie, rides in the back seat. MISS VAN DEUSEN I'm glad you decided to come after all. RENNIE Me too. But I'm not sure Uncle Charles will be. MISS VAN DEUSEN You let me worry about him, okay? (pause) Personal experiences are what fuel the minds of great writers, Rennie. You made the right decision. RENNIE What about not-so-great writers? Rennie smiles self-deprecatingly, Miss Van Deusen grinning back. But Rennie's smiles are few and far between, this one disappearing as she glances out the window. RENNIE'S POINT OF VIEW (SECOND UNIT) as the countless gallons of harbor and lake water spread out before her, eery in the bog. A small ROWBOAT grazes across it occupied by two indistinguishable people. RETURN TO SHOT Rennie's eyes show a hidden terror. She quickly turns away, shivering briefly. Miss Van Deusen notices. She turns a corner, heading into the parking lot. MISS VAN DEUSEN Everything okay? RENNIE Just felt a little chill. Rennie rubs her arms, faking coldness. MISS VAN DEUSEN Did you know that I'm giving up teaching? RENNIE Really? MISS VAN DEUSEN Since the school is closing anyway, I'm going to write that novel I've been threatening on everybody. RENNIE That's wonderful, Miss Van Deusen...what's it about? She parks the car, turning off the ignition. MISS VAN DEUSEN A senior class cruise to Manhattan, laced with romance, adventure and murder. (beat) Or a Gothic cook book. I haven't decided which. She's coaxed the smile out of Rennie again. Miss Van Deusen pulls a small wrapped box from her glove compartment, handing it to Rennie, who seems utterly surprised. MISS VAN DEUSEN Go on, open it. Rennie pops off the lid, revealing an antique ink-dip pen. MISS VAN DEUSEN Stephen King supposedly used it when he was in high school. RENNIE I don't know what to say... MISS VAN DEUSEN Rennie, you're the best student I ever had...you have a real gift. If anybody can make use of that pen, it's you. Rennie hugs her teacher. Camera RISES above the car's window, finding a Mercedes 560 SL pulling in a short distance away. CLOSER ANGLE - MERCEDES A sexy, money-dressed blonde is behind the wheel. TAMARA MASON. She climbs from her leather seats as a trio of SENIOR GIRLS walk by, offering enthusiastic hi's and hellos. She's obviously Miss Popular. Tamara crosses to a cute Japanese girl unloading luggage from a beige Honda, EVA WATANABE. . TAMARA Are you ready for drugs, sex and rock 'n roll or what, girl? Eva gives her a warning glance, nodding to her left. Eva's MOTHER appears by the passenger door, forcing a smile at Tamara. MRS. WATANABE Hello, Tamara. TAMARA Hi, Mrs. Watanabe. Just kidding. MRS. WATANABE Yes, I'm sure. Embarrassed, Eva hurries to her Mom, rushing a kiss goodbye. EVA Don't worry about a thing, Mom. I'll have a terrific time and I won't do anything stupid, okay? Before Mrs. Watanabe can squeeze a word in, her daughter is gone. She waves a bittersweet goodbye to her graduate. MRS. WATANABE I love you... TRACKING WITH TAMARA AND EVA Once they're out of Mrs. Watanabe's earshot -- TAMARA I hear the crew members are cute guys in their twenties. EVA Really? TAMARA I'm sure we'll have no problem getting them to party with us...especially with this. Tamara unzips her purse, revealing a baggie filled with fine white powder. Eva looks very nervous. TAMARA It's my graduation gift from Daddy. It cost over a thousand bucks but it's the best. EVA He bought you that? TAMARA More or less. It's part of my college fund. She grins coquettishly, walking on. Camera HOLDS on the calm, foggy harbor...where the faint image of a HOUSEBOAT is aimlessly drifting into port. CLOSER ANGLE - HOUSEBOAT Sure enough, it's the same one we saw JASON on last night...but no one is behind the helm. It seems to be a ghost ship. EXT. DOCKSIDE - DAY as Tamara tries to slip past McCulloch, busy with another pair of seniors. MCCULLOCH You can stop right there, Miss Mason. He motions the others onward. Busted. Tamara instantly hands Eva her drug-filled purse, paralyzing Eva. MCCULL40CH Only graduating seniors are allowed on this cruise. TAMARA What are you talking about? MCCULLOCB You never turned in your final biology project, so I've had your diploma rescinded. TAMARA You can't do that... MCCULLOCH It's already been done. (turning to Eva) Congratulations on the 3.9 average, Miss Watanabe. You're in stateroom two- fifty-five. Eva smiles awkwardly, reaching for her luggage, stalling to see what happens with Tamara. TAMARA Look, Mr. McCulloch, I got in a car accident yesterday and missed our appointment. It's okay, no big deal, just a bruised arm... (squeezes her arm) ...so I brought my project along today. It's in my suitcase. Really. He looks at her suitcase, not buying a word of this. EVA She's telling the truth, Mr. McCulloch. I saw her pack it. He's surprised to hear this...and so is Tamara. MCCULLOCH All right. But if it mysteriously disappears en route, I'll have you sent back home the minute we dock. Understood? TAMARA Perfectly. She grabs her purse back from Eva, quickly moving on before he changes his mind. Their voices become whispers. TAMARA A major prick. EVA What are you going to do? TAMARA Improvise, of course. EXT. DOCK PILINGS - SAME TIME as the HOUSEBOAT haphazardly bumps into barnacle-covered dock pilings, still around fifty yards from the cruise ship. POINT OF VIEW OUT HOUSEBOAT WINDOW The window is splattered with blood, but still clear enough to make out Tamara and Eva walking up the gangway, along with a half dozen other teenagers mingling on board. TIGHT ON HOUSEBOAT'S ANCHOR CABLE --or rather the remnants of it. It's a piece of frayed woven metal charred by extreme electricity, severed just above water level. Suddenly there's blurry movement behind it; camera RACK FOCUSES just in time to catch a glimpse of JASON SLIPPING OFF THE SIDE, FLOATING TOWARDS THE PILINGS. EXT. DOCKSIDE - SAME TIME as McCulloch impatiently checks his watch and list again. Miss Van Deusen walks up to him. MISS VAN DEUSEN Hello, Charles. Has everyone checked in? MCCULLOCH Jim Miller and Suzy Donaldson never showed up. I'm a little concerned. MISS VAN DEUSEN Don't be. They probably decided to explore each other rather than New York. He gives her a disdainful look, starting up the ramp. MCCULLOCH Let's go -- we're running two minutes late. MISS VAN DEUSEN Charles, there's someone else coming along too. He stops, following her glance. His face tightens. ANOTHER ANGLE Rennie is walking toward them with a small suitcase, her dog Toby striding next to her. She walks up to him, starts to say something, then decides against it. Rennie heads up the gangway. HOLD on McCulloch and Miss Van Deusen. He's livid. MCCULLOCH You have no right... MISS VAN DEUSEN And neither do you. It's up to Rennie to decide what she wants to do. MCCULLOCH She doesn't know what she wants. She's never had a stable life. MISS VAN DEUSEN And she sure doesn't have one now, either. She needs to live. MCCULLOCH I'm her legal guardian, not you or anybody else, and I alone know what's best for her. End of discussion. MISS VAN DEUSEN No, I think it's just the beginning. She walks past him. EXT. RAMP/SHIP - ON RENNIE as she reaches the top of the gangway, her heart pounding. Rennie pauses, working up the courage to look out at the lake again. RENNIE'S POINT OF VIEW The ROWBOAT she saw earlier is still there, even closer now. RENNIE'S PUPILS contract, her blood pumping faster. Then she hears a FAINT VOICE BELOW HER... VOICE (O.S.) Hhhhelp me... Rennie looks straight down at the water beneath her and sees: AN EIGHT YEAR OLD BOY floundering in the water. It takes us only a moment to recognize him -- IT'S YOUNG JASON. He's gasping, sucking in huge amounts of liquid, exactly like he did in the prologue. YOUNG JASON Hhhhelp me....I'm drowning... RENNIE leans back in terror, falling into Miss Van Deusen. MISS VAN DEUSEN What's wrong, Rennie?? Rennie frantically points over the ramp edge, unable to speak. Miss Van Deusen quickly looks and sees: MISS VAN DEUSEN'S POINT OF VIEW The water is calm. No Young Jason. RETURN TO SHOT as Rennie gets a hold of herself. RENNIE I just got a little dizzy. I'm fine. She continues up the ramp. HOLD on Miss Van Deusen, watching her go, somewhat troubled by it. RACK to McCulloch below her, also watching. Extremely concerned. RENNIE continues along the starboard side, not risking another glance overboard. She passes an older, very deranged DECK HAND, mopping the deck. HOLD on him, his bloodshot eyes following her like a crazed raven. INT. BRIDGE - CLOSE ON HARPOON - DAY Sharp and rusty, mounted on the wall amidst jagged scaling knives, shark jaws and other artifacts. WIDEN to reveal they are surrounding a navigational chart on the cruise ship's bridge. Admiral Robertson and his CHIEF ENGINEER are preparing for departure, checking the OMEGA satellite computer as well as the LORAN. ADMIRAL ROBERTSON (checking watch) Let's take in the brow. CHIEF ENGINEER Yes Sir. (into intercom phone.) Take in the gangway and single up all lines. SEAN and MILES enter the room; Sean gets a glance from his Dad. Miles is very impressed with the bridge. SEAN Hello, Dad. MILES Hey, Admiral Robertson. Love your ship. ADMIRAL ROBERTSON She's a beauty, isn't she? I should've retired from the Navy ten years ago. MILES You've really been generous to give us this cruise. I know I speak for everybody on board. Everybody...with the possible exception of Sean. He avoids eye contact with his father. ADMIRAL ROBERTSON Hell, there's just twenty or so of you -- we only need a skeleton crew and it's a pleasure to sail her anyway. (beat) By the way, congratulations on winning the intramural diving championships, Miles. I'm sure you made your old man proud. Admiral Robertson gives his own son a glance; maybe Sean should think about doing the same. CHIEF ENGINEER Have you decided on your departure protocol, Admiral? ADMIRAL ROBERTSON Actually, I thought I'd leave the honors to my son. SEAN Dad, I don't think... ADMIRAL ROBERTSON (to Chief Engineer, ignoring Sean) Relinquishing command of the Princess Ruby to Captain Sean Robertson. Sean has no say in the matter. Miles can feel his friend's nervousness as well. ADMIRAL ROBERTSON But before you take the helm, take this. He tosses Sean a wrapped box. Sean opens it. Inside is a navigational computer the size of a calculator, sitting next to a rusty old sextant. ADMIRAL ROBERTSON Something old and something new. I used the sextant when I was your age, but now they have these goddamn computers to do all the work for you. CHIEF ENGINEER (to Sean) Have you decided on a plan of departure, Captain? Sean's nervous. He eyes the Omega, quickly glancing at the LORAN, briefly referring to the navigational chart. SEAN How about if we start up the forward engines and come around. 180 degrees... ADMIRAL ROBERTSON Aren't you forgetting something? Sean looks flustered. Admiral Robertson storms to a large button, pressing it three times, piercing the air with three long blasts of the ship's horn. It underscores his frustration. ADMIRAL ROBERTSON We're in foggy weather! Send out the international maritime signal that a vessel is backing down, followed by a security broadcast warning other ships! He shoves the mike out at Sean, but he doesn't grab it, leaving the bridge, humiliated. There's an awkward moment for Miles, unable to find any appropriate words. He exits as well. Admiral Robertson stares out the bridge window, saddened and frustrated. It wasn't supposed to go this way. EXT. DECK - ON SEAN as he continues away, his retreat blocked by the DECK HAND. The crazy old man pierces a dead serious stare at Sean. DECK HAND This voyage is doomed. SEAN Yeah, tell me about it. Sean sidesteps him, moving on. EXT. HARBOR - DAY (CRANE SHOT) Parents and relatives wave gleefully from the docks as CAMERA RISES AND ROTATES to find eighteen or so teenagers 1ining the upper deck, happily waving back. The ship begins to slice through serene water. The voyage has begun. CLOSER ON HULL The water begins to ripple as the ship's speed increases. All seems normal...until JASON'S HANDS APPEAR, CLINGING TO A LOOSE MOORING LINE DRAGGING IN THE WATER. He slithers up the side towards the deck as dense fog breezes past him. EXT. DECK - DAY as Sean continues along, hands in pockets. He turns a corner and collides with RENNIE, walking her dog. His eyes instantly brighten, as do hers. SEAN Rennie... RENNIE Hi, Sean. SEAN I heard you weren't coming. RENNIE (glances at Toby) We changed our minds. Sean pats her dog. There's an awkward pause...they are obviously in the early stages-of a relationship. Sean reaches into his coat pocket, bringing back a small necklace-sized box. SEAN I got you a present. RENNIE But I didn't get you one... SEAN Forget it. It's a dumb little thing anyway. Rennie opens it up, exposing a petite silver necklace with a Statue of Liberty pendant on it. She's touched. RENNIE Sean...it's beautiful. Sean takes it from her, snapping it around her neck. SEAN I thought maybe we could hike to the top of the Statue when we got there, if you felt like it. It's supposed to be 22 stories tall. RENNIE I'd love to. MCCULLOCH (O.S.) Your father was looking for you, Mr. Robertson. McCulloch appears behind them. The mood has been broken. SEAN I guess I'll see you later. Sean leaves. McCulloch steps up to Rennie, pointing out to the foggy sea. Her respiration increases as she psyches herself up to look. MCCULLOCH There's a storm predicted tonight. Rennie looks at the ocean, forcing herself not to turn away. MCCULLOCH You're making a big mistake, Rennie. It's not too late to put you back on land. RENNIE I'm staying. MCCULLOCH If Miss Van Deusen knew how afraid you were of... RENNIE She didn't push me into coming. MCCULLOCH Why are you doing this to yourself? RENNIE I don't even know why I'm afraid, Uncle Charles. I can't even remember when it started. Don't you think it's time I found out and got over it? He takes a measured pause. MCCULLOCH Facing your fear doesn't always conquer it. RENNIE I'm staying. He's not going to change her mind. P.O.V. - RENNIE AND MCCULLOCH (B & W/VIEWFINDER MATTE) through a porthole window...and through the viewfinder of a video camcorder. McCulloch shakes his head, turning away from Rennie and walking away. A sinister electric guitar solo screeches out. PAN with McCulloch as he passes the window, coming around 180 degrees into a CLOSE UP of J.J. JARRETT, fingering a sleek Gibson "Flying V." J.J. (into camera) Is this axe awesome or what? INT. J.J.'S STATEROOM - DAY as J.J., a female rocker in the vein of band "Vixen," continues to wail on her guitar. She's wearing a black leather corset, with wildly teased deep red hair. Holding the camcorder is WAYNE WEBBER, MTV-acclimated, wearing the latest hip prescription glasses. WAYNE Too cool, J.J. Your parents came through. She pops out the guitar cable from her practice amp. J.J. No lie. I hear there's a big power room down below where I can get supreme concert hall echo. Come down and shoot a basement tape on me, okay? WAYNE Sure...but I gotta shoot some shockumentary footage first. He avoids eye contact when he says it. She gives him a look. J.J. Man, don't tell me you're still trying to scam on Tamara... His non-answer means yes. J.J. walks over to him, grabbing his cheeks, shaking them like jello. J.J. How long have we known each other? Don't be a dweeb, Wayne. She's not interested in you, only what you can do for her. She's a user. WAYNE She's sexy. J.J. So's this guitar. So what? WAYNE I'll catch you later. He exits. She mumbles something under her breath, coiling up her amp cord. INT. CORRIDOR - TRACKING WITH WAYNE as he walks onward. DROP DOWN to find his FEET as he passes a DARK ALCOVE...which happens to have SLIMY FOOTPRINTS AND SEAWEED leading into it. Camera FOLLOWS the footprints, RISING again and with dim recognition, our eyes fall on JASON. Lurking in the shadows. But not for long. INT. POWER ROOM - DAY Massive, very dark, backlit steam seeping from a maze of pipes overhead. No windows. A wall of circuit breakers and voltage meters decorate one wall, quietly humming generators on the opposite side. J.J. appears with her guitar, amp and ghetto blaster, appreciative of the surroundings. J.J. This place is aching for a video. Wayne, you're an asshole. She finds an outlet and plugs in her equipment. JASON'S POINT OF VIEW We're peering at J.J. predatorially through the steam, moving through it, behind the generators. J.J. pops a cassette into her blaster, jamming the "play" button. A loud rock 'n roll rhythm track blasts out. JASON'S POINT OF VIEW moving around the generators, eyeing her sleek leather pants as she bends over to plug in her axe. TIGHT ON ELECTRIC GUITAR as J.J. snaps the male end of the plug into the female. receptacle. JASON'S FACE appears for an instant through the vapor, then vanishes. J.J. screams out the opening licks of her solo in sync with her playback. The generators are causing a breeze which makes her hair dance, steam flowing between her legs. She's lost in her music, building to a crescendo, bending the high "E" string above the upper octave fret. She opens her eyes with the pleasure of it and sees: JASON emerging from a cloud of vapor like her worst nightmare. EXT. UPPER DECK - SAME TIME as J.J.'s SCREAM echoes from an exhaust duct. WHIP PAN to find the crazed DECK HAND standing just below it, reacting with dread. He's the only one who has heard it. INT. POWER ROOM - SAME TIME as Jason tears the guitar off her body, raising it in the air like a hatchet. The horrified girl flees down a narrow maze of steel steps, forced back against a generator with nowhere to go. PUSH IN on her face for one last look at her before: JASON swings the guitar downward and buries it in J.J.'s skull. EXT. UPPER DECK - SAME TIME as the Deck Hand flinches upon the thick, dull sound of her demise, followed by discordant feedback from her guitar...and eventual silence. He reaches into his breast pocket, his hand shaking badly as he sips from a flask of Early Times. EXT. OCEAN - NIGHT (EFX) as LIGHTNING FLASHES over a gray, choppy sea. A storm is imminent. The Princess Ruby finally appears, cutting through whitecaps, no land in sight. CLOSE UP - INK DIP PEN as Rennie's hand carefully dips it in India ink, moving to a blank page in her journal. She hesitates for several beats. INT. RENNIE'S STATEROOM - NIGHT No inspiration. She puts down the pen, looking at her dog, who's curled up on the bed. RENNIE What do you think...time for some personal experiences to fuel our minds? The dog's eyes blink, but no more than that. RENNIE I agree. Rennie moves to her closet, finding a silk blouse and some black satin pants. EXT. OUTSIDE DECK - SAME TIME Wind is picking up, sweeping thick mist past a row of decorative flags. One of them flaps back...AND EXPOSES JASON. THROUGH JASON'S EYES (FLYING WALL EFX) as the flag whips our faces. We MOVE through it, down the empty passageway, coming to a porthole window. Rennie's window. We peer through it with unnerving intensity at the backside of Rennie as she pulls off her T-shirt, slipping on the blouse. Camera continues through the tiny round window, floating across the room, over Toby and the bed...until we're INCHES FROM THE BACK OF RENNIE'S HEAD. She suddenly spins around in fright, facing us point-blank, and: REVERSE ANGLE Nobody is there, her porthole window empty. But there's something surreal about the window... TIGHT ON PORTHOLE WINDOW (EFX) Empty grayness...then EIGHT YEAR OLD JASON FLOATS UP FROM BELOW, BUBBLES ESCAPING FROM HIS LIPS. The porthole has become a window into the depths of Crystal Lake. RENNIE feels her throat catch with terror and an instant later: DOG TOBY begins to bark vociferously, rushing to her cabin door, scratching to get out. RENNIE'S EYES are distracted to Toby for a second; when she looks back at the porthole, she sees: AN EMPTY WINDOW No water, no drowning boy. RENNIE snaps out of it, moving to the door, where her dog is frantically clawing with his fur up. RENNIE Okay Toby, calm down... She's talking to herself as much as the dog. Rennie closes the curtains on her window, then steps to her door. She swings the door open for Toby...and exposes an empty hall. Toby scrapes his way out of the room, dashing off down the hall, snarling. INT. SHIP CORRIDOR - NIGHT as Toby runs straight toward us. PAN with him as he rushes around a corner, leading us into a view of TAMARA and EVA, disappearing down a staircase. INT. MENS GYM - DAY A strong seventeen year-old black kid, JULIUS GAW, is going a few rounds with another senior boy who's clearly losing the boxing match. Julius dances around him on the mat like he's Mike Tyson, several other boys cheering them on. REVERSE ANGLE - LOCKER ROOM WINDOW as Tamara and Eva step into view. Eva glances around, feeling out of place in the men's locker room. EVA I'm not sure we're supposed to be here, Tamara. A couple of skinny boys wearing only towels walk by. But Tamara doesn't notice them, her face pressed up against the glass, watching Julius. TAMARA Is that a muscular bod or what? Tamara puts on a sexy smile. The other boxer sees her instead, instantly distracted. Julius lays him out with a left-right-left combination. The onlookers applaud. Julius pulls out his mouthpiece, giving Tamara a wicked smile. TAMARA He's undefeated, you know that? (beat) Julius is the only senior I'd even consider doing it with. If he wasn't black, that is. EVA (awkward) My parents are open minded about that sort of thing. TAMARA My stepmom couldn't care less, but Daddy would have a shit fit. (lets it slip out) He might even pay some attention to me. Tamara quickly puts up her veneer again, spotting something. TAMARA Gorgeous guy at ten o'clock. Look sensual. Both girls slip into instant sultry as a CREW MEMBER in his mid-twenties passes them, wearing a tool belt. Very masculine. He gives the girls a pleasant smile. Tamara turns around to check out his back side. TAMARA I think it's time for some recreational activity, girl. EVA Sounds good. I hear there's a shuffleboard court on deck -- it might be kinds cool... TAMARA You're joking, right? She wasn't, but Eva tries to act like she was. Tamara walks on, Eva following. INT. STATEROOM HALLWAY - NIGHT as McCulloch steps from Rennie's room, looking very worried. Wayne Webber passes by, his eye stuck in his viewfinder. McCulloch yanks the camcorder away from his face. MCCULLOCH Have you seen my niece anywhere? WAYNE Yeah, motivating downstairs, I think. What's the problem, Mr. McCulloch? MCCULLOCH Senior predictions started five minutes ago and she hasn't shown up. WAYNE Some of us don't want our futures predicted. MCCULLOCH In your case I'm sure that's true. He brushes past Wayne angrily. INT. SERVICE AREA - NIGHT as Tamara drags Eva into a secluded service area, pulling out her mirror, straw and baggie. TAMARA The night time is the right time. Tamara hands the straw to Eva. EVA (nervous) No thanks. TAMARA What? Don't be a lightweight...this is top dollar toot. EVA It's not that, it's just that... (beat) It I get caught, I'll lose my science scholarship and everything. TAMARA You're talking to the prom queen, Eva. Do you really think I'm going to risk getting caught? EVA (a pause) I guess not. TAMARA Do you realize how many people would kill to be sitting here right now? Come on, it's grad night. You've got your whole life to be uptight. Eva takes the straw. STALKING POINT OF VIEW as we move down the corridor, in and out of shadows, hearing giggles from Tamara and Eva up ahead. Jason's coming... ANGLE - TAMARA AND EVA as Eva takes a nosefull, sneezing badly. TAMARA Is that unbelievable or what? Tamara giggles, getting ready to tap out another line. But the snickering stops upon the sound of APPROACHING FOOTSTEPS. They both look up, every muscle tensing with fear as: RENNIE appears from the shadows, just as startled to see them. It's not Jason at all. Rennie can't help noticing the cocaine, trying hard to ignore it. TAMARA Jesus, you scared the hell out of us. RENNIE Have you seen my dog? I think he came this way. TAMARA No, we haven't. (awkwardly) Care for a hit? RENNIE No thanks. Rennie continues on. After she's gone... TAMARA A real space cadet. I wonder if she'll narc on us... EVA I have her in Creative Writing and she's fairly nice. TAMARA Nobody related to McCulloch can be nice. Tamara puts the straw to her nose. ANGLE - RENNIE as she presses on, the corridor getting darker. RENNIE Toby? No reply. She walks on, turning down the left hallway... but camera turns down the right hallway. Suddenly JASON REVEALS HIMSELF, quietly stepping from the GAME ROOM. He's holding a pool cue, which he proceeds to snap in half, providing a splintery sharp shaft. INT. SERVICE AREA - SAME TIME as Tamara finishes off her line, wiping her nose with a sniffle. TAMARA Oh yeah. Ready to party and then some. She rolls up her baggie, stuffing it into her purse. STALKING POINT OF VIEW as we come down a corridor, turning into the Service Area, stomping right up to Tamara and Eva. They both GASP; Tamara drops her mirror, which SHATTERS on the ground. REVERSE ANGLE They are facing McCulloch. MCCULLOCH What are you doing in here? TAMARA Nothing. He eyes the broken mirror. He wasn't born yesterday. MCCULLOCH Are you girls using drugs? EVA Do you think I would use drugs, Mr. McCulloch? We were just exploring the ship. He doesn't want to believe Eva is a druggie. But Tamara is a different matter. He levels his eyes on her. MCCULLOCH I'11 be coming around your stateroom in exactly fifteen minutes, Miss Mason. You'd better have your biology project ready or I'm phoning your parents. TAMARA They're out of town. MCCULLOCH Then I'll make sure you remain on board while your classmates see the sights. He's gotten to her with that one. McCulloch storms away. EVA What are you going to do? TAMARA Relax, I've got McCulloch covered... but that little narcing bitch niece of his is a different matter. (calculating) Rumor has it she's a teensy bit afraid of the water... SPLASH! as a body pierces the surface of the deck swimming pool. It's MILES, having just completed a dive from the high board. Miss Van Deusen and several others stand at poolside, giving him some applause. MISS VAN DEUSEN Poetry in motion, Miles. MILES A half-twist short. I'll hone that dive yet. He swims to the side, leading us to a view of Rennie. She's very cautious about getting too close to the pool edge as she approaches Miss Van Deusen. MISS VAN DEUSEN Rennie -- I was just on my way over to your room RENNIE Have you seen my dog anywhere? MISS VAN DEUSEN No, but I'm sure Toby's fine. The ship's only so big and there's certainly no way off it, is there? She smiles reassuringly, but her words are less than comforting. INT. SHIP CORRIDOR - TRACKING WITH TOBY - SAME TIME as the canine continues to sniff out Jason through the maze of corridors. TRACK with the dog as he slows his pace, knowing he's getting close to something. TOBY'S POINT OF VIEW (STEADICAM) Low to the ground, creeping past a steam vent which obscures his vision, then turning down a metal staircase, weaving into another passageway. Then with absolutely no warning, A BODY FALLS FROM ABOVE, THUDDING DIRECTLY IN FRONT OF US. TOBY rears back with teeth bared, but: THE BODY is quite dead: Toby is snarling at the corpse of the TEENAGE BOXER who lost his bout against Julius. He's still in his boxing shorts...BUT JASON'S SPLINTERY POOL CUE HAS BEEN STABBED THROUGH HIS CHEST. EXT. DECK POOL - ON RENNIE AND MISS VAN DEUSEN as they walk along the edge of the pool. MISS VAN DEUSEN So, are you having fun yet? RENNIE (lying) Yeah...a lot. MISS VAN DEUSEN I seem to detect a hint of ingenuousness in your tone. (beat) In other words, level with me. RENNIE (a pause) There's something I haven't told you... ...But before she can begin the next sentence, Rennie is shoved from behind. WATER ANGLE as she SPLASHES INTO THE POOL'S DEEP END. MISS VAN DEUSEN spins around, seeing Tamara standing there with Eva. TAMARA Wow, sorry... RENNIE flounders at the surface, nobody realizing the terror she's experiencing. She's too scared to even cry for help. MISS VAN DEUSEN isn't looking at Rennie, her attention on admonishing Tamara. MISS VAN DEUSEN Why on earth would you do something like that? TAMARA It was an accident, I swear... Eva avoids eye contact, feeling awful. Sean comes walking up, seeing Rennie. SEAN What happened? (to Rennie) Rennie, are you okay? RENNIE'S POINT OF VIEW She's can't even hear Sean, her vision being splashed by the chlorinated water. She sinks under the surface, turning around...AND COMING FACE TO FACE WITH YOUNG JASON. The eight year-old corpse GRABS HER ANKLE AND TRIES TO DRAG HER DOWN. SEAN'S POINT OF VIEW as Rennie sinks under the surface, all alone, thrashing in terror. SEAN realizes she's in trouble. He immediately dives in after her, pulling her to the pool's edge, where Miss Van Deusen helps to lift her out. TAMARA AND EVA quickly move on. TAMARA That was truly excellent. EVA (feels like shit) Yeah. TAMARA Time to check out the waiters. EVA I think I'll pass. See you later, okay? TAMARA But...wait a minute! Eva walks away. Tamara acts angry, but deep down she's hurt. TAMARA Some friend you are. EXT. POOL SIDE - SAME TIME as Sean climbs from the pool to join Miss Van Deusen, who is trying to comfort Rennie. MISS VAN DEUSEN (to Sean) Bring her a towel, okay? Sean nods, hurrying off as others start to crowd around. Miss Van Deusen looks up at them. MISS VAN DEUSEN She's fine -- everybody go back to what you were doing. They disperse. Rennie slowly starts to cry, holding tight to her teacher. MISS VAN DEUSEN Care to talk about it? After a moment to compose herself... RENNIE I can't swim. MISS VAN DEUSEN I gathered that. Rennie says nothing else. Miss Van Deusen knows she's holding out. MISS VAN DEUSEN I had a skiing accident in high school, broke my left leg. It took three winters before I would even look at the snow again...but the solution kept eluding me. (beat) I finally took lessons. I've never broken a bone since. RENNIE It's not that simple. MISS VAN DEUSEN Maybe not. But you're not telling me everything, are you? RENNIE (long pause) Whenever I get near the water, I see this young boy drowning. He tries to pull me down with him. The teacher didn't expect this, taking a thoughtful pause. MISS VAN DEUSEN When did this start? RENNIE About four years ago...at Crystal Lake. I spent a few summers there with Uncle Charles inbetween boarding school. MISS VAN DEUSEN After your parents passed away? Rennie nods somberly. MISS VAN DEUSEN Did you have an accident in the lake? RENNIE No. It was just a normal summer. I've never been able to figure it out. MISS VAN DEUSEN Only one young boy ever drowned in that lake, and that was before you were even born. His name was Jason Voorhees. The name has triggered some deep memory...but the recollection vanishes upon the sound of her uncle's voice. MCCULLOCH (O.S.) Dear God... ANOTHER ANGLE as McCulloch rushes over to Rennie, seeing that she's soaked. He's livid. MISS VAN DEUSEN She's fine, Charles. Take it easy... MCCULLOCH Oh, I can see that. You've done a wonderful job of supervising the kids, Miss Van Deusen. RENNIE It wasn't her fault. He gets Rennie to her feet just as Sean runs back with a towel. McCulloch grabs it from him, wrapping it around his niece, facing both Miss Van Deusen and Sean. MCCULLOCH Stay away from her...both of you. He starts to lead her away. The crazy DECK HAND blocks their path, slipping his flask away. DECK HAND He's come back and you're all going to die. Rennie gazes at the Deck Hand, then back at McCulloch. RENNIE Just...leave me alone... She pulls away from him, hurrying off, confused and frightened. McCulloch's retinas pierce the Deck Hand with scorn. He checks his watch, then storms off. INT. TAMARA'S STATEROOM - NIGHT as a loud, firm KNOCK punctuates the silence. Then comes a sultry voice... TAMARA (O.S.) The door's open. McCulloch swings it open. MCCULLOCH I'm in no mood for any more stall tactics, Miss Mason. Where is your final project? REVERSE ANGLE as Tamara fills a pair of champagne glasses with a bottle of Dom Perignon. She's wearing a full body robe. TAMARA Wouldn't you like a glass of champagne first, Charles? He's about to lose his temper. McCulloch steps closer. MCCULLOCH Where did you get that alcohol? TAMARA I packed it. Just for us. EXT. DECK CORRIDOR - STALKING POINT OF VIEW as we approach Tamara's porthole window, peering through it. We can't hear the words but we can clearly see the people. INT. TAMARA'S STATEROOM - CONTINUOUS as McCulloch takes the bottle from her, setting it down on her nightstand. MCCULLOCH That's it. You're not setting foot off this ship until we return home. TAMARA But I haven't even shown you my biology project... Tamara unties her robe. PAN DOWN to the floor with it as it softly piles at her bare feet. ANGLE - PORTHOLE WINDOW as the SHADOW OUTSIDE quickly blurs past the window. RETURN TO SCENE McCulloch is flabbergasted, too stunned to fully react. Tamara is wearing a layered teddy, which she's beginning to unsnap, exposing her lithe body...but that's not all. Tamara has drawn all her major organs on her bare skin. TAMARA Take a closer look, Charles. I want to make sure I labeled all my organs correctly. EXT. TAMARA'S STATEROOM - STALKING POINT OF VIEW as we approach her door, still cracked open from McCulloch's entrance. We get there just in time to see Tamara slip her arms around McCulloch, planting her lips on his, pressing her nubile flesh up against his stiffly starched shirt. INT. TAMARA'S STATEROOM - CONTINUOUS as she holds him tight. He finally breaks away in a fit of anger. MCCULLOCH Oh, you've done it now. Not only are you going home, I'll see to it that you spend next year back in a high school classroom! He storms for the door, swinging it open, coming face to face with: WAYNE who casually lowers his camcorder. TAMARA I don't think so, Mr. McCulloch. (to Wayne) Did you get anything good? His eyes are unable to leave her nakedness. WAYNE Oh yeah. She quickly slips on her robe again, all business. McCulloch realizes what has just transpired. MCCULLOCH You'll never get away with it. (eyeing Wayne) And you can forget about ever attending any film school. (serious beat) You're both going to be very, very sorry. He storms off. Wayne looks very, very nervous. Tamara steps over to him, cuddling up. TAMARA Relax, Wayne. He won't risk doing a thing. (beat) Can I have the tape? He pops the eject button, absently handing it over. Wayne steps into her room, nervous and excited to be there. He lifts the glass of champagne she poured for McCulloch. WAYNE This is going to sound supremely lame...but I've had the major hots for you since our sophomore year, Tamara. He gulps down the fizz. She forces a smile, stashing the incriminating videotape. TAMARA That's sweet, Wayne. Look, I'd love to chat but I'm really pressed for time. (ushering him to door) Let's try to get together later, okey- doke? WAYNE But I thought... TAMARA Thanks for the camerawork. And out he goes, the door shut in his face. Wayne stands outside her room, realizing he's a major chump. WAYNE Wayne, you're an asshole. He despondently exits. INT. TAMARA'S STATEROOM - SAME TIME (STEADICAM) as Tamara heads for the bathroom, slipping off her robe. She moves to the shower curtain and we're right behind her. Her hand reaches up, grabbing the curtain, yanking it back... Nothing is there. INT. LADIES RESTROOM - SAME TIME - NIGHT (EFX) as Rennie enters, her eyes reddened. She moves to the sink, looking at herself in the mirror. So much for the silk blouse and satin pants, not to mention her soaked hair. Rennie runs some warm water, rinsing her face. When she starts to fill her hands a second time, BLOOD POURS OUT THE FAUCET INSTEAD OF WATER. Rennie gasps, jerking up and seeing YOUNG JASON REFLECTED ON THE OTHER SIDE OF THE MIRROR, SPLASHING IN WATER. RENNIE It's not real, it's not real... INT. TAMARA'S SHOWER - SAME TIME as water from the shower head SPLASHES CAMERA for a beat before Tamara turns it off. ANOTHER ANGLE as Tamara reaches for her robe, slipping it on. Her body paint has been washed off. She steps from the shower, glancing in her vanity mirror AND SEEING THE REAL JASON REFLECTED IN IT. Tamara spins around, looking face to face with JASON IN HER BATHROOM. Just as she SCREAMS: INT. LADIES RESTROOM - SAME TIME (EFX) Young Jason reaches out to grab Rennie, HIS FIST CRASHING THROUGH THE MIRROR. Right when Rennie SCREAMS: INT. TAMARA'S BATHROOM - SAME TIME The real Jason SHATTERS TAMARA'S VANITY MIRROR WITH HIS FIST. He grabs a sharp chunk of it, advancing on a whimpering Tamara. TAMARA Please...please don't... Jason raises the shard above her and just as she SHRIEKS... CLOSE UP - STEAM WHISTLE OF SHIP as it blasts loudly in the bleak stormy night. It begins to rain. EXT. LADIES RESTROOM - NIGHT as Rennie comes rushing out, right into the arms of. Sean. She clings to him, sobbing as the rain falls over them. SEAN It's okay...you're going to be okay. RENNIE I want to go home. I want off this ship. After a moment... SEAN Me too. (beat) Let's go talk to my Dad. He puts his arm around her, leading her toward the bridge. INT. BRIDGE - NIGHT as wind and rain pummel the bridge window.. Admiral Robertson turns to his Chief Engineer. ADMIRAL ROBERTSON Let's kick in the stablilizers, Mr. Carlson, and get the seas off the quarter. These kids are in for one hell of a storm. CHIEF ENGINEER Yes Sir. Activating comfort cruise mode. The Chief Engineer moves to a bank of toggle switches, flipping a row of them. TIGHT ON NAVIGATIONAL CHART WALL - SAME TIME as a bloodstained HAND silently removes the rusty harpoon hanging above the map. ADMIRAL ROBERTSON gets a reflective look in his weary eyes. ADMIRAL-ROBERTSON How olds your boy now, Carlson? CHIEF ENGINEER Nineteen months. ADMIRAL ROBERTSON A tremendous age. Take some advice from a salty old man: don't push him too hard. The Chief Engineer nods with a sympathetic smile as the Admiral steps off the bridge, onto the stormy deck, contemplating the sea. The Chief Engineer moves to the radio/intercom console. He lifts a telephone, punching in a three digit number. PUSH IN TIGHT ON HIS FACE. CHIEF ENGINEER This is the bridge. Approaching weather suggests we secure the main deck and... His sentence is sharply cut off, his head jerking from excruciating, instant pain. His mouth contorts with words no one will ever hear as he stares into the face of: JASON holding the opposite end of the harpoon. He shoves it forward with one more staccato jerk and: CLOSE UP - CHIEF ENGINEER'S BACK -- The harpoon's bloody, corroded tip pierces through his once-white uniform. ADMIRAL ROBERTSON returns to the bridge as LIGHTNING flashes outside. ADMIRAL ROBERTSON Better have them doublecheck the lifeboat stations as well... Admiral Robertson stops cold upon the sight of Mr. Carlson. He hurries over to him, kneeling down, freezing as a pair of MUDDY FEET ENTER FRAME. Admiral Robertson bends his neck upwards to face: JASON hovering over him, now clutching one of the scaling knives. INT. BRIDGE CORRIDOR - NIGHT as Sean and Rennie walk up the corridor leading to the bridge. RENNIE Can he really take us home? SEAN Not completing a voyage is against everything he stands for. But I think I can convince him to call a Coast Guard cutter for you. RENNIE What about you? SEAN If I go with you, he'll never speak to me again. (beat) But I'm never going to live up to his expectations anyway...so maybe it's the right thing to do. He's made a big decision. Sean takes her hand as they walk on. THEIR POINT OF VIEW moving closer and closer to the bridge door, having not the slightest inclination of what's in store for them. SEAN knocks on the bridge door. No answer. He's confused. He pushes the door open but something is blocking it. Sean puts his weight into it, shoving hard. INT. BRIDGE as the door slides open, Sean stepping inside. His eyes roil downwards upon seeing THE DEAD CHIEF ENGINEER, THE HARPOON PROTRUDING FROM HIS BLOODY CHEST. SEAN Oh Jesus...Dad?? Sean looks over at the helm...where his father is still sitting in the swivel chair, his back to them. Silent. Sean sidesteps the Chief Engineer's corpse, moving toward his father as Rennie remains frozen in shock. SEAN'S POINT OF VIEW Slowly walking toward Admiral Robertson...at least he thinks it's his dad because he's unable to see his face. Is it Jason now wearing the uniform?? When he's about two feet away from him... SEAN reaches out and swivels the chair around. It is his father BUT HIS THROAT HAS BEEN SLIT. Sean staggers backwards, uncomprehending, his senses overloaded. We MOVE with him until he's backed into Rennie, clutching onto him tightly. SEAN He's...he's dead... INT. CORRIDOR OUTSIDE RENNIE'S STATEROOM - SAME TIME as Miss Van Deusen steps up to Rennie's door, gently knocking. MISS VAN DEUSEN Ronnie? I just came by to see how you were feeling... No answer. She knocks harder...and it creaks open, unlocked. MISS VAN DEUSEN Rennie...? Suddenly the door is jerked from her grasp and swung open. MCCULLOCH is standing on the other side of it. MCCULLOCH I thought I told you to stay away from her. MISS VAN DEUSEN (holds her ground) Where is she? MCCULLOCB (accusing) That's a very good question and I'd appreciate an answer. A LOUD BUZZER blares out of an intercom speaker next to their heads, causing the teachers to both jump. Sean's unsteady voice immediately follows. SEAN (V.O.) Attention everybody, attention. This is Sean Robertson... EXT. SWIMMING POOL - SAME TIME Miles is toweling off under the shelter of a gazebo as Sean's voice blares out of a rain-pounded megaphone speaker nearby. SEAN (V.O.) There's been... (swallows) What I mean is, this is an emergency... Miles knows he can't be joking around. Wayne comes walking by, covering his camcorder with his jacket. WAYNE Miles -- have you seen J.J.? She was supposed to be jamming down in the power room but... Miles gestures for him to be quiet, listening very worriedly. SEAN (V.O.) Repeat, this is an emergency... INT. GYM LOCKERS - SAME TIME as JULIUS and two other senior boys finish dressing after a shower, hearing Sean's words reverberate around them. SEAN (V.O.) I want everybody to meet on the bridge... JULIUS What the fuck is this? The others shrug, concerned. EXT. SHUFFLEBOARD COURT - SAME TIME The wooden shuffleboard disks are drowning in precipitation. Eva stands alone in the rain, staring at the court as Sean's voice continues. SEAN (V.O.) Stay calm, but get here as quick as possible. Walk with a friend if you can... Eva wipes the rain from her face, then walks away. INT. BRIDGE - ON SEAN trying his best to keep it together. He glances at his dead father, still unable to believe it. SEAN (V.O.) God, I wish this was a joke, but it's not. Sean slowly puts down the phone. He's lost in a daze. Suddenly the SHIP LURCHES, a huge swell SPLASHING THE BRIDGE WINDOW. Admiral Robertson's body falls from the swivel chair. RENNIE What is happening??? Sean regains his balance, moving to the computer console, looking at the OMEGA and LORAN like he's never seen them before. SEAN I don't know...we've gone off course or something... RENNIE What do you mean??? Another wave hammers the bow. She's in a state of awful panic. SEAN I don't know what I mean! All's I know is that there's no one guiding this ship anymore... Sean is starting to lose it. The fear of the ocean guiding her, Rennie rushes to him, gripping and shaking him. RENNIE Can't you call for help?? Sean tries to get a grip and assess the situation, pacing frenetically. SEAN I think so. But we have to lower the anchors so we don't drift any further... RENNIE Where are they? SEAN The bow...front of the ship. There's a hoist on each side that lowers them She starts to exit. SEAN I didn't mean for you to go! RENNIE Just radio for help, okay??? She hurries out the door, working on terror-induced adrenaline. Sean rushes to the radio console, depressing the keying button, speaking into the mike. SEAN Mayday, mayday, mayday... ANOTHER ANGLE as JULIUS arrives with the others from the locker room. They react to the dead bodies while Sean continues at the radio. SEAN Please...can anybody out there hear me?? No response. WAYNE and MILES rush in. MILES Sean, what's going on? Then he sees the corpses. He needs no further answer. WAYNE Jesus Christ... He's too scared to even videotape it. Sean is bombarded with questions as he tries to figure out the radio. JULIUS Who did this, man? WAYNE Is the radio even working?? MILES Isn't there some international S.O.S. thing you can do??? SEAN (suddenly remembers) Channel 16...the distress frequency... (dialing knob) Mayday, mayday, mayday...this is the Princess Ruby. Please, somebody answer... EXT. OCEAN - NIGHT (STOCK) as a COAST GUARD CUTTER tracks through stormy seas. RADIO OFFICER (V.O.) This is Coast Guard cutter Dallas. What is the nature of your problem, Ruby? INT. BRIDGE - ON SEAN AND OTHERS as they hear the voice, reacting, relieved and thrilled. SEAN The Captain and Chief Engineer... they've been...they're dead. RADIO OFFICER (FILTERED V.O.) (a grave-pause) What is your location? SEAN I...I don't know... RADIO OFFICER (FILTERED V.O.) Is your ship equipped with Omega satellite navigation or LORAN? SEAN Yes... RADIO OFFICER (FILTERED V.O.) The LORAN has a digital printout of your latitude and longitude. Give me the coordinates and we'll be there as quick as we can. Sean hurries to the LORAN, reading the numbers. EXT. DECK - RADIO ANTENNA - SAME TIME (EFX) as LIGHTNING STRIKES above it in the night sky. Camera slowly ADJUSTS to find the RADIO ANTENNA CABLE. A second later, JASON'S HAND REACHES FOR IT, GETTING A FIRM GRASP. INT. BRIDGE - SAME TIME as Sean hurries back to the radio, pressing it against his spitless mouth. SEAN I've got the numbers. RADIO OFFICER (FILTERED V.O.) Give me the degrees first, followed by minutes and sec... Suddenly his voice is CUT OFF, followed by STATIC. SEAN Hello? Are you there?? No response. A lump sinks into everyone's throat. EXT. DECK - RADIO ANTENNA as Jason drops the cable he's just torn out, marching onward. EXT. BRIDGE - NIGHT as McCulloch bursts onto the bridge, followed by Miss Van Deusen. MCCULLOCH I demand to know what is going on... MISS VAN DEUSEN Oh dear God... She's seen the bodies. McCulloch follows her glance, paling. He quickly takes charge, pushing through the students. MCCULLOCH Where's the radio? SEAN It's...dead. DECK HAND (O.S.) You're all going to die. All heads spin as the deranged DECK HAND treads out from a shadowy corridor. DECK HAND You're the last ones. He's come back for you. MCCULLOCH What are you talking about? The Deck Hand takes a final swig from his flask, dropping it with unsteady hands. DECK HAND Jason Voorhees. There is a collective, disconcerting silence triggered by the infamous name. MCCULLOCH You're insane, old man. Jason Voorhees has been dead for over thirty years. DECK HAND He walks this ship, here and now. MCCULLOCH A killer walks this ship indeed. And it's certainly none of us... The crazed old man gets his drift. Everyone looks at him suspiciously. McCulloch grabs a SCALING KNIFE off the wall, taking a step towards him. DECK HAND You're the one who's insane!! The raving man flees back the way he came. McCulloch raises the flare gun; Miss Van Deusen grabs McCulloch's arm, stopping him. MISS VAN DEUSEN What are you doing?? MCCULLOCH That lunatic has been spouting off about Jason since we boarded... (eyeing bodies) It's no coincidence. MISS VAN DEUSEN But that doesn't prove that he's the one! MCCULLOCH Walking corpses are not real! JULIUS Yeah, well these dead bodies are sure enough real. (to the others) I say we regroup and find this motherfucker before he finds us. There's a murmur; it makes sense. MCCULLOCH You'll do no.such thing and watch your mouth, young man! I'm in charge here! They all look at McCulloch defiantly. JULIUS School's out, McCulloch. (to the others) Let's go. Julius walks off the bridge; all the seniors follow except Sean. MISS VAN DEUSEN Please everybody, stay here!! They don't listen. McCulloch starts to go after them...and then it hits him: MCCULLOCH Christ...where's Rennie?? SEAN She's...she's dropping the anchors. I thought the Coast Guard could find us easier if... MCCULLOCH What?? You sent her out there with a murderer running around loose?? EXT. DECK - NIGHT as Rennie moves past wet, empty lounge chairs towards the bow. She passes a row of translucent windows. The first three are normal...but the fourth has the SILHOUETTE OF JASON ON ITS OPPOSITE SIDE. He begins to stride parallel to her, then disappears when the windows end and a wall takes over. INT. BRIDGE CORRIDOR - NIGHT as Julius and his followers continue on, passing Eva, who's coming up from a staircase. She stops Wayne. EVA What's going on? I heard on the P.A. system that... WAYNE (interrupting) The Captain's been murdered. The buzz is that Jason might be on board. EVA Jason...Voorhees? She knows the legend as weld as everybody else. Wayne nods gravely, moving to catch up with the others. Eva rushes up to him again. EVA Have you seen Tamara? WAYNE No. And I'm not losing any sleep over it. EVA But she might be in trouble... WAYNE So what else is new? (beat) Look Eva, you're asking the wrong dude to feel sorry for Tamara Mason. Wise up -- it's not hip to be her friend. EVA I don't care about being hip anymore. She means it. Wayne nods with understanding. WAYNE I'm sorry, but I've gotta find J.J. He hurries on. EXT. BOW - NIGHT as Rennie appears, fighting the wind and rain to get closer to the anchor hoists. POINT OF VIEW THROUGH DECK WINDOW - SAME TIME --spying on Rennie like a wolf watching a lamb. We MOVE a few windows down, getting a better view of her. REVERSE ANGLE - ON JASON deciding that the time is right to strike. His hand moves to the bow entrance door knob, slowly turning it, pulling it open. EXT. BOW - ON RENNIE moving closer to the right anchor hoist, her back to us as well as Jason. She climbs behind the hoist, looking at the consoles. Then suddenly a BARK. RENNIE Toby? She turns, catching a glimpse of her dog running down the side of the deck. Rennie leaves the hoist, going after Toby. JASON'S POINT OF VIEW through the crack in the door, watching Rennie unexpectedly take off. He's about to move after her when ha hears: EVA (O.S.) Tamara? Are you around here anywhere? Jason quietly closes the door. Rennie will have to wait. INT. CORRIDOR - TRACKING WITH EVA as she cautiously walks along, poking her head in every alcove. EVA Tamara? JASON'S POINT OF VIEW moving down the same corridor, catching a glimpse of Eva before she turns a corner and disappears. INT. HALLWAY/TAMARA'S STATEROOM - MOVING WITH EVA (STEADICAM) Eva steps into the hallway outside Tamara's stateroom. She walks up to Tamara's door, knocking on it. It swings open, unlocked. EVA Tamara? (no response) I just want to talk with you. She steps into Tamara's room and we go in with her. The quarters are empty. Eva stands there for a beat, confused and scared. She's about to leave when a CREAKING SOUND causes her to look back at: THE BATHROOM DOOR It slowly swings open...splashing Eva's eyes with grotesque multi-images of Tamara: SHE IS HANGING ON THE DOOR HOOK, HER BODY PIN-CUSHIONED WITH A DOZEN MIRROR SRARDS. EVA shrieks, running back out the door... INT. STATEROOM HALLWAY ...and sliding to a abrupt halt because JASON IS STANDING AT THE END OF THE HALLWAY. He moves toward Eva like a bulldozer. She turns a rapid 180 and sprints in retreat. RUNNING WITH EVA (HAND HELD) Gasping for oxygen, Eva has no time to even scream as she flees from the monster, erratically turning down a spiral staircase and running on. JASON'S POINT OF VIEW (STEADICAM) chasing after her with the smooth determination of a shark, never letting her get too far in the lead. INT. BOWELS OF SHIP - ON EVA Empty for a second, then Eva appears, weaving her way through a maze of corridors and passageways. She races past a sign directing passengers to "CLUB RUBY." ANGLE - JASON --entering the same corridor a beat after Eva exits it in the direction of the disco. He tramples onward. INT. CORRIDOR/DISCO (STEADICAM) The thudding low frequency of a mesmerizing dance tune precedes Eva as she tears open a door, entering the corridor. MOVE BACKWARDS WITH HER as she rushes forward, curving through the shallow passageway and emptying out onto a high tech DISCO FLOOR. A flashing Star Wars lighting system assaults her all directions along with the music. She's all alone in here. TIGHT ON EVA The lights strobing across her face only accentuate her terror. She spots another door on a small stage, rushing to it. It's locked. CROOKED ANGLE - ENTRANCE DOOR as Jason enters the corridor, SLAMMING THE DOOR SHUT BEHIND HIM. EVA decides this is the wrong place to be. She moves for the corridor again and: JASON appears on the corridor steps for a brief second. The spotlight goes black, then flashes on again. Now he's gone. EVA backs away, sliding along the edge of the dance floor like she's on a building ledge. Chaser lights and mirror balls fondle her body as she moves as far away from the point where she last saw him. But: JASON illuminates only ten feet from her, a crimson strobe assaulting his hockey mask. She's on a collision course with him. EVA whirls dizzily to the center of the dance floor upon the sight of him. Camera SPINS with her in 360 degree arcs, PUSHING IN on her face. EVA'S POINT OF VIEW spiraling counter-clockwise on the dance floor, flashes of Jason materializing where she least expects to see him. And getting closer. Finally at the point of exhaustion: EVA stops, looking everywhere. EVA'S POINT OF VIEW He seems to be gone. She catches her breath...then sensing his presence, she revolves a half-turn to face: THE HOCKEY MASK exploding under a pin spotlight, standing directly before her. His forearms recoil with lightning speed as he grips her throat... WIDE SHOT - DISCO Thundering music. Frantic lights. And Jason and Eva at the center of it all. HER FEET ARE TWENTY-FOUR INCHES OFF THE GROUND, KICKING MADLY AS THE LIFE IS BEING CHOKED OUT OF HER. Finally Eva's legs go rag doll limp. Jason flings her to the ground like a sack of flour. This dance is over. EXT. DECK - NIGHT Rennie appears again, scanning her no-visibility surroundings. RENNIE Toby? Where'd you go? No sign of her dog. She remembers her mission, heading to the anchors again. EXT. BOW - CONTINUOUS as Rennie arrives on the bow, climbing into the left hoist box behind the huge anchor cable. STALKING POINT OF VIEW moving up to the bow door like Jason did before, cracking it open, seeing Rennie from behind. And moving towards her. RENNIE is oblivious as she reads the directions above the controls. INSERT - HOIST LEVER (SECOND UNIT) as Rennie's hand grabs it, shoving it forward. INSERT - GREEN HOIST BUTTON (SECOND UNIT) A moment later, her thumb finds it and depresses it. INSERT - ANCHOR CHAIN (SECOND UNIT) as the massive black chain links thunder to life. STALKING POINT OF VIEW He's now within ten feet of the unaware girl. RENNIE remains in the hoist box, making certain it is operating correctly. A second later, we see the fleeting outline of a HUMAN SHAPE appear behind her. STALKING POINT OF VIEW Three feet from Rennie. She spins around to climb out of the hoist box and GASPS. REVERSE ANGLE She's facing MCCULLOCH. He immediately reaches past her, yanking the lever back to its center position, and: THE ANCHOR CHAIN (SECOND UNIT) grinds to a halt. RETURN TO SHOT as McCulloch faces her, angrily grabbing Rennie's arms, shouting over the storm. MCCULLOCH You had me worried to death! RENNIE But Sean said... MCCULLOCH I'm the one you should be listening to! Do you think dropping an anchor in the middle of a storm makes any sense whatsoever? She tries to find some defense, but McCulloch leads her off before any wards come forth. CLOSE UP - EXERCISE MAT as a pair of SKEET RIFLES, three FIRE AXES, a FLARE GUN and several POOL CUES are dumped onto the foam padded plastic. INT. EXERCISE ROOM - NIGHT where Julius has gathered his small group of vigilantes, including Miles and Wayne. JULIUS I managed to scrounge this shit from the game room and hallways. Grab what you want. Wayne takes one of the rifles; Miles grabs the axe. WAYNE What are you taking, Julius? JULIUS (flexes fists) Nothin'. WAYNE (dead serious) We're talking the possibility of Jason Voorhees here. Julius pauses. He's not stupid. JULIUS Nothin' but this gun. He reaches down, picking up the other rifle. And they move. INT. STATEROOM HALLWAY/RENNIE'S ROOM - NIGHT as McCulloch guides his niece down the hallway, swinging her door open. RENNIE Can't we at least talk about it? MCCULLOCH I refuse to discuss this ridiculous notion that a ghoul is terrorizing this ship. RENNIE But what about the drowning boy I've been seeing? He avoids eye contact. McCulloch takes her hand, ushering her across the threshold. She's standing inside her room now; he's in the hallway. MCCULLOCH Whatever you've been...imagining... has nothing to do with Jason Voorhees. (pause) I want you to be safe, Rennie. That's all I care about. RENNIE I'm not staying in my room, Uncle Charles. MCCULLOCH This isn't a request. He closes the door on her face, pulling out a key, locking the dead bolt. She pounds on it from the other side. RENNIE (O.S.) Uncle Charles! He ignores her, briskly walking away. INT. RENNIE'S STATEROOM - SAME TIME as she throws her fists against the door a final time, realizing it's futile. INT. POWER ROOM - NIGHT Steam continues to seep from the maze of criss-crossing pipes. Wayne appears on one of the catwalks. He's holding the skeet rifle under one arm, using the sun gun off his video camera to guide him. WAYNE J.J. -- you down here? CLOSER ANGLE as Wayne carefully lets his light guide him down the precarious walkway. An unexpected blast of steam scares the crap out of him, causing him to stumble. INSERT - WAYNE'S GLASSES (SECOND UNIT) --They slip off the bridge of his nose, skittering down through the catwalk and pipes to God knows where. WAYNE lies helplessly on the metal grid work, realizing his bleak predicament has just been squared. He pulls himself to a standing position again. WAYNE We got a major problem, Wayne. WAYNE'S BLURRY POINT OF VIEW His vision now gives him shadows and shapes rather than crisp images. He raises the gun and continues unsteadily forward. POINT OF VIEW THROUGH GRID WORK as Wayne inches forward. Camera slowly PANS INTO A PROFILE OF JASON, watching him from a catbird seat. WAYNE takes another step, almost tripping on a set of stairs leading down to the next level. And when he arrives there... WAYNE'S BLURRY POINT OF VIEW ...A LARGE FIGURE STEPS OUT, HOLDING WHAT APPEARS TO BE A KNIFE. WAYNE instantly raises the rifle and FIRES... WAYNE'S BLURRY POINT OF VIEW ...and the body goes down. He's hit him! WAYNE stands there, breathing some relief. He gets an idea, looking through his camcorder eyepiece. Wayne begins to adjust the eyepiece diaptor. WAYNE'S POINT OF VIEW (B & W/VIEWFINDER MATTE) as the figure on the ground slips in and out of focus, finally becoming crisp. WAYNE HAS SHOT A CREW MEMBER -- the same good looking one Tamara and Eva ogled earlier. He's holding a screwdriver from his waist band tool set, not a knife. WAYNE slowly lowers his camera as his heart rises into his throat. WAYNE No... He raises his camcorder again, hoping a second view will reveal a dead Jason rather than this young man. WAYNE'S POINT OF VIEW (B & W/VIEWFINDER MATTE) He gets half his wish: a HOCKEY MASK NOW FILLS HIS FRAME...but Jason is far from dead. Wayne catches a split- second glimpse of Jason's fist coming towards him, then the camera is KNOCKED FROM HIS EYE AND THE WORLD BECOMES DARK AND BLURRY. WAYNE screams, blindly running as fast as he can. He trips, picking himself up, stumbling down the catwalk stairs. Wayne makes it about ten feet before he stumbles over something, bringing with it a harsh strum from an ELECTRIC GUITAR. ANGLE - WAYNE'S FEET Sure enough, his left shoe is resting on the pickups of a blood-streaked Gibson Flying V. TIGHT ON WAYNE --sprawled out on the metal floor. He gropes around, his hands feeling something. It sends chills from his groin up through his scalp. WAYNE No no no... REVERSE ANGLE Wayne's hands are touching J.J.'S BLOODY FACE, A LARGE CRACK IN HER SKULL. He doesn't have time to scream or cry because JASON hoists him off of J.J.'s body and flings him into: THE SHIP CIRCUIT PANEL (EFX) which shorts out with a fanfare of ELECTRICAL SPARKS AND FIRE, INSTANTLY FRYING WAYNE. INT. BRIDGE - SAME TIME as the overhead lights briefly flicker, then resume normal operation. Sean stands opposite the navigational chart, ping-ponging between it and the ship's computers as Miss Van Deusen paces nervously. MISS VAN DEUSEN What was that?? SEAN (very worried) I don't know. MISS VAN DEUSEN (trying not to panic) What happens if we don't get control of the ship, Sean? I want you to tell me the truth. SEAN (beat) We could hit a reef, collide with another ship...we could be out here for weeks before anybody spotted us. They are suddenly jolted with a DOOR SLAM as McCulloch storms onto the bridge. MISS VAN DEUSEN Did you find Rennie? MCCULLOCH She's locked safe in her room, no thanks to either of you. (like Sean isn't even in the room) Has he brought it back on course yet? Sean doesn't look at him, still trying to assimilate the wall of components. MISS VAN DEUSEN He's doing the best he can, Charles. MCCULLOCH He's the son of the Captain, for Chrissakes. You'd think he'd be able to operate this thing! Sean closes his eyes, trying to keep from losing his mind and temper. A fierce WAVE slaps the windows in front of Sean's face, motivating him to get his shit together. He checks the Omega and LORAN. MCCULLOCH Well? Sean doesn't answer, moving to the seat behind the helm. His father's seat. Sean takes the chair, adjusting the wheel, watching the compass. He studies a series of buttons on the console. CLOSE UP - WALL OF BUTTONS We PAN across them, stopping on one labeled "FIRE ALARM - DO NOT BREAK EXCEPT IN CASE OF EMERGENCY." Camera continues around to find we are in the POWER ROOM, NOT on the bridge. Our vision suddenly lands on JASON, staring at the alarm button, considering. He glances back over his shoulder. JASON'S POINT OF VIEW (EFX) Wayne's body is NOW ON FIRE...AND THE BLAZE IS SPREADING THROUGH THE ROOM. INT. BRIDGE - SAME TIME as Sean makes up his mind, flipping several toggle switches. INSERT - AUTO PILOT COMPUTER as Sean flips the last toggle and a green light illuminates, indicating the AUTO PILOT is in effect. RETURN TO SHOT SEAN It worked...we're back on course! Sean feels his confidence instantly rejuvenated. Miss Van Deuten immediately embraces him. But a fraction of time later: TIGHT ON FIRE ALARM BUTTON Jason's fist SMASHES the alarm button... INT. BRIDGE - CONTINUOUS ...and a LOUD SIREN cries out across the entire vessel. The blood drains from Sean's face. MCCULLOCH What's that? SEAN The fire alarm... VARIOUS ANGLES ON BOARD SHIP - NIGHT as the shrieking alarm assaults the main deck, hallways and corridors, giving Julius, Miles and Wayne deep pause for thought. INT. RENNIE'S STATEROOM - SAME TIME as the alarm bombards Rennie's ears like everybody else's. She hurries to her curtained porthole window, working up the energy to look outside. Rennie gets a grip on them, FLINGING THEM OPEN. The DECK HAND'S CRAZED FACE IS GAZING BACK AT HER. Rennie screams; a second later he hurries off. INT. BRIDGE - NIGHT as McCulloch tears open a cabinet door labeled EMERGENCY FLARE GUN. The siren continues to blast. MCCULLOCH Can you shut that damn thing off?? Sean moves to a bank of switches, his eyes darting around for the appropriate switch. Miss Van Deusen sees McCulloch remove the FLARE GUN from the cabinet. MISS VAN DEUSEN We already thought of that -- nobody could possibly see it in this storm... MCCULIACH There's only one person who needs to see it. And I'm going to find him. MISS VAN DEUSEN What about the fire?? MCCULLOCH I doubt very much that one even exists. MISS VAN DEUSEN What are you talking about? MCCULLOCH Use some common sense! Setting off a fire alarm causes panic...the same kind of panic caused by suggesting Jason Voorhees is on board. (resolved) Enough is enough. He marches out the door. Sean finds the alarm kill switch, flipping it. The excruciating siren vanishes. He grabs a pair of rain jackets, tossing one to Miss Van Deusen. SEAN We have to get everybody together just in case the fire's for real. Sean heads for the door, shoving it forward. EXT. DECK - ON DOOR as it slams open...and JULIUS steps out, not Sean, from a different deck door. TRACK with him as he treads along the side of the ship, skeet rifle raised. JULIUS' POINT OF VIEW walking past the lifeboat stations, the wind and precipitation battering the small boats. With no warning, AN OBSCURE FIGURE LEAPS OUT, GRIPPING AN AXE. JULIUS shoves the gun stock into his shoulder and takes instantaneous aim...but he doesn't shoot. He slowly lowers the rifle. ANOTHER ANGLE as MILES lowers the axe. They've just scared the shit out of each other. MILES I'll take the upper deck. Julius nods. They separate. Neither boy notices the smoke which is starting to emerge from a deck vent... INT. POWER ROOM - NIGHT (EFX) Filled with black smoke. The fire is spreading dangerously close to a series of hoses attached to a fuel pump, leading to tanks below. A sign over them reads: DANGER - FUEL TANKS. EXT. DECK POOL - NIGHT --steaming and far from calm as the weather blitzes it. Miles appears, climbing a ladder to the upper deck level. POINT OF VIEW THROUGH LADDER Someone is spying on Miles from below, watching his every step. EXT. UPPER DECK - CONTINUOUS as Miles arrives, axe raised. He pauses to regard his surroundings, then moves on. RACK FOCUS TO FIND JASON RIGHT BEHIND HIM, having followed Miles up the stairs. ANOTHER ANGLE Only darkness and rain for a beat, then Miles materializes, curving around the gargantuan smokestack. He passes us and we SWING AROUND, now looking at the back of his head. He takes three more steps and JASON STEPS INTO THE FOREGROUND. Miles senses his presence and JERKS AROUND, RAISING THE AXE, BRINGING IT DOWN ON JASON'S HEAD... ...but Jason easily grabs the axe handle before it makes contact, flinging it away. EXT. LOWER DECK - ON JULIUS He's pacing along when a clattering noise from above makes him stop. Suddenly MILES' AXE THUDS INTO THE MAHOGANY DECK NEXT TO HIS FOOT. Julius gazes at it, jerking his head upward. JULIUS Miles?? His answer is a LOUD CRACK OF LIGHTNING. At the same time: RUNNING WITH MILES He's scrambling as fast as he can across the slippery deck as the monster relentlessly pursues him. JASON'S POINT OF VIEW He's having no problem catching up to the defenseless teenager. EXT. DECK STAIRS - SAME TIME as Julius zooms up them to aid his comrade. EXT. RADAR MAST - NIGHT as Miles slides up to the mast and begins scaling it. He glances downward and sees: MILES' POINT OF VIEW Jason is right at his heels. MILES slips on a rung, regains control, and continues upward. He makes it three more steps, almost at the uppermost point when JASON GRABS THE BACK OF HIS COAT, TEARING HIM OFF THE MAST. STUNT FREEFALL Miles cries out as he FREEFALLS BACKWARDS, somersaulting and twisting like he's doing one of his better dives... CLOSE UP - MILES' FACE ...Empty space for a half-second, then MILES' FACE JOLTS INTO FRAME with a look of ultimate agony. Something has abruptly stopped his fall. Something quite fatal. EXT. DECK - ON JULIUS coming around a corner, stopping dead in his tracks, his stomach wrenching as his eyes fall on: MILES (EFX) ...who is staring right back at him with dead pupils. MILES HAS BEEN HORRIBLY IMPALED OM A SHIP FLAGPOLE. JULIUS doesn't get the chance to grasp the reality of it because JASON'S HAND GRIPS HIS SHOULDER, SPINS HIM AROUND AND SLUGS HIM SQUARELY IN THE FACE. The force of it sends the boxer REELING BACKWARDS OFF THE RAILING... EXT. STORMY OCEAN (TANK) ...and Julius SPLASHES INTO THE ROUGH SEA. He's quickly swallowed by the torrential waters. INT. RENNIE'S STATEROOM - NIGHT as Rennie's HAND jiggles her doorknob again, confirming that it's locked tight. RISE to find her desperate face; she begins furiously pacing and we DOLLY BEHIND HER ...but Rennie stops cold upon hearing: YOUNG JASON (O.S.) Hhhhelp....me.... Rennie whirls into a CLOSE UP, staring with disbelief at: YOUNG JASON (EFX) ...who is standing on the oval rug in her stateroom, his hands reaching out to her. But then comes the inexplicable: THE OVAL RUG TURNS INTO LAKE WATER AND JASON SINKS INTO IT. He's drowning in the middle of her room, choking on murky water. YOUNG JASON Hhhhelp me....I'm drowning... RENNIE stands frozen, feeling herself drawn to him like a magnet. She crawls to the edge of her rug, which is now a deep lake, and extends her arms to him. YOUNG JASON grabs her hand, pulling hard, then grinning wide. RENNIE feels the skin on her face crawling off her skull, her eyes expanding because she's now looking at: HERSELF! Rennie is holding onto herself, about four years younger in a bathing suit, drowning in the lake. YOUNG RENNIE. YOUNG RENNIE Hhhhelp....me.... RENNIE screams with guttural fear, letting go of herself, watching her younger self drown in the hole in her room. YOUNG RENNIE disappears under the surface of the water...which seconds later CHANGES BACK INTO HER OVAL RUG. NEW ANGLE as Rennie moves away, tears rolling down her face, utterly confused. She backs against the wall next to her porthole window and THE REAL JASON'S FIST SMASHES THROUGH THE WINDOW, GRABBING HER THROAT. Rennie struggles, gasping for air as he attempts to strangle her. CLOSE ON RENNIE'S HAND groping for a weapon to stop him, her fingers skittering across her table like a spider. TWO SHOT - RENNIE AND JASON Her head is pulled taut against the wall just below the porthole, with Jason's hideous mask framed in the circular shattered window. She's slowly dying. CLOSE ON RENNIE'S HAND Her movements slow as the oxygen leaves her system. But Rennie's fingers miraculously find a recognizable object: the ink-dip pen given to her by Miss Van Deusen. She seizes it, getting a firm grip. CLOSE ON JASON as Rennie JABS THE PEN BACKWARDS, SENDING THE SHARP INSTRUMENT THROUGH THE EYEHOLE OF HIS MASK. Jason instantly releases her, reeling backwards. RENNIE sinks to the floor, scrambling on all fours to get as far away from the porthole as possible. She makes it across the room to her stateroom door just as: THE DOOR is SLAMMED OPEN FROM THE OTHER SIDE. She shrieks in terror but it's SEAN who is standing there. SEAN Rennie...?? RENNIE (pointing) The window... Sean rushes to the shattered porthole, looking out, seeing nothing. He steps back to her. RENNIE I don't understand what is happening to me... She breaks down; he holds her. SEAN It's gonna be okay... INT. POWER ROOM - NIGHT (EFX) ...but Sean couldn't be more wrong. The flames are lapping at the fuel pump and hoses, furiously burning down into the tank. A second later the whole thing EXPLODES IN A BALL OF FIRE. EXT. SHIP HULL - UNDERWATER (EFX/MODEL?) as a huge HOLE is blown through the thick steel hull: INT. RENNIE'S STATEROOM - SAME TIME The ship noticeably rocks from the explosion. Rennie clings to him fearfully. RENNIE What is it?? One second later, the lights begin to flicker. SEAN The power room... INT. POWER ROOM - SAME TIME (EFX) as huge amounts of water rush in from a gaping hole in the hull. INT. SHIP KITCHEN - SAME TIME as the overhead lights flicker over McCulloch. There's some fear mixed with the anger as he grips his flare gun, moving onward. PONT OF VIEW FROM KITCHEN OVENS Someone is crouched behind a massive convection oven, spying on McCulloch. MCCULLOCH almost flinches when the lights die and he's plunged into blackness. He moves forward, every step tentative. He passes the convection ovens and we REMAIN on them, spotting the frightened face of the DECK HAND in the shadows. The deranged old man is very sober now, clutching a LARGE KITCHEN KNIFE for defense. INT. RENNIE'S STATEROOM - SAME TIME Sean paces feverishly in the blackness of her room, trying to think, talking to himself. SEAN Rule one, don't panic. Rule two, assess the damage and act accordingly... RENNIE Is the ship going to sink?? He returns to Rennie, the panic settling back in. SEAN I don't know. Her ultimate fear is staring her straight in the face. Suddenly the dim blue lights flicker on. SEAN The emergency lights just kicked in... Sean makes Rennie look into his eyes. His words are meant to convince himself as much as Rennie. SEAN We'll be okay. I want you to wait by the lifeboats, just in case. RENNIE (terrified) I'm not going near any lifeboat! SEAN But Rennie... RENNIE I'm not!! INT. SHIP RESTAURANT ROOM - SAME TIME as Miss Van Deusen gathers a handful of students who are panicking, sitting them down. MISS VAN DEUSEN Everybody wait right here until I come back with the others -- understand? They nod, frightened to death. She dashes away, carrying us into a view of the dining room windows. No one notices the SILHOUETTE OF JASON passing by on the outside desk. INT. ENGINE ROOM - SAME TIME (EFX) Sea water is pouring into the ship's motors. Clouds of steam and black smoke fill the room as the engine bearings begin to GRIND. INT. SHIP HALLWAY - SAME TIME as McCulloch rushes up to Rennie's already open door, cautiously entering with flare gun raised. MCCULLOCH Rennie?? MCCULLOCH'S POINT OF VIEW The room is empty, shards of the porthole glass scattered across her rug. He steps over to it, bringing his head up to the gaping hole, peering outside. We wait for his attack...but it doesn't come. McCulloch's eyes take us to something across the room. The bathroom door is afar. MCCULLOCH cautiously steps up to the door, silently grabbing the knob and SWINGING IT OPEN. It's empty. He hears something, spinning around. Again, nothing is there. McCulloch quickly moves to the telephone and dials. A few seconds pass. MCCULLOCH Come on, answer!! INT. BRIDGE - SAME TIME TIGHT on the bridge telephone, ringing repeatedly. RISE TO FIND JASON, ignoring the phone, scrutinizing the deck below through rain-streaked windows. JASON'S POINT OF VIEW Miss Van Deusen is darting across the deck, gathering up a trio of terrified seniors. RETURN TO SHOT Jason methodically moves to the bank of switches, studying them. INSERT - CONSOLE In large, unmistakable letters over a red button are the words "ABANDON SHIP ALARM." He flips back the plastic safety cover, exposing the button. INT. BOWELS OF SHIP - SAME TIME A horrible grinding sound echoes through the narrow corridor. Sean and Rennie appear at the opposite end, coughing on the black smoke which clouds their passageway. Sean looks down, seeing that they are standing in a puddle of water. SEAN Water has gotten to the engines. (coughs) We have to get everybody off this ship... INSERT - ABANDON SHIP BUTTON as Jason presses it with firm deliberation, and: INT. BOWELS OF SHIP - CONTINUOUS A WHOOPING SIREN blasts through the passageway. Sean and Rennie have no time to react because: ANGLE - CORRIDOR (EFX) A sealed compartment door EXPLODES OPEN WITH THE PRESSURE OF SEA WATER... REVERSE ANGLE (EFX) ...and a WALL OF WATER ENGULFS.RENNIE AND SEAN, KNOCKING THEM DOWN. Sean fights to pull her up, but not in time for her to witness: WAYNE'S CHARRED CORPSE (EFX) which bobs up in front of her. Rennie cries out, scrambling to grab onto Sean as what's left of Wayne's body washes past them. EXT. DECK - NIGHT as a door opens and Miss Van Deusen guides a half-dozen SENIORS over to the LIFEBOAT STATIONS. MISS VAN DEUSEN (shouting over storm) Everybody climb in! They follow her orders as the Abandon Ship alarm wretches on. But little do they know that: STALKING POINT OF VIEW Someone is briskly moving towards the group and Miss Van Deusen. Just as we are within a few feet of her... REVERSE ANGLE --It's MCCULLOCH who's approached them. He grabs Miss Van Deusen, shaking her violently. MCCULLOCH What did you do with Rennie?? MISS VAN DEUSEN Nothing! I went to her cabin and... McCulloch rushes off before she can finish. Miss Van Deusen turns back to the other kids, helping them into the boat. MISS VAN DEUSEN Everybody hurry...please... EXT. DECK - CLOSE ON MAHOGANY DECKING - SAME TIME We slowly DOLLY BACKWARDS until Miles' AXE comes into frame, still stuck in the mahogany decking. A beat, then JASON'S HALAL DISLODGES IT FROM THE WOOD. INT. CORRIDOR - NIGHT as Sean climbs up from below, soaked to the bone, pulling up a half-conscious Rennie. Sean carries her around a corner, where he collides with McCulloch. McCulloch pulls Rennie away from him. MCCULLOCH She never should've set foot on this ship. This is your fault! SEAN This is Jason's fault! MCCULLOCH (shouting) Not another word, do you hear me?? EXT. LIFEBOAT STATIONS - NIGHT as Miss Van Deusen throws the "down" lever and the lifeboat hoist begins to lower the boat. Camera SLOWLY CREEPS IN A SEMI-CIRCLE AS A SILHOUETTED FIGURE STEPS INTO A POOL OF LIGHT BEHIND HER. JASON. ANGLE - LIFEBOAT One of the students screams, the others clinging together upon the sight of this infamous monster. But the boat is already over the edge, past the point of return. And lowering at a snail's pace. MISS VAN DEUSEN turns to see JASON APPROACHING THEM WITH AXE RAISED. She backs away but Jason ignores her, heading directly for the hoist. He arches back with his weapon and SLICES DOWNWARD. INSERT - HOIST CABLE (SECOND UNIT) as Jason's axe CHOPS THE CABLE IN TWO, and: EXT. SHIP/OCEAN (TANK) The bow cable SNAPS, DUMPING THE HALF DOZEN TEENAGERS INTO THE TURBULENT SALT WATER. They last about five seconds before succumbing to a drowning death. MISS VAN DEUSEN sees it all, her intestines constricting in agonizing knots. She summons all her rationale and sends it down to her legs, running away as fast as she can. MISS VAN DEUSEN'S POINT OF VIEW --knocking down deck tables, chairs and chaise lounges as she flees. The creative writing teacher swerves around a column, heading for an interior door, sliding to a stop as it BANGS OPEN IN FRONT OF HER. McCulloch steps outside, carrying Rennie, with Sean right behind her. Rennie is conscious now, squirming free of her uncle upon the sight of Miss Van Deusen. ANGLE TO INCLUDE ALL as Rennie rushes into Miss Van Deusen's arms. The teacher holds her, beginning to cry herself. MCCULLOCH Why aren't you with the others, woman?? Finally the message comes forth: MISS VAN DEUSEN Jason...he has an axe... His face grows taut with anger. MCCULLOCH Jason Voorhees is dead!! A PRIMAL SCREAM OF AGONY immediately cries out behind them, the words unintelligible. They turn around to witness THE DECK HANG STAGGERING TOWARDS THEM, GRIPPING THE KITCHEN KNIFE. MCCULLOCH raises the flare gun with zero hesitation and FIRES IT... ANGLE - DECK HAND (EFX) ...and the charge EXPLODES INTO HIS CHEST. He stands there with his chest smoldering, almost like a gargoyle in effigy. A second later the poor old man falls forward, and: CLOSE ON HIS BACK (EFX) They all see that JASON'S AXE HAS BEEN BURIED IN HIS BACK. RETURN TO MASTER McCulloch gazes with utter disbelief. MCCULLOCH Dear Christ... SEAN We have to get off this ship!! They back away from the horrid sight and begin to run, the Abandon Ship alarm still attacking their ears. EXT. LIFEBOAT STATIONS - NIGHT as McCulloch, Miss Van Deusen, Rennie and Sean scramble to the closest lifeboat. SEAN Everybody in -- I'll get the hoists McCulloch has no time for politeness, moving to the lifeboat ahead of the women. Rennie stops cold, gazing classy-eyed at the small boat. MISS VAN DEUSEN Come on, sweetheart -- get in... But she doesn't budge. McCulloch levels wild eyes on her, quickly climbing back down. MCCULLOCH Get in the boat, Rennie! RENNIE I...I can't... MCCULLOCH (shaking her) You can and you will!! He tries to slap her out of it, dragging her over to the boat, ignoring her terror-stricken frenzy. SEAN Stop it!! MISS VAN DEUSEN Leave her alone, Charles! Miss Van Deusen quickly moves to a hysterical Rennie and holds her, eyeing McCulloch vehemently. EXT. DECK - TIGHT ON DEAD DECK HAND - SAME TIME as rain begins to wash the blood from his back. JASON'S FOOT TRUDGES INTO FRAME...then his HAND REACHES DOWN, RETRIEVING HIS AXE FROM THE DECK HAND'S SPINE. EXT. LIFEBOAT STATIONS - SAME TIME as Rennie clings to Miss Van Deusen, crying. MISS VAN DEUSEN It's the only way, Rennie. Let's get in the boat now, okay? Please...for me? Rennie finds herself nodding. Miss Van Deusen helps the trembling girl up the steps, an angered McCulloch right behind. INT. LIFEBOAT - CONTINUOUS as Rennie climbs over the boat edge, RECOILING AT THE SOUND OF A SNARLING DOG. Toby is curled up in the corner of the lifeboat, teeth bared. RENNIE Toby... She climbs in, moving to her equally, relieved dog, McCulloch and Miss Van Deusen right behind her. INSERT - HOIST BUTTON (SECOND UNIT) as Sean jabs it and the hoist motor kicks in. EXT. SHIP - WIDE SHOT (EFX) just as a huge BOLT OF LIGHTNING cracks over the smoke stack and upper deck. JASON steps out from behind it, gaping down on them with frightening omnipresence. Gripping the bloody axe. EXT. LIFEBOAT STATIONS - CONTINUOUS Sean climbs in the boat as it continues to lower. He takes one look back at the ship and sees: JASON rapidly moving down the staircase towards them. Sean's view is CUT OFF as the lifeboat sinks below deck level. RETURN TO SHOT as Sean's eyes dart around, down to the sea, up at the hoist. SEAN Come on...faster.... JASON'S POINT OF VIEW trampling towards the hoist, about thirty feet away now. The boat has already disappeared over the edge. EXT. SHIP/STORMY SEA - NIGHT (TANK) as the lifeboat continues to lower, about ten feet from making contact with the tumultuous ocean. The ship's hull is crooked and sinking. TRACKING WITH JASON as he relentlessly moves to the hoist cable, raising his axe. EXT. SHIP/STORMY SEA (TANK) as the ship finally touches water, and: INSERT - HOIST CABLE (SECOND UNIT Jason's axe blade CHOPS THE CABLE... EXT. SHIP/STORMY SEA (TANK) ...and the hoist cable falls limply over them. Jason's too late. Sean looks up and sees: JASON standing by the hoist, hovering over the edge. Very angry. SEAN (TANK) grabs an oar, turning back to McCulloch. SEAN Start rowing!! McCulloch takes the oar as Miss Van Deusen holds onto Rennie tightly, the girl's eyes squeezed shut. Sean looks up at the ship again, and: SEAN'S POINT OF VIEW Jason is none. EXT. SHIP/STORMY SEA (TANK) Sean looks around with confusion as huge waves, wind and rain pummel them. SEAN He's gone... POINT OF VIEW FROM WATER (TANK) ...or is he? We're moving towards the lifeboat at water level, almost like a shark preparing for attack. INT. LIFEBOAT (TANK) Sean breathes with some relief, resuming his rowing with McCulloch. They get about three strokes apiece before: A DARK FIGURE (TANK) lunges from under the ocean surface, grabbing onto Sean. Everybody SCREAMS...but it's JULIUS, gasping for oxygen, spitting up seawater. Sean pulls him over the edge. SEAN It's Julius! Miss Van Deusen moves to help him and we: SLOW DISSOLVE TO: EXT. STORMY OCEAN - WIDE SHOT - DAY (SECOND UNIT) The ship is gone now, the lifeboat a speck in the ocean. INT. LIFEBOAT - DAY (OCEAN?) The water is less rough now, the rain replaced with fog. Julius has taken McCulloch's place behind an oar; McCulloch is flanking his shivering niece with Miss Van Deusen. MCCULLOCH (miserable) If we don't find the shore soon we're all going to die. Sean tries to ignore him, keeping his mind on rowing. MISS VAN DEUSEN (unable to hide fear) Do you know where we are, Sean? Sean pauses, utterly exhausted. He thinks for a moment, remembering his father's gift. Sean reaches into his coat pocket, removing the pocket navigational calculator. He stares at it long and hard. Julius looks over at him, seeing that Sean is on the verge of tears. He grips his shoulder. JULIUS Hey man, if I can make it, so can. you. Sean slowly nods, turning on the calculator. SLOW DISSOLVE TO: EXT. OCEAN - NIGHT (TANK) as the lifeboat rows into frame, the water relatively calm. INT. LIFEBOAT - NIGHT (TANK) McCulloch, Rennie and Miss Van Deusen are asleep, Sean and Julius rowing on sheer will power. Sean takes one more stroke, feels himself passing out, then regains his coherence again. Julius glances off the side of the ship for no particular reason, then does a doubletake. JULIUS' POINT OF VIEW (SECOND UNIT - N.Y.) They are rowing right past THE STATUE OF LIBERTY, illuminated in all its glory. INT. LIFEBOAT (TANK) Julius feels his eyes widening and a huge smile taking control of his haggard face. He tugs on Sean's sleeve, his eyes never leaving the monument. JULIUS Hey man, wake up! Check it out!! The other stir as well, opening their eyes, not sure if it's some kind of vision or if they are genuinely here. JULIUS God damn, we're in New York! You did it, my man!! Julius howls with delight, Miss Van Deusen hugging Rennie as Julius gives Sean the high-five. Toby barks. WIDE SHOT - NEW YORK HARBOR - NIGHT (SECOND UNIT - N.Y.) as the lifeboat rows toward the very famous skyline of Manhattan, twinkling in the near distance. We can hear the faint sound of Julius singing "New York, New York," relieved to be alive. They're going to make it. EXT. EMPTY OCEAN - ANOTHER ANGLE (TANK) as the sound of Julius' voice grows fainter. The water begins to ripple...then the top half of a HOCKEY MASK BREAKS THE SURFACE FOR A BREATH OF AIR, SINKING AGAIN. And swimming onward. EXT. CANNERY HARBOR - NIGHT as Julius and Sean row the lifeboat up to a narrow barge beneath deserted dock warehouses. They are not in the safest part of town by a longshot. CLOSER ANGLE as they climb onto the barge. Rennie breathes with relief as she steps off the boat. She takes a final glance back at it and sees: YOUNG RENNIE flailing her arms in the water right next to the lifeboat, drowning. YOUNG RENNIE Hhhhelp...me.... Suddenly a DECOMPOSED HAND REACHES UP FROM BELOW, GRABBING HER, DRAGGING HER UNDER. EXT. BARGE - ON RENNIE She gazes in utter shock, screaming: RENNIE No!!! They all follow her eyeline...but the water is calm, nothing there. MISS VAN DEUSEN (holding her) It's okay...you're safe now... McCulloch grits his teeth. MCCULLOCH Come on -- everybody up the ladder. He's the first one up. Sean looks at Rennie, concerned, then hoists Toby up in his arms. They all begin climbing the ladder. CLOSE ON LADDER - NIGHT as the last pair of feet disappear over the top edge of the dock. Camera PANS back down the rungs, finding the lifeboat and barge again. Suddenly JASON SPRINGS FROM THE WATER, CLIMBING ONTO THE BARGE. He gazes up at his new surroundings, quite different from all the years he's spent at Crystal Lake. But an item at the far end of the dock causes him the longest pause... JASON'S POINT OF VIEW A tattered billboard over one of the warehouses advertises the NEW YORK RANGERS HOCKEY TEAM, featuring a full shot of the HOCKEY-MASKED GOALIE. JASON looks at it long and hard. He tears off his life preserver wits renewed ambition. WIDE SHOT - BARGE AND DOCK WAREHOUSES - NIGHT as Jason heads up the ladder. He's about to take Manhattan. EXT. CANNERY WAREHOUSE DISTRICT - NIGHT as our survivors head into an isolated, foreboding group of dock warehouses and alleys. MISS VAN DEUSEN There must be a phone around here somewhere. MCCULLOCH A wonderful choice of places to dock a boat, Mr. Robertson. Sean looks away, trying to keep from losing his temper. PREDATOR'S POINT OF VIEW - SAME TIME We're spying on them from behind a stack of crates as they come in our direction. Waiting for the right moment. RETURN TO SHOT as they move towards the stack of crates. Without warning, a PAIR OF GANG BANGERS JUMP OUT, BOTH HOLDING GUNS. Nervous young druggies. GANG RANGER #1 Hands up!! GANG BANGER #2 Do it!! All hands go up. Gang Banger #2 grabs McCulloch's watch and wallet, skimming through a wad of bills and credit cards while #1 keeps them covered. GANG BANGER #2 Got some good shit here, holmes. GANG BANGER #1 (eyeing Rennie) You got that right... He steps over to Rennie, brushing her hair back with the barrel of his revolver, spotting the Statue of Liberty pendant Sean gave her. GANG BANGER #L Now ain't that sweet. He tears it off her neck, pocketing it. Sean angrily moves toward him and Gang Banger #l shoves the barrel against Rennie's temple. GANG BANGER #1 Go ahead, superman. Be a hero. Sean has no choice but to freeze. Julius flexes his fists, but he too has Gang Banger #2's gun leveled on him. McCulloch stares at the thugs with obvious contempt. It doesn't go unnoticed. GANG BANGER #L You got a problem, Dad? McCulloch offers some rare silence, shaking a "no" to the gun-toting kid. Rennie's dog-begins to growl, backing away, ready to defend her. Gang Banger #1 points his barrel at Toby with zero conscience, cocking back the hammer. RENNIE No! She pushes his arm to the side just as the bullet FIRES... ANGLE - TOBY as the bullet tears up asphalt next to the dog's paws. Toby sprints off into the darkness. RETURN TO SHOT Gang Banger #1 grabs Rennie by the hair, brutally jerking her head back. MISS VAN DEUSEN Please, don't hurt her... GANG BANGER #L Hurt this princess? (beat) Would I do that? They cough out laughs. Gang Banger #1 looks into Rennie's eyes, his barrel still on her skin. GANG BANGER #1 You look like a party girl, princess. How'd you like to go on a date with me and my friend? If you're free, that is. More phlegm-filled laughs. He drags her away, Gang Banger #2 backing away with him with his gun still trained on the others. GANG BANGER #2 You follow and we'll blow her fuckin' head off, comprende? The others watch helplessly as Rennie is abducted. JULIUS We can't let those gang-bangers get away, man... Julius starts to move after them. McCulloch grabs him. MCCULLOCH You heard him! We have to call the police Julius jerks away from McCulloch's grasp. But he knows McCulloch is right. MCCULLOCH Everyone split up -- we'll cover more ground that way. MISS VAN DEUSEN I don't think that's such a safe idea MCCULLOCH My niece's life hangs in the balance right now!! Every second counts. No more rebuttal. They hurry off. EXT. GANG BANGER'S LAIR - NIGHT It's a narrow passageway between warehouses...decrepit brownstones with shattered chicken-wire windows, moss growing on the bricks. The Gang Bangers appear with Rennie, dragging her down some concrete steps. GANG BANGER #L Welcome to the casbah, princess. PAN AROUND with them as they walk through a thick blanket of STEAM which pours out of a factory vent. We MOVE through the mist with them, revealing a tattered, rain- soaked couch and chair, upholstery shredded. A spool once used for telephone wire functions as their coffee table. They splash through puddles, throwing her down on the couch. ANOTHER ANGLE --looking back at the steam vent. JASON APPEARS IN THE BILLOWING MIST. CLOSE UP - SYRINGE as a yellowish liquid squirts out the dirty needle. WIDEN to find Gang Banger #2 holding it with transfixed eyes, his compadre holding a squirming Rennie down on the couch, tearing back her jacket to reveal a bare arm. RENNIE Please don't... GANG BANGER #1 Loosen up, baby. It'll feel way better if you're stoned. CLOSE ON JASON'S FEET - SAME TIME Amongst the slime and cigarette butts is a discarded syringe. Jason picks it up. CLOSER ANGLE - COUCH just as Gang Banger #2 jabs Rennie with the needle. Gang Banger #1 wrestles off his torn leather jacket, pushing Rennie back on the exposed foam padding as his friend watches excitedly. GANG BANGER #1 Slang us some more 'caine, JoJo. We're in for a long night. Gang Banger #2 runs out the back way. #1 tears open Rennie's blouse, his filthy mouth moving to her neck. Rennie spits in his face. He hesitates not in SLAPPING HER HARD. GANG BANGER #1 It's your parade, princess. Can be smooth or can be rough. Your choice. She closes .her eyes, trying to blot out what's about to happen. GANG BANGER #1 I think I'm in love. PUSH IN on his face as his neck arches down, bringing his lips toward her chest. Just before contact he GRUNTS THICKLY, HIS EYES BUGGING OUT. WIDER ANGLE Jason is standing right behind him, shoving something into his back, out of frame. He thrusts it again, bringing with it one more horrific grunt from the kid. Jason goes for number three and: CLOSE UP - GANG BANGER #1'S CHEST (EFX) Jason's syringe gets shoved completely through him, the needle sticking out his front side. RENNIE opens her eyes, looking into the dead boy's face as blood drips from his mouth. He collapses in front of her, giving way to a view of JASON TOWERING OVER HER. At the same time: GANG BANGER #2 comes around the corner. GANG BANGER #2 Forgot my money, holmes... Ha stops dead in his tracks at the sight of Jason. GANG BANGER #2 Who the fuck are you? Jason paces toward him. The kid glances at his dead friend arched over the couch, quickly whipping out his .38. GANG BANGER #2 You're dead, fuckhead. BANG! ...but Jason keeps on coming. Five shots later and Jason's still standing, easily picking up the slime ball and SHOVING HIM HEAD FIRST INTO THE MOSSY BRICK WALL. The kid falls in a bloody heap. RENNIE shoves Gang Banger #1 off of her as Jason returns his attention to her. She grabs a loose brick and FLINGS IT AT HIM, CRACKING HIS HOCKEY MASK, momentarily disorienting him. Rennie sprints away. EXT. ALLEY #1 - NIGHT (LONG LENS) as Julius runs into view, looking down a menacing alley, spotting a phone booth. He hurries for it. PREDATOR'S POINT OF VIEW Like a cat watching a bird, we watch Julius head for the booth. JULIUS slams open the booth door, grabbing the receiver, punching the "operator" digit. SLOWLY PUSH IN on him as he waits for an answer. Several more rings. JULIUS C'mon... Finally a click and muffled words from the operator. JULIUS Get me the police -- this is an emergency... SMASH! as JASON'S FIST CRASHES THROUGH THE BOOTH WINDOW, GRABBING JULIUS BY THE THROAT. Julius grips Jason's scaly arm with all his strength, staring at the cracked hockey mask framed in the shattered window. Julius summons all his strength, tearing free of Jason's grasp and running out the door. The phone is left dangling. RUNNING WITH JULIUS (HAND HELD) with no apparent direction. Literally running for his life. TRACKING WITH JASON He's just as quick, but smoother and more methodical. JULIUS' POINT OF VIEW (HAND HELD) heading up the alley, spotting a fire escape, diverting his course straight for it. ANGLE - FIRE ESCAPE as Julius LEAPS ONTO IT, dragging himself up, climbing as fast as is humanly possible. ANGLE - JASON ...but Jason is-far from human, easily negotiating the wrought-iron stairs and rapidly catching up. EXT. ROOFTOP - CONTINUOUS as Julius' head appears, clawing his way onto the tar- papered surface, running to the opposite side. A second later, JASON HOPS UP RIGHT BEHIND HIM. REVERSE ANGLE as Julius soon learns the awful truth that the only way up is the only way down...with the exception of a head- splitting freefall. No way is he gonna jump. Julius turns back to Jason, raising his fists, psyching himself up for the fight of his life. He whispers to himself: JULIUS Use the combos and keep the feet light... THE FIGHT BEGINS, man against monster, each sizing the other up. Jason takes the first swing, Julius deftly dodging him and countering with left-right-left combination. They have absolutely no effect. Julius follows up with a round of kidney punches. Again, nothing. Julius finds himself being forced back against the rings, which in this case is the edge of the roof. He risks a glance backwards and sees: JULIUS' POINT OF VIEW It's a long, rough way down. It's do or die time. RETURN TO SCENE as Julius SLAMS PUNCH AFTER PUNCH INTO JASON, forcing him back to the center of the rooftop, spending every last ounce of his energy in doing so. He throws one more feeble punch, knowing it's his last. JULIUS Take your best shot, motherfucker... Jason gladly obliges, winding up and recoiling with a punch none of us expected... JULIUS' HEAD (EFX) gets literally knocked off his shoulders, cascading off the edge of the rooftop, and: ANGLE - SLANTED LOWER ROOF --the decapitated head lands on a sloped roof below, rolling down towards street level and falling into a garbage-filled dumpster. EXT. ALLEY #2 - NIGHT as Rennie dizzily runs down the alley, the effects of the drugs kicking in. RENNIE'S POINT OF VIEW (POST EFX) Blurry, disoriented, erratic. Suddenly A FIGURE JUMPS OUT FROM A CORRIDOR IN FRONT OF HER. RETURN TO SHOT It's SEAN. He rushes to her, sensing her disorientation. SEAN Rennie...what'd they do to you?? RENNIE Drugs... (serious pause) Then Jason came. He's here, Sean. Oh Jesus. He never expected this. SEAN We have to find the others. Together they run off. EXT. ALLEY #3 - NIGHT (OVERHEAD ANGLE) as Miss Van Deusen briskly walks below us, far from relaxed in this threatening environment. TRACKING SHOT She moves forward, the only sound being her shoes against wet asphalt. Four more steps, then a DARK, OUT OF FOCUS FIGURE STEPS OUT BEHIND HER WITH A GUN. VOICE Freeze. RACK FOCUS to find a uniformed IRISH COP standing there, service revolver raised. McCulloch steps out from the alcove as well, recognizing Miss Van Deusen. MCCULLOCH It's okay -- she's with me. She turns around, lowering her hands, utterly relieved. IRISH COP My apologies, Miss. My unit's right over here. They head through an ABANDONED PARKING LOT towards a concrete wall with stairs; about six feet above the wall is an upper street, where his patrol car is parked. They get halfway through the lot when they hear: SEAN (O.S.) Hey! REVERSE ANGLE as Sean and Rennie run to join them from the alley. McCulloch rushes to his niece. MCCULLOCH Rennie, thank God... But Rennie goes to Miss Van Deusen instead. It's a bitter pill for McCulloch. SEAN Jason's here in New York. MCCULLOCH Don't be ridiculous! MISS VAN DEUSEN Is it true, Rennie?? She nods, unable to repress her fear. IRISH COP Is this the lass in question? MCCULLOCH (stewing) Yes. IRISH COP Who is...Jason? MCCULLOCH He's a walking corpse, a phantasm from hell. The others stare at McCulloch angrily. Miss Van Deusen turns to the confused policeman. MISS VAN DEUSEN I'm afraid you'll have some trouble believing us. IRISH COP So try me. EXT. SQUAD CAR - NIGHT parked above the abandoned garage, the interior dark. The Cop and our heroes appear in the background, coming towards it. IRISH COP You're right -- I find it a tall tale indeed. But you seem like honest folks so I'm inclined to believe at least some of it. MISS VAN DEUSEN (relieved) Thank you. The first thing we' have to do is find Julius. IRISH COP I'm sure he'll pop up soon enough. Why don't you climb in the back while I radio for backup. ADJUST INTO A FULL SHOT OF THE BACK DOOR AS HE SWINGS IT OPEN...but even in this darkness, we see that it's empty. They climb in. The Cop opens his drivers door, and... INSERT - DOME LIGHT (SECOND UNIT) The car dome light blinks on, and... ANGLE - BACK SEAT Our four survivors' faces are brightly illuminated, INSTANTLY CHANGING TO GASPS AND SCREAMS because: THEIR POINT OF VIEW (EFX) Julius' severed head is resting on the dash board, staring back at them!!! ANGLE - COP reacting to their terror, seeing Julius' head, quickly grabbing the radio mike. But he has no time for a message because JASON REACHES UP FROM THE PARKING LOT PIT BELOW, GRABBING THE COP'S ANKLE, DRAGGING HIM DOWN. The radio is still in his grasp. INSERT - DISPATCH RADIO (SECOND UNIT) as the radio cord grows taut, finally snapping. The Irish cop's awful yell echoes over it, silencing after a sick THUD. INT. SQUAD CAR - CONTINUOUS The foursome instantly try to flee the car, but police cars have no door handles in the back. SEAN There aren't any handles!! Cocaine flowing through her veins, Rennie acts hyperkinetically, scratching her way over the seats just as: JASON appears at the parking lot stairs, STALKING STRAIGHT TOWARDS THE CAR. INT. SQUAD CAR - CONTINUOUS There is no time for escape. Rennie finds the ignition and fires it up, jamming it into drive and STOMPING ON THE ACCELERATOR. Julius' head rolls off the dash, onto the floorboards. RENNIE'S POINT OF VIEW (POST EFX) Her vision is still a stoned one but clear enough to set her target. We come straight at the abominable creature and: WHAM! (EFX) Jason is mowed down. RENNIE slams on the brakes, jerks it into reverse and FLOORS IT AGAIN. CLOSE ON JASON (EFX) as the automobile grinds back over him a second time. RENNIE stomps on the brake pedal and the tires SCREECH TO A HALT. They all take a moment to catch their breath, looking out the front window... THEIR POINT OF VIEW Jason lies dead on the asphalt. For about two seconds. He SLOWLY STANDS. RENNIE desperately throws it into forward again, gripping the wheel and RACING FORWARD. POINT OF VIEW FROM FRONT BUMPER (STUNT DRIVE) Jason's standing there for one second, but the next moment he is LEAPING OUT OF THE WAY... EXT. ABANDONED PARKING LOT (STUNT DRIVE) ...and the squad car SMASHES THROUGH A CHAIN LINK FENCE, FREEFALLING TO THE ABANDONED PARKING LOT BELOW. EXT. ALLEY #3 - CONTINUOUS (STUNT DRIVE) as the car bottoms out, then swerves into a sharp right turn, racing down the alley. POINT OF VIEW FROM FRONT BUMPER (STUNT DRIVE) as Jason appears at the end of the alley, blocking their retreat. INT. SQUAD CAR - CONTINUOUS as Rennie stomps the brake pedal, jerking it into reverse... EXT. ALLEY #3 - CONTINUOUS (STUNT DRIVE) as she backs up, changes gears and races down an intersecting alley. POINT OF VIEW FROM FRONT BUMPER (STUNT DRIVE) speeding towards an escape when JASON POPS OUT AGAIN! He's everywhere all at once... INT. SQUAD CAR - CONTINUOUS slamming on the discs one more time, flooring it into reverse. CLOSE ON TIRES - CONTINUOUS (SECOND UNIT) as the squad car's rear tires smoke and spin, finally gripping pavement. POINT OF VIEW OUT REAR WINDOW (STUNT DRIVE) as we fly backwards...and JASON APPEARS BEHIND THEM!! TIGHT ON REAR VIEW MIRROR --Rennie's terrified face filling it, seeing that Jason is in back of them. TIGHT ON REAR TIRES (SECOND UNIT) as they screech to a halt one final time, rapidly rotating in the opposite direction and speeding out of frame. INT. SQUAD CAR - CONTINUOUS Rennie is almost maniacal now, her knuckles white around the vinyl wheel, her foot practically mashed through the floorboard. MCCULLOCH Rennie, for God's sake slow down!! She doesn't hear him, or anything for that matter. Her eyes remain straight ahead, never blinking. RENNIE'S POINT OF VIEW (POST EFX) There's a FIGURE standing in the distance. But it looks too small to be Jason. We RUSH TOWARDS IT, CHANGING INTO SLOW MOTION JUST BEFORE IMPACT. The figure is a dripping wet boy with a sinister smile. YOUNG JASON. EXT. BRICK WALL - A SPLIT SECOND LATER (EFX) as the front of the squad car RAMS THE BRICK WALL HEAD- ON, THE HOOD BURSTING INTO FLAMES. ANOTHER ANGLE as the front passenger door is shoved open by Sean, who drags out Rennie. McCulloch follows close behind, helping Sean carry her away from the wreckage, over by a row of old oil drums filled with slime and rainwater. Then it suddenly hits Sean... SEAN Miss Van Deusen... He takes two steps back to the car when: BOOM! (EFX) The squad car interior is ENGULFED IN A BALL OF FLAMES. RENNIE opens her dazed eyes, seeing Miss Van Deusen's body charring inside the wreckage. It's incomprehensible. She numbly gets to her feet, stepping towards it. Something makes her hesitate: she peers down at the asphalt... EXT. ASPHALT - RENNIE'S POINT OF VIEW (POST EFX) A pool of gasoline has collected, flames dancing across its glassy surface. Suddenly a TINY ROWBOAT DISSOLVES IN, not unlike the lifeboat she was so afraid of. The rowboat glides across the surface of the burning gasoline, TWO PEOPLE RIDING IN IT. The flames and asphalt SLOWLY FADE OUT AND GIVE WAY TO A SERENE LAKE. RENNIE'S FLASHBACK - CRYSTAL LAKE - DAY Shimmering water, clouds and pine trees reflected in it. The rowboat floats into view. The two occupants are YOUNG RENNIE and MCCULLOCH. She's wearing a bathing suit and an innocent smile. And not an inkling of fear about the water. She stands, letting the sun soak into her. YOUNG RENNIE What a beautiful day. MCCULLOCH Perfect for a swim, isn't it? She frowns at him, looking away. MCCULLOCH You've been coming out here every summer for the last three years, young lady, and you still haven't learned how. YOUNG RENNIE I'll take some lessons this time. I promise. She bends over, splashing the water. MCCULLOCH That's what you said last year. I think the time for your first swimming lesson has just come. The splashing stops. MCCULLOCH You don't want to end up drowning like that Voorhees boy, do you? She's instantly tense. MCCULLOCH He never learned how either and he's still at the bottom of this lake. YOUNG RENNIE He is not. MCCULLOCH Oh, he is indeed. And ready to pull down anybody who falls in and can't swim. YOUNG RENNIE You're telling a lie. MCCULLOCH Am I? Let's find out. ...And quicker than she's able to react to it, MCCULLOCH PUSHES HER OVERBOARD. SPLASH! as Rennie's body violently disrupts the calm surface. She immediately begins to flounder. McCulloch calmly leans over the edge. MCCULLOCH Better swim before Jason drags you down, Rennie. Come on, you can do it... ...but Rennie thrashes in the water, struggling to keep from sinking under the surface. RENNIE'S POINT OF VIEW Her uncle's face blurs and clears as water splashes her eyes. YOUNG RENNIE I...I can't... MCCULLOCH You can and you will! Swim, Rennie! RENNIE is too panicked to obey. YOUNG RENNIE Hhhhelp...me.... She coughs on some water then disappears... UNDERWATER (TANK) The world above her ceases to exist, murky lake water taking over. Rennie looks-down, and to her horror... RENNIE'S POINT OF VIEW (TANK) Young Jason is grabbing her ankle and dragging her down. The whole image BURSTS INTO FLAMES and we: DISSOLVE BACK TO: EXT. ASPHALT - NIGHT as the gasoline continues to burn, the rowboat gone. ADJUST to find RENNIE'S FACE, the flames of the car wreckage flickering over her glassy eyes. She looks up at Miss Van Deusen's body one last time before: ANGLE - SQUAD CAR (EFX) The auto's fuel tank EXPLODES, SHRAPNEL FLYING EVERYWHERE. EXT. ALLEY #4 - CONTINUOUS She looks up at her uncle with knowing eyes. Eyes that tell him she's remembered everything. RENNIE You pushed me... MCCULLOCH (defensively) I was only trying to teach you. But I pulled you out, Rennie. I saved your life. Rennie just stares, incredulous. SEAN You son of a bitch... She lets it build until she's ready to explode...then: RENNIE He was down there!!! And Rennie runs off. McCulloch starts to follow but Sean grabs him, shoving him down. SEAN You keep away from her! Sean chases after Rennie. Camera methodically PANS BACK TO MCCULLOCH, crumpled on the ground. A very bitter man. He wipes his hands, getting ready to stand when THE SHADOW FALLS OVER HIM. His skin fades to porcelain white. MCCULLOCH You...are...NOT POSSIBLE. But possible, and actual, he is. A PAIR OF ROTTED ARMS EXTEND DOWN, RIPPING HIM OUT OF FRAME. TRACKING WITH JASON as the walking corpse lifts a screaming McCulloch over his head, carrying him over to one of the scum-filled OIL DRUMS, SHOVING HIM HEAD-FIRST INTO IT. Jason grips McCulloch's thrashing legs as bubbles rise to the surface of the slime, a pathetic gurgling reverberating out the drum. At last McCulloch's appendages go limp. Jason releases him, moving on. EXT. ALLEY #5 - NIGHT as Sean runs into view, glancing around, spotting Rennie, crouched against a crumbled brick wall. No tears...only hate. Sean sits down next to her. After several moments... RENNIE I was at school when they told me. 'Rennie, we have some very bad news... your parents have been killed in an auto accident.' Sean gently takes her hand, sharing her internal agony. RENNIE It seems like everybody I care about ends up... She can't finish. PUSH IN as Sean kisses her on the forehead, then makes her look into his eyes. SEAN Not this time. He caresses her face; it develops into a tender kiss. Finally she holds him back, letting it out. At the same time: STALKING POINT OF VIEW Somebody is creeping at a low angle towards them. SEAN AND RENNIE are lost in their shared quiet moment...until the GROWLING SOUND becomes audible. They look up, seeing: TOBY cautiously approaching them. Rennie stands, absolutely relieved. RENNIE Toby... She starts to move towards him and her dog SNARLS VICIOUSLY, CROUCHING BACK IN FEAR. RENNIE What's wrong, boy? Another protective growl, then: CRASH! as Jason stampedes through a stack of crates and garbage cans behind them. SEAN, RENNIE AND TOBY abruptly flee down the alley, Jason in mad pursuit. EXT. ALLEY/SUBWAY ENTRANCE - NIGHT as Rennie, Sean and the dog run straight towards us, Jason swiftly catching up. FAST TRACK WITH THEM over to a deserted, rain-slicked SUBWAY ENTRANCE. INT. SUBWAY ENTRANCE - CONTINUOUS (EFX) as they bang through the glass doors, sailing past us. Three beats later, JASON APPEARS, not bothering to open the door, STAMPEDING RIGHT THROUGH THE GLASS. INT. SUBWAY STATION - ESCALATORS (N.Y.) Sean, Rennie and Toby sail down the escalators past a few scattered COMMUTERS. Again, Jason appears, looming tall at the top. He starts down the "up" escalator. JASON'S POINT OF VIEW (ICY.) as an ELDERLY COUPLE rises toward us. Their reactions grow more bleak the closer we get, finally registering terror as we plow right through them. ANGLE - SUBWAY TURNSTILES (ICY.) Sean and Rennie hop over a metal turnstile, Toby crawling under it. A TICKET TAKER leans out his window, shouting at them. TICKET TAKER Hey! The teenagers are soon forgotten as JASON SMASHES THROUGH THE TURNSTILE LIKE THE TERMINATOR, TEARING THE ALUMINUM WHEEL RIGHT OFF ITS BASE. The Ticket Taker reacts speechlessly, deciding not to press his luck. INT. SUBWAY PLATFORM - CONTINUOUS (N.Y.) as Sean and Rennie slide up to the edge of the track pit, SEEING THE LIGHTS OF AN APPROACHING TRAIN which is taking too long to get there. SEAN Come on... ...but Jason arrives before the train. Toby barks and snarls, trying to protect them. Jason is unfazed. He treads toward them and: DOG TOBY leaps onto Jason, sinking his teeth into the monster's throat. Jason wrestles the animal into submission just as: THE SUBWAY TRAIN streaks into the station. A fraction of time later: JASON heaves the dog in front of the train. RENNIE shrieks in horror as Toby disappears inside the pit just as the train roars by. ANGLE - ONLOOKERS They're New Yorkers, but not callous enough to stomach this, quickly scattering. Even a group of severe SKINHEADS decide they can wait for the next train, quickly heading up the escalators after seeing Jason in action. SEAN makes Rennie look away, dragging her with him along the platform edge in retreat as Jason returns his attention to them. They reach the end of the platform, having no choice but to board the front car. INT. SUBWAY TRAIN (N.Y.) as the doors whoosh shut...but Jason PRIES THEM OPEN. The TRAIN ENGINEER glances back from his booth, seeing Jason making the improper entry. TRAIN ENGINEER Hey pal, you can't do that... A second later he's gotten a good look at Jason. It's too late for a retraction as JASON SAVAGELY JAMS HIS HEAD INTO THE TRAIN CONSOLE. INSERT - TRAIN CONSOLE as the Engineer's arm KNOCKS THE THROTTLE FORWARD... EXT. SUBWAY STATION - CONTINUOUS (N.Y.) ...and the train begins to move, racing into the black tunnel. INT. SUBWAY TRAIN - NIGHT (N.Y.) as Rennie and Sean run for their lives, arriving at the end of a car, jamming the separating doors open and entering the next car. Jason follows right behind. INT. SUBWAY STATION - NIGHT (N.Y.) as the train thunders through the station without stopping, baffling several waiting COMMUTERS. INT. SUBWAY TRAIN - JASON'S POINT OF VIEW (N.Y.) --seeing Sean and Rennie disappear through another connecting door. We storm our way through it into the next car right after them. A handful of TRAVELERS cower away from us. INT. SUBWAY TUNNEL - NIGHT (N.Y.) as the train rapidly speeds past us, showing no signs of slowing down. INT. SUBWAY TRAIN - FINAL CAR (N.Y.) as Sean and Rennie come through another set of separating doors, rushing through... finding they're in the last car. They look back, seeing Jason enter at the opposite end. The monster stalks forward. Sean's eyes dart around. He spots the EMERGENCY STOP CORD. HE LEAPS FOR IT. EXT. SUBWAY TUNNEL - NIGHT (N.Y.) ...and the train SCREECHES TO A HALT. INT. SUBWAY TRAIN - CONTINUOUS (N.Y.) The sudden stop throws Jason on his back. Sean throws the rear door open, jumping out with Rennie. INT. SUBWAY TUNNEL - NIGHT (N.Y.) as Sean and Rennie sprint down the center of the tracks toward the light of the next station, running out of strength. INT. TIMES SQUARE STATION - NIGHT (N.Y.) as they emerge from the darkness, up to the edge of the pit. Sean boosts Rennie up, starting to climb up himself when: JASON fires out from the tunnel, grabbing onto Sean's ankle. Rennie screams as Sean is dragged down...but he manages to latch onto a chain securing a garbage receptacle. Jason pulls harder, stretching Sean to his limit as Rennie watches helplessly. RENNIE NO!!! RENNIE runs straight towards the track pit like a football punter, RECOILING WITH HER RIGHT LEG, KICKING JASON SQUARELY IN THE FACE. JASON (EFX) trips backwards and LANDS ON THE THIRD, ELECTRIFIED RAIL, RECEIVING TEN THOUSAND VOLTS. His body smokes and convulses, finally sizzling out. He appears to be terminated!!! ANGLE - SEAN AND RENNIE as they get to their feet, holding each other tight, looking down on the now-dead undead creature. EXT. TIMES SQUARE - NIGHT (N.Y.) (CRANE SHOT) as our heroes arise into the neon-filled big city wonderland, relieved to be alive, gazing around at the awesome spectacle known as Times Square. A huge DIGITAL CLOCK tells us it's a quarter to midnight. Sean wraps his arm around her. SEAN It's over, Rennie. It's finally over. Camera RISES ABOVE THEM, RACKING BACK TO THE SUBWAY EXIT. Guess who has just made an encore...with more energy than ever!!! SEAN AND RENNIE look all around them, having never been to a city as big as this. They finally turn far enough around to spot JASON in a series of three quick cuts, each one closer than the last. SEAN God...please no... But Jason keeps on coming. RENNIE Somebody help us!! He's going to kill us!!! But the heavy Times Square foot traffic ignores her, bustling onward. Rennie and Sean have no choice but to flee again. JASON shoves his way through the preoccupied pedestrians; they've certainly seen weirder characters than him here. He moves past a group of STREET URCHINS listening to some rap from their ghetto blaster. His foot obliterates their stereo system with one stride. They instantly pull out switchblades and chains. STREET URCHIN You're dead meat, slime bag. Jason stops, turning around, towering over the kids. He has blood and gore caked everywhere, his skin charred from the electrocution. Jason starts to remove his mask, facing them squarely. TIGHT ON STREET URCHINS as Jason's mask comes off out-of-frame. Their tough faces turn to putty, scared completely shitless. STREET URCHIN Hey man, it's cool, it's cool... They turn tail and race like the wind. Jason steps forward so that we're looking at the back of his head, never seeing his naked face. He slips his hockey mask on again, turns into a CLOSE UP, then exits. INT. TIMES SQUARE DINER - NIGHT filled with noise, smoke and derelicts. A tough, redheaded WAITRESS with a thick Brooklyn accent stands behind the countertop, a wall of mirrors behind her. The front door bangs open with the entrance of Sean and Rennie, rushing up to the waitress. SEAN (out of breath) You have to call the police... RENNIE Please, hurry... A telephone sits right next to her, but this is New York. WAITRESS There's a pay phone in back. They start to run. WAITRESS ...but it's broken. RENNIE You don't understand -- there's a maniac trying to kill us!!! WAITRESS (blase) Welcome to New York. There's no time for further response as JASON CRASHES THROUGH THE DINER DOOR, MOWING A PATH STRAIGHT TOWARDS THEM. Sean and Rennie run out the back as the Waitress eyes Jason with complete disbelief. ANOTHER ANGLE as the BURLY CHEF comes out to confront him. Jason FLINGS HIM HEAD FIRST INTO THE JUKEBOX. THE WAITRESS picks up the telephone, really pissed off. A BIKER climbs off his counter stool, revealing a HUGE BOWIE KNIFE. Jason plows straight for him and the Biker STABS JASON IN THE HEART. Jason has little reaction, pulling it out, tossing it aside. The Biker's face goes wan, backing away. THE WAITRESS stops in mid-dial. Fear is starting to register now. JASON lifts the very large man and EFFORTLESSLY HEAVES HIM INTO THE MIRROR OVER THE COUNTER. THE WAITRESS feels the phone receiver slipping from her grasp, her mouth trembling. She backs away from the beast as far as she can. Jason has no time to waste on her, trampling out the back after Rennie and Sean as the other patrons shrink from him. INT. REAR OF DINER - SAME TIME as Sean fumbles to unlock three deadbolts and two chains, finally getting the back door open and springing into: EXT. DEAD END ALLEY - NIGHT They run about ten yards before realizing the alley is a dead end. Sean and Rennie start to head back the other way when JASON MOWS OUT FROM THE DINER DOOR. Their vision scatters everywhere in search of a retreat... RENNIE Look! She's spotted a MANHOLE COVER, slightly ajar. They haven't the luxury of thinking about it, Sean sliding the cover back as Jason comes forth. INT. SEWER - ENTRANCE CHAMBER - NIGHT as they descend into hell...a massive chamber consisting of tall columns, slimy catacombs and three feet of stagnant water. Their alternatives are nil; Sean and Rennie join hands, wading through the swill, splashing deeper into the labyrinth. ANGLE UP STAIRS as the dim streetlight glowing in the above world is eclipsed by JASON, making his way down after them. INT. TUNNEL #1 - NIGHT An oval tunnel slanted downward into pitch blackness. Dim overhead lights illuminate salt deposits and eery rust formations. Rennie and Sean appear at the far end, wading from the sewage as the tunnel rises toward us. TRACKING SHOT as they come forward at a brisk but cautious pace, strangers in a very strange land. ANGLE - THEIR FEET sloshing through the slime. All is silent until Sean's foot TRIPS OVER A BARREL labeled HUGHES CHEMICAL PLANT. A vaporous green substance oozes out the rusty end of the container, sizzling on the around. SEAN AND RENNIE carefully sidestep it, continuing on. They make it another ten yards when A FIGURE LEAPS OUT FROM AN ALCOVE, GRIPPING A HUGE WRENCH. Rennie's scream echoes through the tunnel. REVERSE ANGLE ...but it's a middle-aged SANITATION ENGINEER who lowers the wrench, as frightened as they are. SANITATION ENGINEER What the hell are you kids doing down here? SEAN Can you help us get out?? SANITATION ENGINEER I sure can and we don't have a minute to waste. He begins quickly packing up his tools. SEAN What do you mean? SANITATION ENGINEER Toxic waste, son. This sewer floods out with the stuff on the 13th of every month, right at midnight. (checks watch) And that's less than ten minutes from now. Rennie looks down the dark tunnels in all directions, swallowing hard. SANITATION ENGINEER Follow me. He clicks on his high powered flashlight and quickly leads them down: INT. TUNNEL #2 ...no less threatening than the one they just left. When they pass a lightless intersecting corridor, JASON EJECTS HIMSELF FROM IT, TACKLING THE SANITATION ENGINEER AND SEAN. THE FLASHLIGHT rolls through the muck, its beam splashing erratically across the polluted walls. THE SANITATION ENGINEER begins BASHING JASON'S HEAD IN WITH HIS WRENCH but the monster drags the kicking and screaming man into TUNNEL #3. RENNIE tries to help up Sean but he's been knocked into the opposite wall, barely conscious. SEAN Run, Rennie... She's struck with indecisive shock, looking into Tunnel #3, seeing: A GRUESOME SHADOW ON THE WALL Jason arches his back with wrench in hand, hammering it over and over into the Sanitation Engineer's skull. RENNIE backs away but does not run. The time has come to face her fears. ANGLE - SHADOW ON TUNNEL #3 WALL as Jason takes one more vengeful stroke, finishing him off. He steps from Tunnel #3 with the scarlet-coated tool, his shadow becoming flesh. He moves straight for Sean, who has no hope for escape. Jason cocks the wrench over Sean's skull...and suddenly his hockey mask is SPLASHED WITH A BRIGHT LIGHT. Jason stops, turning directly into it. JASON'S POINT OF VIEW Rennie is blinding us with the sanitation Engineer's flashlight, giving us only brief glimpses of herself in the reflective wet surroundings. RENNIE You never got me in the lake, Jason. And you're not going to get me now either. Her voice is defiant. She carefully backstops, the irritating light never leaving us. JASON has been sufficiently taunted. He moves after her. JASON'S POINT OF VIEW as the bright beam leaves our eyes, Rennie dashing down the intersecting tunnel (#1). TIGHT ON JASON'S FEET stomping through the sludge, picking up speed. He's wanted to kill Rennie most of all. INT. TUNNEL #L as Rennie dashes up to the HUGHES CHEMICAL DRUM Sean tripped over, using the back end of the flashlight to crush in the can's rusted lid. The metal is flimsy but still resists her blows. She frantically hammers harder. INT. TUNNEL #2 - TRACKING WITH JASON He's moving like a freight train now, an addict rolling after his fix. INSERT - CHEMICAL DRUM as the butt of the flashlight dents the metal, ultimately causing it to cave in. INT. TUNNEL INTERSECTION - JASON'S POINT OF VIEW --Looking through his unblinking eyes, whipping into Tunnel #1...where we catch a fleeting glimpse of Rennie flinging the contents of the oil drum. A half second later a WAVE OF GRAY/GREEN LIQUID FLIES AT US... TIGHT ON JASON (SLOW MOTION) and his hockey mask is SPLASHED WITH TOXIC WASTE, SEEPING INTO HIS MASK'S EYE SLITS. He careens back as if her were a rabid dog receiving a load of point-blank buckshot. RENNIE drops the can, fumbling for the flashlight again. CLOSE UP - JASON (EFX) as the radiant flashlight beam finds his mask, the plastic beginning to bubble and melt. RUSH INTO A TIGHT CLOSE UP AS JASON TEARS OFF HIS MASK, EXPOSING HIS HIDEOUS FACE: rotted flesh, some of it sizzling from the chemical. Worms slithering out his nostrils. And his eyes...or lack thereof. They're like two raw quail eggs frying in liquid green pollutant...and the yolks just broke, running down his face. CLOSE ON FLASHLIGHT as the beam begins to waver in her quivering grasp. RISE TO FIND RENNIE'S FACE, reacting to the stomach-turning sight of Jason's visage. She grabs hold of her senses and RUNS. ANOTHER ANGLE as Rennie skirts past the blinded creature: WHIP PAN WITH HER as she turns down Tunnel #2, heading back toward Sean. CONTINUE TO QUICKLY PAN AROUND until we've come around 360 degrees and are back on JASON, in no way ready to give up. He staggers after Rennie. INT. TUNNEL #2 as Rennie skids up to Sean, still dazed. She grabs him, shaking hard. RENNIE Get up, Sean!!! His eyes blink, only half coherent. Then an inconceivable terror registers in her ears...A LOW, DEEP RUMBLING SOUND, COMING FROM UP AHEAD. Her head jerks in the direction of her planned retreat: RENNIE'S POINT OF VIEW An ominously empty tunnel, soon to be filled with the unthinkable. The sound of RUSHING LIQUID is growing at leaps and bounds. TIGHT ON RENNIE as her trembling chin rises, looking at: ANGLE - TUNNEL #3 CEILING (EFX) The dim overhead lights are beginning to vibrate from the approaching flood. RENNIE rotates her head and sees: JASON vision or no vision, he is lurching towards her relentlessly. She is literally sandwiched between hell and high water. RENNIE drags Sean to his feet with the strength of a possessed woman, pulling him over to a SERVICE LADDER attached to the intersecting alcove wall. RENNIE (screaming) Climb!!! She shoves him up it from below, Sean summoning everything he's got to obey her. Rennie shoots a stare back down the tunnel... RENNIE'S POINT OF VIEW (EFX) The overhead lights are banging around like an earthquake has just hit; the liquid will be arriving any second. Her vision WHIP PANS 180 DEGREES TO FIND JASON APPROACHING FROM THE OPPOSITE END, groping around with his scaly arms like the claws of a roto-tiller. ANGLE - LADDER as Rennie starts up after Sean, looking down and seeing: JASON within ten feet of them, shifting directly for the ladder like he's working on some kind of radar. RENNIE slips on the rusty ladder, regaining her footing. and rushing higher. She takes her final glance into the tunnel, the ultimate horror registering in her corneas as she sees: INT. TUNNEL #3 (MODEL EFX) A million gallons of green-brown toxic waste splash into the far intersection, FILLING THE TUNNEL, FLOODING STRAIGHT FOR CAMERA. JASON has just started to climb the ladder when the wind and smell of the rushing toxic waste bombards him. His decomposed head swivels to face: INT. TUNNEL #3 (MODEL EFX) Tons of lethal sewage, stopping for no one. Arriving in seconds. JASON'S FINAL CLOSE UP (EFX/FIBER OPTIC LENS) He doesn't need vision to confirm what his other senses already know. Jason's mouth begins to quaver...AND THE FIRST WORDS HE HAS EVER SPOKEN COME OUT, IN THE VOICE OF AN EIGHT YEAR OLD BOY: JASON Mmmmmmmmmommy...DON'T LET ME DROWN, MOMMY... Camera speeds toward his gaping mouth and DOWN HIS THROAT as lightning arcs off his mucous covered insides. We sink deeper into his guts, fire and smoke flaring into our eves, eventually coming to a WELL IN THE PIT OF HIS STOMACH, FILLED WITH BLOOD...and EIGHT YEAR OLD JASON IS DROWNING IN IT. YOUNG JASON Hhhhelp me.... A split second later: EXT. TUNNEL #3 (EFX) (SLOW MOTION) The wall of deadly toxic liquid ENGULFS JASON. INT. TUNNEL #3 - ON RENNIE AND SEAN (EFX) The powerful flood thrashes the ladder about two inches below Rennie's feet, the force of it fiercely shaking their rusty support. They are clinging to the ladder with their eyes squeezed shut. Praying for survival. INT. TUNNEL #3 (MODEL EFX) We are drowning in a chunky cloud of sewage, rushing over and under us. EXT. TIMES SQUARE - NIGHT (EFX) The digital clock we saw earlier abruptly CHIMES MIDNIGHT, HUGE BOLTS OF LIGHTNING CRACKING OVER MANHATTAN. ANGLE - SEAN AND RENNIE (EFX) as the sewage level begins to drop. Rennie opens her eyes, glancing straight down and seeing. RENNIE'S POINT OF VIEW (EFX) The ladder beneath them reappears...which gives way to a PAIR OF HANDS GRIPPING THE BOTTOM RUNG. The liquid drops further, unshrouding the now-dead corpse of EIGHT YEAR OLD JASON. He's a relatively normal looking boy, probably the way he looked back in 1957...right when he drowned in Crystal Lake. Jason Voorhees has finally been put to rest. EXT. TIMES SQUARE - NIGHT (N.Y.) Rennie and Sean stagger out from a side street, holding each other up...relief etched in their matured faces. SEAN I hear there's a statue here that's 22 stories tall. Rennie would smile if she could. She kisses his cheek. They amble on. STALKING POINT OF VIEW ...coming out from another alley, creeping up behind them through a crowd of pedestrians. About the height of a small child. RENNIE AND SEAN walk arm in arm, exhausted and oblivious to their pursuer. But something, some innate perception causes Rennie to slow...and stop. Her eyes register a horrid fear and she WHIPS AROUND TO FACE... TOBY! Limping on all fours, filthy with grease-matted fur. The whimpering dog crawls up to her, Rennie bending down, hugging her animal like she'll never let go. RENNIE Oh Toby... HIGH ANGLE CRANE SHOT (N.Y.) as Sean bends down too, ruffling the dog's fur, standing again with Rennie. The three survivors enter the collage of pedestrians, bright lights and skyscrapers. It is finally over. FADE OUT. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Friday the 13th.txt b/unformated_scripts/Script_Friday the 13th.txt new file mode 100644 index 0000000000000000000000000000000000000000..e7e72c0db964313068eb19a6707d5cf98adc11e8 --- /dev/null +++ b/unformated_scripts/Script_Friday the 13th.txt @@ -0,0 +1 @@ +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. \ No newline at end of file diff --git a/unformated_scripts/Script_Fright Night (1985).txt b/unformated_scripts/Script_Fright Night (1985).txt new file mode 100644 index 0000000000000000000000000000000000000000..ae5e0053b806481acb85ed685f3d2b294dab3497 --- /dev/null +++ b/unformated_scripts/Script_Fright Night (1985).txt @@ -0,0 +1 @@ + FRIGHT NIGHT Written by Tom Holland FINAL DRAFT Sep 6th, 1984 1. FADE IN: EXT. FULL MOON - NIGHT (AND CREDITS. ROLL) Clouds obscure the starless heavens for a moment, heavy and ominous in the black firmament. Then suddenly they clear, exposing a full moon streaked with red like a killer's face, a stalking moon staring down at man's evil on the earth below. A HOWL breaks the night, a wolf pursuing its prey perhaps, or perhaps something much, much worse. VOICES break the perfect stillness. JONATHAN (V.0.) What was that? MISS NINA (V.0.) Just a child of night, Jonathan. Come, sit here beside me on the veranda. JONATHAN (V.0.) It's chilly out here. MISS NINA (V.0.) Oh, no, it isn't. It's beautiful. I love the night so. 2 EXT. RANCHO CORVALLIS - NIGHT A middling size town lost somewhere in the Southwest, the lights of its sixty some thousand residents twinkling like so many Christmas lights in the night. JONATHAN (V.0.) I've never seen you so beautiful before, Nina. So pale, so luminescent, so He suddenly stops. There is a moment. Then: MISS NINA (V.0. ) Yes? JONATHAN (V.0.) Your lips are so red. MISS NINA (V.O.) Are they? Would you like to kiss them? The CAMERA STARTS TO PUSH IN CLOSER AND CLOSER on the town as though searching for the source of the voices. 2. 3 EXT. CHARLEY'S STREET - NIGHT It's a typical middle class suburban street, full of pre- 1 World War II houses, the substantial places they built then, two and three story homes with attics and basements., porches and detached garages. There is the SOUND OF A LONG DRAWN OUT KISS as Jonathan and Miss Nina's lips meet. The CAMERA. MOVES DOWN the street, still looking for the voices. 4 EXT. DANDRIGE AND BREWSTER HOUSE - NIGHT V The CAMERA PAUSES TO STARE AT the Dandrige house, so dif- ferent in look and feel from all the other houses on the street. It's huge, almost forboding, its windows dark and vacant, its lawn overgrown and weed-infested, a home that has obviously been untended for a long time, unlived in and uncared for. However the "For Sale" on the lawn has a "Sold" sign just beneath it. The CAMERA PANS to the Brewster house next door, still SEARCHING for those voices. It's in sharp contrast to the Dandrige house, newly painted, its lawn neatly shorn, a house almost dwarfed in comparison to the Dandrige house, but a happy home, its windows lit and smiling out warmly at the night. The voices seem to be coming from the Brewster house, spe- cifically from a dark second-story window that is open to the night breeze. JONATHAN (V.0.) Why are you looking at me so strangely, Nina? MISS NINA (V.0.) Not you, Jonathan. Your neck. Has anyone ever told you it was beautiful? JONATHAN (V.O. ) (UNCERTAINLY) No. MISS NINA (V.0.) Come, lay your head on my breast. The CAMERA SLOWLY STARTS TO PUSH IN on the second-.story window. 5 OMITTED 6 INT. BREWSTER HOUSE - CHARLEY'S BEDROOM - NIGHT The CAMERA MOVES THROUGH the window, past the billowing drapes to find itself staring at a TV, the flickering screen the only light in the room. (CONTINUED) 3. 6 CONTINUED: One of those terrible AIP/Hammer horror films is on the tube, a woman, obviously a vampire, talking to one of those vapid juveniles used so much in these types of films, the two of them standing on a veranda to some huge, old house. The young man rests his head against her breast, incredibly enough, unaware that she is bending toward his neck with these huge fangs. Just as. she is about to sink them into his jugular, a tall, saturnine man steps out of the darkness., wearing a rather daffy Victorian suit and carrying a stake and mallet in his hand. His name is PETER VINCENT. PETER (V.0.) Stop, you creature of the Night! The vampiress leaps to her feet, her hapless, intended victim forgotten. She faces Peter with a, hiss, her fangs sparkling in the moonlight. MISS NINA (V.O.) Who are you who interrupts my nightly feeding? PETER (V.O.) (drawing himself up to his full height) Peter Vincent, vampire killer! He rushes her, the stake held high to plunge into her breast and the CAMERA TURNS AWAY from the TV as the sounds of the movie CROSS FADE with the SOUNDS OF HEAVY BREATHING, LIPS MEETING, TONGUES INTERTWINING in the room itself. Only the room, a typical teenager's lair, seems devoid of life, the bed empty, schoolbooks untouched sitting on the desk. The CAMERA BEGINS TO SEARCH the room, looking for the source of this new sound, much more interesting than the old flick on the tube. And then it finds them, CHARLEY BREWSTER and AMY PETERSEN, two sixteen-year olds, on the floor to the far side of the bed, wedged between the bed and the window. They are both as American as their jeans and making out like crazy. They twis.t and turn on the floor, Amy alternating between enjoy- ing it and fighting Charley off, both of them white hot with their mutual need. As he tries to slip his hand under her blouse, she catches-a glimpse of the TV. The horror movie has faded out to be replaced by the interior of a local TV studio, a tacky graveyard set the centerpiece, the visage of Peter Vincent, much older now, rising out of a papier mache coffin and filling the screen as CREDITS END. (CONTINUED) Rev. 11/16/84 4. 6 CONTINUED: (2) PETER (V.0.) This is Peter Vincent, bringing you' Fright Night Theatre. Tonight's journey into horror is "Blood Castle," one of my favorites. And for a very good season. I star -in it. He does this booming laugh that goes through about ten echo chambers as Charley, totally oblivious to the TV, works on Amy's bra, trying to get it undone, obviously something she doesn't want. She tries to distract him. AMY Charley, Peter Vincent's on. CHARLEY (fumbling with the bra) Forget Peter Vincent. AMY But you love him. CHARLEY I love you more -- Behind them, the station break segues into a commercial, a bunch of kids singing and dancing joyfully to a Coca-Cola commercial. On the floor, Charley finally gets Amy's bra undone. That's it for her; she twists away. AMY Charley, stop it. Be doesn't listen, going for her again, their finger fight- ing behind her back, hers trying to get the bra resnapped, his trying to keep it undone and get her blouse off at the same time. She suddenly pushes him away, really hard this time. AMY Charley, I said stop it. Charley rolls over, leaping to his feet, frustrated as hell. CHARLEY Jesus, give me a break, Amy. We've been going together almost a year and all I hear is "Charley, stop it!"' They stare at each other angrily, both of them breathing hard, their young hormones roiling inside them. Then they look away, not wanting to see the other's anger, staring at the TV for lack of any better place to look. (CONTINUED) 5. CONTINUED: (3) The horror movie is on again, Peter Vincent and Jonathan now carrying a coffin across a fog swept cemetery. Charley looks back at Amy, his features softening. CHARLEY I'm sorry, Amy. She rises, both of them standing by the open window, staring at each other. AMY Me, too. (she puts a hand out, touching his arm) I'm just scared, that's all. He nods understandingly, touched by her honesty and inno- cence, his basic decency winning out over his lust. Sud- denly she steps into his arms, kissing him as she never has before. She breaks, staring up into his face nervously. AMY (SOFTLY) Let's get into bed.:. CHARLEY (staring at her, stunned) You mean it? She nods, stepping into his arms again, kissing him like he's never been kissed before, the two of them slowly turn- ing, Charley seeing the TV first with its grave digger scene, then the wall, and finally out the window over Amy's shoulder. And he freezes. There, below in the side yard, he sees two shadowy figures carrying what looks very much like a coffin toward the storm doors to the Dandrige house next door. His mouth drops open as Amy‚Ä¢slips out of his arms and onto the bed, completely unaware of what he's seeing. She starts to take off her blouse, Charley no longer looking at her, his gaze glued to the weird scene he's seeing out his window. As her blouse comes off, she lays back in the bed, looking up at him, waiting for him to join her. AMY Charley, I'm ready. He ignores her, grabbing his binoculars from his desk, whipping.them to his eyes and focusing in-on-the figures below. (CONTINUED) J 6. 6 CONTINUED: (4) They're too dark to make out clearly, but they are JERRY DANDRIGE and BILLY COLE. An errant beam of moonlight hits the large, oblong box, and Charley gasps. It's a beautiful piece of work, huge, ornate, obviously incredibly old, and bound in brass. Amy stares at Charley with rising confusion and irritation. AMY Charley, I said I'm ready. CHARLEY (still glued to his BINOCULARS) Amy, you're not going to believe this, but there are two guys in the yard below. And I think they're carrying a coffin. AMY (glancing at the TV and seeing the very same scene) Sure, and they're on the moors, right. CHARLEY Amy, I'm serious. AMY So am I. Do you want to make love or not? Charley is still peering through the binoculars, the two figures below having gotten the storm doors open and now carrying the coffin into the basement of the house next door. CHARLEY Amy, quick, come-here, you've got to see this. All he hears is his bedroom door slamming shut. He whirls to find Amy gone. Tossing the binoculars on the bed,, he dives after her. CHARLEY AMY -- 7 INT. PORTICO - STAIRWAY - LIVING ROOM - NIGHT Charley hurries down the stairs after her. CHARLEY Okay, maybe it wasn't a coffin, but I did see two guys carrying something into that house -- (CONTINUED) I ch Rev'. 12/4/84 7. 7 CONTINUED: AMY (HARDLY LISTENING) I don't understand you. First you want to make love, then you don't -- They reach the bottom of the stairs only to have a voice from the living room stop them. JUDY (O.S.) Amy, Charley, what's wrong? They stop, turning to stare through the doorway at Charley's mom, JUDY BREWSTER, sitting in the living room, watching the ten o'clock news on the downstairs TV. She's a young forty, pleasant looking and warm. T I Amy steps into the living room, Charley following, the two of them trying to pull themselves together so Charley's mother won't notice what they've been doing upstairs. 8 INT. LIVING ROOM - NIGHT JUDY Have you two been having a lovers' spat? CHARLEY (embarrassed as hell) No, Mom, nothing like that. JUDY Well, there's nothing wrong with that. (pointing at the maga- zine in her lap) Right here it says the divorce rate is 76% higher among couples who don't argue before marriage. CHARLEY Mom, we're in high school. JUDY Oh, yes, that's right. Well it never hurts to-plan ahead. (TO AMY) Tell your mother I said hello, will you, Amy. And remind her we're playing bridge at her house this week. I'm bringing the cheesepuffs, she's making the dessert. (CONTINUED) ch Rev. 12/4/84 7A. 8 CONTINUED: AMY Yes, Mrs. Brewster. (TO CHARLEY) Good night, Charley. CHARLEY- (ABSENTLY) Yeah, goodnight. But he's no longer listening; he's moving toward the window that stares out at the house next door. There are lights on in the first floor.now. Behind him Amy turns back to his mother. AMY Well, good night, Mrs. Brewster. JUDY Good night, Amy. And thanks for helping Charley. AMY Anytime. See you tomorrow, Charley. Be hardly hears her, staring out the window. Miffed again, Amy turns and stomps out of the room, the front DOOR heard SLAMMING behind her a moment later. (CONTINUED) I 8. 8 CONTINUED: Judy turns to her son to see what's wrong with him. He's glued to the window, staring at the house next door. JUDY Charley, that wasn't very nice, not walking Amy to the front door. CHARLEY (hardly hearing her) Mom, there are people. next door. JUDY Oh, the new owner must.be moving in. CHARLEY What new owner? JUDY I Didn't I tell you? Bob Hopkins told me he finally sold the place. I CHARLEY To who? JUDY I.d.on't know. Some fellow who fikes up houses, he said. Supposed to be attractive, too. Anyway I just hope whoever he is, he knows what he's getting into with that house. It's going to take a lot of work just to make it liveable -- And the CAMERA leaves them behind, SLOWLY PUSHING IN TIGHTER AND TIGHTER on the TV Judy was watching, their VOICES FADING out to be taken over by the newscaster dron- ing away on the screen. NEWSCASTER (V.0.) And now for the local news. A man was found murdered tonight behind the railroad yards. Details are pending waiting notification of next of KIN -- FADE TO BLACK. FADE IN. ON : 9 INT. HIGH SCHOOL - HALL - DAY Kids are flooding out-of the classrooms, the BELL having just RUNG. Charley comes out of one of them, holding a test paper and looking none too happy about it. (CONTINUED) 9. 9 CONTINUED: CHARLEY The bastard. Why didn't he tell us he was going to spring a pop quiz? Another kid comes out right behind him, holding a test paper with- a big A+ on it. Eis :name is EVIL ED THOMPSON and he's tall and thin with a terrible complexion and a personality to match. EVIL ED That's the point to a pop quiz, Brewster. To surprise you. Charley glances up at that moment to see Amy walking by, her head held high, and looking in every direction but his. CHARLEY Hey, Amy -- She keeps right on going, disappearing into the crowd. Evil Ed throws a look at Charley and cackles. EVIL ED What's wrong? She finally found out what you're really like? CHARLEY Buzz off, Evil. EVIL ED Call me anything you want. Only you're the one failing Algebra, not me. With another high pitched laugh, he walks off, leaving Charley staring after Amy miserably. DISSOLVE TO: 10 EXT. BREWSTER AND DANDRIGE SOUSE - DAY Charley pulls his red beater '68 Mustang into the driveway. He gets out carrying his schoolbooks and heads for the front door. Just as he bends down to pick up the evening paper on the walk, a cab pulls up and a YOUNG WOMAN gets out. Charley stops cold; she is definitely one of the most spec- tacular girls he's ever seen, obviously sexy, cheap around the edges, but no less spectacular for it. She looks at him like a little girl lost. GIRL Is this ninety-nine Oak? (CONTINUED) 10. 10 CONTINUED: CHARLEY (pointing to the DANDRIG'E HOUSE) No, next door. She nods her head in thanks and walks toward the next door house, the one. where he saw the two men carrying what looked to be a coffin into the basement. It's a three story house like Charley's but there any similarity ends. The Brewster house is newly painted and well lived in; the Dandrige house has long-been abandoned, the lawn overgrown, paint flecking from its side, the entire--place rundown and forlorn. Charley watches the girl disappear into the Dandrige house, whistling appreciatively under his breath. He turns for his own front door. 11 INT. BREWSTER HOUSE - KITCHEN - DAY Charley enters the kitchen to find his mother preparing dinner. He hands her the evening paper. JUDY .Thanks. Charley stops by the kitchen sink, staring out at the Dandrige house. as his mother goes back to fixing dinner. CHARLEY Mom, you seen the new guy next door yet? JUDY No, but I did hear he's got a live-in carpenter. With my luck, he's probably gay. CHARLEY (SMILING SECRETLY) No, i don't think so. JUDY Why, what do you know that I- don't? CHARLEY Ah, nothing. Got to study. See you later. He cuts a beeline for the door, his mother staring after him disbelievingly as he disappears out the door. JUDY Study? You? DISSOLVE TO: 11. 12 INT. CHARLEY'S BEDROOM - NIGHT He's hard at work at his desk, really into his Algebra, when over his shoulder a light comes on behind the drawn shade of the bedroom window of the house next door. It is directly on a sightline with his own room, but he doesn't see it, staring intently at his books. Suddenly a WOMAN'S SCREAM, high-=pitched and terrified, shatters the night. Charley whirls, sending his books crashing to the floor, staring out his window at the lit window in-the house next.door. The light snaps out, dark- ness blanking the entire wall of the Dandrige house. ' Charley just stares at it, trying to repress a shiver, all thoughts of studying Algebra suddenly gone. DISSOLVE TO: 13 INT. MALL - FAST FOOD JOINT - DAY It's the after school hangout, a bunch of tables before a fast food joint on the fourth floor of a shopping mall. Kids mill about, nearby video game machines going full blast, a TV playing the "Young and the Restless" on the counter. Charley sits at one of the tables, almost falling asleep face down in his cheeseburger and fries as he tries to study. Suddenly Amy slips in beside.him. AMY Hi. CHARLEY (looking up at her, STARTLED) Hi. (RECOVERING) Look, I'm really sorry about the other NIGHT -- AMY It was my fault, not yours. CHARLEY (REALLY STARTLED) It was? (she nods;.he recovers, taking her hand) Look, Amy, I. love you. I never.. want to fight with you again, okay? AMY (breaking into a big smile) God, I'm so glad we're getting this straightened out. (MORE) (CONTINUED) 12. 13 CONTINUED: AMY (CONT' D) I've been miserable the last two days. You don't know what it's been LIKE -- Over her shoulder he suddenly sees that the TV has gone to the local news, a picture of a girl who looks very much like the one he saw going into the Dandrige house the afternoon before on the screen. He is suddenly no longer listening or looking at Amy, his complete attention on the TV. She trails-off as she realizes she's lost his atten- tion, staring at him. AMY Charley, are-you listening to me? He gets up abruptly and walks away, leaving her sitting there staring after him. He stops'below the TV, staring up at it as the newscaster's voice runs over the picture of the girl. NEWSCASTER (V.0.) (CAUGHT MID-SENTENCE) Cheryl Lane, a known prostitute, was found murdered this morning -- Evil Ed steps up beside him, staring up at the 'screen along with him. EVIL ED Know what I heard on the police band .last night? CHARLEY What? EVIL ED (nodding at the TV) That wasn't the only murder. It's the second in two days. (GLEEFULLY) And get this. Both of 'em had their heads cut off. Can you believe it? CHARLEY' (staring at him) You're sick. A voice suddenly comes from behind him. AMY (O.S.) Charley. (CONTINUED) 14. 16 EXT. BREWSTER AND DANDRIGE HOUSE - NIGHT tD The two houses sit there side by side,.only the Dandrige house has changed although it's hard to say exactly how. It just seems worse than before, more abandoned, more-hulk- ing, more... dead. 17 INT. CHARLEY'S ROOM - NIGHT Charley has the house next door staked out. He sits in a chair before his window, all the lights off in his room, only the flickering TV to keep him company. It's Peter Vincent on Fright Night, another one of his films on, this time the volume turned off. Charley holds his binoculars in his hand, staring at the dark window of the house next door, waiting. DISSOLVE TO: 18 ZNT. CHARLEY'S ROOM - MUCH LATER THAT NIGHT The TV is just flickering snow now, the channel having signed off hours before. Charley still sits in front of his window, but he's sound asleep, breathing deeply, lost in his dreams. Soft, sensual MUSIC snakes through his open window, enveloping him slowly and dragging him awake. Groggily he opens his eyes to find himself staring into the lit window of the bedroom next door. He sits up with a start. There is no drawn shade now. Be can see clearly into the room and a beautiful teenage girl with long blonde hair stands there, framed in the window, slowly taking her blouse off. Charley rubs his eyes., hardly able to believe what he's seeing. As he watches she drops the blouse to the floor and stands there, bare breasted. Charley gulps, fumbling for his binoculars. He gets them to his eyes just as Jerry Dandrige steps out of the shadows behind the girl, gliding across the room toward her with incredible grace. To Charley the whole thing has.a dreamlike quality, Jerry more an impression than a reality. He's thirty maybe, almost beautiful with alabaster skin and chestnut hair. He stops behind the girl, sweeping her hair back, exposing her tender, young neck. He slowly leans down as though to kiss her. As Charley watches through his binoculars, unable to tear his eyes away, Jerry Dandrige's upper lip slowly begins to pull back,. revealing just the hint of fangs, long, razor sharp, and sparkling pearly white in the moonlight. Suddenly, Jerry Dandrige stops, the fangs poised an inch above the girl's throat. He slowly raises his head, star- ing out the window across the side yard and into Charley's bedroom. (CONTINUED) pk Rev. 11/16/84 15. 18 CONTINUED: It's almost as though he can see the boy watching him. - With an involuntary gasp of terror, Charley steps back into the deeper darkness of his room, his hand instinctively reaching up to-protect his own throat. Jerry Dandrige‚Ä¢slowly reaches up and pulls down the shade, cutting off all view into the room. Charley stands there for a moment, unable to believe what he just saw. The binoculars slip from his hand, crashing to the floor, and. he whirls, racing out of the room. 19 INT. HIS MOTHER'S ROOM - NIGHT He bursts through the door to find his mother sound asleep in bed. He grabs her, shaking her awake. CHARLEY Morn, you've yot to get up. I can't believe what s happening next door. JUDY (staring up as her son SLEEPILY) What, what are you talking about? CHARLEY He has fangs. The man who bought the house has fanas! JUDY Oh, Charley, I have to be at work at SEVEN TOMORROW He hears a CAR DOOR SLAM in the yard next door. He jumps to the window, peering out into the back of the Dandrige house just in time to see Billy Cole walking away from a shiny new black Cherokee Jeep, its back door left open. Charley whirls and dashes out of the room, leaving his mother staring after him. JT1DT CHARLEY -- 20 EXT. SECOND FLOOR HALL - NIGHT He races down the corridor for the stairway landing. 21 INT. STAIRWAY - PORTICO-- NIGHT He pounds down the stairs, taking'them two at a time, whips around the newel post and flies down the hall toward the kitchen. 22 EXT. BACK YARD - DANDRIGE HOUSE - NIGHT Charley slips out his back door and through. the darkness into the adjoining yard. (CONTINUED) 16. 22 CONTINUED: .There, among a clump of bushes, he crouches down, watching the black Jeep. The rear door is open as though to receive some burden, the yard empty, Billy Cole no longer'there. Suddenly the back door to the Dandrige house opens again and Billy comes out carrying a large bundle in a plastic trash bag over his shoulder. 'Charley's mouth falls open as he realizes the bundle could'easily be a woman's dead body. Billy dumps it in the back of the Jeep and slams the door, crossing. in front of the vehicle for the driver's door. Suddenly there is a terrific WHOOSH'through the air over Charley's head, the moonlight momentarily blotted out, the BEATING OF LARGE WINGS above causing the bushes around him to bend and sway. It's almost as though a huge bird, a bat perhaps, just swooped over his head from the top floor of- the Dandrige house. And then silence returns. Charley lifts his head, peering about in the darkness just in time to see a shape, more a shadow than a man, step out of the darkness no more than ten feet away. It's Jerry Dandrige. He glides toward the Jeep, tossing Billy a woman's purse. JERRY Here, you forgot this. Billy one-hands it out of the air, turning back for the Jeep. Just then the back door to Charley's house bangs open, sending a shaft of light into the darkness. Judy Brewster stands there in the doorway, calling to her son. JUDY Charley! Dandrig.e and Billy Cole freeze, both of them turning to look at the back door to the Brewster house, inadvertently staring right at the clump of bushes where Charley.is hid .ing. Dandrige takes a step forward, his eyes probing the dark- ness as though he can actually see through the murky black- ness right to where Charley hides. Terrified, Charley suddenly leaps to his feet and races back into his own yard, disappearing through the back door with his mother. Billy steps forward as though to follow the boy. Jerry puts out a restraining hand, stopping him. DISSOLVE TO: 23 INT. CHARLEY'S HOUSE - KITCHEN - NIGHT Charley sits at the kitchen table, his mother putting a cup of hot cocoa into his hand. (CONTINUED) yl Rev. 11/23/84 17. 23 CONTINUED: JUDY Here, drink this.. CHARLEY-, (ALREADY FRUSTRATED AS HELL) Mom, I don't need hot cocoa. I didn't have a nightmare. They did kill a girl over there. JUDY (feeling his forehead for a fever) Charley, how late did you stay up studying? CHARLEY (shoving her hand away) iMom, I'm not sick. The guy did have `fangs and a bat did fly over my head .and then Jerry Dandrige stepped out of the shadows. You know what that means, don't you? JUDY (staring at him worriedly) What?. CHARLEY He's a vam_re! JUDY (.staring at him INCREDULOUSLY) A what? MATCH CUT TO: 24 INT. AMY'S HOUSE - KITCHEN - DAY Amy's staring at him much as his mother did, with a look of shock and total disbelief on her face. AMY A what? CHARLEY (frustrated as hell AGAIN) A vampire, damnit! Haven't you listened to anything I've said? (CONTINUED) Rev. 11/23/84 18. 24 CONTINUED: AMY Charley, is this some kind of trick to get me 'back? CHARLEY (turning toward the door in disgust) i Forget it, L'm going to the police. AMY (blocking his path) Charley, you can't go to the police with a story like that. They'll lock you up. CHARLEY All right, then I won't tell them it's a vampire. But I sure as hell am going to tell them about the two women -- AMY CHARLEY -- Be slams out the back door, leaving her staring after him, ) T worried sick. DISSOLVE TO: 24A EXT. DANDRIGE HOUSE - DAY A police car pulls up, Charley in a red Mustang behind him. He gets out, walking to meet LIEUTENANT DETECTIVE LENNOX, a tall man in his early.forties. He hitches his pants, staring at the teenager hard. LENNOX You sure about this now? Charley nods emphatically and the cop turns toward the house, Charley following. 25 OMITTED 26 27 INT. DANDRIGE HOUSE - PORTICO - STAIRWAY - DAY The KNOCK reverberates through the silent house. Nothing for several seconds; then the sound of someone walking down the hall from the kitchen. Billy Cole appears, stopping before the door, staring through the curtain at the dim outline of Charley and the Detective standing on the porch. He opens the door, staring at the boy and the cop. BILLY Yes. (CONTINUED) Rev. 11/26/84 27 CONTINUED: LT. LENNOX Mr. Dandrige? BILLY ' No, I'm his roommate,‚Ä¢Billy Cole. LT. LENNOX (flashing his badge) Lieutenant Lennox, homicide. Mind if we come in? BILLY No, not at all. He steps back from the door, allowing them to enter. The house is a mess of cardboard moving boxes and heavy Victorian furniture scattered everywhere, a number of the pieces still under white dust covers. Clocks line one wall, none of them working, all set at 6 p.m. BILLY Is there anything I can help you with? LIEUT. .LENNOX There was a murder last night. Charley lives'next door and thinks he saw the victim in this house. BILLY (SEEMINGLY SHOCKED) That's impossible. I was here with Jerry all last night. There was nobody else in the house. CHARLEY That's a lie. (nodding at Billy) I saw him carry her body out in a plastic bag. LIEUT. LENNOX What do you say to that, Mr. Cole? BILLY (RELIEVED) The kid's crazy, officer. I did take some bags out last night, but they were full of trash. Here, let me show you -- 28 INT. LIVING ROOM - DAY He leads them into the living room which is'a mess of pack- ing crates, boxes, and furniture. He holds up a plastic trash bag stuffed with wrapping paper and cardboard boxes. (CONTINUED) ch Rev. 12/4/84 20. 28 CONTINUED: 28 BILLY See. We're just in the process of moving in -- CHARLEY, The bag I saw had a body in it, not trash. I BILLY Did you actually see the body, Charley? CHARLEY No, but --. BILLY (TO LENNOX) Look, let me take you out back. I'.11 show you the bags I"put in the garbage. LT. LENNOX Okay, let's see 'em -- He takes a step to follow Billy out of the'room when Charley, increasingly desperate, stops him. CHARLEY Look, I can prove he's lying. Let's look in the basement instead. LT. LENNOX What's down there? BILLY (turning and staring AT CHARLEY)_ Yes, Charley, what's down there? Charley meets the big man's gaze and finds his tongue stuck to the roof of his mouth. The seconds, tick past. Still nothing from Charley. Billy turns to the Lieutenant with a smile. BILLY Obviously the boy's made a mistake, OFFICER -- CHARLEY (bursting out with it) A coffin, that's what's down there, a coffin. I saw them carry it in! LT. LENNOX (TAKEN ABACK) What? (CONTINUED) A 22. 30 CONTINUED: LT. LENNOX (CONT'D) (almost slamming Charley up against the car) Now you listen to me, kid. If I ever see your ass down at the station house again, I'm throwing it in jail. Forever! He hops in his-car, slamming the door behind him as Charley hovers by the window. CHARLEY Lieutenant Lennox, please, listen to ME -- Lennox ignores him, ROARING away in a cloud of burning rubber. Charley stares after him, not knowing what to do now. He hears the PORCH DOOR of the Dandrige house OPEN behind him and whirls to find himself staring at Billy Cole, standing on the porch looking back at him, a toothpick in his mouth. There's something very unpleasant in the big man's eyes:- like murder. Charley slowly backs away from him toward his car, Cole's eyes following him.. Charley glances down at his wrist- watch.' It's four in the afternoon. He glances up at the sun overhead. It's beginning to sink, late afternoon and all that implies drawing nigh. He looks back at Billy Cole. The man is smiling at him now, reading his thoughts. Charley leaps into his car and takes off down the street. CUT TO: 31 INT. EVIL ED'S HOUSE - PORTICO - STAIRWAY - DAY Charley bursts through the front door and pounds up the stairs, yelling as he comes. CHARLEY Evil! 32 ZNT. EVIL ED'S BEDROOM - DAY Evil Ed sits at his desk,. hand painting a monster model of a ghoul as Charley bursts through the door and skids to a halt before him, breathing hard. Evil's room is a veritable museum of horror, movie posters of Frankenstein and the Wolfman dotting the wall, the shelves full of monsters', models, the floor littered with horror comics. Evil glances up at Charley., obviously not happy about being disturbed. (CONTINUED ) 23. 32 CONTINUED: EVIL ED And to what do I owe this dubious pleasure? CHARLEY The vampire knows that I know about him. Or at least he will when he wakes up tonight. EVIL ED What are you talking about? -CHARLEY I've got a vampire living next door and he's going to kill me if I don't protect myself. EVIL ED (looking at him like HE'S CRAZY) What? CHARLEY Look, Evil, I haven't got time to explain. Just tell me what to do to .protect myself. EVIL ED (going back to his PAINTING) Very funny, Brewster. CHARLEY I'm not kidding. Evil, please, just tell me what to do. EVIL ED Why should I help you? And don't call me that. CHARLEY (digging money out of HIS POCKET) Look, I've got eight bucks. Tell me what' to do and it s yours. Evil Ed stares at the money for a moment and then sweeps it into his. pocket. EVIL ED Far be it from me to turn down a fool's money. Where and when do you expect this vampire to attack? (CONTINUED) pk Rev. 11/6/84 24. 32 CONTINUED: (2) CHARLEY In my bedroom. Tonight. Evil Ed puts down his brush and pulls a dime store cross from his desk. He hands it to-Charley. EVIL ED Start with this. Of course, you have to have faith for it to work. Then get some wolfbane -- CHARLEY What? EVIL ED Forget it. Get some garlic, links of the stuff you can wear around your neck and hang from your window. If he comes for you,, that'll be the way. Then, of course, there's holy water. But you need a priest to say a blessing over it first. He goes back to his painting. Charley stares at him. CHARLEY That's all? EVIL ED 'I'm afraid so. Of course, they can change into wolves and bats at will and I don't know what you do about that. But your best protection right now is that a vampire can't enter your house without being invited by the rightful owner first. CHARLEY You sure about that? EVIL ED Positive. SMASH CUT TO: 33 OMITTED THRU 35 36 INT. CHARLEY'S BEDROOM - NIGHT Charley steps back to stare at his window, finished at last. Be's done the best he can, nailing-it shut, strewing it with garlic, his chest of drawers shoved in front of it, partially blocking. it. (CONTINUED) A 25. 36 CONTINUED: The cross Evil Ed gave him sits on his desk. He tests the window. It's secure. His mother calls up to him from the portico below. JUDY (O.S.) Charley, come down here, please. There's someone I want you to meet. He turns and walks out of the room, feeling better now. 37 ‚Ä¢ INT. PORTICO - STAIRWAY - NIGHT He bounces down the stairs and turns toward the door to the living room. 38 INT. LIVING ROOM - NIGHT He walks into the living room to find his mother standing there, a drink in her hand. CHARLEY Yeah, Mom -- JUDY Charley, this is.our next door neighbor, Jerry Dandrige. Charley freezes. Jerry Dandrige sits in the best chair, a drink in his hand, smiling at Charley. He's even better looking close up, almost blindingly beautiful, too much so actually. There's something disturbing about it, as though such good looks have to cover up an inner putrefaction, some sort of hidden, sweet, sickly rot just beneath the perfect pale skin. He rises, the smile widening as he sees the terror in Charley's eyes. He holds his hand out as Judy watches her son for his reaction. JERRY Hello, Charley. Charley just stares at him. JUDY Well, shake hands, Charley. There's no reason to be rude. Charley slowly crosses to Jerry and takes his hand, shaking it as one would the hand of a recently disinterred corpse. Judy.smiles, pleased with herself. (CONTINUED) 4 26. 38 CONTINUED: CHARLEY What's he doing here? JUDY (rising and smiling AT JERRY) I invited him over for a drink. CHARLEY (stone cold horrified) You what? JUDY (a bit taken aback by the intensity of her SON'S REACTION) Invited him over. Why? Charley turns back to stare at Jerry. Jerry smiles, speak- ing in a voice that flows like honey, charm and nascent sensuality oozing from his every pore. JERRY What's wrong, Charley? Afraid I'd never come over without being invited first? You're quite right. But, of course, now that I've been made welcome, I'll probably drop by quite a bit. His voice changes, suddenly charged with double meaning, his eyes burning into Charley. JERRY In fact, anytime I feel like it. (changing tack, turn- ing back to Judy) With your mother's kind permission, of course. JUDY (TOTALLY ENRAPTURED WITH HIM) Of course, Jerry. You're welcome anytime. It's so nice someone interesting has finally moved into the neighborhood. It's so dull around here. I mean how many nights can you play Trivial Pursuit? Right, Jerry? JERRY Right, Judy. Charley watches this scene, backing across the room, terri- fied. He suddenly hits an end table, knocking it with a crash to the floor. Judy looks at him. He's ghost white. (CONTINUED) ch Rev.. 12/4/84 27. 38 CONTINUED: (2) JUDY Charley,. are you all right? CHARLEY (his eyes on Jerry as he backs for the door) Yeah, fine. I've just got to get back to my trigonometry, that's. all. JERRY Nice meeting you, Charley. (his voice suddenly dripping with double ENTENDRE) See you soon. And unseen by Judy, he looks directly at Charley and winks at him. Charley whirls, bolting out of room and pounding up the stairway out of sight. Judy turns to Jerry. JUDY You know, our town really isn't'as boring as I make it sound. For instance, there's a dance at the church the first Friday of every month. JERRY Really? JUDY (BIG SMILE) Really. Jerry smiles a secret smile and takes a sip of his drink. 39 INT. CHARLEY'S BEDROOM - NIGHT Be bursts through the door and scoops up the phone, punch- ing out a number frantically. CUT TO: 40 INT. EVIL ED'S BEDROOM - NIGHT He is still at work, painting the monster model of the Ghoul. The PHONE RINGS. He picks it up. EVIL ED Yeah. CHARLEY (V.O.) The vampire is in the house. My idiot mother just invited him over for a drink. (CONTINUED) Rev. 12/4/84 27k. 40 CONTINUED: EVIL ED (starting to laugh) No shit? CUT BACK TO: 41 INT. CHARLEY'S ROOM - NIGHT CHARLEY Ed, this is serious! (CONTINUED) Rev. 12/4/84 28. 41 CONTINUED: EVIL ED (V.0.) You still have my'cross? CHARLEY Yeah, and I nailed my.window shut. EVIL ED ' (V .0 . ) Then relax. There's no way he can get to you. CHARLEY You sure? CUT BACK TO: 42 INT. EVIL ED'S BEDROOM - NIGHT EVIL ED Positive. Now good night. I've got some studying to do. He hangs up, returning to painting his monster model of the Ghoul, mumbling to himself. EVIL ED Fucking idiot. CUT BACK TQ: 43. INT. CHARLEY'S BEDROOM - NIGHT Charley-grabs the cross off his desk and nervously fingers it, turning to stare out his window at Jerry's window next door. The shade is pulled, but there's a light on behind it. It doesn't make Charley any less nervous. DISSOLVE: 44 EXT...DANDRIGE AND BREWSTER HOUSE - NIGHT Both houses sit quietly on the street, wrapped in the dark- ness of the night air. An ordinary enough image, two houses, sitting there, but there's something disturbing about it. After.a few seconds one realizes what it-is: the Dandrige house almost looks like it's about to pounce on its next door neighbor, the Brewster house. 45 INT. MASTER BEDROOM - NIGHT Judy is sound asleep, a light breeze wafting the curtains. of her partially open window, sleeping mask over her eyes. 46 INT. SECOND FLOOR HALL - NIGHT Darkness and silence, and nothing else but moonlight spill- ing through the window at the far end. 29. 47 INT.. CHARLEY' S BEDROOM - NIGHT He sleeps fitfully in his chair, his door locked behind him, his window barricaded with his desk. 48 INT. SECOND FLOOR HALL - NIGHT Suddenly the shadowy outline of.what might be a huge bat swoops past the window outside followed by the BEATING OF MIGHTY WINGS. A second later something is heard landing on the roof with a heavy THUD. 49 INT. CHARLEY'S ROOM - NIGHT Charley sits bolt upright in his bed as he hears it, lis- tening hard. But now there's nothing but silence. He stares up at the ceiling, listening and waiting. Then he hears what SOUNDS LIRE FOOTSTEPS walking across the roof. And then silence again. Grabbing the cross and holding on to it tightly, he walks toward his door. 50 INT. HALLWAY - NIGHT He unlocks the door and pokes his head out, looking up and down the hall. Nothing. Then he hears it, a NOISE from the floor below. It sounds like fingernails scratching-. across glass. He tiptoes to the landing, staring down at the shadow enshrouded portico below. The NOISE IS LOUDER now, spookier, more insistent. Clutching his cross, he starts down the stairs. 51 INT. MASTER BEDROOM - NIGHT' Jerry Dandrige stands above Judy, staring down at her sleeping peacefully in her bed. The window behind him is now fully open. He glides across the room past Judy's bureau with her wigs sitting on it, past the wall mirror without leaving a reflection to mark his passing, and out the door with unnatural silence. 52 INT. HALLWAY -.NIGHT Jerry closes the door behind him, giving it a sharp tug that slightly dislodges it-from it hinges, wedging it..tight against the frame. It's something no man of ordinary strength could accomplish that easily. He turns away, gliding across the hall toward the open door to Charley's bedroom. 53 INT. STAIRWAY - PORTICO - NIGHT Charley stands on the stairs, staring through the doorway into the living room. There is nothing but shadows in there. And then he sees it, the source of the scratching sound. (CONTINUED) ch Rev. 12/4/84 30. 53 CONTINUED: A tree branch, caressed by the wind, is slowly.moving back and forth across a pane of glass in one of the french doors to the patio. Relieved, Charley slips the cross into his pants pocket and turns, walking back up the stairs. 54 INT. HALLWAY - NIGHT He walks down the hall past his mother's bedroom, hardly giving it ‚Ä¢ glance as he disappears into his own room. 55 INT. CHAARLEY'S ROOM - NIGHT Be shuts the door softly behind him, locking it, sits, turns on the TV, rising again nervously and... turns to find himself facing Jerry Dandrige. Be opens his mouth to scream. The vampire's hand whips out with blinding speed and seizes him by the throat, choking off all sound. JERRY Now we wouldn't want to wake your mother, would we, Charley? (SMILING) Then I'd have to kill her, too. Right? Charley nods and Jerry flings the boy the length of the room with inhuman strength, slamming him into the far wail. Charley slips to the floor, all the air knocked out of him. Jerry advances on'him as Charley fights to get his breath back. - JERRY Do you realize the trouble you've caused me? Spying on me, almost disturbing my sleep this afternoon, telling policemen about me He reaches down and grabs the boy, jerking him erect, and slamming him against the wall again, Charley's legs dangling several feet above the floor. Jerry leans in, pressing his face close to Charley. JERRY You deserve to die, boy And he. begins to slowly choke Charley, suddenly stopping, staring into the boy's face. JERRY Of course, I could give you something I've never had... a choice. You forget abotrt me and I'll forget about you. What do you say, Charley? (CONTINUED) 32. 55 CONTINUED: (2) Judy can be heard RATTLING HER BEDROOM DOOR in its frame, trying to get it open. Jerry's head whips back and forth between the door to the hall and Charley, the SOUNDS of Judy struggling to get her bedroom door open becoming louder all the time. The door across the hall starts-to give with a groan. With a hiss of frustrated fury, the vampire whirls, throws open Charley's door, and dashes out into the hail. Charley throws off his shock at still being alive and plunges after him. 56 INT. HALL - NIGHT Charley skids to a halt in the hall, sees the window at the far end is flung open wide, and dashes to it, sticking his head out and staring up at the night sky. Suddenly on the roof above him, there is the SOUND OF POWERFUL WINGS, beat- ing away into the night. air. And then nothing. He slowly pulls his head back in and closes the window behind him, locking it. He turns to find Judy stumbling out to her room at last and looking at him. JUDY Charley, what happened? CHARLEY (THINKING FAST) I, I just had a nightmare. JUDY (INSTANTLY CONCERNED) Oh, no. You know, I had one last night. I was at this White Sale and there I was, standing at the counter, and I reached for my credit cards only to realize I was naked as the day I was born -- Suddenly they both hear a dull THUD as if metal is bending, .then nothing. Judy stops, turning back toward the closed window as Charley peers through the glass, seeing the sha- dowy form of Jerry Dandrige slipping out of their garage and crossing into the.back yard of his own house. JUDY Now what's that? She takes a step for the window only to have Charley grab her, gently guiding her back toward her bedroom. CHARLEY Nothing, Mom. Just the raccoons in the garbage again. Why don't you go back to sleep. , JUDY But what about your nightmare? Do you want a valium? (CONTINUED) ch Rev. 12/4/84 33. 56 CONTINUED: CHARLEY I'm fine now, honest. Night. JUDY Well, I do needy sleep. I start the night shift tomorrow, you know. CBARLEY Yes, Nom, I know. Now, good night. He pushes her through her door into her bedroom, closing the door behind her and turning for his own room. 57 INT. BEDROOM - NIGHT Charley closes the door behind him, clicking on the TV for company, hardly looking at it as he paces. the room, lost in thought. It's Fright Night again, another hor- ror film on. It's the last thing he needs to see, and he's about to lean over and turn.it off when the PHONE suddenly RINGS by his side, raking him jump. Be picks it up, but doesn't say anything, just listening at the receiver. Suddenly he bears Jerry's sibilant whisper. JERRY (V.O.) I know you're there, Charley, I can see you. Charley slowly turns, staring out his window. There, in the window of the house next door,. stands Jerry Dandrige, the phone to his ear, staring at Charley. S8 INT. DANDRIGE HOUSE - JERRY'S BEDROOM - NIGHT Jerry stands at his window, staring back at the horror struck visage of the boy it the. window of the house next door while Billy kneels at his side, solicitously bandag- ing his injured hand. JERRY I just destroyed your car, Charley. But-it's nothing compared to what I'm going to do to you tomorrow night. Be hangs up, slowly reaching out and drawing the shade. 59 INT. BREWSTER HOUSE - CHARLEY'S.ROOM - NIGHT Charley watches the shade blank the lit window out. (CONTINUED) 4 33A. y1 Rev. 11/23/84 1 59 CONTINUED: He slowly hangs up the phone, sinking onto the bed, thinking hard and coming up with no answers. On the TV, the horror'flick dissolves as Peter Vincent comes on doing a station break rap. PETER (V.O.) Hello, horror fans. I hope you're enjoying "I, A Vampire Part Two." It's one of my best. Did you know a lot of people don't believe in vampires? (CONTINUED) ch Rev. 12/4/84 34. 59 CONTINUED: Charley straightens up, his gaze suddenly riveted to the screen. PETER (V.0.) But I do. Because I know they exist. I have faced them inn. all their guises, men, wolves, bats. And I have always won. That's why they call me The Great Vampire Killer. (DRAMATIC PAUSE) Now, watch me do it -- The horror flick comes back up on the screen, a much younger Peter stalking Dracula through a drafty castle, stake and mallet in hand. Charley watches the movie with renewed, if not fervent interest, whispering to himself as he watches. CHARLEY Get him, Peter,. get him -- DISSOLVE TO: 60 OMITTED 61 EXT. STUDIO PARKING LOT - DAY Peter comes out of the studio dressed in his street clothes, moping toward his car, taking a cigarette from his cigarette case as he goes. Eels in his fifties, tall, saturnine, by nature very theatrical, but at this particular moment in time, also very depressed. Charley jumps out from hiding and hurries toward him. CHARLEY Hey, Mr. Vincent -- Peter ignores him, continuing to walk-toward his car as. Charley falls in beside him. CHARLEY Could I talk to you a minute? (nothing from Peter) Please, Mr. Vincent, it's terribly important. Peter, abruptly stopped, resigned to the fact that boy is not going to let him alone. He whips out a fountain pen. PETER All right, what do you want me to sign? CHARLEY (CONFUSED) Pardon me? PETER Well, you want my autograph, don't you? (CONTINUED) ._ .. 35. 61 CONTINUED: CHARLEY No, sir. I was curious about what you said last night on TV. You know, about believing in vampires. PETER What about it? CHARLEY Were you serious? PETER Absolutely. Unfortunately none of your generation seems to be. CHARLEY What do you mean? PETER (venting his frustra- tion on Charley) That I have been fired because no one wants to see vampire killers anymore. Or vampires either. Apparently all they want are demented madmen running around in ski masks hacking up young virgins. Now if'you'll excuse me -- Be starts for his car again, Charley falling in beside him. CHARLEY i believe in vampires. PETER (HARDLY LISTENING) That's nice. If only there had been more of you perhaps my rating would have been higher., CHARLEY In fact I have one living next door. Would you help me kill him ? That stops Peter cold. He turns and stares at the boy. PETER Pardon me? CHARLEY You know the murder of that girl that happened yesterday? PETER Yes. (CONTINUED) 36. 61 CONTINUED: (2) CHARLEY Well, the'guy who lives next door did it and he's a vampire. A moment. Then Peter turns away angrily. PETER If this is your idea of a joke, I am not amused. CHARLEY (GRABBING HIM) Mr. Vincent, I'm not joking. I'm deadly serious. Peter stares at him, sees he means it, and decides Charley's crazy. It makes him decidedly nervous. PETER - I'm sorry, you'll have to excuse me -- CHARLEY (hurrying after him) But, Mr. Vincent, I'm telling the TRUTH -- Peter stops before his car, on outrageous old clunker, and fishes out his keys. CHARLEY You just said you believe in VAMPIRES -- PETER (SHARPLY) I' lied. Now leave me alone. He opens the door only to have Charley slam it shut, star- ing at Peter desperately. ‚Ä¢ CHARLEY Please, you have to listen to me. The vampire tried to kill me last night-and trashed mv car when he didn't succeed. He'll be coming back for me tonight and if I don't get help, he's going to kill me -- Peter shoves him aside,‚Ä¢hopping into his car, quickly lock- ing the door behind him, obviously terrified of Charley. As he starts the engine, Charley beats on the window. CHARLEY Mr. Vincent, you've got to believe INC -- (CONTINUED) 37. 61 CONTINUED: (3) Peter backs up, hauling ass out of the lot, Charley running after him.' CHARLEY Mr. Vincent He comes to a halt, realizing its useless, standing there .watching as Peter disappears out of the lot and down the street. CUT TO: 62 OMITTED 63 EXT. BREWSTER HOUSE - DAY Amy rides up on her moped just as Evil Ed starts.up the front walk toward Charley's house. She dismounts, looking at him. AMY What are you doing here? EVIL ED Me? What about you? I thought you just dumped him. AMY (hurrying up the walk) What I'm doing here is-none of your business. EVIL ED (hurrying after her) Aha, you do like him! He disappears into the house right behind her. 64 INT. BREWSTER HOUSE - PORTICO - STAIRWAY - DAY Amy and Evil Ed push open the door and step inside,'Amy yelling up the steps. AMY Anybody home? No answer, nothing but silence. She and'Evil Ed exchange glances, then start up the steps. 65 INT. CHARLEY'S ROOM - DAY ' Amy and Evil Ed walk through the door and stop, gasping at what they see. (CONTINUED) Rev. 11/16/84 38. 65 CONTINUED: The room has been transformed from a normal, happy kid's room into a armament camp for a vampire assault. The window is nailed shut,. strands of garlic, a dozen at least, hung from the curtains. Dime store crosses and cru- cifixes are everywhere,, in every imaginable shape and size. Charley sits. in' the middle of the floor, whittling a stake from a slat of grape fence, a hammer by his side. EVIL ED (STARING AROUND) What's all this for? CHARLEY Self-defense. Not that I think I'll need it. He'll be dead before nightfall. AMY (exchanging.: worried glances with Evil. Ed) Who will be? CHARLEY Dandrige. I'm waiting for the guy he lives with to leave, then I'm doing to go next door, find his coffin, and pound this through his heart. He holds up the stake. Evil Ed and Amy look at it, hor- rified. AMY That's murder, Charley. CHARLEY (looking back at her with total seriousness) You can't murder a vampire, Amy. They're already dead, remember. AMY Charley, you're acting crazy. CHARLEY I don't have any choice, Amy. The police won't listen to me,.my mother thinks I'm crazy, you two, even Peter Vincent thinks I'm nuts. AMY (SHOCKED AGAIN) You actually went to Peter Vincent? (CONTINUED) 39. Rev. 11/16/84 65 CONTINUED: (2) CHARLEY (NODDING) Yeah. Dandrige has got to be stopped. Listen. I just taped this. He hits the play button on his stereo Dolby TAPE DECK and a local RADIO NEWSCAST PLAYS back. over the speakers. NEWSCASTER (V..0. ) And now for the two o'clock news. Another body of a young woman was discovered early this morning in back of the Sheraton Mall -- He hits the stop button and turns back to them. CEARLEY See. After he attacked me last night he went out and had his dinner. (turning to stare out the window at the Dandrige house again) No, I- don't have any choice. Somebody has to stop him. Hold.on, I need ANOTHER STAKE He rises and disappears out the door into the hall. Evil Ed turns to Amy, truly frightened for the first time. He whispers to her. EVIL ED What are we going to do? if we don't stop him he's actually going to try to kill this guy. (REALLY HORRIFIED) With a stake through the heart! AMY I know, I know -- EVIL ED I don't believe this. It's like Fright Night. AMY (her eyes lighting up) That's it! -EVIL ED What? AMY We get Peter Vincent to prove to him that this Dandrige guy isn't a vampire. EVIL ED (shocked by the SUGGESTION) How are we going to do that? (CONTINUED) bi Rev. 10/9/84 40. 65 CONTINUED: (3) AMY I don't-know, but we better figure out a way if we don't want to be visiting Charley in jail. Charley enters from the hall, carrying another slat of wood to be sharpened. Evil Ed and Amy fall silent as he takes his seat by the window and goes back to his whittling. AMY (nervously clearing her THROAT) Charley, .it's going to be dangerous doing into that house alone, isn't it? (CHARLEY NODS) You're going to need all the help you can get, right? Somebody like Peter Vincent for instance. CHARLEY I told you, I already tried him. AMY Why not let us try before you do anything? CHARLEY Why should he believe you anymore than he did me? AMY Maybe we're better talkers. CHARLEY Fat chance. AMY What happens if you go into that house alone and he gets you? Who's going to stop him then? EVIL ED (JOINING IN) Yeah, then he'll be able to suck his way through this entire town. Not that it would-be much of a loss. CHARLEY (SLOWLY) I don't know -- (CONTINUED) bl Rev. 10/9/84 41. 65 CONTINUED: (4) AMY (pushing him hard) Charley, it'll be dark soon. You don't want to go into-"that house then, do you? CHARLEY No, you're right there. (ANOTHER MOMENT; FINALLY) All right, try him again.. AMY (RISING) Great. Now, you promise you won't do anything till .you hear from us? (as Charley nods; she turns to Evil Ed) Come. on -- Evil Ed hurries out of the room, Amy following him. Charley calls after her. CHARLEY AMY -- (she stops, turning BACK) You don't believe me, do you? AMY (SLOWLY) I love you., Charley. She turns and hurries out of the room. 66 OMITTED 67 INT. DANDRIGE HOUSE - PORTICO - DAY Billy stands at the window, peering through the curtain at Amy and Evil Ed as they hurry out of Charley's house and start down the street. He glances at his watch. It's four o'clock, another good two hours before dusk begins to fall. .He turns and stares thoughtfully up the stairway in the di- rection. of the attic. CUT TO: 68 OMITTED 69 INT. APARTMENT - DAY Peter lets himself into his efficency apartment carrying a handful of mail. (CONTINUED) bl Rev. 10/9/64 41A. 69 CONTINUED: 69 The place is small, but neat, the walls dotted with posters of his various movies, all in the horror genre, stretching back at least three decades. The bookshelves' and table are dotted with memorabilia, props and awards, from his various roles. He stops by the. table, going through the mail. They're bills and more bills, many marked "Last Notice", one of them an order to vacate this apartment within three days for failure to pay rent. Suddenly there is a KNOCK at his door and he goes wearily to answer it. He opens it to find Amy and Evil Ed standing there. (CONTINUED) pk Rev. 11/16/84 42. 69 CONTINUED: (2) PETER Yes. AMY Could we talk to you for a moment, Mr. Vincent? ¬Ä¢ PETER (his gaze sliding to the unpaid bills) I'm afraid now isn't the best time -- AMY Please. It's terribly important. He stares at her and. sees the desperation in her eyes. He steps back, closing the door behind him, and following them into the room. PETER Now what' can I do for you? An autograph or an interview for your school newspaper? AMY I'm afraid this is much more. important. PETER (FROWNING) Oh, really? AMY I know you're a very busy man, Mr. Vincent, but we're trying to save a boy's life. PETER (HURUMPHING) Well, yes, I see, where that could be more important. Would you care to explain yourself? EVIL ED (STEPPING IN) You remember a fruitcake kid named Charley Brewster. He said he came to see you? PETER' (shaking his head) No. AMY He's the one who thinks a vampire is living next door. (CONTINUED) yl Rev. 11/23/84 43. 69 CONTINUED: (2) 1 PETER (SMILING) Oh, yes. He's insane. (looking at Amy) Dear me, I hope he's not a friend of yours? EVIL ED . (MALICIOUSLY) She's got the hots for the creep. She flushes and smacks Evil Ed, making him yelp. She turns back to Peter. AMY We need your help' to stop him, Mr. Vincent. You see, he really does believe his next 'door neighbor is a vampire. Re's planning to kill him. EVIL ED (GLEEFULLY) Yeah, with a stake through the heart. 'Peter stares at them for a moment. PETER Are you two serious? (as Any nods) My dear, your friend needs a psychiatrist, not'a vampire killer. AMY (BEGGING) Please, Mr. Vincent. PETER I'm afraid not, my dear. (nodding at an open suitcase on the bed) You see, Hollywood beckons. I've been offered a starring role in a major movie. I've even had to quit Fright Night. So you see, I'm AFRAID -- .AMY I'll hire you. I'll give you money. PETER (quick as a wink) How much? (CONTINUED) or Rev. 11/26/84 44. 69 CONTINUED: (3) AMY I have a five hundred dollar savings BOND -- PETER I'll take it. (sitting in a chair across from her, sud- denly all charm) Now how are we going to cure your little friend of this delusion? EVIL ED I got it all figured out. We all go next door to the neighbor and you run some kind of vampire test on-him and pronounce-him human. Like in "Orgy of the Damned." You know, where you looked in the mirror and the guy didn't have a reflection and then you knew he was a vampire. PETER (GETTING MISTY-EYED) Ah, yes, that was one of my favorite roles. I still have the prop. 'He pulls out a silver cigarette case and flips it open. The inside of the lid is a mirror. He suddenly snaps it shut and slips it back into his pocket, looking up at them. PETER It sounds fine to me, but how do we get this next door neighbor to agree? EVIL ED (CONFIDENTLY) Leave that to me -- Nobody glances out the window as Evil Ed picks up the phone and dials 411, but if they did, they'd see night has fallen. CUT TO: 70 INT. DANDRIGE HOUSE - PORTICO - STAIRWAY - NIGHT As the CAMERA watches all the clocks on the wall begin to tick, signaling dusk has fallen and Jerry is awakening. CAMERA PANS off the clocks to phone on the portico table. It RINGS. Billy appears down the hall. from the kitchen. He picks it up. BILLY Yes. (CONTINUED) 45. 7Q CONTINUED: He listens as what must be the ATTIC DOOR is heard CREAKING OPEN on the floor above. Billy turns and stares up the stairway as Jerry appears out of the darkness, slowly walk- ing down the steps. Billy holds the phone out to him. BILLY It's for you. Jerry takes it. JERRY Yes. (HE LISTENS) Yes, this is Jerry Dandrige. (he listens some more, slowly smiling) I see. Yes, of course, I'm always willing to help young people. But Vm afraid crosses wouldn't do. You see, I've been reborn recently. He smiles at Billy; Billy smiles back. CUT BACK TO: 71 INT. PETER'S APARTMENT - NIGHT Evil Ed cups his hand over the receiver and turns to Peter as Amy watches.' EVIL ED He's a reborn Christian. He thinks crosses would be sacrilegious. PETER Ask him how he feels-about holy water? EVIL ED (back.into the phone) How about holy water? (he listens, then back TO PETER) Won't do either. PETER Tell him it'll-be just ordinary tap water and all he has to do is take a sip. Evil Ed turns back to the phone. CUT BACK TO: 46. 71A INT. DANDRIGE HOUSE - PORTICO - NIGHT Jerry listens into the phone while Billy watches. JERRY Yes, that sounds fine. Only don't come over till six tomorrow. (PAUSE) I'll be out until then. He slowly hangs up and turns to Billy. JERRY It seems we won't have to go out tonight after all. His friends are bringing him over tomorrow night. (PAUSE) To prove to him that I'm not a vampire. Billy smiles. So does Jerry. DISSOLVE TO: 72 OMITTED 73 EXT. BREWSTER AND DANDRIGE HOUSE - NIGHT Evil Ed and Amy drive up in a cab, hopping out, and hurry up the walk toward Charley's house. 74 INT. CHARLEY'S ROOM - NIGHT Charley sits in the dark-, a razor sharp wooden stake in one hand, a hammer in the other. He's dividing his attention between the window and the door. There is a M40CK at the door. He raises the stake, ready to defend himself. CHARLEY Who is it? EVIL ED (O . S . ) It's me and Amy, stupid. Open up. Charley opens the-door and lets them in. Amy throws her- self into his arms, almost dancing around the room in her joy. AMY Charley, Peter Vincent said he'd come. CHARLEY He did. When? AMY Tomorrow at six. (CONTINUED) 47. 74 CONTINUED% CHARLEY (SUDDENLY FRIGHTENED) But Dandrige will be out of his coffin by then. EVIL ED, Relax, he's Peter Vincent, the Great Vampire Killer. He must know what he's doing, right? CHARLEY (GETTING PARANOID) I don't know. Maybe.he didn't take it SERIOUSLY -- AMY (LYING MIGHTILY) Oh, he did, Charley, he did. CHARLEY (looking at her) Honest? AMY (NODDING SOLEMNLY) Honest. CHARLEY (SLOWLY) Then maybe we it really have a chance to kill Dandrige tomorrow night. (tears welling up in his eyes) You two don't know what it's been like, knowing there's a vampire living next door and having no one believe me -- AMY (SOOTHINGLY) It's all right, Charley She takes him in her arms, holding him close as Evil Ed turns away in disgust, staring out the window at the dark- ened window next door. 75 INT. DANDRIGE HOUSE - UPSTAIRS BEDROOM - NIGHT Jerry sits in the dark, rocking back and forth in a chair, staring out the window into Charley's room, catching just the dim outlines of the three kids in the house next door. He smiles; if anybody saw the smile, they'd run screaming in the opposite direction. DISSOLVE TO: Yl Rev. 11/23/84 48. 76 EXT. DANDRIGE HOUSE - DUSK INTO NIGHT The three teenagers, Charley, Evil Ed, and Amy, stand in front of the house waiting. Dusk is slowly gathering, the shadows lengthening as night closes about them. Charley glances nervously at his watch. CHARLEY 'It's six ten. He said he'd be here at six, right? EVIL ED Relax. He said he'd be here, he'll be here. Peter's old clunker appears around the corner. Amy is the first to see it. AMY Here he comes. The kids rush the car as Peter pulls up. CHARLEY Mr. Vincent, I can't tell you how much I appreciate this -- Peter slowly gets out of the car, stretching to his full height. He wears his vampire killer regalia, the Victorian suit, and carries a small leather satchel. There is some- thing truly majestic about him.. He looks down at Charley, laying it on. with a trowel. PETER Charley Brewster, I presume? (as Charley nods; Peter shakes his hand) Peter Vincent, vampire killer. And now down to business. Where is the lair of this suspected creature of the night? CHARLEY (pointing at the DANDRIGE HOUSE) There. PETER (STUDYING IT) Ah, yes, I see what you mean. There is a distinct possibility. He opens the satchel, withdraws a small crystal vial of water, slips it into his jacket pocket, closes the bag, and replaces it on the front seat of his car. He locks the car and turns back to the kids., straightening his shoulders. PETER Well, shall we? (CONTINUED) ch Rev. 12/4/84 49. 76 CONTINUED: CHARLEY Where're your stakes and hammer? PETER. I left them in my bag-. CHARLEY (HORRIFIED) You're not going in there without them? PETER I have to prove he's a vampire before I kill him, Charley. CHARLEY But I know he's a vampire. PETER But I am the one that has to know, Charley. This is holy water. If it touches him, he'll blister- and in this case I asked him to drink it while we all watched. He readily agreed. CHARLEY (SHOCKED) He did? PETER Yes. Which doesn't exactly strengthen your case, does it? Now, shall we go. He takes a step up the walk. Charley grabs his arm. CHARLEY But, Mr. Vincent, if I'm right and you prove he's a vampire, he'll kill us all right then and there. PETER No, he won't, Charley. Not with me here to protect you. After all, I'm Peter Vincent.. ' - (CONTINUED) Rev. 11/26/84 50. GR 76 CONTINUED: (2) He starts up the walk, Amy and Evil Ed following him. Charley runs after him, increasingly desperate. CHARLEY, But, Mr. Vincent, you don't know how powerful he is. He can change into a bat and fly through the night -- Peter stops on the porch, knocking on the door, listening to the boy with half an ear. PETER Of course, Charley, of course. But then he's never dealt with me before either. CHARLEY BUT -- Billy Cole opens the door, his face lighting up when he sees Peter.He shakes his hand warmly. BILLY Mr. Vincent, Billy Cole. This is a pleasure. Won't you all come .in? He steps back and.Peter, Evil Ed, and Amy enter the house. Charley has no choice but to follow. 77 INT. DANDRIGE HOUSE - PORTICO - NIGHT Billy turns and yells up the stairs, all the clocks behind him ticking madly, the hour 6:30 p.m. BILLY Hey, Jerry, they're here. Several seconds pass. Nothing happens. Peter turns to Billy. PETER Perhaps he didn't hear you. BILLY (SMILING) Oh, he heard me all right. Suddenly a STEP CREAKS at the top of the staircase where the shadows are the heaviest. Slowly Jerry Dandrige walks down the stairs into view, first his elegant shoes, then his legs with their fashionable pants, and finally the rest of him, all beautifully turned out. His handsome face stares down. at them as he makes his entrance. There is something truly majestic about him, both incredibly attrac- tive and yet frightening at the same time. (CONTINUED) 51. vl Rev. 11/23/84 77 CONTINUED: Jerry reaches the bottom of the stairs and turns to Peter with a blinding smile. JERRY Ah, Mr. Vincent. (shaking Peter's hand WARMLY) I've seen all your films and I've .found them very amusing. PETER (OBVIOUSLY PLEASED) Why, thank you -- JERRY (turning to Amy-and - Evil Ed) And who might these two attractive people be? PETER (doing the intros) This is Ed Thompson and Amy Peterson. JERRY (bending low over Amy's hand and kissing it) Charmed. (looking up at Charley with a wicked smile) Isn't that what vampires are supposed to do, Charley? Charley scowls at him. The others laugh. Jerry turns to the living room. JERRY Please, come in -- Be ushers Peter into the living room, Billy following. Amy and Evil Ed stare after Jerry, both totally captivated. AMY God, he's neat. She follows him into the living room. Evil Ed shoots Charley a disgusted glance. (CONTINUED) 52. 77 CONTINUED: (2) EVIL ED Some vampire, Brewster. He follows the others. Left alone, Charley has no choice but to join them. 78 INT. LIVING ROOM - NIGHT Jerry looks around at the packing crates and few pieces of dusty furniture and turns back to the others. JERRY I I You'll have to excuse the mess. I'm still unpacking -- CHARLEY (SOURLY) 1 Where do you keep your coffin? Or do you have more than one? PETER (a warning growl) CHARLEY -- JERRY (SMILING) It's all right, Mr. Vincent. I'm quite used to it by,now. As you may or may not know, Charley even brought the police over a few days ago. Peter, Amy, and Evil Ed all look at Charley, shocked. AMY Charley, you didn't. CHARLEY (ANGRILY) Damn right, I did; Only the cops .didn't believe me anymore than any of you. (back to Jerry) But you'll believe me in a few seconds. Mr. Vincent, give him the holy water. PETER (WARNING HIM) Charley, there's no reason to be rude about this -- PETER (raising a placating hand) It's perfectly all right, Mr. Vincent. Where is the, ah, holy water? (CONTINUED) 4 53. 78 CONTINUED: Peter withdraws the vial from his pocket. Jerry eyes it warily, staring at Peter, his voice suddenly heavy with double meaning. JERRY Are you sure that's holy water, Mr. Vincent? PETER (playing it up) Positive. I saw Father Scanlon bless it down at Saint Mary's myself. Jerry takes the vial from his-hand, pulling the stopper, and sniffing at it, for the first time nervousness creeping into his manner.. Charley sidles up to Amy, whispering in her ear as Jerry prepares to drink the water. CHARLEY Get ready to run. I'll protect you with this. He edges a cross out of his pocket, just giving her a glimpse of it. He glances up just as Jerry lifts his head back and. downs the contents of the vial in one swallow. He 1 7 7 turns to Peter triumphantly. JERRY There, satisfied? PETER Totally. (TO CHARLEY) Charley, you saw it. Are you convinced now that Mr. Dandrige isn't a vampire? Charley stares at Jerry and the vial, stunned almost into speechlessness. CHARLEY But, it can't be -- PETER You just saw it, Charley. You know as well as I do that no vampire could drink blessed water. CHARLEY Then it wasn't blessed! PETER (HUFF ILY) Are you calling me a liar, young man? (CONTINUED) 54. 78 CONTINUED: ( 2) Charley looks at Jerry. Jerry stares back at hire, smiling. Charley suddenly whips the cross out of his packet and holds it up. CHARLEY If he's not a vampire, then have him touch this? Jerry stiffens, his face losing its color, but none of the others notice. They're all looking askance at Charley. Peter steps up to the boy. PETER Charley, you've already made a fool of yourself once. There's no reason to compound the error. _ JERRY Yes, Charley, you've already.caused your friends quite enough pain. (his eyes burning into Charley, hammering the POINT HOME) You don't want to cause them any more, do you? Charley sees.Dandrige‚Ä¢coiling to . spring, Billy sliding into place blocking the doorway to the portico. The tension level in the room is suddenly unbearable. Peter, Amy, and Evil Ed are aware of it although they don't know the reason. Charley slowly edges the cross back into his pocket. CHARLEY No, no, of course not., JERRY And you're finally-convinced I'm not a vampire either,-correct? Their eyes lock; a moment passes. Then finally: CHARLEY Yes. Jerry smiles at him and the tension suddenly flows out of the room. Billy even smiles. Jerry steps forward, usher- ing them all toward the portico. JERRY Well, I'm glad that's all.settled. 79 INT. PORTICO - NIGHT. They all stop before the front door, Billy in the back- ground Jerry turns to Peter. (CONTINUED) 55. 79 CONTINUED: JERRY I can't tell you how much I. appreciate this, Mr. Vincent. You've been a great help. PETER -. Not at all, Mr. Dandrige. Glad to be of service. Jerry ignores Charley, turning to Amy and Evil Ed as Peter steps back, reaching into his coat pocket for his cigarette case. JERRY It's been very nice meeting both of you. Please, feel free to drop by anytime. (his eyes singling out Amy and.burning into her) You'll always be welcome. AMY (her eyes beginning to glaze over) I'd, I'd like that, Mr. Dandrige. JERRY Please, call me Jerry. Her face is beginning to stiffen, her eyes turning blank. Charley looks at her in sudden alarm, remembering the girl he saw through the window that night. He grabs Amy by the arm, tugging. her toward the door. CHARLEY C'mon, let's get out of here -- AMY (pulling away from him, her gaze never LEAVING DANDRIGE) Just a minute, Charley -- Smiling, Jerry turns to Evil Ed as behind them all Peter opens his cigarette case, takes out a smoke, about to tamp it down on a thumbnail when he glances at the mirror on the inside of the-lid. He sees Amy, Evil Ed, and Charley grouped around where Jerry Dandrige should be standing, but he's not there. It's as though the kids are talking to thin air. (CONTINUED) 56. 79 CONTINUED: (2) JERRY The same goes for you,.Ed I suspect we have many of the same interests. You know, in such things as horror movies and the occult. Peter's head jerks up and he looks at the doorway. Now he sees Jerry standing there, talking to the kids. Peter 4 looks back down at the mirror again. No Jerry. His face goes chalk white, his mouth gasps for air, and he drops the case from his palsied hands. It smashes to the hardwood floor with a crash. Everyone turns and looks at him. JERRY Something wrong, Mr. Vincent? Peter hurriedly scoops up the case, trying to hide his shaking hands and keep the tremor out of his voice. PETER No, no, just my clumsiness. Come along, we must be going. Thank you again, Mr. Dandrige He ushers the teenagers out the front door as Jerry watches, puzzled by his sudden change in attitude. 80 EXT. DANDRIGE HOUSE - NIGHT Peter plunges down the walk to his ca-r, the kids hurrying to keep up with him. Charley looks at him. CHARLEY What's wrong with you? PETER Nothing. He stops by his car, fumbling his keys-out of his pocket, hardly able to fit them into the lock with his trembling hands. CHARLEY Then why are your hands shaking? PETER (his hands shaking worse than ever) They're- not shaking. Be finally gets the door open, hurriedly sliding in behind the wheel, slamming the door behind them. Charley leans down, speaking through the partially open window. (CONTINUED) Rev. 12/4/84 57. 80 CONTINUED% CHARLEY You saw something in there, didn't you, something that convinced you he was a vampire? PETER Will you be quiet. CHARLEY Is Jerry Dandrige a vampire or not? 4 PETER (struggling to get the car started) No, of course not. CHARLEY Please, Mr. Vincent, you have to tell me. Our lives depend on it. PETER All right. He didn't cast a reflection in my mirror. Satisfied now? CHARLEY Mr. Vincent, you have to call the Polic e-and tell them -- The-ENGINE finally CATCHES, and he ROARS away in a cloud of burning rubber, Charley watching him go, half frustrated to death. CHARLEY SHITI 80A INT. DANDRIGE HOUSE - PORTICO - NIGHT Billy and.Jerry peer out the window, watching the-kids walk away from the house. JERRY (almost to himself) I could teach her so much -- BILLY What? JERRY Nothing. Jerry turns away from the window, sits at the foot of the stairs. (CONTINUED) yl Rev. 11/23/84 57A. BOA CONTINUED: BILLY (still at window) Well, at least they'll never believe the kid now. Jerry glances down and sees a sliver of mirror from Peter's cracked cigarette case at his feet. He picks it up, examining it. He casts no reflection in it. He holds it up for Billy to see. JERRY No? (RISING) Let's go. He grabs his leather jacket and moves- down the hallway toward the back door, Billy quickly following. SOB EXT. DANDRIGE HOUSE - STREET - NIGHT The kids are walking down the street away from the Dandrige house, the CAMERA CRANING UP to FOLLOW them as they recede in the distance, the darkness slowly swallowing them up. (CONTINUED) pk Rev. 11/16/84 58 80B CONTINUED: CHARLEY (turning to Amy and Evil Ed) Well, at least you two heard him. EVIL ED Heard who?- I CHARLEY Peter Vincent. He said Dandrige had no reflection. EVIL ED Probably just a trick of the light. CHARLEY (whirling on Amy) You felt how evil Dandrige was, didn't you, Amy? Remember the way he looked at you? AMY (confused by the MEMORIES) Yes, sort of -- EVIL ED (bored with it all) Oh, for Christ sake -- He turns, about to duck between two houses. CHARLEY Where are you going? EVIL ED Rome. It's dinner time. CHARLEY Wait a minute. We walk Amy home first. EVIL ED Why? CHARLEY Because it's after dark, pencil.dick, and there's a vampire back there! Be points back at the Dandrige house. Evil Ed just stares at him. EVIL ED Oh, shit, Brewster, you're certifiable, you know that. (CONTINUED) 58A. pk Rev. 11/16/84 80B CONTINUED: They all start down the street together again; growing smaller and smaller until they disappear into the darkness. 81 81 OMITTED CUT TO: 82 EXT. CITY STREET - NIGHT The town of Rancho Corvallis is middling size, perhaps a hundred thousand people. 1 (CONTINUED) 59. 82 CONTINUED: There are several tall buildings around, not many but enough. Street lamps cast pools of bright light and deep shadows everywhere. There are a few pedestrians out, a few cars passing by, but once again, not many. The three kids walk down the street. Evil Ed stops before the open mouth to a shadow encrusted alleyway. EVIL ED .Let's cut through here. CHARLEY No way. We want people and lights, the more the better. EVIL ED Look, Brewster, vampires don't exist. Haven't you gotten that through your thick head yet? CHARLEY What if you're wrong, Evil? What if Dandrige is a vampire and he thinks you know it. Would you walk down that alley then? The hair on the back of Evil Ed's neck starts to stand on end. Then he denies it. EVIL ED Aw, fuck you, Brewster. He takes a step toward the alley. Charley grabs him. CHARLEY Ed, please, just stick with us. EVIL ED Forget it. You may be chickenshit, but I'm not. He disappears down the alley into the darkness. Amy and Charley stare after him. She turns to Charley. AMY What do we ' do?.. CHARLEY ¬Ä¢ Let him go. No vampire's gonna want hint anyway.. Probably give him blood poisoning. They're about to turn away when a blood curdling SCREAM ECHOES out of the darkness of the alleyway. It's Evil Ed. Charley and Amy dash headlong into the alley after him. 60. 83 INT. ALLEY - NIGHT They speed through the darkness, skidding to a halt on the shadow slick pavement, looking around. CHARLEY Where is he? Amy spots him laying crumpled against a wall. AMY Over here. I They dash to him, kneeling by his side. Evil Ed's eyes are closed, his breathing shallow. Charley tries to shake him awake. CHARLEY Ed, Ed, are you all right? Nothing from Evil Ed. Charley looks at Amy. CHARLEY Jesus, I warned him -- Evil Ed's eyes suddenly snap open, staring up wildly at Charley. EVIL ED He got me, Charley. He bit me. (grabbing him by THE LAPELS) You know what you're gonna have to do, don't you? (as Charley shakes his head, really scared) Kill me, Charley. Kill me before I turn into a vampire and -- He suddenly heaves himself.at Charley, his mouth opening, going for his throat as Charley jerks back, terrified. EVIL ED Give you a hickey! He suddenly lets Charley go, rolling on the pavement and laughing like a maniac, perfectly all tight. Charley springs to his feet, furious with him. CHARLEY You asshole, you fucking asshole! Evil Ed rolls on the ground in hysterics, pointing at him, and laughing loudly. (CONTINUED) 61. 83 CONTINUED: EVIL ED Ha, hah, really fooled you. (climbing to his feet and dusting HIMSELF OFF) You really believed me, you poor dope! CHARLEY (flushed with anger) You'll get yours someday, Evil. He grabs Amy's hand and walks back down the alley toward the street and the lights. Evil Ed yells after him. EVIL ED (MOCKINGLY) Yeah., when? When I'm bit by a vampire? There are no such things as vampires, you fruit cake! Still chuckling to himself, he turns in the opposite direc- tion and-disappears down the alleyway into the darkness. A moment passes; nothing but silence. Then Jerry Dandrige steps out from a shadowy wall where it would be impossible for any mortal to have concealed himself. It's almost as though he materializes out of the night. He stares after Charley and Amy and then slowly turns to stare in the opposite direction after Evil Ed. He slowly walks in that direction. 83A EXT. FARTHER DOWN THE ALLEY -.NIGHT Evil Ed walks along, feeling safe and secure. And then he hears it, FOOTSTEPS behind him, coming through the dark slowly toward him. He turns and looks back. EVIL ED Charley, Amy, that you? He hears nothing but those FOOTSTEPS GETTING CLOSER.and CLOSER. The fear starts to work at him, twisting up his gut and making his forehead sheen with sweat. He steps forward, yelling out with false bravery. EVIL ED If that's. you, it isn't working. I'm not scared! And then Jerry emerges out of the shadows, smiling at him. With a scream, Evil Ed turns and runs. bl Rev. 10/9/84 62. 83B EXT. FURTHER DOWN THE ALLEY - NIGHT Evil Ed runs like he's never run before,‚Ä¢pounding through the dark, smashing into traffic cans and falling to the ground, leaping to-his feet, ignoring his skinned hands and bruised knees, running for his life and knowing it. 83C EXT. DEAD END NIGHT He suddenly skids to a halt, facing a brick wall. He whirls, his breath-coming in ragged gasps now, peering down the alleyway into the dark, listening to those FOOTSTEPS getting closer and closer. He slowly backs away until he has no further to go his back against the brick wall, on the verge of hysteria. EVIL ED No, no -- The FOOTSTEPS SUDDENLY STOP. Nothing but silence. The seconds tick past. He takes a step away from the wall, peering into the darkness with something like hope, preying that maybe, just maybe, Dandrige has given up. A voice suddenly whispers in his ear, no more than an inch away. JERRY Hello, .Edward. Evil Ed turns with a scream to find Jerry standing right next to him. Almost insane with fear now, slobbering like a wounded animal, he backs away from the shadowy figure, hitting the corner and sliding to the cold pavement, almost curled up in a fetal ball, tears streaming from his eyes. Dandrige walks over to him, staring down with something like pity in his eyes. JERRY You have nothing to fear from me. (in a voice like honey) I understand what it's like, being different. Only they won't make fun of you anymore or beat you up. I'll see to that. All you have to do is take my hand. Evil Ed slowly looks up at him through his tear-stained eyes to see Jerry staring-down at him, his. hand outstretch- ed to.him, a slight smile on his face, gentle, seductive, beguiling. JERRY Here, Edward, take my hand. Evil Ed looks down at the hand outstretched to him. (CONTINUED) Rev. 11/16/84 63. 83C CONTINUED: It's beautiful, perfectly shaped with thin, elegant fingers, almost womanly, the nails impossibly long, perfectly shapped, tapering to five gleaming, razor sharp points. Evil Ed slowly reaches out and-takes the vampire's hand. Jerry smiles down at him and slowly leans down, lifting him up into the last embrace Edward Thompson will ever know. 84 EXT. STREET - NIGHT Charley and Amy walk rapidly along a street, heading toward Amy's home. He casts a glance at her. CHARLEY How much further? AMY About ten minutes -- A DEATH RATTLE, long and-high-pitched, suddenly comes to them, ECHOING through the city streets, down alleyways and across apartment buildings, faint yet filled with so much terror it stops them in their tracks and leaves them staring fearfully about at the shadows. CHARLEY What was that? AMY Evil Ed messing around. (SHOUTING) Not funny, Evil! Her voice bounces off the walls down the street and then dies, leaving them staring at the darkness and the shadows, fearful. Amy tries to act brave, turning to Charley. AMY C'MON -- They start down the street again, Charley glancing nervously over his. shoulder in the direction of Evil Ed's scream. CHARLEY Amy, what if Evil really was in trouble? AMY Oh, come on, Charley, don't let him suck you in again -- All the street lights suddenly go out, plunging them into almost total blackness. (CONTINUED) Rev. 12/4/84 64. 84 CONTINUED: They whirl, looking back down the now totally dark street, slowly backing away from the darkness. CHARLEY (to Army, in a HOARSE WHISPER) Don't tell me it's a power outage. AMY (EQUALLY SCARED) What else could it be -- 7 Charley stops, grabbing her, and nods to a light pole oppo- site them. She follows his gaze to see a power box on the pole, its front ripped open, the wires inside shredded.- Before they can even gasp at the sight, they hear the SOUND { OF HUGE WINGS beating overhead.. A huge shadow of a bat flies across the building wall opposite them. That's all it takes; they whirl, dashing down the street. 85 OMITTED 86 87 EXT. ANOTHER STREET - NIGHT They come-racing down a street, under a bridge and start up the incline toward the ROAR above. They turn onto the bridge, starting to.cross it., slowing to a walk, breathing hard. CHARLEY I think we lost him. AMY Yeah. (stopping and turning TO CHARLEY) Charley, you were right about the holy water. We faked it. I'm just sorry I didn't believe you. CHARLEY It's all right, Amy. He kisses her, takes her hand, and they start walking up the bridge. CHARLEY We've got it made And they freeze.' There, high above them on one of the arches of the bridge, so high up no one could possibly get there unless they flew, stands Jerry Dandrige, staring down at them. With a scream, they whirl, racing off the bridge and down the street. (CONTINUED) pk Rev. 11/16/84 64A-. 87 CONTINUED: They suddenly turn the corner only to find they are facing Jerry Dandrige, standing on the sidewalk directly in front of them, amused by the frozen expressions of horror on their faces. CHARLEY- Run? He grabs Amy's hand, the two of them whirling and dis- appearing around the street corner. 88 OMITTED 89 EXT.. ANOTHER STREET - NIGHT I They race down the street.for the far corner. 90 EXT. ANOTHER STREET - NIGHT They whip around the corner only to skid to a halt. There stands. Jerry Dandrige again, smiling at them. He takes a step toward them and they whirl, diving down a side street. 91 EXT. SIDE STREET - CLUE RADIO - NIGHT They tear down the street, teeing the Club Radio, a fashionable disco, across the street. Its entrance is jammed with people trying to get in, all of them dressed to the teeth in New Wave and neo-punk. CHARLEY Over here -- (CONTINUED) I 65. 91 CONTINUED: Charley dives for it, dragging Amy after him just as Jerry appears. around the corner behind them, walking toward then with a steady gait, relaxed, in no great hurry, a hunter sure of his kill. Charley and Amy fight their way through the crowd until they reach the front door. A BOUNCER stands there, check- ing I.D.s and collecting the cover charge. He hardly looks down as Amy and Charley step up. BOUNCER Five bucks apiece. Charley frantically searches his pockets and comes up with change and nothing else. Amy pulls out a ten dollar bill and hands it to him. AMY I've got it -- As Charley takes it from her, he glances over her shoulder and sees Jerry moving through the crowd toward them. He shoves the money at the Bouncer hurriedly. CHARLEY HERE -- The man takes it and Charley grabs Amy, pulling her toward the door, watching over his shoulder as Jerry keeps coming closer and closer toward them. Suddenly the Bouncer reaches out and collars Charley'. BOUNCER Hey, just a sec. How old are you two? CHARLEY (lying through his TEETH) Eighteen. BOUNCER Let me see some I.D. Charley glances back. Jerry is just an arm's length away now. A MAN suddenly shoulders him aside just as he's about to grab Charley and Amy. MAN Hey, wait you turn. Jerry turns and stares at the man. Whatever the man sees in Jerry's eyes gives him the,cold sweats and.he backs hurriedly away. (CONTINUED) R 66. 91 CONTINUED: (2) Charley grabs Amy, using the moment to pull her away from the door and Jerry. The Bouncer shouts after them, holding up the ten spot. BOUNCER Hey, what about your.money? Charley and Amy come out of the crowd, backing away from the door just as Jerry emerges, stepping after them. He's only ten feet away now, smiling as he approaches, both kids realizing it's hopeless to run at this point. Backing away, Charley and Amy cross the mouth of an alley. There's the CRASH OF A GARBAGE PAIL and Charley glances down the alley to see a dish washer from the club dumping garbage, the bright lights of the door into the kitchen shining like a beacon in the night. Charley grabs Amy's hand and jerks her down the alley after him as he races for the door. 92 INT. CLUB RADIO KITCHEN - NIGHT He and Amy race through the mad house of a kitchen, one of the COOKS glancing up from chopping lettuce as they speed pass. COOK (waving his butcher knife at them) Hey, you can't go in there! 93 INT. CLUB RADIO - NIGHT They burst through the door to find themselves in a packed VIDEO DISCO, four huge screens overlooking the dance floor, all of them playing Michael Jackson's "Thriller." Charley and Amy disappear into the crush of people. A moment later the cook appears from the kitchen, signaling a bouncer cir- cling the floor, keeping a wary eye out for trouble. Charley and Amy fight their way through the sea of dancers, Charley looking about. He sees what he wants, a sign above a hallway reading. rest rooms and phone. He drags Amy in that direction. At the corner of the dance floor, the cook can be seen ges- turing to the bouncer, pointing in the direction the two kids took. 94 INT. HALLWAY - NIGHT They break through the crowd and down the short hallway to a bank of pay phones opposite the restrooms. Charley digs a dime out‚Ä¢of his pocket, drops it, and dials. Amy screams at him to make herself heard above the din. (CONTINUED) 67. 94 CONTINUED: AMY Who are you calling? CHARLEY (SCREAMING BACK) The police. (back into the phone) Yeah, give me Lieutenant Lennox. CUT TO: 94A INT. PETER'S APARTMENT - NIGHT There is a KNOCK at Peter's locked and barred door. He slowly rises from his chair, the cross clenched in his hand, staring at it, terrified. The KNOCKING COMES.AGAIN, louder this time. He presses his lips to the door, whis- pering. PETER Who is it? EVIL ED Me, Evil Ed. PETER What do you want? EVIL ED There's a vampire out here. Let me in. Peter slips the cross into his pocket and unlocks the door. Be pulls Evil Ed into the room, hurriedly locking and bar- ring the door behind him. Evil Ed has changed, and not for the better. His skin is more sallow, huge dark circles under his eyes, his lips bloodless, his collar pulled up tightly around his neck. Peter turns to him. PETER What are we going-to do? EVIL ED What are you going to do, not me. Peter stares at him as Evil Ed slowly reaches up and pulls down the collar of his shirt, revealing two small puncture marks on his throat. Peter's eyes widen in horror; Evil Ed's smile only grows wider. EVIL ED I used to admire you, you know that. Of course, that was before I found out what ‚Ä¢a fake you were. (CONTINUED) 68. 94A CONTINUED: He advances on Peter, looming over him, Peter staring up at the boy in growing terror. Evil. Ed smiles at him, reveal- ing two huge fangs. Peter leaps out of the chair, dashing for the door, fumbling to undo the locks and bars with trembling fingers. Evil Ed watches, his rictus grin just growing wider. EVIL ED Peter Vincent, the great vampire killer, indeed! He throws himself at Peter, grabbing him from behind and whirling him about, opening his mouth wide to sink his fangs into him. Peter straightens, grabbing the cross from his pocket and thrusting it directly into Evil Ed's face, slamming it into his forehead between his eyes. His skin sizzles and cracks, smoke rising, and Evil Ed backs away, bent over screaming in pain, his hands held to his face. He slowly looks up as Peter watches, frozen in horror. Evil Ed drops his hands from his face, revealing a smoking sign of the cross branded into his forehead. He stares at Peter. EVIL ED What have you done to me? He turns to look into the wall mirror, but there's no re- flection.for him to see. He whirls on Peter, screaming at him like the spoiled brat he is. EVIL ED What have you done to me? He takes a step toward Peter and Peter thrusts the cross at him. PETER Back. EVIL ED The master will kill you for ‚Ä¢this. And not fast, slowly, oh, so slowly -- Peter advances on him, the cross held out in front of him with shaking hands, backing Evil Ed across the room toward the window. PETER Back, I say, back -- (CONTINUED) pk Rev.. 11/16/84 69. 94A CONTINUED: (2) Evil Ed snarls at him. like some trapped feral animal and suddenly whirls-, throwing himself headlong out the window in an EXPLOSION OF SHATTERING GLASS. Peter rushes to the window, staring out at the street below. Nothing. He cranes his-'neck peering at the heavens above. Nothing. He draws his head back in, leaning against.the wall, gasping for breath, on hand on his heart, feeling it about to leap out of his chest with the horror of it all. CUT BACK TO: 94B INT..CLUB RADIO - NIGHT I Charley slams the phone back into its cradle in frustra- I tion, Amy looking at him worriedly. CHARLEY He doesn't believe me. AMY (sinking back against the wall in defeat) I'm scared, Charley. I'm real scared. CHARLEY I won't let him get you, Amy. I promise. AMY We haven't got a chance, Charley. Not the two of us against him! What about your mother? Call her. CHARLEY She can't handle this, Amy. (SUDDENLY) You got Peter Vincent's number? AMY Oh, Charley, he doesn't care about us, I paid him to be there today. CHARLEY We don't have-any choice, Amy. Now give me his number. She reluctantly digs a scrap of paper out of her pocket as Charley drops another dime. CUT TO: 70. 94C CONTINUED: JERRY (a growl of inhuman RAGE) What? His hand snaps out, grabbing Evil Ed and jerking hin for- ward into the spill of light from the overhead street lamp. ' The sign of the cross is clearly seen on his forehead. Jerry stares at it in revulsion. JERRY What is that? EVIL ED (CRYING PITEOUSLY) He had a cross -- JERRY Fool! He slams him back into the seat with so much force the crossbar that holds it in'place.bends. 94D EXT.. STREET - JEEP - NIGHT Jerry leaps out of the Jeep, slamming the door behind him, Evil Ed and Jerry staring after him as he strides toward the entrance to the club. 94E INT. CLUB RADIO - NIGHT Charley stands' at the phone, Amy beside him, watching anxiously as he listens to the phone ring on the' other end. CHARLEY C'mon; Mr, Vincent, answer, please, answer. Unseen by either of them, Jerry Dandrige sweeps through the front door of the club, moving like a god among mere mor- tals, his eyes, now glowing a faint red, sweeping the crowd of dancers as he moves toward the dance floor. 95 INT. PETER'S APARTMENT - NIGHT Peter sits in the dark, clutching a cross, trying not to shake as he watches the-RINGING PHONE, too terrified to an- swer. It keeps on RINGING. CUT BACK TO: 96 INT. CLUB RADIO - HALLWAY - NIGHT Charley turns his back to the dance floor and Amy, shield- ing the phone with his body to cut down on some of the din, swearing to himself as he does so. (CONTINUED) pk Rev. 11/16/84 71. 96 CONTINUED: CHARLEY Answer me, damnit, answer me -- Behind him Amy stiffens, staring out onto the dance floor at the sea of people. Moving through the dancers like a golden god moving amid mere mortals walks Jerry Dandrige. The hot, colored lights of the dance floor highlight his hair, accentuating his gracefulness, making him seem even more beautiful than he is. He stops just at the edge of the floor and holds his hand out to Amy, the orgiastic dancing swirling on behind him, the pounding, SENSUAL BEAT OF THE FUNK ROCK washing over them both. His eyes burn into hers, willing her to come to him. Terrified, she turns back toward Charley. In that moment Jerry disappears from the mouth of the hallway, Amy turn- ing back just as she's about to grab Charley only to see he's gone. She stops, more intrigued than frightened, the image of that beautiful man holding out his hand to her sharp in her mind. She takes a step forward down the hall, continuing down the hall until she has a clear view of the dancers. Jerry's nowhere to be seen. Behind her., . Charley is just about to turn and glance. in her direction when a voice answers on the other end of the line. PETER (V.0.) Yes. Charley cups one hand over his ear, bending dawn to hear better. Behind hint Amy slowly disappears down the hall- way and onto the dance floor. CHARLEY Mr. Vincent, this is Charley Brewster. You gotta help us. Jerry Dandrige has me and Amy trapped in this club -- CUT BACK TO: 97 INT. PETER'S APARTMENT - NIGHT Peter moves to the window, the phone in his hand. He slowly pulls back the curtain, peering down at the street below. PETER I'm sorry, Charley. I-can't do that. (CONTINUED) gr Rev. 11/26/84 72. 97 CONTINUED: CHARLEY (V.0.) (INCREASINGLY DESPERATE) But you have to come, Mr. Vincent. You're the only one who knows what's going on. PETER You have to understand, Charley. Ed's one of them now. He just tried to kill me. If I try to go out he'll kill me for sure. CUT BACK TO: I 98 INT. CLUB RADIO - HALLWAY .- NIGHT I Charley is screaming into the phone, almost in tears. CHARLEY If you don'"t, Dandrige'll kill us! He's so into what he's saying on the phone, he doesn't even realize Amy's gone. CUT BACK TO: 99 INT. PETER'S APARTMENT - NIGHT PETER (TORTURED) I'm sorry, Charley, I just can't! He hangs up the phone, flattening himself back against the wall, terrified. CUT BACK TO: 100. INT. CLUB RADIO - HALLWAY - NIGHT Charley slams the phone down, turning to Amy. CHARLEY God damn him. He-won't help us -- -Only Amy is gone, the hallway empty. Charley rushes toward the dance floor. 101 INT. CLUB RADIO - DANCE FLOOR - NIGHT Charley emerges from the hall, looking about in the crush of people for Amy. Nothing; it's as if she's disappeared into thin air. He plunges out into the crowd. (CONTINUED) A gr Rev. 11/26/84 73. 101 CONTINUED: In another part of the bar area Charley moves among the people, desperately searching for Amy. He passes the drunken teenagers, ignoring them as he suddenly bumps into a table, a man yelling up at hiXi angrily. CORE USER Hey, watch out,.asshole! Charley glances down to see the table of users grouped around their mirror of white powder. He moves quickly away, searching for Amy. He stops by the wall of poseurs cruising everything that walks by, asking a girl that looks from behind as though she must be Amy's age. CHARLEY Pardon me, have you seen a girl, LIGHT-HAIRED -- (CONTINUED) pk Rev. 11/16/84 74. 101 CONTINUED: (2) The girl turns to him,. revealing herself as a woman well into her mid-forties, decked out like a teenager, Sylvia Miles ten years ago, staring at him hungrily. OLDER WOMAN Forget her, take me instead She reaches out to kiss Charley and he flees the crowd of flesh.watchers laughing at him as he goes. He moves along a wall of LESBIANS, stopping one, his des- peration growing. CHARLEY I'm looking for a girl -- LESBIAN So am I. Before Charley can recover a woman moves into her arms, Charley, shocked and disconcerted, backing away until he bumps to a halt against a heavy metal biker, the kind of guy who's into Twisted Sister. The parody of biker throws him to the floor for the insult, his friends, walking par- odies of bikers, laughing at Charley as he leaps to his feet and backs away into the crowd. He breaks free of the packed humanity, stopping on the stairs. It is at that moment that he catches a glimpse of Amy on the dance floor, dancing with Jerry. He hurries down the stairs and onto the floor. On the dance floor, Amy moves.with Jerry, their bodies locked together, slowly falling. into his eyes, dancing slower and slower with him until finally she has no will left of her own. She is "in love" with him. It is at that moment that she bends her head forward, laying it on his shoulder, exposing her neck to him, her eyes staring at the wall as they revolve around and around, Jerry bending down to kiss her neck, his mouth slowly opening. It is at that moment Amy sees her reflection in the mirrors mounted against one wall;.she is dancing alone. Shocked back to her senses, she goes rigid in Jerry's arms, trying to pull away from him, screaming as the music and the dancers stop. 'AMY Charley! Across the dance floor, Charley hears her SCREAM and pushes his way through the sea of humanity, fighting his way to her side where she stands with Jerry, once again caught in his eyes, slowly losing her will. Charley grabs Jerry by the shoulder, trying to pull him away from Amy. (CONTINUED) pk Rev. 11/16/84 74A. 101 CONTINUED: (2A) CHARLEY Let her go! Jerry looks down at him, smiling, mocking him as Amy sways in his arms, her eyes locked on. his face. JERRY What's wrong, Charley? Jealous? He grinds his pelvis against.Amy, dry humping her in front of Charley. She throws her head back, her mouth opening in .something close to ecstasy, her eyes glazed, staring up at him with adoration, giving herself to him as she cocks her head to one side, exposing her tender young throat. Charley goes crazy. CHARLEY You filthy son-of-a-bitch -- ! He swings at him only to have Jerry release Amy, catching Charley's fist in the palm of his hand easily. Be stares down at the boy, smiling cruelly. .JERRY You shouldn't lose your temper, Charley. It isn't polite. He tightens his grip, slowly squeezing Charley's fist. You can almost hear the knuckle bones grinding as Charley's face'contorts in agony, driving him to his knees before Jerry. Charley looks up at him, tears of pain streaming down his face. CHARLEY (gasping with pain) You can't kill me here -- JERRY I don't want to kill you, Charley. I -want you to bring Peter Vincent to my house, just the two of you. That is if you ever want to see Amy again. He casually releases Charley, letting the boy drop to the floor as he disappears with Amy into the swirling mass of dancers. Charley leaps to his feet, ignoring the pain in his hand and plunges after them. Charley breaks free of the swirl near the bar, looking everywhere and not seeing either of them. Suddenly he's grabbed by a strong, pair of arms. He looks up to find himself staring into the face of a huge, black BOUNCER. (CONTINUED) pk Rev. 11/16/84 748. 101 CONTINUED: (28) CHARLEY (DESPERATELY) Let me go -- The man ignores him, calling back over his shoulder. BOUNCER' Hey, Donny, this the one? Another huge bouncer, the one the cook talked to when Charley and Amy sneaked into the club, steps out of the whirl staring down at the boy. DONNY Yeah, its him. (TO CHARLEY) Where's your girlfriend? Charley suddenly sees Jerry and Amy breaking through the throng, heading for the entrance. He points to them wildly. CHARLEY That's her, over there with that older GUYF DONNY C' mon .-- He cuts across the floor on a diagonal to intercept Jerry and Amy, the black bouncer dragging Charley after him in a steel 'grip. Jerry finally reaches the throng near the front door, starting to move through it with Amy when sud- denly the two bouncers and Charley block his way. Donny jerks Amy out of Jerry's hand, passing her to the black bouncer, nodding at her and Charley. (CONTINUED) 75. 101 CONTINUED: (3) DONNY Get the two of them out of here. Jerry steps toward Amy, his face beginning to darken with rage, the MUSIC pulsating around them, people swirling by on all sides. JERRY She's mine -- Donny puts out his hand, stopping Jerry as the black bouncer drag's Charley and Amy toward the front door. DONNY You want chicken, man, you. go to some other club. Jerry snarls, his eyes beginning to glow, his hair slicking back slightly, the hint of fangs beginning to protrude over his upper lip as rage overtakes him. He raises his right hand, holding it out in.front of. the bouncer's face so the man can clearly see what is happening. The nails on the four fingers pop out, literally elongating several inches in front of the man's eyes, growing into razor sharp claws that sparkle in the overhead lights. The bouncer, terrified, screams for his'companion. 'DONNY Hey, Leon, get back here! Toward the entrance to' the club, Leon releases Charley and Amy, hustling back toward his buddy. Charley grabs Amy,' pulling her toward the door. CHARLEY C'mon, quick -- But it's. too late already. Donny screams as the talons whistle through the air, tearing his throat out in one swipe, scattering blood everywhere, blinding several of the dancers swirling.by, hitting people drinking at the bar, a couple necking in a corner, blood flying everywhere. Jerry steps around the corpse as it topples backward over a table of coke users, the bouncer's dead eyes staring up at them. Leon dashes up, - lunging for Jerry. The vampire's hand snaps out, grabbing`him by the throat, squeezing, driving those claws deep into the man's neck, holding him like a chicken, enjoying a second of his death throes and then casually flinging him into the center of the floor, bringing the music and all the dancing to a shrieking halt as this new group of people stare at another dead body. (CONTINUED) yl Rev. 11/23/84 76. 101 CONTINUED: ( 4) Pandemonium erupts throughout the club, people screaming and rushing for the exit, the fear contagious, all of them streaming toward the bottleneck of a hallway leading to the front door, turning it into a battleground of panicked, terrified people, clawing and screaming to get out of the club. - Close to the front door, Charley and Amy fight their way through the madness, trying to gain the outside and freedom as behind them a wave of panicked humanity sweeps toward them. CHARLEY Hold on to me -- Suddenly Jerry steps out in front of them and sweeps Amy away from. him, the crowd flowing around Charley and carry- ing him off in the opposite direction as he fights and screams to get back to her. CHARLEY AMYL But the sea of humanity is too much for him; it pushes him ,first away from and then toward the front door, leaving him no choice but to go with it or be trampled. 102 EXT. CLUB RADIO - NIGHT Charley bursts through the entrance of the club just in time to see the black Jeep ROARING away down the street, Evil Ed peering out the back window, grinning wi.ldly at him, mocking him with his full set of fangs. CUT TO: 103 OMITTED THRU 121 122 INT. PETER VINCENT'S APARTMENT - NIGHT Peter is hurriedly packing, shoving the bare necessities into his suitcase, preparing to abandon his mementos of a lifetime in his rush to get out of town while he's still alive. There's a KNOCK at the door. Be looks up, terrified. PETER Who is it? CHARLEY (O.S.) Charley Brewster. Let me in. bl Rev. 10/9/84 77. 123 EXT. APARTMENT HALLWAY - NIGHT 123 The door cracks open an inch, a chain across the latch. Peter peers out at him. PETER Are you one of them, too? CHARLEY What are you talking about? Peter thrusts his cross out through the crack.' PETER Here, grab this. Charley does as told. Peter peers at his hand. No smoke. He hurriedly slips the chain from the door and pulls the boy inside. 124 INT. APARTMENT - NIGHT Peter relatches the door and hurries back to his packing. Charley watches him. CHARLEY What are you, doing? PETER Leaving. CHARLEY You can't. PETER Wanna bet? Watch me. Peter closes the suitcase, hurrying for the door. Charley steps in front of him, blocking his path. CHARLEY Dandrige has Amy. He says he'll kill her unless we come to his house. Peter stops, staring at Charley, stunned. The blood drains from his face. PETER Oh, my God. (SUDDENLY REACHING for the phone) The police, I'll call the police -- CHARLEY (grabbing the phone away from him) No, they won't believe you. I've tried. (CONTINUED) ch Rev. 12/4/84 78. 124 CONTINUED: 'Peter collapses in a chair, staring blindly ahead. CHARLEY (QUIETLY) Peter, it's just us. Were going to have to save Amy. PETER I can't. I was paid to be there today. CHARLEY I know. PETER And you still want me to help you? CHARLEY Yes. You're Peter Vincent, the Great Vampire Killer. PETER (looking up at him, FURIOUS) That's a character in a movie, .Charley. That's not even my real name! (repressing a sob) And I'm terrified, I'm sorry, but I am. CHARLEY I can't do it alone, Peter. If you don't help, Amy's going to die. And me, too, probably. r (nothing f om Peter) Please, Peter. PETER I'm sorry, Charley. CHARLEY (quietly, of ter a MOMENT) Yeah, me, too. He walks to the door, slipping quietly out of the apart- ment, leaving Peter staring miserable at the floor. DISSOLVE TO: 125 INT. DANDRIGE HOUSE - BEDROOM - NIGHT Amy slowly regains consciousness, opening her eyes to find herself laying on the floor, Jerry Dandrige looming over her. She cowers back, looking about the bedroom. (CONTINUED) bl Rev. 10/9/84 79. 125 CONTINUED: AMY Where am I? JERRY Where you wanted to be. In bedroom. He reaches out a hand to her; she cowers back. AMY Liar. Where's Charley? JERRY You don't really care. He hits play on the TAPE DECK. FUNK ROCK, hot and driving, snakes out of the speakers. He turns back to her, holding out his hand. She looks away, then glances up only to find herself trapped in his gaze. He starts.to weave his way across the floor toward her,. every move a suggestion, an invitation, all of it somehow hypnotic. She stares at him, fighting to break free. Finally she manages to turn her head away, staring at the floor, screaming at him. AMY Liarl I love him... It doesn't faze him; he just keeps moving to the beat, slowly, oh, so slowly, coming closer and closer to where she sits on the floor, his voice stroking her as he comes. JERRY Am I lying, Amy? He stops above her, leaning down, his voice a husky, post- coital whisper. JERRY Am I? And she's gone, his eyes drawing her in and swallowing her up, drowning her in their faint red glow. He holds out his hand to her. She slowly takes it and-he raises her up into his arms, moving in place to the MUSIC with her, smiling down as she stares up at him blindly. He gently pushes her head down on his shoulder, exposing her tender young neck. And then he slowly bends down, his mouth opening to expose those two, razor sharp fangs with their alabaster cast, slowly, delicately sliding them beneath her skin. (CONTINUED) bf Rev. 11/28/84 80. 125 CONTINUED: (2) Her body arches, both arms pressing him to her, her body clinging to his. And then she screams, bucking under him like she's having something like a sexual climax, only better, much better. And just underneath her scream.is this horrid, greedy, SUCKING NOISE, Jerry Dandrige, feeding. CUT TO: 125A EXT. SIDE YARD OF A HOUSE - NIGHT Charley walks through the darkness, with cross and stake held in his hands, slowly approaching the Dandrige house through a side yard across the street. The shadows loom up over him, the wind causing the TREE BRANCHES to RUSTLE, Charley growing more and more nervous with every passing second. 126 EXT. DANDRIGE HOUSE - NIGHT -Charley steps out of the darkness of the trees across the street from the Dandrige house, stopping to stare at it. The huge, silent, dark.house no longer looks like every other house on the block. It seems to have assumed a life of its own and turned into a hulking, brooding monster, about to leap forward and pounce on him. Charley grips his stake and hammer, checks the cross stuck in his jacket pocket, takes'a deep breath, squares his shoulders, and starts the slow walk toward the Dandrige house. Through the trees-he moves, into the shadows and darkness, across the street, closer and closer,to that hulking,, evil house. Suddenly a'hand snaps out of the darkness, grabbing him by the shoulder. CHARLEY (TERRIFIED) What? : "PETER (O . S . ) Peter Vincent, ready to do battle with the undead. Charley whirls to find himself staring into Peter Vincent's drawn face. He wears his Victorian suit, his whole demeanor that of his public persona, the vampire killer. (CONTINUED) bf Rev. 11/28/84 80A. 126 CONTINUED: CEARLEY (GULPING) Peter, this is serious PETER (pulling himself up to his full height) I am serious. Ee drops to his knees, pulling an assortment of his movie props out of his leather bag. (CONTINUED) bl Rev. 10/9/84 81. 126 CONTINUED: PETER T Let's see, stakes, hammer, crosses, FLASHLIGHT -- CHARLEY. What about Billy Cole? What's going to stop him? Peter rises, holding up a pistol. PETER This. From Orgy of the Damned. CHARLEY What if he's not human? Bullets aren't going to stop him then. PETER He walks around during the day, doesn't he? (CHARLEY NODS) Then he's human. (turning toward the HOUSE) Let's go. The two of them cross the street, heading toward the house which now seems to be staring at them, about to charge them. Charley glances at Peter. CHARLEY PETER -- PETER (cutting him off) Not now. But Peter isn't really paying attention to Charley. His eyes are on that malevolent looking house, the house looming larger and larger above him as they get closer and closer. Peter begins to slow, his nerve draining away as the true- evilness of the. place begins to eat at him. He finally comes to a halt, staring at the house. Charley stops, looking. back. CHARLEY What's wrong? PETER (quickly). Nothing, nothing at all. (CONTINUED) pk Rev. 11/16/84 82. 126 CONTINUED: (2) He joins Charley, the two of them slowly walking toward the house again, Peter becoming more and more nervous the closer they get. Charley takes a step for the front door. Peter grabs him. PETER Are you crazy? Not through the front door. Let's go around to the back and sneak in The front door slowly swings open on creaking hinges, seemingly of its own accord. Peter and Charley turn to look at it, a dark gaping hole like an open mouth, ready to swallow them. CHARLEY Too late. Be starts moving up the porch toward the door. Peter moves with him, his gaze fixed on that gaping mouth of an open doorway, mumbling to himself as he goes. PETER I'm Peter Vincent, the great vampire killer. I'm -- They disappear into the house, Jerry Dandrige suddenly .stepping INTO FRAME, staring after them. 127 INT. DANDRIGE HOUSE - PORTICO - STAIRWAY - NIGHT Charley and Peter stop and stare around in the darkness. Nothing moves, not even a shadow. Charley nods up the stairs. CHARLEY This way. They start up the stairway. 127A EXT. HOUSE - NIGHT Outside the house, the SUBJECTIVE CAMERA watches them, craning past the front..windows onto the side of the house,. watching Charley and Peter through the windows as they mount the stairs, the CAMERA SLOWLY heading up the side of the house. 127B INT. JERRY'S BEDROOM,- NIGHT Jerry appears outside his bedroom window, floating there. t He leans forward, opening the window, about to climb in. 8 2A. pk Rev. ll/I6/84 127C IT. HOUSE.- STAIRWAY - NIGHT { _ ÔøΩ? P eter suddenly grabs Charley, freezing as he hears that second story bedroom window opening. -PETER Did you just hear something? CHARLEY' (pausing and listening) No. They start up the stairway. Peter grabs Charley again, digging his fingers into the boy's arms, listening hard. PETER Let's wait until dawn. He'll be in his coffin then. We'll have a better chance of getting Amy. (CONTINUED) yl Rev. 11/23/84 83. 127C CONTINUED: CHARLEY Amy'll be dead by then, too. Now COME ON He turns to start up the stairs- only to have a voice come out of the darkness on the landing above. JERRY (o.s.) (he steps forward into the light, looking ABSOLUTELY ENORMOUS) Welcome to Fright Night. For Real._ Peter almost turns tail and runs right there. Charley grabs him, holding him in place on the staircase, staring up at the vampire looming above them. CHARLEY Where's Amy? JERRY (SMILING) Up here. All you have to do is get BY ME He starts. down the steps. Peter whips out one of the crosses, thrusting it at the vampire. PETER (in his vampire killer VOICE) Back, spawn of Satan. JERRY Oh, really? He reaches out, takes the cross. from Peter's hand and crumples it, contemptuously tossing. it aside. Be turns back to Peter. JERRY You have to have faith in order for it to work on me, Mr. Vincent. He starts down the stairs again, Peter backing away, terrified, his nerve completely gone now. Charley steps forward, staring up at Dandrige defiantly. He whips out his cross, thrusting it at the vampire. CHARLEY Stop! Jerry stops, staring at the cross. Charley starts up the stairs toward him, the cross held in front of him. (CONTINUED) yl Rev. 11/23/84 - 84. 127C CONTINUED: (2) CHARLEY BACK -- Jerry backs up the stairs, away from the cross, disappearing into the darkness at the top of the landing. Charley glances back at Peter triumphantly. CHARLEY We're gonna make.it -- Billy Cole suddenly steps out of the darkness in front of him, rips the cross from the boy's hand and viciously backhands him across the face. With a scream, Charley smashes through the. stairway railing, plunging to the hallway floor below. He lands with a solid thud, lying there, groaning. Jerry steps in front of Billy, staring down at Peter on the stairway, smiling at him. Then he slowly starts down the stairs toward Peter. With a scream, the actor whirls, racing down the steps and out the front door. 128 INT. BREWSTER HOUSE - PORTICO - STAIRWAY - NIGHT Peter smashes through the front door, yelling up the stairway. PETER Mrs. Brewster! No answer. He grabs the phone from the table and punches out a number, speaking hurriedly into it. PETER Hello, operator, get me the police. Operator? No response, not even a dial tone. He holds the phone up only to see the cord has been ripped from the wall. His eyes widen in horror, his gaze snapping back up the stairs. PETER (Cont.) Mrs. Brewster -- He plunges up the stairs. 129 INT. MASTER BEDROOM - NIGHT He bursts through the door to see Judy in bed, the back of her head to him, her blond hair lying across the pillow. He hurries across the room. toward her, relief sweeping his features. (CONTINUED) A yl Rev. 11/23/84 85.. 129 CONTINUED: PETER Mrs. Brewster, thank God. All the phones have been ripped from the WALLS -- Be reaches out, turning her over on the bed to face him... only it isn't Judy; it's Evil Ed, wearing one of her wigs. EVIL ED I know. I did it. He grins up at Peter as he.-slowly rises, the wig slipping from his head, his features already transformed subtly into those of a vampire, the hair slicked back on his head, his face elongated, two huge white fangs slashing over his lower lip. Peter staggers back, staring at him in horror. PETER Where's Charley's mother? EVIL ED She's working nights apparently. She left - a note for Charley. (holding out the crumpled note as he takes a step FOR PETER) His dinner's in the oven. With a scream, Peter whirls and plunges out of the room. 130 INT. HALL WAY - NIGHT Peter races down the hallway only to bit a table in the dark, crashing to the floor on the landing, the.table splintering beneath him. He sits up, groaning, holding his leg. He suddenly hears a GROWLING, low and deep and vicious, coming from the other end of the hallway. He looks up, .staring into the darkness. Suddenly, a HUGE WOLF, as ugly as Evil Ed, tears out of the master bedroom, skidding to a halt, staring back at Peter. It's eyes glow like red-hot coals in the dark, saliva drip- ping from its huge fangs. Peter scrambles to his feet, about to plunge down the stairs when with a terrible SNARL, the huge animal bounds down the hall toward him. With a scream, Peter picks up a splintered leg of the table just as the wolf launches itself into the air toward his jugular vein. (CONTINUED) bl Rev. 10/9/84 86. 130 CONTINUED: He slams the jagged piece of wood into the animal's chest as it flies past, its snapping jaws missing his throat by an inch, the wolf hits the landing railing and plows through it, almost in slow motion, plunging over the side. 131 INT. PORTICO - STAIRWAY - NIGHT- The wolf tumbles through the air in a blur of fur and fangs, down and down until suddenly Evil Ed smashes into the hardwood floor below with a terrible THUD. He lays there, the long wooden splinter buried in his heart. Peter hurries down the stairs, stopping above him and staring down, watching in fascinated horror as humanity leaks back into his eyes, his face transforming into that of a normal teenage boy as he dies. He looks up at Peter with suddenly soft, brown eyes. EVIL ED I'M SORRY He dies, Peter staring down at him, sorrow struck by the waste and horridness of it all.. 132 INT. DANDRIGE HOUSE - JERRY'S BEDROOM - NIGHT Jerry comes through theÔøΩdoor with Charley over his shoulder and dumps him on the floor a few feet from where Amy lies, curled up in a fetal ball. He nods at. Amy as Charley slowly opens his eyes, regaining his senses. JERRY You wanted her, there she is. Charley glances to his side, sees Amy lying there, and crawls to her. He gently turns her toward'him. CHARLEY AMY -- His words die on his lips. Amy's eyes are clenched shut, her face drenched with sweat, her entire body trembling. Jerry .watches his horrified reaction, smiling. JERRY You see, you gave me so much trouble, I thought you deserved a special punishment. (CONTINUED) gr Rev. 11/26/84 87. 132 CONTINUED: CHARLEY (staring up at him WILDLY) What have you done to her? JERRY ' Nothing much. I just bit her a little bit, that's all. Jerry just stares-at him silently, leaving no room for the boy to disbelieve him. Charley suddenly leaps for him, furious with rage. CHARLEY You bastard! .Jerry casually knocks him aside, flinging him through the air against the far wall with his incredible strength. Charley crumples to the floor, stunned. Jerry walks over to him and drops a wooden stake at his feet. JERRY Here. (Charley stares at IT DUMBLY) You're going to need it just before dawn. - - With a bow he lets himself out of the room, closing the door behind him. The key can be heard turning in the lack. Charley stares around for a moment, gathering his senses. He sees the window has been boarded up with plank after plank and nail after nail. It would be impossible for him to rip it apart, just as it would be impossible for anyone to-hear him through.it were he to scream. He crawls to Amy, gently turning her over only to see that she has already begun to change, her upper lip slipping back as he stares at her, revealing lengthening bicuspids, the beginnings of fangs. Her eyes are black, like bottom- less pits. He raises his head and screams, his voice filled with anguish and despair. CHARLEY No! 133 EXT. STAIRWAY - NIGHT Dandrige pauses halfway down the stairs, listening to the agony in Charley's voice as the scream dies away. He smiles, then continues to walk down the stairs. 134 EXT. DANDRIGE HOUSE - NIGHT Peter faces the brooding, terrible house, his stake and hammer in either hand, his face set hard with deter- mination. Throwing his shoulders back, he begins to walk slowly toward the front door. bl Rev. 10/9/84 88. 135 INT. PORTICO - HALL - STAIRS - NIGHT He slips through the front door, pausing to look down the hall. The basement door is open, the sounds of Jerry and Billy working down there faintly heard. He hurries up the stairs. 136 INT. SECOND FLOOR LANDING - NIGHT He works his way from door to door till he finds the locked one. He r aps on it lightly, whispering through a crack in the frame. PETER Charley. 137 INT. BEDROOM - NIGHT Charley hears the whisper and springs to his feet, hurrying to the door. CHARLEY (in a whisper) Peter? PETER (o.s.) I'm going to have to break the door down. Make as much noise as you can. Charley turns to the wall, beating on it and yelling for all he's worth. CHARLEY Help, let me out! 138 INT. BASEMENT - NIGHT Jerry and Billy are preparing a spare coffin for Amy, dumping dirt into it from the bottom of the huge, ornate coffin Charley saw them carrying into the house on that first night so long- ago. They pause in their work as they hear Charley's SCREAM DYING AWAY. Jerry smiles at Billy. JERRY I think she just opened her eyes. 139 INT. ROOM - NIGHT -Peter hits the door from the outside, snapping the lock, letting himself in and closing it as quietly as he can behind them. He looks around, spotting Amy lying in the corner. PETER Quick, grab her and let's get out of HERE - (CONTINUED) gr Rev. 11/25/84' 89. 139 CONTINUED: CHARLEY We can't. Look. He falls to his knees beside Amy and rolls her over for Peter to see. She is still covered with sweat and trembling even more violently now. Her upper lip slips back revealing lengthening fangs, just the beginning of I red in the iris. Peter's eyes widen in horror. I 140 INT. BASEMENT - NIGHT Jerry pauses in his labor to stare up at the ceiling in the direction of the bedroom two floors above, his ear cocked. .Billy looks at him. BILLY Something wrong? ' JERRY Yes. We have a visitor. He puts down his shovel, heading for the stairs, Billy following him. 141 INT. BEDROOM - NIGHT Charley glances up from Amy's trembling body to look at Peter. CHARLEY Is it too late to save her? PETER Not if we kill Dandrige before dawn.' 141A EXT. SIDE OF DANDRIGE HOUSE - NIGHT SUBJECTIVE CAMERA CRANES UP'off a basement window, up the side of the house past the living room window and up and up, the VOICES in Jerry's bedroom getting LOUDER and LOUDER as Jerry approaches. CHARLEY Are you sure? PETER So far everything's just like in the movies. We'll just have to keep on hoping. And the CAMERA STOPS outside the bedroom window, watch- ing as Charley grabs the stake Dandrige dropped on the floor, and heads for. the door. (CONTINUED) pk Rev. 11/16/84 89A, 141A CONTINUED: CHARLEY Let's go -- He and Peter hurry out the door, the CAMERA WATCHING them go. 142 INT. SECOND FLOOR LANDING - STAIRWAY - NIGHT I They come out of the bedroom and start. down the steps only to find themselves facing Billy Cole coming up the other way. They freeze. as Billy stops, a slow smile sliding across his grim features. (CONTINUED) gr Rev. 11/26/84 90. 142 CONTINUED: BILLY Well, what do we have here? He starts up the steps. Peter :pulls a pistol, one of the props from his apartment, from-his pocket. PETER Stop or I'll shoot. Billy stops, still smiling at him,. their eyes locked for what seems like an eternity. Then Billy starts up the stairs toward him again. Peter points the gun at Billy with trembling hands. PETER I mean it. Don't force me to SHOOT -- Billy reaches out his huge hands for Peter's throat. Peter FIRES, the bullet punching a neat hole through Billy's forehead. The large man freezes, his eyes rolling back in his skull. Be stands there for a moment and then tumbles backward down the stairs, landing with a CRASH at the bottom. Suddenly there is the SOUND OF APPROACHING FOOTSTEPS on the balcony above. Peter and Charley whirl, staring up at the landing above them. A second later Jerry Dandrige steps out of the shadows. With a smile he starts down the stairs toward them. Charley steps forward, thrusting his cross up at Dandrige. CHARLEY. STOPS Dandrige freezes, his face darkening with fury. Charley starts up the steps, Peter close behind him. CHARLEY Come on, we have him -- Dandrige's gaze snaps past Charley's shoulder, down into the shadows at the bottom of the stairs where Billy's body lies, his eyes glowing as they burn into the corpse for a moment before shifting back to Charley and Peter. He smiles at the boy. JERRY Do you? He steps back into Amy's room, disappearing from sight. Peter looks at Charley. (CONTINUED) bl Rev. 10/9/84 91. 142 CONTINUED: (2) CHARLEY What did he mean? PETER Nothing. He's just bluffing. Charley continues up the stairs-slowly, the cross held out in front of him, Peter hugging his back. Behind them, down at the foot of the stairs,,Billy slowly sits up. Peter and Charley continue climbing, their gazes fixed ahead. Behind them Billy stands and starts to walk up the stairs toward them, the first STEP he hits GROANING under his heavy weight. Charley and Peter freeze, turning to look back. They see the huge man coming up the stairs toward them, a thin trail of blood leaking from the bullet hole in his forehead. Peter whips his pistol out with trembling hands and UNLOADS THE ENTIRE REVOLVER into the man, casting a pale of gunsmoke in front of him and Charley, obscuring their view of the stairway below. Suddenly Billy Cole appears through the thick cloud, back- ing them up the stairs. Peter stumbles, falling backward, .unable to rise in time. Billy leans down, grabbing him and jerking him into the air like a ragdoll.,. about to fling him over the ballustrade to the floor far below. Charley suddenly leaps forward, slamming his stake into the creature's heart. CHARLEY No! Billy Cole freezes, his eyes widening. Be drops Peter crashing to the steps and staggers back, grabbing the rail for support, hanging there below Peter and Charley for what seems an eternity, the stake protruding from his heart.. As the two watch in horror, Cole's face slowly begins to dissolve, skin putrefying and slipping away, revealing the grinning skull beneath, the process of dissolution acceler- ating as the seconds tick past. Suddenly the legs turn to bone and.what remains of the body, no more than a skeleton in clothes now, tumbles backward down the stairs with a clatter, to land with a crash on the floor below, bones rolling in-every direction across the portico. They stare down the stairs at his remains. CHARLEY (in a hoarse whisper) Be wasn't human. (CONTINUED) gr Rev. 11/26/84 92. 142 CONTINUED: (3) PETER No, he, certainly wasn't. Peter scrambles to his feet, he'and Charley backing hurriedly up the stairs, terrified by what they've seen. i 143 INT. AMY'S ROOM - NIGHT They rush into Amy's room, Peter stopping to stare at the open window, left that way by Dandrige when he entered and left. Charley ignores it, hurrying to Amy, and kneeling by her side. He gently turns her over to expose lengthening bicuspids as Peter sticks his head out the window. Her irises are now more red than before, signaling the trans- ition she is making from the living to the walking dead. 143A EXT. JERRY'S WINDOW - SIDE OF THE HOUSE - NIGHT Peter glances down, searching for Jerry as above him, clinging flat to the wall like a fly, is Jerry. The vam- pire smiles, slowly drawing back his clawed hand to tear Peter's throat out when the man cranes his neck to look over his shoulder. He is just about to when Charley calls to him from the room within. CHARLEY Peter! Peter ducks in just as Jerry's about to strike. 143B INT. JERRY'S ROOM - NIGHT Charley looks up from Amy's-unconscious body at Peter. CHARLEY She's worse. C'mon, we're running out of time -- The two men rush out of the room. 143C EXT. JERRY'S WINDOW - SIDE OF HOUSE - NIGHT The SUBJECTIVE CAMERA does a 180 degree turn, staring in through the window out the open door onto the balcony. Jerry.sees Peter and Charley standing out there, hears their voices. CHARLEY Where is he? The CAMERA BEGINS TO DRIFT up the side of the house toward the attic window above. Rev. 11/26/84 9 2A. 144 INT. SECOND FLOOR LANDING - NIGHT Charley and Peter there, staring about. Suddenly they hear FOOTSTEPS on the floor above. They stare up at the ceiling. (CONTINUED) pk Rev. 11/16/84 93. 144 CONTINUED: PETER He's in the attic. They rush to the attic door, the two men disappearing up the dark stairs. 145 INT. ATTIC - NIGHT They come up the staircase to find themselves enclosed in darkness. Peter pulls out a flashlight and flicks it on, shining it about the musty, filthy room. He pauses as rats scatter beneath the unexpected blaze. He continues to search with the flashlight, picking out the remains of a--ruined window at the far end, the glass shat- tered, the window itself flung wide open. CHARLEY Well, he was here -- The beam moves on, only to suddenly stop on a large chest shoved in a corner. PETER There, his-coffin. Both of them approach, staring down at the long chest. Peter hands the flashlight to Charley, pulling a stake from his pocket, a hammer from his belt. He raises the stake in the air, the hammer ready. He nods at the coffin. PETER Open i t. Charley throws his shoulder against the lid, heaving. The lid opens with a GROAN, Peter about to stab down only to find it empty. CHARLEY (almost in despair) God' damn him. Where is he? 145A EXT. ATTIC WINDOW - SIDE OF HOUSE - NIGHT The SUBJECTIVE CAMERA STARES in at them, then SLOWLY BE- GINS TO DRIFT up the side of the house toward the roof above. 145B EXT. ROOF - NIGHT The CAMERA GOES UP onto the roof and down around the chimney to discover Jerry sitting there as though he's just alighted. A gr Rev. 11/26/84 94. 145C INT. ATTIC - NIGHT Charley and Peter stare up at the beams overhead as dust trickles down, the THUD of Jerry landing above them on the roof still loud in their ears. PETER Well, now we know where he is. CHARLEY Yeah, but what's he doing up there? 146 EXT. DANDRIGE HOUSE - ROOF - NIGHT Jerry sits on the roof, squatting there like some huge nocturnal bird of prey, his eyes closed, his lips moving in a whisper. 147 INT. BEDROOM - NIGHT Amy lies on the floor, hardly moving now. Suddenly she groans and rolls over, throwing a hand over her face as though trying to ward off some particularly terrible night- mare. .148 EXT. ROOF - NIGHT Dandrige's face darkens even more in concentration. JERRY Amy, awake, I command you to awake! 149 INT. BEDROOM - NIGHT Amy's eyes slowly open. There's not a vestige of human life in them. She blinks and her eyes go completely red, glowing in the dark. Dandrige's voice fills her. mind like distant thunder. JERRY'S VOICE Now show me how much you love me, Amy, kill them both! She rises and moves like a zombie messenger of death toward the door to the hallway and the attic above. 149A INT. ATTIC - NIGHT Charley and Peter are still staring up at the attic ceil- ing above, the waiting becoming unendurable for Charley. CHARLEY I'm going up there. He heads for the open window at the far end of the attic nearest the stairs. (CONTINUED) pk Rev. 11/16/84 95. 149A CONTINUED: PETER CHARLEY -- He-takes a step after the boy, but he's too late. Charley is already out the window. 149B EXT. ROOF - NIGHT Charley climbs onto the roof, a cross in his hand, a stake in the other. The roof looks deserted, but hidden behind the chimney stands Jerry, waiting for the boy. Unaware of the danger., Charley reaches the chimney and stealthily be- gins to circle it, sensing danger, the cross and stake in hand. He suddenly reaches the side where last we saw Jerry only to find no one there. He stands there puzzled, looking about. PETER (0.3 . ) (calling up from the attic below) Do you see him? CHARLEY (SHOUTING BACK) No. 150 INT.'ATTIC 'MIGHT Peter stands alone at the far end next to the coffin, ner- vously talking.to himself. PETER Where the hell is he? And in the window directly behind his back, Jerry rises up out of the dark, no more than a few feet away, only 'a thin pane of glass separating Peter from his clawed hand. He raises it to strike through the glass at Peter just as .Charley slides in the open window at the far end from the roof and sees Jerry in the window behind Peter.. He screams out. CHARLEY Peter, behind you! Peter whirls, holding up his cross and as quickly as he appeared from the night, Jerry slips back into it, leaving Peter staring at the window, terrified at the close call as Charley reaches his' side. CHARLEY You okay? (CONTINUED) gr Rev. 11/26/84 96. 150 CONTINUED: Peter nods numbly as a huge shadow rises up along the staircase wall at the far end of the attic behind them, a shadow that suggests Jerry is coming up the stairs from the floor below toward them. A STAIR CREAKS behind them and Charley and Peter whirl to see Amy step out of the stairwell. She looks incred- ibly beautiful as though somehow her moment with Dandrige has transformed her from virginal girl to a full grown woman, dripping with sensuality. Charley steps forward, about to rush into her arms. CHARLEY AMY -- PETER (GRABBING HIM) No! Charley looks at Amy as she clears the steps and turns to- ward them. Peter shines his flashlight into her face. The eyes glow red, the face lifeless, fangs, larger now than before, protruding.from her upper lip. CHARLEY Oh, my God -- Suddenly they hear Dandrige cruelly laughing at them from the floor below, laughing like this is the best joke he's ever heard.. CHARLEY He's downstairs now -- Amy suddenly launches herself at Charley, seizing.him by the throat and throwing him to the floor, landing on top of him. He grabs her by the shoulders, holding her back as she tries to plunge her fangs into his neck. Peter steps up behind her, a stake raised in his hands, about to plunge it into her back. Charley screams up at him. CHARLEY No! Peter shifts his grip on the stake, holding it like a club, and brings it slamming down on her back. She collapses un- conscious on top of Charley. He shoves her off, climbing to his feet, and turning toward the staircase to the floor below. CHARLEY Come on -- (CONTINUED) pk Rev. 11/16/84 97. 15'0 CONTINUED: (2) The two men plunge down the stairs. A second later, Amy rolls over, her eyes snapping open, perfectly conscious again. She slowly rises. 151 INT. SECOND-FLOOR LANDING - PORTICO - STAIRS - NIGHT The two men come out of the stairway, Peter turning back to lock the attic door behind him. Charley starts for Jerry's room. Peter grabs him. PETER You take downstairs, I'll take up HERE -- Charley plunges down the stairs to the portico below as Peter disappears into the bedroom, searching for Dandrige. 151A EXT. HOUSE - JERRY'S BEDROOM WINDOW - NIGHT The SUBJECTIVE CAMERA WATCHES as Charley heads down the stairs, Peter turning for Jerry's room, the CAMERA CRANING OFF the window and DOWN around the side of the house, PICKING UP Charley up through the front windows as the boy disappears down the first floor hall in search of Jerry, Jerry watching him the entire time from outside the front of the house. 151E INT..HOUSE - PORTICO - NIGHT The front door slowly begins to open, that strange killing hand of Jerry holding the doorknob, all that's seen of him as he obviously prepares to slip inside. 151C INT. JERRY'S BEDROOM - NIGHT Peter freezes as he hears the front DOOR CREAK and turns, racing out the bedroom door onto the balcony. 151D INT. SECOND-FLOOR BALCONY - NIGHT_ Peter comes to a halt at the top of the stairs, peering down at the portico below. No Charley. He calls out, panic struck. PETER Charley! Charley comes running down the hall, stopping at the bottom of the stairs, staring up at Peter.. CHARLEY What is it? PETER (sighing in relief) I thought I heard something. IS Rev. 11/26/84 98. 151E EXT. FRONT OF HOUSE - NIGHT The SUBJECTIVE CAMERA STARES in at them, then starts to move across the porch and up the side of the house as Charley speaks to Peter. CHARLEY What? The CAMERA PASSES Jerry's bedroom window, catching a glimpse of Peter on the balcony just as he replies to Charley. PETER I don't know. Just my nerves, I guess. 151F INT. HOUSE - SECOND-FLOOR BALCONY - NIGHT Behind Peter there is suddenly a POUNDING at the attic door. Its Amy, trying to get out. Peter stares wor- riedly at the attic door as the POUNDING from within be- comes more VIOLENT. Suddenly ALL THE CLOCKS on the wall below GO OFF, signaling that it's 6 a.m., dawn, time for Jerry to go to bed. Peter takes his eyes off the clocks as the LAST CHIME DIES, looking at Charley over the Balustrade. PETER Keep searching for him. Se's got to be close. It's almost dawn. Charley heads back down the hallway toward the basement as above on the landing, Peter stares around, about to try another door when suddenly the huge stained glass window directly behind and above him bursts apart in an EXPLOSION OF SHATTERING GLASS and Jerry Dandrige plunges in from the outside, landing in a crouch before Peter. He rises as the. older man backs away. Charley rushes down the hail back into the portico, brought by the sound of the crash. He's about to start up the stairs when Dandrige turns and stares down at him. Charley ignores him, starting up the stairs. Peter speaks to him, never taking his gaze from Dandrige. PETER Stay there, Charley -- Charley freezes, staring up at the vampire and the man above, watching, waiting. Dandrige's gaze bores into Peter. JERRY So. Just the two of us at last. (CONTINUED) gr Rev. 11/26/84 99. 151F CONTINUED: He-takes a step for Peter. Peter whips out a cross, thrusting it at him. Dandrige stops, smiling at him. He starts for him again, Peter holding his ground, the cross thrust out in front of hiin. PETER Back! JERRY (SMILING THINLY) You have to have faith for that to work, Mr. Vincent. Remember? Peter continues to hold his ground, the cross held up higher, staring defiantly back at Dandrige, refusing to drop his gaze. And then it happens: the vampire jerks to a halt, staring with slowly dawning fury at Peter, real- izing by whatever invisible force it is emanating from that cross that indeed Peter has recovered his faith. He stands there, stymied, snarling at the man. Peter peers over his shoulder, out the ruined window. On the horizon, the first pink tendrils of dawn are breaking. Now it's Peter's turn to smile as he shifts his gaze back to Dandrige. PETER Look over your shoulder. Dandrige cranes his neck to see the rising dawn through the open window, the sun beginning to glint its golden rays even as he stares at it. He turns back to Peter, roaring with fury. JERRY No! Peter picks up his stake and dives for the vampire, Dandrige is too quick for him. He throws himself off the landing, tucking his body into a somersault as he hurls through the air toward the portico floor below, turning into a whirling ball of spinning flesh only to suddenly emerge- from it no longer a man, but now an enormous bat. The' bat straightens in midair above the portico and zooms down the hallway, smashing into Charley chest high, blowing him off his feet as his claws rake the boy, sending two bloody furrows down his chest as the bat whips past him and disappears down the hallway into the darkness. (CONTINUED) pk Rev. 11/16/84 99A. 151F CONTINUED: (2) Peter recovers above, hurrying down the stairs to the portico below. He rushes to Charley's side, helping the badly shaken boy to his feet. PETER Are you all right? CHARLEY Yes. Amy begins POUNDING AT THE ATTIC DOOR. above again. The two men look up as it begins to splinter. PETER Quick, he's in the basement. He helps the boy. down the hall, the two of them disappear- ing through the basement door. A second later the attic DOOR above RIPS FROM ITS HINGES, CRASHING to the floor. Amy steps out of the attic, her eyes sightless, a stake grasped in her hand.' She walks like an automaton down the stairway toward the portico below.. 152 INT. BASEMENT - DAWN Charley anaa$ Peter hurry down the stairs into the dark room, its windows covered with blackout drapes. The floor is a mass of antiques, row after row of them, many covered with dust cloths. Peter dives for the first one, ripping the cloth off only to discover an armoire. He rushes to the next one. PETER Quick, his coffin has to be here SOMEWHERE -- They race down the aisle continuing to rip dust covers away only to discover a line of mirrors, several of them obviously removed from pieces in the house above. They stop, staring at them. CHARLEY Well, now we know what he did with the mirrors -- The DOOR to the stairway- CREAKS open behind them, lost somewhere in the dark. Peter whirls, looking back the way they just came. PETER What was that? (CONTINUED) Rev. 11/16/84 99B. 152 CONTINUED: .CHARLEY (MOVING AWAY) You keep searching. I'll check it out. PETER CHARLEY But Charley has disappeared into the darkness before Peter can stop him. Charley appears down the row of antiques, stopping at the foot of the stairs and staring up at.the basement door above. It is partially open, allowing just a sliver of light into the darkness. He calls out, clutching his stake nervously. CHARLEY Who's there -- Amy appears out of the darkness behind him, slowly. approaching; her face deathly white, her lips blood red, her eyes almost glowing in the dark. He hears her at the last second, whirling to face her with a gasp. She reads the fear on his face and smiles sadly, reaching out a hand to him. AMY Don't be frightened, Charley. She takes a step closer and he steps away. Amy stops, staring at him; then she slowly begins to advance on him, unbuttoning her blouse, her voi ce a husky, purring whisper. AMY Charley, I love you -- (he backs away; she keeps coming closer, exposing more and more of her body) What's wrong, Charley, don't you want me anymore? He suddenly breaks her spell, coming to his senses and whip ping out his cross, thrusting it. in her face. She whirls away with a snarl, burying her face in her hands, softly beginning to weep. AMY It's not my fault, Charley. You promised you wouldn't let him get me, you promised. (CONTINUED) I pk Rev. 11/16/84 99C. 152 CONTINUED: He stares at her, guilt boiling up inside of him. He steps forward, touching her shoulder, letting the cross drop to his side. CHARLEY AMY -- She whirls, huge fangs flashing, dripping hungry saliva, and dives for his exposed throat. He whips the cross up, but'not in time, her forearm smashing into his wrist, sending the cross whirling away into the darkness. Amy straightens, smiling at him, the. huge fangs sparkling in the light from the open doorway above. - (CONTINUED) bl Rev. 10/9/84' 100. 152 CONTINUED: '(2) She begins to walk toward him, her sexual interest in Charley gone, replaced by mad, driving hunger. At the other end of the room, Peter desperately weaves his way among the pieces of furniture dotting the floor, looking for the coffin. He stops before a huge armoir, whips it d own to discover it empty, and is about to move on when he glances down. There, at the corner of the armoir, is a small hole with rats scurrying in and out. Realizing something must be behind the huge piece of furniture, he shoves it aside, toppling it CRASHING to the floor. A hidden alcove, more a dais than anything else, is revealed, a huge window at the back covered with a blackout curtain, and Jerry's ornate brassbound coffin sitting in the middle, covered with CHATTERING, crawling RATS. Peter stares at it, horrified, calling out into the darkness behind him. PETER Charley, I found it -- Back at the other end of the room, Charley is backing away from Amy as she slowly stalks him, the stake she picked up in the attic-in her hands. Charley yells back at Peter. CHARLEY Get it open! She suddenly leaps for him, .stabbing with the stake only to miss him by inches, sending it plunging through the back of a chair with her growing strength, shattering it against the stone wall behind the chair. She turns on Charley, empty-handed now, continuing.to stalk him. Before-the dais, Peter stifles his revulsion of the rats and leaps forward, rushing to the side of the coffin and fumbling with the clasps only to discover they're locked. he cries out again.. PETER He'_s locked it somehow from the inside.. He grabs a hammer from his pocket and starts pounding at the clasps, trying to free them while at the side of the room Charley continues to back away from Amy, calling back. CHARLEY HURRY -- He goes to dodge Amy when she leaps forward, shoving a bureau across his path, blocking his escape. She smiles at him, continuing to back him into a corner. (CONTINUED) yl Rev. 11/23/84 101. 152 CONTINUED: (3) Back at the coffin, the clasp finally comes loose beneath Peter's pounding and he moves to the next one, smashing at it with the hammer desperately. Back at the side of the room, Charley dodges Amy, leaping over a pile of refuse in his desperation to escape, the girl vampire diving after him, her fingers clawing into his back and shredding his shirt as he twists out of her grasp. I Back at the dais, Peter breaks the last clasp, throws the coffin lid open, sees Jerry resting beneath him, the king vampire's eyes closed. He fumbles a spare stake from his belt, pressing it to the creature's heart, about to slam it home with the hammer when suddenly behind him Charley crashes INTO VIEW on the floor, Amy fixed to his back, rising over his, struggling to sink her fangs in his neck. Peter whirls at the NOISE, momentarily distracted. In the coffin, Jerry's eyes snap open, fixing on Peter. With a snarl he sits right up in the coffin behind Peter, the man turning back only to find himself face to face with the enraged vampire. Jerry opens his mouth, about to kill him when Peter slams it home, missing his heart and impaling his shoulder. The old -actor falls back as the vampire rises out of his coffin, the stake protruding from his shoulder, Amy stopping in her struggle to kill Charley, both she and the boy staring.up at the huge vampire looming over all three. With superhuman deliberation, Dandrige pulls the stake from his chest and hurls it away. It smashes into a far wall, splintering a window, sending a thin ray of light into the room. Dandrige turns on Peter, his face con- vulsed with hatred. He leaps for him, smashing him into a wall, about to sink his fangs into Peter's neck as Charley watches. CHARLEY (SCREAMING} No! He desperately leaps around Amy, reaching for the blackout curtain covering the window at the back of the.dais. - She jumps after him, grabbing him just as his fingers close around the curtain. She pulls him to the floor, her mouth open, about to sink her fangs in him as the drape comes with him, tearing from the window and sending a huge bolt of sunlight streaming into the dank room. (CONTINUED) 0 ¬Ä¢ pk Rev. 11/16/84 102. 152. CONTINUED: (4) it hits Jerry Dandrige squarely in the back, whirling him away from Peter, picking him up and throwing him across the room, slamming him into the far wall, pinning him there several feet above the floor. He writhes in the golden beam, twisting this way and that, but unable to escape as his body slowly begins to smoulder, a million small fires breaking out all over him as begins to burn. JERRY N000000 --- ! As Peter and Charley watch unable to tear their eyes. away, the vampire's body suddenly EXPLODES in a whooshing ball of flame that incinerates him instantly, leaving nothing behind but the ECHOING SCREAM of a soul finally going to hell. Amy rolls off of Charley moaning. He turns to her. CHARLEY AMY -- She slowly opens her eyes, the girl he knew staring back at him, her fangs gone. She throws herself in his arms, weeping softly. He holds her close, staring across the room at Peter who sits beside the coffin, wiping Dandrige's. blood from his face and mouth with his handkerchief, nothing but silence in the room now, the sun shining mer- rily through the window, only a few wisps of charcoal floating lazily through the air to remind any of them what just happened. DISSOLVE TO: 153 EXT. DANDRIGE AND BREWSTER HOUSE - NIGHT The Dandrige house is dark, a "For Sale" sign prominently displayed on the front lawn. The house itself now seems innocuous and ordinary, free forever of the evil that once dwelt within. The Brewster house-next door is lit and gay, much as it was on the first night we saw it. The TV can be heard coming from the house. ANNOUNCER'S VOICE And now, Fright Night, starring Peter Vincent. 154 INT. CHARLEY'S BEDROOM - NIGHT Charley and Amy lay on his bed, making out like crazy, the TV tuned in to Fright Night just as it was the first evening we met them. They break for a moment as Peter Vincent comes up on the screen. (CONTINUED) gr Rev. 11/25/84 103. 154 CONTINUED: PETER (V.0.) This is Peter Vincent, once more back with you as host of Fright Night. I thought I'd let the vampires rest for a little while. (winking into camera) Right, Charley? (back into his host ROLE) Tonight the threat comes not from beyond the grave, but from beyond the stars as alien beings stalk an unwary summer camp in "MARS WANTS FLESH." (PAUSE) I do not star in it. Amy turns back to Charley, the two of them staring at each other, obviously deeply in love. Then she slowly begins to undress. Smiling he rises, inadvertently turning to his window as he takes his shirt off, much as he did the first night. He freezes. There in Jerry's window, looking back at him, are a pair of red glowing eyes. Charley blinks. He looks at the window again. The eyes are gone... Behind him, Amy looks at him questioningly. AMY Charley, is something wrong? With a quizzical shake of his head, Charley slams the window shut and turns to her. CHARLEY No, nothing. He jumps into bed with her,, the two of them beginning to make- love as the CAMERA PANS off them to the window, pushing out through the window closing in on Jerry's window across the way. A pair of red eyes stand there in the darkness, staring and staring as the CAMERA MOVES CLOSER AND CLOSER. They blink; . they're for real; there is another vampire out there and he is watching Charley. FADE OUT. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Fright Night.txt b/unformated_scripts/Script_Fright Night.txt new file mode 100644 index 0000000000000000000000000000000000000000..41673d534f8f5effe2896c9e4a2ff55af02d2d09 --- /dev/null +++ b/unformated_scripts/Script_Fright Night.txt @@ -0,0 +1 @@ + FRIGHT NIGHT Written by Marti Noxon EXT. SUBURBAN NEIGHBORHOOD -- NIGHT FADE UP: Moving through a tract development. The houses are like Mexican food -- the basic elements are all the same, just mixed differently. A gloomy night, no moon. And a slightly ominous pattern emerges... Green, thriving lawns and meticulously tended homes abut brown yards and porches littered with old newspapers and pizza joint flyers. Each third or fourth house is FOR SALE or, worse, seemingly abandoned. This area is in danger of becoming a ghost town. A deep, commanding voice pierces the silence: VOICE (O.S.) Defy reason. Defy everything you know. Now we move in on one of the homes. Not the nicest on the block, but inhabited. Lights on in the windows. INT. SUBURBAN HOME/VARIOUS -- NIGHT Inside the house. A middle-class family lives here. The living room is empty, but the TV's on. ON THE TELEVISION A commercial for PETER VINCENT. A Las Vegas institution, he's a magician whose show is all Gothic, horror-movie imagery. Peter's wiry, hot -- a rock and roll bad boy. He's cutting a girl up with a chain saw. And grinning like a mad man. TELEVISION ANNOUNCER Peter Vincent's "FRIGHT NIGHT." The family DOG is up on the coffee table eating what's left of a fast food burger and fries, still in the box. TELEVISION ANNOUNCER (CONT'D) Something's moving in the dark. 2. Also on the table -- a role-playing game in progress. "Magic, the Gathering"... Elves and Wizards. TELEVISION ANNOUNCER (CONT'D) Only at The Hard Rock. Nightly Wednesday Through Sunday. Now we hear what at first sounds like a MUFFLED ARGUMENT coming from another room. DISTANT VOICE Get off her!! More voices yelling, something being thrown. An ugly domestic scene. We creep down a dark hall toward a cracked door, light seeps through the opening -- it SLAMS OPEN and ADAM, 17, crashes toward us. He's nice-looking, a little nerdy -- and he's in a blind terror. We get a glimpse of the horrible scene behind the door. A teen girl's room -- the sound of flesh ripping. We see a pale arm on the ground, shaking violently, as if something is tearing and tugging at the body attached to it. We bolt away with ADAM, who we now see is blood splattered, as he races UPSTAIRS. A PHONE CRADLE is ripped out of the wall, which Adam nearly falls over. INT. SUBURBAN HOME -- UPPER LANDING/BEDROOM -- NIGHT ADAM RACES INTO HIS PARENTS' ROOM. Another horrible glimpse - - his mother's body splayed across her frilly bed. Blood on pale pink sheets. ADAM goes to his FATHER'S SIDE OF THE BED and now we see Adam's father's body. His father was reaching for A GUN he'd hidden under the bed. ADAM gets down under the bed, desperately reaches for the gun. It's just beyond his grasp. ADAM Come on, come on, come on... He gets it. But the GUN HAS A GUN LOCK. Adam has to dig in his dead father's pockets for his keys. Adam starts to cry. 3. ADAM (CONT'D) Come on, come on! He finds them, struggles to unlock the gun with shaking hands. THE BED IS TURNED OVER in one violent throw. Adam is exposed. We see only a hint of the creature that looms over HIM -- Brutally strong, veins dark and visible under the skin... Human but not quite. Adam reacts in horror. He knows he's dead. HE's RIPPED OUT OF FRAME as we hear: DISC JOCKEY (O.S.) .we're looking at a nice day here in Clark County, hitting a season low of only 89 degrees... EXT. SHADOW HILLS - DAY MUSIC starts under the DISC JOCKEY as we LOOK DOWN FROM HIGH ABOVE at the SAME suburban neighborhood as before. In the daylight it seems nice. Charming, even. Pocket parks decorate almost every corner and kids ride bikes in the street. Mothers unload groceries. Neighbors chat. DISC JOCKEY (O.S.) .so get out there and enjoy this beautiful Wednesday, people. We SWOOP CLOSER and find that RADIO comes from a passing MINIVAN with those cutesy stick figure family decals on the rear window. The FOR SALE SIGNS and brown lawns don't seem nearly so foreboding now. We SWOOP UP AGAIN and see beyond Shadow Hills, past the WALL that encompasses it -- and become aware for the first time that the community is SURROUNDED BY FLAT, ARID DESERT. In the distance, we can just make out the glow of Las Vegas proper. It looks like a distant fantasy, a land-locked Pleasure Island. 4. EXT. STREET - DAY CLOSE ON: The wheels of a DIRT BIKE as it zooms down the street. WIDEN to see CHARLIE BREWSTER, who is PUSHING the bike as fast as he can. It STARTS, sputters -- then craps out. CHARLIE (to the bike/pissed) You want me to take you apart, huh? Charlie's 17 and has the slightly awkward feel of someone who just recently came into his body and good looks. He's a wry, thoughtful kid who's enjoying -- but not quite trusting -- a sudden surge in popularity. CHARLIE (CONT'D) (still talking to bike) I will. I'll sell you for parts. Don't think I won't-- Charlie stops, embarrassed. DORIS -- a neighbor -- watches him talk to his bike. Paused as she hauls her trash cans to the curb. She's super pretty in a wholesome way -- except for her ridiculous body. Stripper city. She nods to the bike, amused. DORIS Nothing doing, huh? CHARLIE The thing's got no ambition. (re: trash cans) Can I -- uh, give you a hand? DORIS I got it. Thanks. She walks away -- her sweatpants have the word "LUCKY" across the butt. He watches her go appreciatively. Doesn't notice his mom, JANE, struggling to pull their own cans to the curb. JANE Don't leer at the neighbors, kid. Jane, 40's, attractive and frazzled, wears a REAL ESTATE brokers blazer. Charlie wheels his bike back to the curb. 5. He and his mom have had an affectionate, teasing relationship which has only recently started to have more edge. CHARLIE She's the one who put a word on her butt. I'm just reading it. Jane eyes a LARGE DUMPSTER FULL OF CONCRETE that sits in front of their NEXT DOOR NEIGHBOR'S YARD. JANE Is he ever going to move that thing? CHARLIE You need to get over it, Mom. JANE (WATCH IT) Attitude. (observes him/then) You've been tense or something. School? CHARLIE School's great, actually. JANE Amy? CHARLIE Good. Hasn't dumped me yet. He says this like he's surprised. Jane nods. Getting it. JANE That'll teach you to get so tall and handsome. (THEN) Getting what you want is stressful. Especially when you're not used to it. More to lose. CHARLIE Are you reading those books again? The Power of Whatever the Hell? She laughs. He glances at the DUMPSTER. CHARLIE (CONT'D) They're not working. You're still flipping out about a big box. 6. Now Jane moves to the open garage and starts loading OPEN HOUSE SIGNS into her trunk. Charlie stands there. She shoots him a look -- then he helps her load. JANE It's an eyesore. I'm trying to convince people to move in, not join the legions leaving town-- CHARLIE If you say "mortgage crisis" again I'm getting a new mom. JANE The guy moves in and puts a giant trash can in his yard! When the Perry's lived there-- Charlie has heard this before. It's a common refrain. CHARLIE The Perry's were the greatest neighbors ever. But they moved. I thought you were happy their place finally sold. JANE (back on the neighbor) He's not digging a pool. Where do you think all that concrete's coming from? CHARLIE You're spying on the guy now? JANE He's thirteen feet from our house. That's not spying, that's observing. A BEETLE CONVERTIBLE pulls up. AMY drives and her two hot friends, CARA and BEE, sit in the back. AMY Hi, Mrs. Brewster. JANE Hi honey. Hi girls. ANY, 16, is a stunner. And she's as cool as she is beautiful -- the girl every other guy in school would die to be with. 7. But Charlie is. And he can't believe his luck. Which puts him off his game. She makes him feel like he's always playing catch up. Charlie moves toward the VW. Jane calls after him. JANE (CONT'D) Oh hey -- Ed called. Again. CHARLIE Okay. JANE I'm tired of making excuses, Charlie. If you don't want to talk to him, would you please tell him? CHARLIE Kinda defeats the purpose. He gets to AMY and the girls. Amy glances at the dirt bike. AMY Still can't get the bike started, huh? CHARLIE Wow. No faith. AMY So you don't need a ride. Amy calls his bluff and starts to drive off. Charlie grabs his backpack and RACES after her. CHARLIE No, hey, stop-- She laughs, stops the car. Charlie tries to jump in and she drives again. CHARLIE (CONT'D) Come on! Hey!-- Charlie runs and finally dives into the back headfirst. The girls are laughing. ON JANE Watching them drive off, gone in a cloud of teen spirit. 8. INT/EXT. AMY'S CAR -- DAY The Beetle zips through a commercial strip. More suburban paradise. Charlie's in the front seat now. Amy drives, one hand on the wheel. Casually drops one on Charlie's leg. Charlie tries to act casual, but he's stoked and... amazed. Cara half-sleeps in the back while BEE leans forward, flirty, and eyes Charlie's COLORFUL PUMA SNEAKERS. Charlie's a sneakerhead, a serious collector. BEE Takes a man to wear purple, Chuck. AMY Charlie. BEE Chuck likes it when I call him Chuck, right Chuck? Intimidated by these girls, he tries to form a witty retort. CHARLIE It's -- they're not -- that's, like, puce? That's a macho puce. CARA Can you stop someplace? I'm severely under-caffeinated. AMY (ignores her/to Bee) Did you see the poster for the formal? The theme is "Hope"? BEE I know. They asked me to be on the committee again but I was like -- hope is completely 2008. Grow up. CHARLIE Did you suggest "Despair?" Nobody would see that coming. Or -- global warming? Everybody has to wear tin foil. AMY (laughs/to Charlie) Did you go last year? We basically did the whole thing, Bee and me. 9. CHARLIE (LIES) Me? I, ah, was in training that week. This big triatha-- BEE (cutting him off) Chuck was still under his rock. We're so glad you crawled out. CARA Caffeine!? Hello! CHARLIE I have Econ first period. Amy takes her hand off his leg. Charlie notices. CARA Charrrliiieeeee. CHARLIE (KILLING HIM) Okay. Yeah. It's no big deal. Amy PULLS into a coffee place. Parks. The girls climb out. CARA Thank you, Jesus. Amy catches Charlie looking at his watch, fidgeting. AMY You're not going to flunk for missing Econ, Brain. CHARLIE Brain? I -- what? No, I'm-- But she's already walking away. AMY Five minutes. He watches her move off, anxious and smitten. EXT. CLARK COUNTY HIGH -- COURTYARD -- DAY Charlie arrives with Amy, Cara and Bee -- all the girls now sport coffee drinks. Charlie has one too, with whipped cream and the works. 10. Kids stream into a nice, modern-looking high school. Amy takes Charlie's arm. AMY On time. You stress too much. CHARLIE I wasn't worried. AMY You were doing your worried thing. CHARLIE I was? I have a -- what's my-- MARK (O.S.) Ladies! A couple of handsome jock-type guys, MARK and BEN, roll up along side Charlie and the girls. They draw looks from other students as they move through the courtyard. The cool kids. BEE Doods. Looking massive. MARK (to Charlie/re: drink) Seriously? A Mochachino? You can't ride with the girls anymore. You let them brush your hair, My Pretty Pony? Mark grabs the cup away from him. Starts drinking it. BEE (takes his arm) Chuck's secure, aren't you? We see that Ben is also wearing PUMA's. Different design. It's a thing. Charlie shows his off -- he's secure. CHARLIE Puce. BEN Fuck yeah. AMY (TO CHARLIE) I have track after school, maybe we can hook up later? 11. CHARLIE Yeah. Hey. Come here. (pulls her aside/awkward) You know, the formal. Don't think I wasn't going to ask you, because I thought it was an obvious go. Together. Hope, puppies, kittens, the whole deal. You and me. AMY (NOT UNKIND) Oh, no. Please. Nobody goes to the dance senior year. She smiles, moves off. He watches her, lets out a breath. CHARLIE Right. I knew that. MARK and BEN enjoy the view as the girls move off. Wow. Mark, incredulous, says to Charlie: MARK Did you find a frickin' Genie lamp man? Make a sacrifice to the hot ass Gods? How do you get that? CHARLIE Game, my friend. Rock solid. Charlie moves off. And even though he's playing it off, we see that Mark's hit a nerve. This hot girlfriend thing is a bitch. Mark calls after him-- MARK You don't even have a car! INT. CLARK COUNTY HIGH SCHOOL -- DAY Later. Charlie's in Econ class. Seated in a back row near MARK and BEN. A number of seats in class are EMPTY. TEACHER Ben Wegner? BEN Here. TEACHER Adam Noris? Nothing. Teacher looks around. 12. TEACHER (CONT'D) Adam? (marks chart/then) Courtney Heuer? A girl raises her hand. Charlie, bored, idly checks out the class. Stops when he sees a tweaked-looking kid, ED, staring at him. EVIL ED is a slight, faintly punk-looking kid who's been picked on by bullies his whole life. He's hyper-intelligent, hyper-critical and... just hyper. And his binder is covered with COMIC BOOK STICKERS. TEACHER (CONT'D) Nick Straley? (NOTHING) Nick? Ed sees that he's caught Charlie's eye. Nods significantly at him. Like -- "you know and I know..." Charlie looks away. As if he didn't see him. INT. CLARK COUNTY HIGH SCHOOL -- DAY Charlie, Mark and Ben move down the hall. Mark shows Charlie a picture on his phone. A woman posing seductively. MARK Miss Granada. Geometry. CHARLIE Holy crap. Where did you get that? MARK She's hard up, man. Equations don't keep you warm at night. They stop, see EVIL ED approaching. This amuses Mark and Ben. But Charlie's uncomfortable -- wants to bolt. BEN I think "it's" going to talk to us. ED (TO CHARLIE) I need a minute. MARK "It's" going to talk to Brewster. 13. BEN (TO ED) When are you going to get the message? We don't know you-- ED (RE: CHARLIE) He does. Or did. Before the summer and his Jock Lobotomy. CHARLIE (to Ed/uncomfortable) What's the deal, man? ED Alone. Ed stares Charlie down. A beat. Ben and Mark bust out laughing. Mark looks at Charlie. MARK Just the two of you. That's sweet. He can school you in the ways of geek-douchery. ED It's important. "Brewster." The way Ed says his name is enough to propel Charlie into action. He grabs Ed and pulls him aside. Mark and Ben watch with interest -- out of earshot. Ed's tone is dire, serious as a heart attack. ED (CONT'D) Adam's missing. Charlie's looking around, self-conscious. CHARLIE What do you mean, he's missing? ED I keep trying him -- nothing. No texts, no phone. And he's not the only one who's gone. You heard roll call. CHARLIE So kids aren't coming to school. What do you want me to do about it? 14. ED Meet me at his house after school. We'll check around. See what's up, if he's okay. CHARLIE I can't after school. I'm busy. ED I don't think you get what I'm TELLING YOU-- CHARLIE Look, do we have to do this here? Ed can't believe it. Charlie's totally blowing him off. He starts to lose it, raises his voice-- ED What, am I not even suppose to speak to you now?-- CHARLIE Keep it down. Don't spaz-- ED It's so horrible! Crossing the streams! Will High School as we know it cease to exist?! Ed glances at Mark and Ben, who still watch from a distance. ED (CONT'D) You want me to tell your pals how well we know each other? The Lego contests, the Farscape conventions, THE COSTUMES-- CHARLIE UIET-- ED Or how your first sexual experience was with an Electra figurine-- CHARLIE No. No. ED Then be my backup. CHARLIE (DEFEATED) Fine. Adam's after school. 15. ED Don't be late. Moves off. Charlie sees the guys watching him. A beat. He shrugs like "I have no idea what that was about..." FADE TO: EXT. BREWSTER HOUSE -- FRONT LAWN -- DUSK The sun has set behind the mountains. It's gloomy gray out, right before dark. Charlie and AMY park, climb out of her car with drinks from PLANET SMOOTHIE in hand. She's still in her track and field clothes. Looks tough. AMY You know what I want? For dinner? CHARLIE You're eating right now, you know. As you speak. You literally just forced me to get you a smoothie so large they named a planet after it-- AMY (LAUGHS) I ran six miles. What did you do? CHARLIE I -- watched you. But not in a creepy way. Charlie winces a little. It sounds creepy. AMY So don't judge. You don't want me to burn my big ole' booty off, do you? Charlie, on impulse, stops her -- kisses her. AMY (CONT'D) What was that for? CHARLIE I don't know you're just... AMY What? 16. CHARLIE (PERFECT) Nothing. A sweet moment. These two have a definite thing. It's real. They're about to kiss again when JANE'S GIRLISH LAUGH stops them. They both turn and REACT AS THEY SEE... A MUSCLED MALE, SQUATTING AND HUNCHED-OVER -- clad only in a white wife-beater and jeans. We can't make out his face. Jane stands over him, laughing at something he's said as he FIXES their sprinkler. PUSH IN as the guy looks up. This is JERRY. 30's. Handsome to the point of devastating. An all-American Adonis. AMY Wow. CHARLIE Look at Mom. She's— AMY Damn right. If he followed her home, you have to let her keep him. Amy laughs -- almost skips toward them, milking the moment. EXT. ADAM'S HOUSE -- DUSK ED paces anxiously in front of ADAM'S HOUSE. He has a duffle bag over his shoulder. Keeps checking his phone. He finally dials in a number. Talks-- ADAM Charlie. I'm in front of Adam's. Remember the videos we all made back when? You and me and Adam, bro? In tights. Want your pals to get a load of that? EXT. BREWSTER HOUSE -- FRONT LAWN -- DUSK Amy and Charlie approach Jane and Jerry. They overhear-- JANE .so not a pool, what's the work you're doing? 17. Jerry has an easy-going way about him. An inviting charm. JERRY Foundation problems. I had to rip up half the basement. JANE These houses were built practically overnight. I'm never surprised when they come apart. JERRY (RE: SPRINKLER) Done. Just needed a new stem. Jane sees Charlie and Amy approaching. And gaping. JANE Jerry, this is my son Charlie. And his -- do we say girlfriend now? CHARLIE (EMBARRASSED) I guess. I mean -- only if she's-- Amy's amused at Charlie's squirming, finally saves him. AMY (shakes Jerry's hand) Hi. I'm Amy. He can't help but give Amy an appreciative once-over. She enjoys it, but pulls away and moves closer to Charlie. Charlie notices the exchange -- the way this dude oozes manliness. Doesn't like it one bit. He shakes Jerry's hand a little too firmly. Lowers his voice a bit. CHARLIE Hey. JANE Jerry's our new neighbor. The Perry place. He's "handy." AMY (looks to Charlie, smiles) No kidding. JERRY Sorry about the mess, man. I was just telling your mom I'll have the dumpster gone next week. 18. CHARLIE Doesn't bother me. JANE Jerry does night construction on the strip. JERRY (noticing Charlie's shoes) You play ball? I'm always looking for a pick up game. CHARLIE (BLUFFING) Now and then, you know. JANE It's more of a collector thing. The shoes. He's obsessed. (to Jerry/"those teens") They sleep on sidewalks to get them. Charlie looks at Jane, thanks for embarrassing me. JERRY Well -- they're bold. I like them. Jerry looks back at Jane. A little flirtatious. JERRY (CONT'D) So... I'd ask you guys inside, but it's a mess. I've been meaning to. JANE Be neighborly. JERRY A drink, something. It hangs there, waiting for an invitation. Jane just smiles. JERRY (CONT'D) Soon, okay? JANE You bet. And thank you so much. For the help. JERRY Least I could do. Jane, Amy and Charlie walk toward the house. Jerry moves off. Amy looks at Jane, amazed. 19. AMY Why did you blow him off? Oh my God! JANE A guy that good-looking, still single? Bad bet. He's a player. CHARLIE (IMPRESSED) Mom. Breaking it down. JANE I've had enough man trouble. I'm not getting suckered again. Amy and Charlie meet eyes. That was loaded. Jane notices. JANE (CONT'D) Don't listen to me. Jaded old BROAD-- CHARLIE MOM-- Charlie's PHONE buzzes. He checks it. ON THE PHONE A VIDEO CLIP from ED. TITLED "KID COMEBACK and SUPER SQUID!" It shows Charlie, Ed and Adam when they were younger, prancing around in homemade costumes and, indeed, tights. The text message says "10 MINUTES -- OR THIS IS GOING WIDE!" ON CHARLIE CHARLIE (CONT'D) (alarmed/to Amy) Wow. Okay. I gotta go. Sorry. Call you later. AMY Now? JANE I have dinner on-- CHARLIE I gotta go. I'll eat later. JANE Charlie! 20. But Charlie's already off and running. EXT. ADAM'S HOUSE -- DUSK Charlie approaches, sees ED pacing in front of the house. He's flipping out. ED Where the hell have you been? CHARLIE You said after school, chill out! Ed is already lugging his big duffle to Adam's front door. ED Right after! It's dusk, dude, you know what that means!? CHARLIE That the sun's gone down. What's THE BIG-- Over him, Ed knocks loudly. Rings the bell. ED Hey! Anybody home? A long pause. Nothing. CHARLIE Not here. Let's go-- But Ed's already heading around the house with the duffle. INT. ADAM'S HOUSE -- KITCHEN -- DUSK Ed wriggles in through the DOG DOOR. He turns, lets Charlie in. Charlie looks around. CHARLIE This is nuts. It's the SAME HOUSE we saw in the opening, but completely righted. TV is off, the walls are clean. Furniture in it's proper place. It's perfect. They move into the house. Ed is wired, scared. 21 ED Hello? Ed and Charlie here! (TO CHARLIE) Come on. Charlie follows him in. Resigned and placating. CHARLIE Okay. Fine. Ed opens his duffle bag. Inside are CROSSES, STAKES, HOLY WATER, even a small AX. ED Take this. Ed hands Charlie a STAKE. Charlie eyes it, incredulous. CHARLIE You've got to be kidding me. Ed stops. This is it. ED I hate to tell you this but that guy, your neighbor. (DEAD SERIOUS) He's a vampire. One of the undead. CHARLIE My neighbor. Next door. ED Yeah. CHARLIE I just met him. Jerry. ED Jerry. A beat. CHARLIE That's a terrible vampire name. "Jerry." Seriously-- ED I didn't name him, man, I'm just reporting the facts! Ed moves UP THE STAIRS. Charlie reluctantly follows. It's darker up here. Lights off. 22. CHARLIE Come on, this is a gag -- right? Ed's barely listening -- cautious. Every shadow is potential death. Total shmuck bait... ED Hey! Anybody here? They pass the empty MASTER BEDROOM -- where we saw ADAM's parents slaughtered. Now its clean and empty. Then Ed turns into ADAM's room. It's full of geekery. Action figures, the like. Charlie sticks behind him. The guys don't register the mostly obscured form of SOMEBODY HIDING BEHIND the door. A LARGE MALE figure. Ed catches sight of the guy, and SPINS toward it, freaked. Charlie also reacts, scared. ED (CONT'D) Get back, demon! Ed thrusts his cross forward which knocks the door open, toppling A MOVIE CHARACTER STANDEE. A beat. Then Ed lets out a slightly manic laugh. ED (CONT'D) Ha! I killed that sucker dead! CHARLIE (ANGRY) They're not here, okay? They left town. His dad was a deadbeat-- Ed pulls a MAP out of his pocket. It has lots of red and black DOTS marked on it. He thrusts it at Charlie. ED No, see, it's not just them. It started -- there was this thing on Channel 13, a lady escaped an attacker who tried to bite her. Ed points to the RED DOTS on his chart. They form a loose circle around CHARLIE'S house. ED (CONT'D) Adam and me, we graphed the attack, the disappearances. Whole families, gone. (MORE) 23 ED (CONT'D) And that's you guys at the center, see? His windows are totally BLACKED OUT-- CHARLIE There's a ton of houses like that. People work nights on the strip-- ED But every window? No. I've been watching him. It all fits-- CHARLIE That Jerry's a Dracula. ED No. Dracula is a specific vampire. I'M SAYING-- CHARLIE I know what you're saying! I'm mocking you. You've been reading too much Twilight-- ED Fiction, okay? This is real. A real monster. And he's not brooding. Or lovesick. Or noble. He's the fucking shark from JAWS. He feeds, he kills, and he doesn't move on until everyone around him is dead. (MOST EMPHATIC) And that book SUCKS. Charlie can't help but pause. Ed's conviction is so real. But he shakes it off. CHARLIE COME ON-- ED What about your neighbors, the Perrys? He moved into their house. Haven't seen them around, have you? CHARLIE Yeah, in San Diego like a month ago! ED Exception, proves the rule. You haven't asked him in, have you? He can't get in without an invitation. 24 CHARLIE No, but-- ED Your mom? Lonely divorcee... CHARLIE You're on drugs. ED No! Well, yeah... I thought you'd take my word, but I have evidence at home. Hard evidence. Charlie stops fighting it and humors him. Ed's lost it. CHARLIE Yeah. Okay. ED (INTENSE) We have to stake him in his nest. You and me. Not now, it's dark. CHARLIE Right. Cause he's nocturnal. ED Just for -- okay -- for a minute pretend you're not a douche now-- CHARLIE Look, Ed, this stuff, it was fun when we were eight-- ED SIXTEEN-- CHARLIE (LOSING IT) Whatever! I grew up, okay? You don't want to, fine. But don't get an attitude because I'd rather have a life than make shit up! Ed stops. Stung. ED Right. Got it. You're soooo cool "Brewster." Go ahead, join the Clark High early-peakers. This is the pinnacle for them. And that includes your girl-- 25. CHARLIE Shut up. ED Undeniably doable, but we used to make fun of her and her pals, remember? They're bimbos-- CHARLIE Shut up! Charlie barely refrains from hitting Ed. Instead he shoves him away. Ed stumbles. Falls. He looks up at Charlie, genuinely hurt and desperate. ED Adam's gone -- you act like it has nothing to do with you. (THEN/PAINED) We were inseparable, man. CHARLIE Yeah. And you know when I got popular? The minute I stopped hanging out with you. Charlie takes off. Ed watches him go. FADE TO: EXT. NEIGHBORHOOD STREETS/VARIOUS -- NIGHT A while later. It's REALLY DARK now. Ed, gripping his duffle bag nervously, skates down a residential street. Houses here are spaced far apart and the lights in many of them are off. Ed is anxious, watchful. He knows it's not safe. Every dark corner is potentially the end of him. A few cars pass. Something moves behind him. Footsteps GAINING. Ed abandons his skateboard and BOLTS. A hand SLAMS on his shoulder, spins him around. IT's MARK, Charlie's pal from school. MARK You crossed my yard. Tracked your nerdjuice all over it. 26. ED Sorry. Sorry-- MARK My mom works hard on that shit, MORON-- Ed glances around nervously, it's dark and anything... else could be out there. ED Can you just hit me? I don't have time for the build up. (he steels himself) Go. MARK Seriously? ED Jesus, man! Just do it! Fine. Mark winds up and SWINGS -- a brutal blow. Ed DUCKS and runs. Mark's immediately on his heels. The guys dodge and dart through the neighborhood. But Ed has experience in the art of losing bullies and he manages to shake Mark for a moment. Ed scrambles over a wooden fence, but his DUFFLE BAG GETS CAUGHT ON TOP. Most of his vamp hunting stuff SPILLS over on the OTHER SIDE OF THE FENCE. ED (CONT'D) Crap. Crap! There's not time to get the stuff. He can hear Mark approaching in the dark. He drops into a neighbor's backyard. EXT. BACKYARD -- NIGHT ED spins and slams right into MARK -- no, it's JERRY. Ed falls back and scrambles away, terrified. ED (CONT'D) Get away! I'm armed mother fucker! Jerry moves after Ed, angry but controlled. More like a man than a monster. 27. EXT. FENCE -- NIGHT Mark pulls up on the other side of the wood fence. Sees Ed's VAMP HUNTING STUFF on the ground, laughs. MARK Unbelievable. A beat, Mark glances at the high fence. Decides he's done. He kicks some of Ed's stuff as he moves off. EXT. BACKYARD -- NIGHT Ed trips over kid's toys and bikes as he runs to the house. There's a porch light on over the back door. ED (pounding on door) Hey! Let me in! Please! But there's no answer. Ed is desperate, Sees Jerry closing in, walking across the backyard. Ed takes a ROCK and smashes the window over the kitchen sink. INT. HOUSE -- KITCHEN -- NIGHT Ed falls through the window into the kitchen. Looks out. JERRY stalks toward him. All hulking menace. But Ed's safe now. Calls out-- ED Forget it sucker! No invite! BAM! Jerry kicks in the kitchen door. Ed, terrified, falls back. JERRY Abandoned. I thought you did your homework. ED -- what? JERRY You've been watching me. I've been watching you. Seems fair. Ed BOLTS into the house. 28. INT. HOUSE -- VARIOUS -- NIGHT As he races through the empty rooms he pulls a stake from his pocket. We see he's wearing a cross around his neck on a long chain. JERRY's following, but barely breaking a sweat. Ed sees A SLIDING GLASS DOOR to the back. He fumbles with the lock, gets it open and runs into the backyard. EXT. BACKYARD -- NIGHT Ed races for the back gate-- AND SUDDENLY JERKS TO A STOP. Jerry has him by the back of the CROSS he's wearing. Ed's lifted WAY off his feet by the CHAIN, until he's choking on it, the cross directly under his neck. JERRY looks away as he SNAPS the chain off Ed and HURLS the cross into the neighbor's POOL. Ed falls to the ground, watches the cross sink in despair. Jerry's standing over him. Smiles a little. We get just a flash -- he suddenly has MORE TEETH, sharper, in rows. It's chilling. JERRY Bit off more than you can chew. Shaking, terrified, Ed brandishes the STAKE. ED We'll see, man. I know my shit. But Jerry doesn't appear to be afraid. He looks at Ed with actual sympathy. JERRY Really? Who's going to believe you? You see the truth, but what good is it when you're alone? Ed's shaken -- but still grips the stake. Holding on. ED Don't play that stuff. That mind crap. Come on -- try me. Try me! 29. JERRY You say you're glad you're different. But how can you be in a place like this? These people... Even your best friend. You're nothing to him now. Ed's listening despite himself, hurting now. Jerry moves a step in. Ed raises his stake again -- but with slightly less conviction. ED Get back! JERRY It can be over. I can make all that pain go away. Ed's fighting tears. Life as he knows it is gone. ED No... JERRY You were born for this and you know it. Your "life", what you had? That's the illusion. (off Ed's silence) I can take you somewhere great. Somewhere you'll belong. Ed takes this in. His eyes clear a bit. Is it...hope? JERRY (CONT'D) It's a gift. And Jerry moves closer, blocking our view. CUT TO BLACK: FADE UP ON: EXT. BREWSTER HOUSE -- DAY A new day. Sunny and hot. A truck moves the DUMPSTER from Jerry's house. INT. BREWSTER HOUSE -- KITCHEN -- DAY Through the kitchen window, Jane watches the DUMPSTER drive away. She's pleased, a little surprised. Says to herself... 30. JANE Good on his word. A knock at the door. It's Amy. She lets herself in. AMY Morning. Charlie? JANE You try. My voice seems to be on some frequency he can't hear. AMY CHARLIE! CHARLIE (O.S.) Coming! Amy looks at Jane, who shakes her head. Amy moves to the island. Grins a little. AMY Talk to Hot Neighbor again? You should facebook him. JANE (shakes her head) Temptress. I'm resolved. Charlie runs down. Wet from the shower, discombobulated. pecks Amy, grabs food off a plate. He's out of sorts. AMY Oversleep? CHARLIE Didn't. (off her look) Weird dreams. Charlie gives Jane a quick peck and follows Amy out. EXT. BREWSTER HOUSE -- FRONT YARD -- DAY Amy and Charlie head to the car. Charlie turns -- looks back at JERRY'S HOUSE. The blacked out windows... AMY What? Charlie snaps out of it. It's crazy to even entertain Ed's theories. 31 CHARLIE Nothing. That guy was such a tool. AMY (HUMORING HIM) Totally. Poser. She gets in the car. Smiles a little. FADE TO: INT. CLARK COUNTY HIGH SCHOOL -- DAY Charlie's in class. He's restless, agitated. On his pad, he absently draws VAMPIRE images, blood... TEACHER Sally Cabella? SALLY Here. TEACHER Ed Lee? Nothing. Charlie looks up. TEACHER (CONT'D) Edward Lee? Charlie looks around. No Ed. And just like he said -- quite a few other kids are missing. Charlie takes this in, looks around. ABOVE CHARLIE SEATS ALL AROUND HIM ARE EMPTY. This time it makes an impact. EXT. BASEBALL FIELD -- DAY Charlie, Mark, Ben and the rest of the guys get ready for practice. Mark's in the middle of a story, but Charlie is distracted -- barely listening. MARK .she's wearing a jumpsuit, dude. Like -- one zip and POP! CHARLIE Huh. 32 MARK What's up with you? Dreaming about your little boyfriend? Charlie takes this in, worried. CHARLIE You see him around today? Ed? BEN I don't track "it's" whereabouts. What did he want, anyway? CHARLIE Nothing. Homework stuff. But Charlie's clearly distracted. CHARLIE (CONT'D) Look, I have to go. MARK Now? You're ditching? I'll bail with you. CHARLIE No -- I'm -- I don't feel so well. He takes off. Ben and Mark watch him, perplexed. EXT. ED'S HOUSE -- DAY Another suburban development. Rows and rows of red tile roofs, houses stacked right on top of one another... Charlie rings the bell of a modest place. Not as big as where Charlie and Jane live. But nice, well-tended for. ED's mom, VICTORIA, answers. She's surprised to see him. VICTORIA Charlie! CHARLIE Yeah, Hi Mrs. Lee. Victoria breaks into a wide smile. VICTORIA God you're a sight for sore eyes. 33. INT. ED'S HOUSE -- CONTINUOUS Victoria pulls Charlie in and hugs him, happy. Calls out-- VICTORIA Rick! Charlie's here! (TO CHARLIE) Look at you. So handsome! CHARLIE Oh, I -- you don't have to-- Now RICK, Ed's dad comes into the room. Shakes his hand. RICK Ed said you'd sprouted. And you're, the-- Rick awkwardly gestures around his face. CHARLIE Cleared up. Yes sir-- VICTORIA Ed will be so sorry he missed you, But -- you should both be in school now, shouldn't you? CHARLIE He's not here? Did you see him today? RICK He's usually up and out early. Everything okay? CHARLIE No, sure. We're working on a class project. I guess we crossed paths. VICTORIA I'm so glad you're doing that. Ed, he'd be mad that I said so, but he talks about you all the time. This lands hard on Charlie. How remiss he's been. CHARLIE Yeah. That's... He's great. (THEN) Would it be okay if I went upstairs? Ed has a book we need. 34. VICTORIA Of course. Make yourself at home. Charlie goes upstairs. Victoria makes a face at Rick -- "that's good!" They're both pleased. INT. ED'S ROOM -- DAY Ed's room is a shrine to comic books, horror and fantasy movies. There's an art table where Ed has been working on some illustrations for a noir-style graphic novel. Charlie stops and looks at them. They're fantastic. He looks at the photos on the wall -- including a few pictures of Ed, Charlie and Adam when they were friends. CLOSE ON A PHOTO Charlie and Ed, arms around each other. Charlie is shorter and thinner -- with really bad acne. Not cute. WAY not. ON CHARLIE Ouch. Best not to dwell. He turns and sees-- PETER VINCENT'S "FRIGHT NIGHT" POSTER on a wall. Charlie takes it in, laughs a little. Then Charlie examines a WHOLE WALL devoted to Ed's investigation of Jerry. Maps, news reports, vampire lore printed off the internet, books, etc. If you didn't know the difference, you'd say it's just more of Ed's fictional world. Charlie stares at it all for a beat. Then shakes his head. It's all a fantasy -- nothing more. CHARLIE This is crazy. He starts to take off. But sees that Ed's computer is on -- and one file stands out. "THE JERRY DIARIES." Charlie gives in to his curiosity -- clicks it open -- finds a bunch of Quicktime files. He opens one. Stops. CLOSE ON COMPUTER 35. As BLURRY short clips play: Jerry's truck, in motion but it looks like NOBODY'S DRIVING IT. DORIS the neighbor chatting on Jerry's lawn -- with nobody. Over and over, it's appears that JERRY DOESN'T SHOW UP on video. OFF CHARLIE Taking this in. Chilled. EXT. BREWSTER HOUSE -- NIGHT It's dark as Charlie comes home. He looks warily at Jerry's house as he searches for his keys. BAM -- he walks right into JERRY. JERRY Hey guy. Charlie tries to maintain his cool. What if Jerry is what Ed thought? Impossible, but... CHARLIE Hey. Guy. JERRY You could really do me a solid. CHARLIE Yeah? What kind. JERRY I have a girl on her way over for a beer, and I'm totally out of beer. They're at Charlie's back door, the one that leads to the kitchen. CHARLIE Bummer. JERRY Set me up, I'll pay you back two times. A sixer for your mom, and one for you. CHARLIE Uh, yeah, sure. 36. Jerry watches Charlie as he unlocks the door. This is when Charlie should invite him in. CHARLIE (CONT'D) Let me see what Mom's got. She's kind of a "light domestic".. .mom. Charlie steps inside. Pointedly DOESN'T ask Jerry to enter. Charlie intentionally leaves the door open, moves to the refrigerator. But keeps his eyes on Jerry. If he steps in, uninvited, Ed's theory is blown. JERRY Nice kitchen. Same floor plan as my place, huh? Jerry leans against the door jamb -- BUT DOES NOT CROSS THE THRESHOLD. Charlie observes this. Holy shit. Charlie and Jerry MEET EYES. Then a cold smile creeps over Jerry's face. Charlie fumbles, lets one of the wet beers slide from his hand -- it hits the ground, explodes. CHARLIE Fuck! JERRY Can I help you with that? CHARLIE No! No. Thanks. I'll get it. Jerry takes in Charlie's frantic refusal. Now he's darkly certain. He's been made. Charlie tosses the broken bottle into the sink. Moves to the doorway with the remaining beers. Charlie hands them over the threshold. But doesn't cross. CHARLIE (CONT'D) There you go. Uh...party down. Jerry watches him, intense. His tone shifts -- cocky and intimidating. A threat disguised as "guy talk." JERRY This girl tonight -- she's a handful. You know. (MORE) 37. JERRY (CONT'D) Women who look a certain way, they need to be managed. CHARLIE Yeah. JERRY You don't mind my saying, you got a lot on your shoulders for a kid. Your pal, Amy? She's ripe. Must be a line of guys dying to pluck that. Your mom too -- you don't see it, maybe you do -- she's giving it off. It's on you to watch out for them. You up for that? Charlie's burning. But holds himself in check. CHARLIE I think I can manage. JERRY Good. Cause there are bad people out there, man. Better keep an eye on your women. Jerry backs away, intimidating even as he retreats. JERRY (CONT'D) Thanks for the beers. Charlie watches him move into the dark. INT. BREWSTER HOUSE - CHARLIE'S ROOM -- NIGHT Charlie bursts into his room, freaked out -- races to the window. His room is free of all geekery. Now it's all sports and sneakerhead stuff. AMY's there -- on his bed and surrounded by school books. She's reading Wuthering Heights. AMY Where've you been? You told me to meet you here an hour ago. CHARLIE'S POV Jerry's nowhere to be seen and his house is quiet. Lights on behind BLACKED OUT WINDOWS. 38. AMY (CONT'D) Hello? Charlie breaks away from the window. It's an effort. His focus is still half there, even as he tries to talk to Amy. CHARLIE Sorry. You okay? Everything okay? He checks his phone. Checks for anything from ED. Nothing. AMY Yeah. Why shouldn't it be? CHARLIE No, it should. Nothing. AMY (re: her book) You ever read this? It's good. Sexy, actually. Amy moves to Charlie. Puts her arms around him. AMY (CONT'D) In a frustrated, unconsummated sort of way. CHARLIE Like us, you mean. Amy laughs, pulls him onto the bed. She's feeling frisky. AMY Kinda makes it hotter. CHARLIE Yeah, so you keep saying. He smiles a little. She kisses him. But feels his distance. AMY Am I boring you? What's up? CHARLIE What? No. I'm kind of wiped out, that's all. AMY I can fix that. She kisses him again. Despite himself, Charlie gets drawn in and turned on. She pulls back, serious. 39. AMY (CONT'D) Want to get under the covers? CHARLIE -- now? Seriously? AMY Calm down. Let's just... see how it goes. Charlie's dying inside. Now?! Could not be a worse time. CHARLIE Believeme when I say--thereis nothing in the worldI'dratherdo BUT-- AMY Charlie. Don't be nervous. She kisses him again. It's intense, passionate. Charlie weakens a little. Maybe death and mayhem can wait... Amy moves to take off her top. Oh. My. God-- DING DONG. Somebody is ringing the bell at Jerry's. Charlie stops. Practically tosses Amy off him. CHARLIE You hear that? He rushes to the window. Looks outside. CHARLIE'S POV DORIS is at Jerry's front door. Holding a bottle of wine. CHARLIE (CONT'D) Shit. AMY What? JERRY comes to the door. He and Doris start chatting. She's flirting up a storm. CHARLIE Shit, shit, shit-- Amy sees what Charlie sees. Shrugs. AMY He's hot. She's a stripper. They were bound to find each other. 40. CHARLIE GO-GO DANCER-- AMY Take away two tiny pieces of cloth, stripper. (LIGHTLY) You jealous? CHARLIE What? No-- Jerry is showing Doris in when he stops-and looks DIRECTLY AT CHARLIE. It's chilling. Charlie DIVES away from the window, grabbing Amy and pulling her down too. CHARLIE (CONT'D) He looked right at us. AMY Maybe. Not a big deal-- Charlie's freaked now. Doris is IN THERE. CHARLIE No, it is a big. A very big. He saw us and he was pissed. AMY Okay... Amy moves away. Looking at him skeptically. AMY (CONT'D) If you're not into this, say so. Don't do me any favors. CHARLIE What? No! I am, I totally am. just -- I don't trust that guy. He glances out the window again. Amy's irritated, not used to having her passes rejected. She gathers her stuff. AMY I'm going. CHARLIE Amy. Don't-- 41. AMY No. You've got your neighborhood watch thing. CHARLIE Come on, don't be that way-- But she's gone. CHARLIE (CONT'D) Crap! A beat. Charlie's torn -- he should go after her. But Doris's muted LAUGH from the other house draws his attention. He looks again at Jerry's house. He can see faint shadows moving behind the windows in the house, like ghosts. Charlie's conflicted, freaked -- what can he do? He picks up the phone. Dials 911. Then thinks better of it. Hangs up. Finally -- he stops at the window, eyes on JERRY'S PLACE. Listening and watching intently. Keeping sentry. FADE TO: INT. BREWSTER HOUSE -- CHARLIE'S ROOM -- NIGHT Later. Charlie's fallen asleep in a chair by the window. He's startled awake by a woman's SCREAMS. They sound like they are coming from Jerry's. But are they screams of pleasure or pain? Charlie looks out the window. Jerry's house is dark. It's all quiet. Charlie looks at the clock. tam. Charlie sits back on his bed. Was it a dream? Then Charlie hears A MOTOR START. Charlie goes back to the window. Jerry's TRUCK starts and Jerry drives off. Off Charlie, unsettled. CUT TO: EXT. JERRY'S HOUSE -- BACKYARD -- NIGHT A short while later. Charlie moves cautiously into Jerry's backyard. He's wearing ALL BLACK and his dad's old winter gloves. He looks at his iPhone. ON THE PHONE -- a diagram. "How to pick a lock." 42. Charlie steels his nerves. At Jerry's back door, he clumsily tries to pick the lock. After a moment or two, he realizes he has no idea what he's doing. CHARLIE (CONT'D) Crap. He walks away from the door, frustrated. Then turns and impulsively tries to KICK IN the DOOR with his foot. Nothing happens. Then something occurs to Charlie. He goes into the garden. CHARLIE (CONT'D) The Perrys... Charlie finds a FAKE ROCK. Turns it over. It has a KEY in it. Charlie's like -- duh. He puts the key in the back door lock. It opens. INT. JERRY'S HOUSE - NIGHT Charlie moves through the first story of the house. He's cautious, on edge. At first the place seems totally unremarkable. A typical "guy pad". Lots of inexpensive furniture, bad art, a salt water fish tank... At every turn, Charlie expects something or someone to jump out at him. It's unbearably tense. INT. JERRY'S HOUSE -- UPSTAIRS -- NIGHT Charlie looks upstairs. Moves through a plain white hallway, finds an open door that leads to Jerry's office, where he keeps an EXTENSIVE LIBRARY. On one wall hangs a TAPESTRY that looks very old, decorated with a strange INSIGNIA. Charlie takes a picture of it with his phone. INT. JERRY'S BEDROOM -- NIGHT Charlie goes into Jerry's bedroom - opens his closet. Sees a variety of UNIFORMS. Cop, gas man, UPS, etc. Charlie reacts, chilled. Charlie stops. JERRY'S TRUCK is pulling into the driveway. Charlie's in a panic. Jerry will be inside any moment. 43. There's no time to get out so Charlie ducks into the CLOSET. INT. JERRY'S HOUSE -- CLOSET -- NIGHT Charlie pushes as far back into the closet as he can go. Leans against the back wall. The BACK OF THE CLOSET SWINGS OPEN and Charlie falls back into a HIDDEN HALLWAY. Charlie stands, stunned, see that the hallway is lined by small rooms on either side. It's clear that these are additions Jerry's added. Each room has a small rectangular WINDOW, so you can see in. Charlie reacts, sick. It looks like a prison. Despite the danger, he creeps over and looks in one of the rooms-- WHAM!! A pale HAND slaps against the window. Charlie jumps. CHARLIE Fuck! -- DORIS is in the window now. Bruised and so pale she looks almost BLUE. DORIS Help... CHARLIE Oh my God. Oh, shit-- Charlie tugs on the door. Locked. He stands back, what to do? Charlie hears a NOISE. The FRONT DOOR. And then -- JERRY'S FOOTSTEPS approaching. DORIS Oh... Oh no... Get me out of here! Doris pounds on the door. In a cold panic. CHARLIE I'm -- I won't leave you-- But Charlie has no choice. The footsteps are getting CLOSER. DORIS Please! No! Don't go! 44. Charlie ducks inside one of the CELLS across from Doris, moves behind the door. JERRY steps into the hallway, walks right by Charlie's hiding place. Pauses near him. The door is ajar. Was it that way before? Charlie holds his breath. Jerry moves to the CELL and retrieves DORIS's half-alive body from it. Charlie cautiously looks through the crack in the door. DORIS (CONT'D) .no... . God, no... please... The door to Doris's cell open. Charlie can see PART of Doris's body and face. Jerry is mostly obscured, bent over Doris -- holding her. Charlie watches helplessly, horrified. DORIS (CONT'D) Please, please... don't kill me. Doris's body TENSES and starts to jerk, as Jerry TUGS AND RIPS AT IT SAVAGELY. It's clear he's FEEDING ON HER, although we can't see his face. Doris screams, then starts to cry. It's stark and REAL and terrifying. It seems to go on and on. Doris weakens, her head lolling to one side, her light fading. A small stream of blood spreads across the white pavement. In the position she's in, she is eye to eye with CHARLIE. She sees him, smiles weakly. Then mouths something -- too weak to make much sound. DORIS (CONT'D) Cha... Cha... CHARLIE is petrified. Doris gets it -- smiles a little grimly, puts a finger to her lips. Silence. After what seems like an eternity, Jerry is satisfied. He tosses Doris aside and stands away from her. Charlie DUCKS behind the door as Jerry emerges and casually wipes a spot of blood from his mouth. 45. Then Jerry LOCKS DORIS back into her cell. Pockets the key and moves off toward the stairs. After a moment, he's gone. The sound of a TV starts in Jerry's living room. Something banal like "The Real Housewives of Orange County." Charlie knows this is his moment. With shaking hands, he retrieves his iPhone and pulls up the "HOW TO PICK A LOCK" screen. Charlie looks through the window in Doris's cell. She's breathing -- alive. Charlie whispers to himself as he uses a bobby pin and a tiny screwdriver on the lock. CHARLIE Please... Please... The bobby pin slips. Drops. Charlie's losing it. Steadies himself. Tries again. CHARLIE (CONT'D) Come on. The tension is unbearable. Charlie can hear JERRY moving downstairs. CLICK The lock slides open. Charlie breathes with relief. Then he grabs Doris and BOLTS. Charlie SLIPS in a pool of blood left behind from Jerry's feeding, but he manages to stay on his feet. He pushes Doris ahead of him, to a BACK STAIRCASE. His PHONE drops out of his pocket, he has to double back -- every moment counts. Doris's barely aware of what's happening, let alone where she is. INT. JERRY'S HOUSE -- STAIRWELL/ENTRY -- DAWN A moment later. Charlie and Doris emerge downstairs, near the entry hall. They can see the front door -- and hear Jerry moving in another room. Charlie looks around, trying to get oriented. JERRY emerges -- almost sees them. Charlie ducks into a hiding spot and grabs Doris, covering her mouth. 46. A long beat as Jerry returns to the living room with a beer. Settles in a chair facing away from the door. Charlie considers his options. Says almost silently: CHARLIE Same floor plan. He grabs Doris and bolts for the kitchen. INT. JERRY'S HOUSE -- KITCHEN -- DAWN A back door. Leading out. Charlie and Doris race for it, DORIS stumbles and bumps into a chair. Stifles a cry. INT. JERRY'S HOUSE -- LIVING ROOM -- DAWN Jerry turns at the noise. INT. JERRY'S HOUSE -- KITCHEN -- DAWN Charlie throws the back door open, he and DORIS ESCAPE. EXT. JERRY HOUSE -- DAWN The sun is just starting to rise. Charlie races for his house, with Doris holding on to him tight. She's crying with gratitude and relief, manages-- DORIS Thank you, thank you... Doris looks up at him, her EYES TURNING BLACK, her veins going gray. A first ray of pure sunlight hits them. CHARLIE Doris? In a flash, DORIS starts to BURN. Charlie is helpless to stop it as she GOES UP IN FLAMES and explodes. CHARLIE REACTS Horrified. In shock. INT. JERRY'S HOUSE -- KITCHEN -- DAWN Jerry moves into the kitchen. 47. The back door is closed now -- but the blinds sway slightly. And there are BLOODY prints on the floor from Charlie's sneakers. Jerry takes this in, coldly furious. FADE TO: INT. BREWSTER HOUSE -- CHARLIE'S ROOM -- DAWN Charlie sits on his bed -- still in a state of shock. This shit is for real. Jane comes to the door, her knock cursory. She enters. JANE You're going to be late. Jane moves to the windows, throws the curtains open. Charlie winces at the sun. He got no sleep, looks like hell. JANE (CONT'D) The hours you keep. It's like living with a vampire. Charlie stops. Looks at her. She has no idea. CHARLIE Listen -- promise me -- that guy next door, Jerry? Under no circumstances do you invite him into our house. He's dangerous. JANE I think I can handle myself. CHARLIE No, no you can't-- JANE CHARLIE Charlie-- Don't even look in his direction, understand? And at night, you stay inside. JANE Because he's dangerous. What kind of dangerous? Charlie starts gathering his things. Getting ready to bolt. 48. CHARLIE Can you trust me? For once, don't ask a million questions-- JANE Charlie. Stop. I'm your mom, not some ridiculous woman-- CHARLIE (GENUINE) I'm sorry. Okay? I know... We just don't have time for a big thing! I'm telling you-- JANE That's enough. I'm done with this conversation. She moves away. CHARLIE Mom! Mom-- But she's gone. Charlie looks after her, worried. EXT./INT. CLARK COUNTY HIGH SCHOOL -- DAY Later. Charlie approaches the school. Kids swarm around him, happy and care-free. Charlie's in another world. INT. CLARK COUNTY HIGH SCHOOL -- LIBRARY -- DAY CLOSE ON A COMPUTER SCREEN As various pages pop up-- VAMPIRE FAQ True VAMPIRE tales! VAMPIRE chat city How to kill a vampire ON CHARLIE As he scrolls and frantically scribbles notes. CLOSE ON CHARLIE'S NOTE PAD/COMPUTER SCREEN As Charlie notes tons of CONTRADICTORY facts; 49. Vamps must avoid all daylight. Vamps can walk in fog or twilight. Vamps always sleep in the dirt. Vamps never sleep. Vamps can only die from stake through the heart. Vamps only die from Fire. Three bites to turn a victim into a vamp. One bite and the victim has to feed from the vamp... Vamps change form -- bats, animals, etc. Vamps absolutely can NOT shape-shift. ON CHARLIE We see now that he's on a computer in the SCHOOL LIBRARY, isolated behind some stacks. He clicks a link on one of the sites -- which leads him to PETER VINCENT'S website. It's an elaborate interactive site. It says that Vincent is a serious student of all things occult -- especially VAMPIRES -- and has amassed a vast collection of books and artifacts. It also claims that there are different TRIBES of vampires. ON CHARLIE'S NOTEBOOK He writes in big letters TRIBES? PETER VINCENT -- VAMP EXPERT? AMY (O.S.) Hey. Charlie looks up. Amy stands over him, a little wary. Charlie covers his writing and closes his computer screen. He looks like hell. Disheveled, sleep deprived, tense. CHARLIE Hey... AMY You weren't in class. What are you working on? CHARLIE Porn. Hacked it. 50. AMY Oh, good. I thought it was something creepy. Charlie nods. Smiles wanly. Then-- CHARLIE Look, I'd better... AMY Get back to your porn. Got it. She looks away, losing patience. Charlie rallies. CHARLIE No. Sorry. I'm just -- I could use some coffee. She looks back. Okay. EXT. CLARK COUNTY HIGH SCHOOL -- QUAD -- DAY Charlie and Amy sit in the busy quad. CHARLIE We can't hang out at my house any more. My mom's flipping out about some stuff. I can see you at school, but for a while -- AMY Why? What's going on? CHARLIE It's hard to explain. Just... What can he say? He has to protect her, but how? BEN AND MARK Join them. Notice how tweaked Charlie looks. BEN You look like dog shit. CHARLIE Thanks. MARK Your pal the spaz, his folks were here earlier. It's a big thing. CHARLIE What? Why? 51. MARK I don't know. He ran away or something. They were all upset, talking to the principal. BEN One less tweaker clogging up the halls. Charlie stands, upset. CHARLIE Shut up. MARK BEN Charlie-- Chill out- CHARLIE (CONT'D) You don't know what you're talking about. He could be dead for all you know. Mark steps in. Calming, reasonable. MARK You're right. Not cool. You're worried and it's totally understandable. (THEN) But he's better off, man. He'll be happier with the other trolls on the shire. That's it. Charlie DECKS MARK. They go to the ground and Charlie lets loose on him. A bunch of other guys pull them apart amid shouts, etc. Mark is bloodied and freaked. MARK (CONT'D) What the fuck man!? AMY stands back, appalled. AMY Charlie!! What the hell is wrong with you?! CHARLIE (TO MARK) You're an idiot, you know that? (SUPER EMPHATIC) And it's HOBBITS on the shire! 52. Charlie turns to Amy-- CHARLIE (CONT'D) Come on. But she shakes her head and moves to MARK and BEN. CHARLIE (CONT'D) AMY-- AMY Just get out of here, Charlie. Go. He knows it's over. Heartbroken, he takes off. FADE TO: EXT. THE STRIP -- DAY Charlie gets off the bus and walks toward one of the nicer hotels. He's looking at another "how to" on his phone. "How to meet a celebrity." INT. HOTEL LOBBY -- DAY CLOSE ON -- A NEWSPAPER STAND As Charlie grabs a LAS VEGAS SUN from a rack. INT. HOTEL LOBBY -- ELEVATOR -- DAY Charlie watches a bunch of CONVENTIONEERS with BADGES in the FOOD COURT. A guy about Charlie's size leaves his coat and badge on his chair -- goes to get his food. Charlie sweeps in and quietly takes it. INT. HOTEL SHOWROOM -- DAY CLOSE ON PETER VINCENT 40's, but all wiry rock n' roll attitude. Leather pants and tattoos, Long black hair wrapped in a bandana. Dark painted nails and heavy eye make-up. HEAVY METAL MUSIC BLARES. 53. The whole scene is OVER THE TOP GOTH cheesiness. Lots of stage effects and fire... PAMELA ANDERSON look-alikes in skimpy outfits prance on stage as another SEXY GIRL is handcuffed, S&M style, to a CIRCULAR TORTURE BOARD. ON THE AUDIENCE We see that this is a run-through. Tech guys work light boards, etc. A director and scattered others sit in the seats. CHARLIE Sneaks in one of the back doors. Silently moves close to the stage. He's WEARING THE STOLEN COAT. The badge holder now has the SUN masthead logo inside. It looks, at first glance, like a legit credential. ON STAGE Peter reveals a tray full of SHARP DAGGERS. He raises them to the audience. PETER The knives are real. He CUTS his OWN PALM with one, bleeds. Doesn't even wince. Stud. PETER (CONT'D) The girl is real. He GRABS HER, feels her up. She giggles. SEXY ASSISTANT Ooooo! Peter YANKS down on the circular board the assistant's tied to -- sending her SPINNING. PETER And if I miss, she'll really be dead. The music switches. It's all TENSION. Peter FLINGS a dagger. SCHWACK! The assistant DUCKS as the KNIFE embeds in the board behind her, this close where her head was. She screams! Breaks character. 54. SEXY ASSISTANT Holy Shit! Pete! Also out of character -- PETER speaks in a thick QUEEN'S ACCENT. PETER You can't say that! (moves to her) Stop the-- STOP. CUT!! The music stops. The spinning board stops. SEXY ASSISTANT You almost tore my extensions out! Why do you have to throw a real knife!? PETER (RE: KNIFE) It barely cuts! That board is like butter. He tears the MAKEUP appliance off his hand that made it look like he cut himself. The assistant pulls out of her VELCRO straps. SEXY ASSISTANT Everybody else fakes it! PETER But this looks authentic-- SEXY ASSISTANT Then learn how to throw! She stomps off the stage. Peter can't believe it. PETER Screw this. He starts to stalk off stage. CHARLIE rushes toward him. CHARLIE Mr. Vincent! Mr. Vincent-- A tech guy moves in on Charlie. CHARLIE (CONT'D) Charles Brewster. From the Sun? We had an appointment. PETER I don't think so. Talk to my guy. 55 CHARLIE We're doing a piece -- "Vampires. Separating myth from fact." PETER You want a comment? That's a shit idea for an article. Peter starts to move off. Charlie, anxious, follows. CHARLIE Please. I really -- I need your expertise. You're the man on this stuff, right? Peter sees how desperate Charlie is. Stops. PETER What is this, like your first assignment? CHARLIE Actually -- yeah. PETER (takes this in/then) Ten minutes. INT. PETER VINCENT'S PENTHOUSE - NIGHT Peter lives in a two story penthouse at the top of one of the casino hotels that he works in. It's lavish, floor to ceiling windows, etc. Still, goth influence reigns. The decor is tacky Haunted Mansion all the way. Charlie is shown into the "museum" by Peter's ASSISTANT, ARTHUR, who looks and sounds A LOT LIKE PETER. ARTHUR Don't touch anything, dude. INT. PETER'S "MUSEUM"/LIBRARY -- NIGHT Charlie enters -- comes face to face with a SNARLING WEREWOLF. He starts. Then realizes it's a life-size model. CHARLIE Ho -- wow. 56. Charlie stands back, takes in the place. It's an amazing combination of FANTASY memorabilia and ACTUAL occult weapons and objects. It seems to go on and on. ARTHUR Got rooms of this crap. Ebay. Charlie examines a case that holds all kinds of TORTURE DEVICES and battle axes, as well as SPIKED BALL MACES, etc. Cases hold ancient texts and scrolls, haunted objects, etc. CHARLIE Amazing. Charlie is genuinely impressed. The geek in him can't help it. Peter enters, talks to Arthur-- PETER Midori me. Arthur pours Peter a green drink as Peter pulls off his black wig (bandana attached) and peels off a nude body shirt that has a bunch of TATTOOS printed on it. He steps out of his boots, with three-inch LIFTS. Collapses into an arm chair. He's just another balding, middle-aged guy with bad eyes. Peter downs his drink. Arthur hands him the bottle. Peter looks at Charlie. In truth, Peter's isolated himself to the point that he actually welcomes a visitor -- though he'd never admit it. PETER (CONT'D) (RE: MIDORI) Looks like pee but I'm hooked. You want? CHARLIE No, thanks. Not...on the job. Peter scratches avidly at his crotch. PETER Leather, it doesn't breath. You know? Fucking rashes are killing me... So I'm your expert, huh? For your vampire thing. (BITTER) They're all the rage, huh. 57. CHARLIE Yeah. I guess... So -- say I want to kill one. But really. How how would you do it? PETER Depends. You got fire, beheading. Or go classic -- stake through the heart. Bam! CHARLIE So all that actually works? PETER How the fuck do I know. CHARLIE I thought you're-- PETER I read books, man. You think I'm hanging out with Dracula and the Easter Bunny? CHARLIE Sorry. No. Charlie realizes he has no choice. He has to reveal more. CHARLIE (CONT'D) I -- I have a personal interest in this story. (off Peter's look) A friend's missing, actually. I think one of them got him. PETER Them, meaning a "vampire." CHARLIE Jerry. He lives next door to me. PETER "Jerry?" CHARLIE I know. (THEN) But it's no joke. If you look at these clips, you'll see. They take some time to load but... Charlie moves to Peter, shows him his phone. Digs into his pocket. 58. CHARLIE (CONT'D) And I printed up some photos I took. In his place. Or lair... Charlie put the photos in front of Peter on the table. Peter's expression closes. He stands, pissed. PETER Arthur! CHARLIE No, come on, I'm-- PETER You're a nutjob. Arthur! Charlie deflates -- his desperation showing again. CHARLIE Listen to me. I saw it. I saw him kill a girl. She burned up in my hands. You have to tell me how to stop him. Arthur enters. PETER Get this loser out of my sight. CHARLIE I know what I saw. PETER No you don't. See this guy? He gestures to ARTHUR. PETER (CONT'D) My cousin, Art. He's "me" on stage. That's how I teleport. People see what they want to see. CHARLIE (URGENT) This is what you've been looking for, I promise. I can take you to him, to his place. PETER In Clark County Nevada. A hot bed of supernatural activity. 59. CHARLIE Yes! It's genius. A transient population. A town where people work all night, sleep all day... PETER A town full of con-artists. (not buying it) No. You're working me, or somebody's working you. Charlie's getting angry now. CHARLIE He already got my friend! I know how I sound. But I'm not crazy. I didn't want this. I don't want to know this. Just tell me what to do! Peter feels Charlie's sincerity. For a moment he looks genuinely conflicted. But his expression hardens. PETER Run. CHARLIE What? PETER You heard me. He moves away. But Charlie is on his heels. Peter looks to ARTHUR, nods. CHARLIE So I save my own skin so he can keep killing!? I won't. We have to kill him! Please!-- Arthur THROWS Charlie out, the door closed firmly behind him. INT. PETER VINCENT'S PENTHOUSE -- OUTER HALL -- DUSK Charlie stands, shut out. What the hell is he going to do now? FADE TO: 60. EXT. BREWSTER HOUSE/JERRY'S HOUSE -- DUSK Moving in on the Brewster home, an odd sight is revealed. Every window is draped with strings of GARLIC. Charlie's revealed in his window -- hammering up another long rope of the stuff. His gaze falls on JERRY'S HOUSE and we follow it. INT. BREWSTER HOUSE -- CHARLIE'S ROOM -- DUSK Now we find that Charlie's entire room is decked out in anti- vamp decor. Not just the garlic but crosses and other religious pictures, etc. Charlie LOOKS at the clock -- night coming too quickly. He's grimly focused as he starts sharpening a STAKE. A knock. Jane doesn't enter this time. Another knock. CHARLIE What? Jane walks in. Takes in the decor. JANE The whole house looks like that show Dark Shadows. CHARLIE It's a gag. For Amy. Long story. JANE (takes this in/then) You like her a lot, don't you? A moment when they could connect. But Charlie just nods. Jane's disappointed. Then-- JANE (CONT'D) Don't use tape on the walls. (THEN) Oh. Ed's parents left a few messages, looking for him. Charlie looks up at this. Pained. CHARLIE Okay. He goes back to his work. Jane looks at him for a beat, then she starts to go. 61. THE DOORBELL RINGS. Before Jane can really react, Charlie pushes past her. CHARLIE (CONT'D) DON'T. Don't open it. INT. BREWSTER HOUSE -- LIVING ROOM -- DUSK Charlie races downstairs. Stops. AMY is standing in the living room. CHARLIE How'd you get in?! AMY It was unlocked. CHARLIE MOM! You have to lock the door! AMY Okay, whatever, listen. You're flipping out. Punching out your friends and blowing everything off and is that a stake? A beat. He forgot he was holding it. He hides it behind his back. CHARLIE No. Amy sits, upset. Looks around and sees that the living room is decked in more anti-vamp decor. AMY Look. Even if you're losing it -- you don't get to blow me off. You don't go from something to nothing overnight. (EMOTIONAL) You're not nothing to me, Charlie. Whatever's happening, just -- talk to me. Charlie takes this in, emotional. But-- CHARLIE I can't let you get hurt. You need to forget about me for a while. 62. AMY What? How am I going to get hurt? Tell me. Charlie-- Now there's another KNOCK at the door. Jane comes downstairs- JANE I got it-- CHARLIE NO. Don't answer it. A tense moment. Another knock. INNERCUT WITH EXT. BREWSTER HOUSE -- FRONT DOOR -- DUSK JERRY stands at the door. Quietly enraged. JANE This is ridiculous-- JERRY Jane. It's Jerry from next door-- CHARLIE I'm telling you, don't answer it! JANE This is my house. I'll answer the door if I want to. She starts to move to the door again. Charlie blocks her way, desperate. CHARLIE Mom. He murdered Ed and Adam. And I have proof. Jane is stunned, at a loss. From the other side of the door-- JERRY (O.S.) Jane? I need to talk to you. JANE Just-- Hold on! JERRY (O.S.) Now. Your son is harassing me! He pounds on the door. Jane examines Charlie closely. 63 JANE Charlie. What's happening? CHARLIE Whatever he says, don't-- JERRY (O.S.) He broke into my house. I'd rather not take this to the authorities. But I will! He's sick, deluded-- CHARLIE Mom. A tense beat... Finally-- JANE (YELLS/ANGRY) Get the authorities! My son is a good kid! Charlie sags with relief. A brief look of appreciation passes between Charlie and Jane. ON JERRY As he backs away from the door. His expression goes cold. He disappears into the dark. INT. BREWSTER HOUSE -- LIVING ROOM -- NIGHT Charlie races to a window. SEES JERRY MOVE out of sight. CHARLIE Shit, shit... JANE What? What is he doing? CHARLIE Whatever it is, it's not good. EXT. BREWSTER HOUSE -- FRONT YARD -- NIGHT Jerry stands back, intense. He's got to take care of this problem NOW. INT. BREWSTER HOUSE -- LIVING ROOM -- NIGHT Charlie's running from window to window now, trying to see what's going on. 64. CHARLIE Just -- if we stay in here -- he has to give up. He can't get in without an invitation. AMY OH-- (GETTING IT) Oh... Really? Like a-- CHARLIE Vampire. Really. Amy and Jane are blown away. Charlie's going crazy. EXT. BREWSTER HOUSE -- BACKYARD -- NIGHT Jerry carries a SHOVEL and A SMALL SAW. He stalks into the Brewster's backyard, where he's hidden from the street. INT. BREWSTER HOUSE -- LIVING ROOM -- NIGHT Jane follows Charlie, worried. JANE Think about what you're saying-- CHARLIE I have. I've "processed," believe me. Jane takes this in. Then SMILES. JANE Ooooh. This is the gag! For Amy. I can't believe you got Jerry to go along with it! Charlie stops. Fuck. EXT. BREWSTER HOUSE -- BACKYARD -- NIGHT CLOSE ON JERRY As he starts to DIG UNDERGROUND -- amazingly strong and swift. INT. BREWSTER HOUSE -- LIVING ROOM -- NIGHT Charlie hands Amy and Jane both CROSSES on CHAINS. 65. CHARLIE Take these. Put them on. Just do it. JANE (HUMORING HIM) Okaaaay. Vampire protection! AMY I don't think this is funny. But she puts it on. EXT. BREWSTER BACKYARD -- NIGHT Jerry pulls up the NATURAL GAS LINE that leads to the BREWSTER'S HOUSE. He SAWS IT OPEN AND LIGHTS THE END ON FIRE. INT. BREWSTER HOUSE -- LIVING ROOM/VARIOUS -- NIGH Hisssssssssss. A strange sounds coming from under the floor. AMY WHAT'S THA-- BOOM!! The GAS FIREPLACE EXPLODES, the STOVE EXPLODES, THE WATER HEATER ALL EXPLODE at once!! WINDOWS BLOW OUT as Charlie JUMPS on Jane and Amy, dragging them to the ground. The room starts to BURN. Charlie, Amy and Jane are in a panic. They try to put the fire out, but it's no use. Charlie stops. A CHILLING SIGHT: Jerry stands on the other side of the blown-out windows. His expression dark. Through the flames he says-- JERRY Don't need an invitation if there's no house. A beat. Charlie GRABS Amy and Jane and they RUN through the house. INT/EXT. BREWSTER GARAGE/STREET - NIGHT y, Charlie and Jane race into the garage 66. AMY I can drive-- JANE I drive! They jump into Jane's car. Hit the garage opener-- CHARLIE Gun it Mom! Go!!! Jane GUNS IT THROUGH THE OPENING GARAGE DOOR, destroying it. She CLIPS Charlie's dirt bike -- pushing it onto the sidewalk as she takes off. Jane's car swings wide into the street, almost smashing into an arriving FIRE ENGINE! Charlie, Amy and Jane SCREAM!! They narrowly avoid a head-on collision with a FIRE TRUCK. ON JERRY As he sees the dirt bike in the driveway. He jumps on. Tries to start it. NO GO. Fuck. INT. JANE'S CAR -- NIGHT JANE What did we do!? What does he want!? They are racing away when the DIRT BIKE COMES CRASHING THROUGH THE BACK WINDOW of the car, nearly taking Amy's head off. AMY HOLY-- Everyone reacts. Then the BIKE STARTS - the wheels spinning wildly in the back seat. CHARLIE Amy! Amy's hair gets caught in the spokes - it's horrible as it YANKS part of her hair out. Charlie grabs her away from the bike -- she falls into his arms, crying as JERRY's BIG PICKUP appears in the rear windshield. 67. JANE He's coming! THEY SWERVE OUT THE SHADOW HILLS GATES EXT. MAJOR STREET -- NIGHT Jane speeds down the street, which is wide and not heavily trafficked here. Unlike the planned community of Shadow Hills -- now we can see we're surrounded by great expanses of empty DESERT. JERRY'S TRUCK SMASHES REPEATEDLY into JANE'S. AMY My brother has a gun! CHARLIE Good to know! Is he here?! JANE Call the police! Anybody-- Jane manages to evade Jerry until -- The TRUCK SKIDS in a long arc in front of them and BLOCKS THEM. Jane screeches to a halt. JANE (CONT'D) Oh hell. In a flash, Jerry is out of the truck and coming for them. CHARLIE GO! Go! Don't stop!! Go-- Charlie steps on the accelerator, grabs the wheel and AIMS THE CAR AT JERRY. JANE Charlie!! They RUN JERRY OVER WITH A TERRIBLE THUDDDD!!! Amy and Jane scream. Jane is aghast, stops the car. JANE (CONT'D) Oh my God!! Charlie steps on her accelerator foot, the CAR ZOOMS FORWARD. 68. AMY Are you nuts!? You can't kill that guy! CHARLIE You have no idea. (TO JANE) It's him or us. Mom. MOM. Jane looks at him -- can feel that he's telling the truth. Charlie's looking around as they speed down the highway, in the rearview. NO JERRY anywhere. CHARLIE (CONT'D) Where is he? Where'd he go? Everybody looks UP. The roof of the car. BAM! Jerry's hand SHOOTS up through the FLOORBOARD under Jane's feet. Jane and Amy SCREAM! CLOSE ON THE FLOOR OF THE CAR JERRY'S EYE glares through the small hole. It's all BLACK. No pupil. Freaky. He's TEARING THROUGH METAL from the undercarriage of the car, where he's clinging -- face up. The more he rips away -- the more he reveals his face. His veins and eyes are BLACK. His nose snout-like. And his fangs emerge from lethal rows of jagged teeth, like a SHARK. It's shocking, horrible. ON THE UNDERSIDE OF THE CAR As Jerry drags over the highway, the pavement grinding away at his clothes and flesh. He reaches through the hole he's made and SLAMS his fist down on the FLOOR BREAK. The car SCREECHES to a sudden halt. ON CHARLIE, AMY and JANE Screaming even after the car has stopped. Then -- BAM!! The car is REAR-ENDED by another vehicle. It's a MINIVAN. JANE's car is SLAMMED -- the back is a crush of glass and metal. 69. A GRIM MOMENT -- only the sound of hissing air and groaning steel as everyone assesses the damage. AMY Oh... Are you-- Jane? Jane is woozy. Hurt. CHARLIE Mom? JANE I'm okay... Charlie sees that the other car is drivable. The guy inside, a FAMILY MAN, is stunned and pissed. Gets out of his car-- FAMILY MAN What the hell do you think you're doing!-- Charlie gets out of the car too. Yells, urgent-- CHARLIE NO! Hey man, stay in your-- But it's too late. The guy is met by a HORRIFIC Jerry, hideously torn and bleeding, who appears from UNDER JANE'S CAR. In a flash, Jerry grabs the guy and VAMPS, ripping the family man's NECK OUT. CLOSE ON MINIVAN As those "cute" stick figure family decals are splattered with BLOOD. AMY AND JANE Now out of the car, react. JERRY IS A FUCKING VAMPIRE. Jerry drops the business man, who's dead as he hits the ground. He moves toward them. Charlie looks at Amy and Jane. I told you so. CHARLIE (CONT'D) Yeah. Charlie urgently grabs them. Shoves them down the highway. CHARLIE (CONT'D) Get out of here. Run. Run! 70. AMY BUT-- CHARLIE Go! I'll catch up! She's hurt, get out of here! They back off. Charlie pulls a large cross out of his coat and brandishes it as he walks toward Jerry. Jerry keeps his distance, taunting HIM-- JERRY Let them run. Just makes them easier to kill when I'm done with you. Ding, ding, ding -- the family man's CAR DOOR is open and the warning bell rings over and over... CHARLIE eyes the car. Keys still in it. He circles Jerry, backing him off. CHARLIE I repel you with the power of Christ the Lord. JERRY Do you? Really? When did you take your last confession? CHARLIE Get back... JERRY That's a mighty big cross you have there. Question is -- do you actually know how to use it? Jerry LUNGES for Charlie, but he DIVES for the family man's open car door. But Jerry's on him -- hands BURNING as he rips the cross from Charlie and shatters it with his hand. Then he TOSSES Charlie, who flies and hits JANE'S CAR, then crumples to the ground. Jerry gets Charlie around the neck -- holds a sharp, splintered end of the broken cross against Charlie's chest. The wood still burns into Jerry's hand, but Jerry holds on. 71. JERRY (CONT'D) Ever take one of these in the chest? I have. Charlie struggles, terrified. JERRY (CONT'D) But they missed the heart. Rigggght... . here. Easy measurement. Jerry positions the "stake" right over Charlie's heart. Charlie winces. Terrified and overpowered. JERRY (CONT'D) Shouldn't have been so nosey. Jerry's about to plunge the STAKE through Charlie's heart when a THICK WOOD STAKE comes through Jerry's SHOULDER. Jerry HOWLS, falls off Charlie and we see that he's been staked by the business end of a REAL ESTATE SIGN. JANE stands over them, quaking with fear and adrenaline. Amy's right behind her with a CROWBAR. JANE Leave my kid alone. Jane collapses, and we see that there's a lot of BLOOD on the back of her head. CHARLIE Mom! Jerry's in agony as he stumbles away, pulls the sign post out of his shoulder. Charlie grabs his mom and drags her into her wreck of a car. Amy dives into the car with them. Charlie presses the accelerator. Will it still drive? CHARLIE (CONT'D) Come on come on come on... IT LURCHES forward, then goes. Metal scraping the ground, raining glass... but it RUNS. They start to bolt when BAM! JERRY STANDS UP right in front of the car, LUNGES AT THEM. CHARLIE RUNS OVER JERRY'S BODY AGAIN. They speed off. 72 Jerry writhes in the middle of the road. But even as he does, he HEALS. His body knitting itself back together... INT. HOSPITAL CORRIDOR/JANE'S ROOM -- NIGHT Charlie's giving a report to a pair of uniformed cops. COP #1 So a gas leak caused the fire at your home and... CHARLIE My mom didn't feel right, we were trying to get her to the hospital. It was stupid to let her drive. COP #1 Yeah it was. And driver who rear- ended you, you get the exact make and name of the van? CHARLIE It wasn't there when you got there? COP #2 Hit and run. Happens all the time. Charlie stifles his surprise. Nods. ANGLE ON AMY On her cell, pacing as she eyes Charlie with the cops. AMY We won't stay up all night. Bee and Cara need help with Trig -- it's not a party. Okay. Okay... (THEN/EMOTIONAL) Mom? I love you. She stops at the open door of a hospital ROOM. Her gaze FALLING ON-- JANE Who lies motionless in a bed. A doctor checks her chart. AMY hangs up. Charlie, finished with the cops, joins her. They're both pained as they look at Jane. AMY (CONT'D) Maybe you should have said something to the police. 73 CHARLIE Like what? A vampire moved next door, borrowed some beer, ate a stripper and then blew up our house because we wouldn't invite him in? Amy looks at him. AMY Okay. The DOCTOR approaches. DOCTOR You should get some rest. CHARLIE She's going to wake up, right? DOCTOR Assuming the swelling is minimal, I hope so. CHARLIE But you don't know. DOCTOR Not yet. We need to give it time. The doctor puts a hand on Charlie's shoulder, leaves. Charlie turns away, upset. Amy watches, feeling helpless. INT. PETER'S "MUSEUM"/LIBRARY -- NIGHT Peter, in a bathrobe, looks out his floor-to-ceiling windows at the lights of the strip. The ASSISTANT from the show toddles out on high heels and a ridiculous mini-dress. Her hair is messy, post sex. ASSISTANT Bye babe. Good show tonight. He's barely paying attention. PETER You were late again on "The Devil's Torture Chamber." But she's gone. A beat. He moves back toward the library shelves. As he does he notices the PHOTOS Charlie took at Jerry's place. 74. Absently, he sifts through them. Stops. He picks up the one of the INSIGNIA. Peter reacts. Stunned. This means something to him. He goes to a WALL SAFE. Opens it. Hidden inside are a bunch of personal items. Some from his childhood. Old photos of his mother and father... And a hand-drawn sketch, in a youthful scrawl, of THE INSIGNIA. He puts the two side by side. They MATCH. Off PETER, looking at the sketches. Haunted. INT. HOSPITAL -- JANE'S ROOM -- NIGHT Charlie and Amy sit on a tiny couch. Both are scared and regretful. CHARLIE This is my fault. AMY You didn't make any of it happen. CHARLIE Ed came to me. I turned my back on him. AMY How were you supposed to believe him? None of it makes sense. CHARLIE He did talk a lot of demented crap. (but.. ) He was my best friend. He asked me, begged me, to believe him. AMY People change. Everybody-- CHARLIE Yeah they do. I turned into a dick. I figured my dweeb past, not big with the ladies. AMY (WRY) So you're saying this is my fault. 75. CHARLIE I wanted you to like me. I tried to erase Ed -- all of it. I know how that feels. AMY I knew you were a dweeb. (off his look) You think I want a "dude" like Mark or Ben? I like that you're different... It didn't hurt that your skin cleared up. She smiles, takes his hand. A sweet, connected moment. Then something alarming occurs to Amy: AMY (CONT'D) I can't believe we didn't have sex. CHARLIE AMY- AMY No, seriously. I'm going to die a virgin? Me? How did this happen? CHARLIE We're not going to die-- AMY But what if we do? Let's do it. Now. The bathroom. Charlie. A beat. CHARLIE I think we should kill the vampire first. I'll perform much better. They laugh -- trying not to cry. Then: AMY Oh my God, Charlie. What are we going to do? CHARLIE We're going to fight. Then Charlie's phone rings. He answers. CHARLIE (CONT'D) Hello? INNERCUT WITH: 76. INT. PETER'S VINCENT'S PENTHOUSE -- LIBRARY -- NIGHT Peter stands with the photo of the insignia in hand. PETER I can help you. My place. One hour. EXT. HOSPITAL HALLWAY -- DAY A few minutes later. Charlie and Amy move out of Jane's room. AMY The Peter Vincent? CHARLIE Under-whelming, believe me. But he's what we've got. They close Jane's door and we see that it's COVERED in CROSSES of every shape and size. It's quite a spectacle. A nurse passes, looks at Charlie and Amy quizzically. CHARLIE (CONT'D) My mom is very religious. INT. PETER'S "MUSEUM"/LIBRARY - NIGHT CLOSE ON A MIDORI cocktail WIDEN to reveal that PETER is pouring himself a whopper. Amy and Charlie sit nearby. PETER I'll tell you what I know, but that's it. Don't expect me to join your Scooby gang. CHARLIE Anything. I'll take it. PETER I found the origin of that insignia you showed me. It's a species that originated in the Mediterranean. They nest in the earth -- explains that hole you saw. And they kill slowly, keep their victims alive for days. (MORE) 77. PETER (CONT'D) (GRIM) "Snackers." CHARLIE So -- they turn all of them? (off Amy's look) Make their victims into vampires. AMY I know. I read. PETER No. It takes a while before they complete the change. They usually finish them off before that. AMY So how do you kill these guys, this "tribe"? PETER Usual stuff. But it's a strong breed. You need a plan-- A VOICE interrupts over an intercom. It's ARTHUR, Peter's assistant. ARTHUR (O.S.) Delivery. Guy says you need to sign for something. PETER Send him in. (TO CHARLIE) I order things when I've had a few cocktails. It's a-- CHARLIE (ALARMED) Wait. You get deliveries this late? PETER I don't know. Maybe-- Charlie stands. CHARLIE No. You said he could come in. The delivery guy. That's-- AMY What? Charlie-- 78. VOICE (O.S.) An invitation, airhead. They turn and see EVIL ED, in one of Jerry's "uniforms." It's clear he's changed. A glint in the eye, more muscular. Charlie takes Ed in, pained. Ed grins at him. Ed flips open a cell phone. Dials. ED Looking at them now. Yes sir. (hangs up/then) He's modern, Jerry, dispensed with all that "master" stuff. (TO CHARLIE) Hey bud. Charlie steps in front of Amy. CHARLIE You've got a problem, keep it with me. ED Problem? You let him get me, man. CHARLIE (ANGUISHED) I KNOW-- Ed is CREEPING TOWARD Charlie. AMY CHARLIE-- ED You let him turn me into this. At that, ED VAMPS. Black eyes, black veins. Those teeth. It's terrifying. SMASH!! One of the cabinets shatters. Ed, Charlie and Amy spin to see PETER standing by the open collection case. A SMALL NAIL in his hand. He's shaking like a leaf. PETER Stay away, demon. ED (amused/queens accent) "Stay awaaaay, demon!" Ed closes in on Peter. Peter looks to Charlie. It's real. 79. ED (CONT'D) Whatcha got there? Itsy bitsy little stakey? PETER Crucifixion nail. Lethal to you. ED Old school. Nice. Got to get pretty close to use it, though. Peter looks at the short piece of metal in his hand. Fuck. HE BOLTS down the nearest hallway. ED (CONT'D) Uh uh. No you don't. ED BOLTS AFTER PETER. Charlie and Amy race the other way. CHARLIE The elevator! INT. PETER'S PENTHOUSE -- HALLWAY -- NIGHT Peter pushes a BUTTON on a doorway, bolts into a PANIC ROOM. Ed is on his heels, but JUST MISSES grabbing Peter before the door closes. The POWERFUL DOOR CLOSES ON ED'S ARM, crushes it. ED HOWLS as his arm SEVERS. The door LOCKS. But what doesn't kill him makes him stronger and crazier. ED A panic room!? You better panic, loser! You better watch your neck! INT. PETER'S PANIC ROOM -- NIGHT Peter's in shock -- watching Ed's severed arm twitch on the floor. ED (0.S.) Prince of darkness is a little baby man! I love it! All the fat chicks in your fan club are gonna be so bummed! He hears ED flipping out, but ED DOESN'T SHOW UP ON THE SECURITY SCREEN. 80. INT. PETER'S PENTHOUSE -- ENTRY AREA -- NIGHT Charlie runs with Amy to the ELEVATOR. The CONTROL BOX has been ripped from the wall. They're trapped. AMY Oh my God, oh my God... Amy's starting to lose it. Charlie grabs her. CHARLIE Look at me. Stop. (SHE DOES) There's another way out of here. And there are a million things to fight with in here. Understand? We're going to make it. Amy pulls herself together. Nods. They RUN. INT. PETER'S "MUSEUM" LIBRARY -- VARIOUS -- NIGHT CHARLIE AND AMY race through the ROOMS of Peter's extensive collection. INNERCUT WITH ED Tracking them -- not far behind, his stub of an arm bleeding and HEALING as he goes. ED Give it up, Chuck! You're dead. (THEN) If you hadn't ended up such a dick, I might have tricked you out. We could have rocked this evil shit! But you blew it. Nothing but the big dirt nap for you and your lady. AMY AND CHARLIE Round a corner -- it's a dead-end. They see a large antique CONFESSIONAL at one end of the room. ON ED As he comes around the same corner a moment later. AMY and CHARLIE are NOWHERE to be seen. 81. INT. PETER'S HIGH RISE LOBBY -- NIGHT Jerry enters, his appearance different. Healing from the car incident has taken it out of him. He's pale and weakened -- and still has lots of cuts and bruises. He's also changed into new clothes, jeans and a SWEATER. We see THE SAME GUARD that Charlie spoke to earlier. GUARD Sign in, please. JERRY I know where I'm going. GUARD Sign in. No exceptions. Jerry ignores him, keeps moving toward the elevator. GUARD (CONT'D) Hey! I'm talking to you. Sign in, or you're not going nowhere. Jerry turns. Slow and deliberate. Expression cold. INT. PETER'S "MUSEUM"/CONFESSIONAL ROOM -- NIGHT Ed is MOVING IN ON the CONFESSIONAL. Sees MOVEMENT behind the curtain. ED I expected more of a fight. Girl's made you lazy in the head. Pussy'll do that. ED YANKS the curtain on the confessional open. ARTHUR hides there, terrified. ED (CONT'D) Look at that. Vincent's got a Vincent. CLOSE ON A large cabinet on the other side of the room. AMY AND CHARLIE are squeezed behind it. They react to HORRIBLE SCREAMS as Ed rips ARTHUR apart. 82. CHARLIE holds AMY close, muffling her sobs. Blood seeps across the floor, under their feet... ON ED His face bloodied. Eyes wild. The trembling body of ARTHUR on the ground at his feet. Ed turns Arthur over. Arthur's still breathing, reaches for something around his neck. A cross? No, it's a chain with PICTURES of sweet-faced children on silver charms. HE PLEADS-- ARTHUR .I have ...kids ... ED Had. Ed lifts Arthur off his feet and chokes him with one hand... ED (CONT'D) Don't take it personal. I'd eat you -- but I'm saving my appetite. Arthur's turning a horrible purple, eyes bulging... Ed breaks his neck with a HORRIBLE WRENCHING CRUNCH. Drops him. ED (CONT'D) Dinner with an old friend. INT. PETER'S PENTHOUSE -- HALLWAY -- NIGHT A door to a STAIRWELL opens, Jerry steps into a hall. He looks healthy again. Robust. He wipes a small smear of blood from his mouth. INT. PETER'S "MUSEUM"/CONFESSIONAL ROOM -- NIGHT AMY AND CHARLIE hold their breath as ED looks around the room. Arthur is motionless at his feet now. ED I know you're here. I can hear you breathing. It's totally cool. He laughs, hyper. Excited. CHARLIE EYES A CASE WITH A BATTLE AXE 83. ED (CONT'D) Sooo, I take out the prom king and queen? Embarrassment of riches! CHARLIE SHOVES the case he hides behind with Amy over ONTO ED. Yells to Amy-- CHARLIE GO! Amy bolts from the room as Charlie punches the glass out on another case that holds the battle axe. He grabs the weapon. Ed SHOVES the cabinet off him with his good hand, stands. Charlie and Ed face off. ED Mano e...one mano. Piece of cake. Cause I'm a God Damned killing machine, and you're like all the Clark High big shots -- nothing. (THEN) You picked the wrong side, man. Ed lashes out, slicing CHARLIE on the arm with his SHARP NAILS. Charlie yells, but holds his ground. CHARLIE I didn't pick-- ED You didn't think. Charlie's wrecked about what he has to do. CHARLIE I know. I'm sorry. Charlie takes a swing with the AXE. Ed starts BOUNDING around the room, avoiding Charlie's swings as he clings to walls and, impossibly, THE CEILING. ED Steeeerike! Call that a swing, Slugger? Charlie swings and swings, but Ed is too fast for him. Finally, Charlie connects with ED'S NECK. Blood flies, Charlie can't look -- anguished. ED (O.S.) (CONT'D) Come on! You're not even trying. 84. Charlie looks back, Ed's HEAD is only HALF OFF. He's grinning even as he bleeds everywhere. It's macabre, horrible. Ed SLASHES Charlie again with his claw-like nails. Charlie cries out. INT. PETER'S LIBRARY/"MUSEUM" -- NIGHT Amy can hear Charlie yell. AMY Charlie! She smashes into one GLASS CABINET after another, pulling out and pocketing everything she can find to fight ED. Finds a GUN loaded with silver bullets... JERRY You are something, aren't you? Amy spins. Jerry's closing in on her. Beautiful, seductive. She's shaking, terrorized. BAM, BAM, BAM!! She empties the GUN into JERRY anyway. It knocks him back, but he's still standing. He picks a silver bullet out of his shoulder, unimpressed. JERRY (CONT'D) Werewolves. Amy FLINGS holy water in his face. JERRY SCREAMS, burns. AMY Vampires. She RUNS. INT. PETER'S "MUSEUM"/CONFESSIONAL ROOM -- NIGHT ED is already starting to heal as he and Charlie continue to fight. But his head still flops hideously to one side. ED Bone is a motherfucker, Chuckles. Hard to cut. Charlie takes another swing with his axe. Ed jumps out of the way. 85. Ed manages to get Charlie in a one-arm embrace of sorts, positions himself so he can BITE HIS NECK. ED (CONT'D) Is this weird for you too? I feel like such a homo-- Charlie FLIPS ED -- they are wrestling when Charlie sees AMY approaching with A SPIKED MACE. Charlie DUCKS and AMY smashes ED in the head. Hard. Charlie grabs a long, sharp piece of the shattered wooden cabinet. Ed is on the ground. Moaning, laughing. Charlie has his shot. But he hesitates. AMY Do it. Charlie! Charlie's frozen. Ed starts to get up, his head a mess. It's now or never. ED Wow. Bimbo has some juice-- AMY Jerry's here. He's coming! CHARLIE (to Ed/pained) I'm sorry. WHAP, Charlie stakes ED in the heart. Ed looks at Charlie with surprise... Ed's hideous features seem to dissolve. For a brief moment -- he looks like himself again. ED I wasn't even a badass vamp. I was his Renfield. Funny if you-- Ed starts to VIBRATE HORRIBLY, his WHOLE BODY moving so impossibly fast he's little more than a BLUR... Then he BURNS UP FROM THE INSIDE OUT. Charlie's paralyzed -- in a world of hurt. Amy grabs him. Pulls him out of the room. 86. AMY I found the stairs. Come on. INT. PETER'S PENTHOUSE -- HALLWAY -- NIGHT JERRY, VAMP-FACED and recovering from the holy water, sees AMY and CHARLIE running up ahead. He sprints after them. Charlie sees him and TOPPLES A GIANT FIGURINE in his path, as well as cabinets, etc... They slow Jerry down enough to get slightly ahead. AMY OVER HERE-- She flings the door to the stairwell open and they RACE DOWN THE STAIRS. INT. PETER'S PANIC ROOM -- NIGHT Peter sits huddled in a corner, ashamed and shaking. The SECURITY CAMERA flicks through different rooms, until it lands on his dead cousin, ARTHUR. It's like Peter's looking at his own mutilated corpse. OFF PETER, terrified. INT. CASINO -- NIGHT Amy and Charlie emerge from the stairway. They find themselves ON THE FLOOR of a HARD ROCK TYPE CASINO, which is on the bottom of the building where Peter lives. Amy slows as they fold into the crowds. Relieved. AMY Stop. Stop, I need to-- CHARLIE Not now. He's coming for us. AMY He can't kill us, not here-- CHARLIE Who's going to notice? Who's going to care? Amy, look around-- 87. Amy takes in the people on the floor. Drunk, oblivious. Two guys YELL and FIGHT at a craps table. A couple makes out in a dark corner, etc. It's loud, chaotic. AMY Oh, God... CHARLIE Keep moving. Come on. Now Charlie sees JERRY some distance behind them now, moving toward them in the crowd. They meet eyes. Charlie grabs Amy, scans for someplace to hide. He spots a nightclub -- "REFLECTIONS". The outside walls are all mirrored, like a brightly lit diamond. ON JERRY Behind them in the crowd, he sees them slip into the club. INT. REFLECTIONS - NIGHT The inside of the club is made up of MIRRORS AND WINDOWS. The dance floor is PACKED. All writhing bodies and sweaty abandon. It's dizzying, disorienting. Charlie sees JERRY enter, look around for them. The best bet to get lost is to dive into the crowd. Charlie leads Amy through the throngs of people -- the different levels of the club are like a maze. Glass staircases lead to mirrored balconies... A hopped-up DJ climbs up on a balcony, starts throwing t- shirts into the crowd. DJ Tequila Man t-shirts! Yeeeeeahhhh! The crowd goes nuts, SURGES forward... Someone bumps Amy and Charlie and they lose hands. AMY Charlie! Charlie turns, a DRUNK CHICK gets in his way -- tries to dance with him. He pushes past her. 88. CHARLIE Amy? Amy! Charlie can't see Amy, instead sees HIMSELF over and over again in a series of mirrors -- the infinity effect. It's dizzying, disorienting. THEN HE SEES JERRY, a shark, moving in and out of the crowd, disappearing behind mirrored columns, reemerging... Charlie also sees that JERRY DOESN'T REFLECT in the mirrors around them. Instead the crowd parts as if by magic. Jerry's heading straight toward-- AMY who's been pushed toward the DJ stand by the crowd. She's spinning, looking desperately for Charlie. CHARLIE (CONT'D) Amy! Charlie's frantically pushing toward her. But the CRUSH of people makes it nearly impossible to gain ground. CLOSE ON AMY As a HAND slips into hers. She turns, relieved, to find-- JERRY Holding her with a firm grip. AMY No. No! Amy STRUGGLES and CRIES OUT as JERRY PULLS HER away from CHARLIE, toward ramp that leads to another dance floor. Jerry laughs, throws her over his shoulder. AMY (CONT'D) Help!! A GUY in the crowd high-fives him. All part of another crazy night in Vegas. GUY Go get her, man! AMY sees her fast-moving reflection in the mirror -- she appears to be FLOATING above the people. 89. AMY Help me! Help!! CHARLIE can SEE HER, but can't get to her. The crowd is indifferent to her cries. Charlie grabs his cell -- hits a button. It dials, then-- CHARLIE (INTO PHONE) Peter! We're in the casino, the club! Jerry's got Amy! He's got HER-- INT. PETER'S PANIC ROOM -- NIGHT Peter's holding his cell. It's ringing. He hangs up. INT. REFLECTIONS -- SECOND STORY -- CONT. Jerry, hidden away from Charlie now, puts Amy down. She tries to run, but he holds her tight. AMY Charlie's coming, he'll find me-- JERRY I'm counting on it. Amy SPITS on him. Jerry reacts -- a flash of RAGE and he exposes his brutal rows of TEETH for just an instant. JERRY (CONT'D) Come on. He grips her harder, sways with her to the music. Leans close to her ear, seductive. His predatory skills in high gear. JERRY (CONT'D) You just need a taste. You'll see. It can be like a dream. Jerry draws a nail over his wrist, draws a line of blood. He puts his mouth over the cut, bloodying it. He forces her into a DEEP KISS. She struggles mightily -- but then her body relaxes, as if she's been sedated. 90. JERRY (CONT'D) That's it... Good girl. JERRY looks up sees CHARLIE coming toward them. But Amy's altered now. Staring into Jerry's eyes like a child. CHARLIE'S GETTING CLOSER when-- CHARLIE Amy! No!-- BAM! A hand falls on his shoulder. A DOORMAN DOORMAN How'd you get in here? CHARLIE You have to help me. That guy, he's going to kill her, he's a KILLER-- The doorman glances at JERRY and AMY. Jerry stokes Charlie's anguish -- running his hands over Amy's ass, kissing her neck. DOORMAN Yeah? Then she's liking it. Charlie's beside himself, enraged and terrorized. CHARLIE You don't understand!-- DOORMAN ID. Then you can tell me your whole sad story-- CHARLIE No! There's no time-- Amy!! Charlie's increasingly desperate, tries to RUN. But the doorman has a good grip, pulls him back. JERRY Sees that CHARLIE is restrained. Jerry locks eyes with Charlie and SMILES, his horrible fangs exposed. He's taking Charlie's woman -- and enjoying it. 91. CHARLIE (CONT'D) No! NO! CHARLIE'S POV As he's being dragged away -- JERRY BRUTALLY BITES AMY. It's a nightmare. Charlie loses it, screaming and flailing. But there is no helping her. FADE TO: INT. PETER'S HIGH RISE -- BEDROOM -- NIGHT Peter packs a bag, getting out of town. CHARLIE (O.S.) I see you got my message. Peter turns. Sees Charlie standing in the doorway. PETER How'd you get in here? CHARLIE Security's a little lax. Everybody got their throat ripped out. Peter backs away as Charlie moves in. Charlie is different. Colder, harder. Like he's aged a decade in one night. PETER You too? He change you? CHARLIE Look at your monitor. PETER turns to a security monitor in his closet. Charlie SHOWS UP ON THE SCREEN. CHARLIE (CONT'D) I don't know if Amy's alive or dead or turned -- but he's got her. My mom may not make it. And Ed... (COLD) I'm going to end him, or he's going to end me. (MORE) 92 CHARLIE (CONT'D) One way or the other, that's how it's going to be and you're going with me. PETER Don't you get what this is? There's no fighting. There's only surviving, if you're lucky-- CHARLIE You call this surviving? If you live and we all die, you think you'll ever be able to get us out of your head? PETER I know I won't. I never could -- not after the first time. This stops Charlie. PETER (CONT'D) I told myself I probably made it up. I was a kid. Maybe it was easier to believe in monsters... CHARLIE Made what up? PETER The vampire who killed my parents, my brothers. But not me. I hid. Charlie reacts. Surprised, but now it all makes sense. Peter continues, haunted-- PETER (CONT'D) I didn't collect all this stuff for fun. I thought maybe I could find the tribe, "avenge" my people. CHARLIE So do it. We'll go in at dawn. He's got to rest sometime-- PETER (HARD) It's not like that. When I was a kid, I hid because I wanted to live. I still do! This isn't the comics. You want to be a dead hero. Good for you. But I'm out. (THEN) (MORE) 93. PETER (CONT'D) You think I'm a coward. I'm just a realist. Moment of hesitation for Charlie. Has he been affected by Peter's words? Then-- CHARLIE So you bail on people, erase them. (THEN) I don't want to make it to tomorrow, not if you're the kind of man I have to be. A moment. Peter is full of self-loathing, but resolved. Charlie turns to leave. PETER Wait. Peter takes something from his luggage. A stake carved from WHITE WOOD. He hands it to Charlie. PETER (CONT'D) Blessed by Saint Michael. Kill a vampire with it -- it's supposed to turn his victims back. If Amy's changed, you can still save her. CHARLIE (RE: STAKE) If it's for real. PETER Who knows what's for real any more. Charlie takes the stake. Starts to go. Peter stops him-- PETER (CONT'D) There's no guarantee he'll be asleep during the day. He's housebound, not hibernating. CHARLIE I'll figure it out. PETER No, you need a plan. To stake him, you have to get close -- he's stronger than you. CHARLIE Holy water? 94 PETER Slow him down. Won't stop him. (THEN) Torch him, you'll have a few good minutes before he really goes up. Believe me, a vampire on fire isn't thinking clearly. CHARLIE But if he's on fire, how do I get close enough to stake him? A beat. PETER Fuck. CHARLIE (POINTED) You just worry about yourself. With that, Charlie leaves. Off PETER. Disgusted with himself. INT. HOSPITAL - NIGHT/DAY Charlie sits by Jane's bedside. She's still comatose. We move closer and see that Charlie's drawing a MAP OF JERRY'S HOUSE on some scrap paper -- laying it out from memory as best he can. He GLANCES at the clock as it ticks toward DA As Charlie plots, he talks to Jane -- his silent confidante. CHARLIE (CONT'D) Those rooms upstairs, that's probably where he's got Amy. I get her out, assuming she's-- (NOT DEAD) Then I have to get him on the ropes. He thinks... Then looks up, an idea occurring. Jane lies there peacefully. CHARLIE (CONT'D) I have to go. More energized, Charlie stands and gathers his things. He stops, contemplates his mother for a moment -- regretful. 95. CHARLIE (CONT'D) I'm coming back for you, Mom. INT. ARMY/NAVY STORE -- DAY Charlie buys FIREPROOF CLOTHING, a small open-flame lighter, and a SPRAY CANISTER like the kind an exterminator uses. The guy at the counter looks Charlie up and down. Charlie takes this in. Finally, Charlie's like -- fuck it. CHARLIE (CONT'D) Going to kill a vampire. The guy looks at him. Then-- STORE GUY Good for you. The store guy waits. Charlie hands over his money. EXT. JERRY'S HOUSE - DAY ON JERRY'S HOUSE LOOMING, silhouetted against early morning light. Next to it, Charlie's house stands in charred ruins. CHARLIE stands on the front lawn, contemplating the houses. He wears fireproof clothes, has stakes and crosses strapped to him, holsters made out of duct-tape... Slung over his shoulder is the spray canister. And he holds a crowbar in a free hand. He looks like something out of one of Ed's graphic novels. Before he enters, Charlie DOUSES HIMSELF IN HOLY WATER. CHARLIE Let's do this shit. He swallows hard, scared but determined. INT. JERRY'S HOUSE -- FIRST FLOOR -- DAY CLOSE ON WET FOOTPRINTS Widen to find Charlie cautiously moving through the house. The blacked-out windows give the place a gray, stifled air. Behind Charlie, we see that the front door has been broken open with the crow bar. 96. Charlie anxiously looks around for Jerry -- fully expecting him to jump out and go for his throat... He takes the stairs up to the second floor, two at a time. INT. JERRY'S HOUSE -- UPSTAIRS HALLWAY -- DAY Charlie moves down the hall, stops at some of the small rooms. Looks in. NO AMY Finally, Charlie hears a GROAN. He opens a window in the door for yet another room. AMY'S lying on the floor, turned away from him. Charlie's not sure what he'll see when he gets a better look at her. CHARLIE AMY-- Amy slowwwwly gets up, turns... And aside from a BRUISED BITE MARK on her neck -- she looks normal. She rushes to Charlie, keeps her voice down. AMY CHARLIE-- She reaches through the window. They link hands, emotional. AMY (CONT'D) You shouldn't be here-- CHARLIE Where is he? AMY I don't know. He dumped me here. I'm bait. He said so-- CHARLIE How do you feel? AMY I'll survive. Please get out of here. He's too strong-- CHARLIE I'm stronger. (WAVERING) In a nerd power way. You know... 97. He reaches into his jacket, pulls out a CROSS. CHARLIE (CONT'D) Take this. It should-- He looks up. AMY IS GONE. Disappeared. Charlie, reacts. Calls out in a hushed panic-- CHARLIE (CONT'D) Amy? Amy!? Nothing. It's like she vaporized. INT. JERRY'S HOUSE -- HALLWAY -- DAY Charlie races down a hallway, looking for ANY. He tries door after door that won't open. He finally finds one door that's unlocked, rushes through -- almost FALLS through an open floor in an unfinished portion of the house. Jerry's building more cells. Charlie backs out of the doorway, turns a corner and BAM! He runs into JERRY. No, wait -- it's PETER. He's not wearing his wig, etc. But he's cleaned up and standing tall. Dressed all in black. CHARLIE Shit! You-- PETER CHARLIE Sorry-- How'd you-- A beat. Then: PETER Guess I don't want to be a man like me either. Peter opens his leather coat -- it's loaded with weapons. And a flask. Peter grins. PETER (CONT'D) Let's kill something. 98. CHARLIE (RE: FLASK) You reek. Midori? PETER Don't get greedy. I'm here. (THEN/PROUD) And I found something else. From my collection. Powerful shit. From around his back, he reveals A DOUBLE-BARRELLED SHOTGUN with a CROSS MOUNTED ON THE BARREL. CHARLIE Wooden bullets? Nice. PETER No, you think I'm fucking MacGyver? Bullet, bullets. They'll buy us some time. Charlie is grateful, but now's not the time for man hugs. CHARLIE We have to find Amy. She was in a room upstairs, then she just disappeared. This house-- PETER What do you mean she "disappeared?" CHARLIE She was there. I looked away, looked back -- she was gone. Peter takes this in. PETER Show me where. INT. JERRY'S HOUSE -- AMY'S ROOM -- DAY Peter and Charlie pry open the door to the room where Amy was held. Peter walks over the floor -- finds a TRAP DOOR. PETER (CONT'D) Floor trap. I use it all the time. CHARLIE Where does it go? PETER Only one way to find out. 99. Peter lowers himself into the hole under the trap door-- CHARLIE Wait -- you're going in? PETER See that? Like a great date. Get me drunk and I'll try anything. Peter lets go and FALLS. Charlie steels himself, goes in after him. INT. JERRY'S BASEMENT -- DAY THUD! Charlie and Peter land painfully on a dirt floor. PETER Ow, crap... They look around -- eyes adjusting. There's barely any light. They're in a LARGE UNFINISHED BASEMENT. The floor is dirt and the main story of the house is held up by numerous SUPPORT POSTS. At the far end of the basement there is a door that leads to another room/storage area. ON CHARLIE As he sees something. Stops. A MOUND of dirt. Like a grave. Charlie indicates to Peter to follow him. They whisper: CHARLIE You uncover him. I'll light him up, then stake him. Charlie pulls a FABRIC MASK, like a ski mask, over his face. Peter looks at him. CHARLIE (CONT'D) Flame retardant. They're standing over the grave now. Both nervous. Charlie nods to Peter. Peter does his best to hold the shotgun on the grave as he pushes the dirt aside with his free hand. He's shaking. 100. After a moment Peter UNCOVERS PART OF THE BODY. Then he moves up toward the face... Charlie douses the body with liquid from the canister. CHARLIE (CONT'D) (TO PETER) Gas. PETER You should be a magician. As the face emerges, Charlie readies a match, then reaches for his STAKE-- PETER (CONT'D) Stop! No-- CHARLIE stops JUST AS HE'S ABOUT TO TOSS the match. PETER (CONT'D) Who is that? IT'S ADAM, sleeping in a shallow dirt grave. Charlie reacts. Holy shit. He pushes his mask back. CHARLIE Adam. I know him. Knew him. PETER Shh. Don't wake him up, for CHRIST'S-- Peter stops. He's looking over Charlie's shoulder, horrified. In the dirt behind CHARLIE are MORE GRAVES. Eight or ten at least. Charlie turns. Sees the graves. PETER (CONT'D) You know them too? Charlie reacts, stunned. Peter moves to another grave, uncovers another sleeping face. And then another. A hulking man, a suburban mom... Charlie uncovers another body. Stops, chilled. CHARLIE Ms. Granada. My geometry teacher. (RUEFUL) She was hard up. 101. PETER How about we go back to my "run away" plan? CHARLIE (IGNORING HIM) We can't burn Jerry out. There's no way we'll get all these people out if the house goes up. PETER I thought you're here for Amy. (off Charlie's look) Great. Right. Save the Geometry-- A SCREAM stops him. Amy. Charlie and Peter spin -- it's coming from behind the door to the other room. A beat. They're both petrified as they move toward the door. Peter readies the gun again. Charlie pulls a CROSS out along with the stake. They creep toward the door. CLOSE ON CHARLIE Charlie puts his hand on the doorknob... Turns it... WHAMP! -- Charlie's VIOLENTLY SHOVED THROUGH THE DOOR into the STORAGE AREA INT. JERRY'S STORAGE AREA -- DAY Charlie hits the dirt hard. The door SLAMS SHUT AND LOCKS BEHIND HIM. He's in a smaller room with a LARGE DIRT GRAVE in the middle. Jerry's grave. INT. JERRY'S BASEMENT -- DAY Peter's confronted by JERRY. Who smiles darkly. JERRY You look bigger on TV. Peter fires the shotgun, BLAM! But he misses Jerry and the power of the blast sends PETER HURTLING BACKWARD. 102. INT. STORAGE AREA -- DAY Charlie reacts to the blast -- but sees that ST. MICHAEL'S STAKE has fallen from his hand and rolled to the edge of the grave. He cautiously moves to retrieve it... He stops as he sees A FIGURE emerge from the dark. AMY. Her clothes are torn now, a thin trickle of blood runs down her neck. She looks impossibly sexy. Her hair, her eyes, her lips -- all shining and full. Forgetting himself, he goes to her. Pulls her into his arms. CHARLIE Amy, God... She clings to him, near tears. AMY Charlie. INT. JERRY'S BASEMENT -- DAY Peter scrambles on the ground, SHOTGUN trained on JERRY -- who moves toward him calmly. The cross on the gun the only thing holding him back. BLAM! Peter fires again -- grazes JERRY. JERRY In pain, he TRANSFORMS and VAMPS before our eyes with a blood- curdling yell. It's chilling. CLOSE ON GRAVES One by one, the TRIBE of vampires wake. ADAM, MS. GRANADA... INT. STORAGE AREA -- DAY Amy pulls away from Charlie -- says: AMY You should have run with me while we had the chance. You should have saved me, Charlie. 103. Charlie takes this in, pained. Then-- CHARLIE It's not too late. She brings her lips close to his ear. Rasps... AMY It is. He's inside me now. Her EYES GO DARK -- fingernails grow SHARP and dig into Charlie. He feels the change. CHARLIE AMY-- Charlie shoves her off, hard. But she holds him tight -- and they TUMBLE INTO THE GRAVE. INT. JERRY'S BASEMENT -- DAY JERRY, backed by ADAM, MS. GRANADA and a handful of other vampires, closes in on PETER. JERRY It's over, guy. Charlie -- his girl's having her way with him. (THEN) She's way out of his league anyway. Peter, trapped, won't be able to keep them at bay much longer. PETER Stop! Stop! Desperate, he BLASTS them again. Hits one on the shoulder. But it's not stopping them. JERRY And your aim-- PETER You don't get it! I'm on your side. Peter smiles a little. Shows his rows of SHARP FANGS. Jerry and the others stop. What? 104. INT. STORAGE AREA -- DAY Amy and Charlie struggle. He reaches for his cross -- but she throws him off her with a violent HISS. Charlie gets his first look at AMY in full VAMPIRE glory. She's even more freaky looking than Jerry or Ed. Her face is nearly overtaken by a wide mouth filled with razor-sharp teeth. Her eyes are crazed and blood-red. It's gruesome and terrifying. Charlie sees THE STAKE at the lip of the hole. Dives for it. Amy's on him in a flash. She throws him to the ground. He's got the STAKE in hand. Ready to strike. AMY You wouldn't. CHARLIE Try me. She STRADDLES HIM, sexual and raw. Charlie's repulsed, terrified. AMY I'll be the best you ever had. The only you had. (THEN) Charlie. We can be together forever. She leans in, licks his neck seductively... AND GASPS. She sits back, the STAKE IN HER CHEST. She falls away, shuddering. Charlie pulls the stake out -- scrambles out of the nest. He looks back at her, anguished. A beat. AMY, in terrible pain, LAUGHS. Nothing's happening. No kablooey. AMY (CONT'D) Missed. You missed. Charlie BREAKS THE DOOR OPEN with his crowbar. 105. CHARLIE I know. He backs away from her. Into-- INT. JERRY'S BASEMENT -- DAY The basement where Jerry and the THE TRIBE are CIRCLED around a body as MS. GRANADA feeds. ON PETER, who's pale and shaking... Charlie attacks them with THE CROWBAR. CHARLIE Get off him! He hits MS. GRANADA off Peter. Manages to hold off JERRY for a beat. Spins and HITS ADAM in the head. ADAM Dude! CHARLIE Sorry. AMY enters from the other room -- already healing. Jerry sees her -- holds up a hand and backs the others off. JERRY I'll finish this. Jerry, all swagger, moves in on Charlie. Charlie sees Peter, barely alive, spit out his FAKE VAMP teeth. Peter meets his gaze, wry and weak. Done for. PETER Worth a shot. "Master of illusion." Now Charlie notices SHOTGUN not far from Peter's body. He dives for it, but Jerry steps on it -- kicks it away. JERRY (TO CHARLIE) You think that's going to stop me? Time to man up. Jerry brutally kicks Charlie, sends him sprawling. 106. JERRY (CONT'D) Now. I'm going to kill your girl -- make you watch. I'll take my time with you. And once you're dead, I'll finish your mother. (RE: AMY) Too bad about that one. She sucked me dry. Like a pro. Amy smiles a little. Jerry GRABS CHARLIE, lifts him off his FEET-- Charlie, enraged, SPRAYS JERRY WITH GAS FROM the CANISTER -- right in the eyes. Jerry recoils, HISSING. Adam and the OTHER VAMPS MOVE IN. Jerry's over it. He's on CHARLIE in a flash, FANGS BARED. About to RIP HIS NECK OUT. BLAM! PETER has the gun again -- has managed to pull himself up into a sitting position. He BLOWS away ONE OF THE SUPPORT BEAMS. BLAM! And ANOTHER. BLAM! And ANOTHER. BLAM -- he misses. PETER Fuck. BLAM! AND ANOTHER. Charlie DIVES for SAFETY as the CEILING COLLAPSES in part of the basement. SUNLIGHT STREAMS in -- forcing JERRY, AMY and the other vamps into a corner. PETER (CONT'D) (TO JERRY) Fuck yeah! Nice sweater, loser! BLAM! Another BEAM collapses. BURYING JERRY, AMY and the others under DEBRIS from the floor above. A stunned beat. Peter slumps, exhausted from the effort. 107. Charlie looks at him -- amazed. PETER (CONT'D) (WEAK) I'm better with stationary targets. CHARLIE Yeah you are. Peter looks at him, sad. PETER Get out of here. We don't have much time before they dig out. CHARLIE (RE: STAKE) I can save you. I have to kill him with this. PETER You're a brave mother, I get it. And you were right. This is how I had to go... But we didn't count on an army. CHARLIE He'll kill you both, he said-- PETER We're already dead. (THEN) Go now, you live to fight another day. Stay -- there won't be one. Charlie stops. Swayed. Pained. PETER (CONT'D) Do it. CLOSE ON CHARLIE Accepting it. It's what he has to do. He starts DIGGING. PETER (CONT'D) Charlie! But Charlie ignores him, determined. Pulls his MASK DOWN over his face again. PETER (CONT'D) Stop! 108. WHAM! JERRY BURSTS OUT OF THE RUBBLE, attacks Charlie. Charlie falls back, PULLING JERRY with him into THE LIGHT Jerry BURSTS INTO FLAME -- but holds Charlie tight AMY and the other vamps start to claw their way OUT of the rubble. Charlie and Jerry fight -- nearly ENGULFED IN FLAMES now PETER (CONT'D) Charlie! Peter gets up, painfully, moves to help. Raging and desperate -- Charlie and Jerry continue to battle. Finally, Jerry pulls Charlie down with him --rolls on the ground as they fight. Trying to put out the flames. Jerry starts to DISINTEGRATE -- he's about to EXPLODE into bits. Charlie's stake is now ON FIRE. CHARLIE NO! A last desperate attempt. He can see Jerry's HEART, about to burn away. HE STAKES JERRY. AMY suddenly SCREAMS - she's burning inside, DYING. Or so it seems. The vampire is being burned out of her. PETER cries out too, reacting less violently. But in pain. JERRY Still burning, looks down as the STAKE OF SAINT MICHAEL in his CHEST. Right through the heart. He starts to SHAKE VIOLENTLY -- faster and faster, just like Ed did -- becoming little more than a macabre BLUR. For a moment -- Jerry's human form hangs in the air... JERRY Blow me. THEN HE BLOWS INTO A MILLION PIECES. ON CHARLIE AND PETER 109. Thinking fast, PETER tackles CHARLIE -- who is still in flames. They tumble into one of the open graves. DIRT pours in around them, extinguishing the fire. ON AMY Transformed and healed. Herself again. She rushes to the edge of the open grave. ABOVE THE OPEN GRAVE Peter pulls Charlie's mask back. Charlie is burned, unconscious. AMY Charlie! She crawls into the grave. Cradles Charlie in her arms. AMY (CONT'D) Charlie... Amy starts to cry. Peter looks on, concerned. Finally, Charlie opens his eyes. Says weakly... CHARLIE Blow me? Seriously? Peter falls back -- exhausted. Laughing. CHARLIE (CONT'D) Those are his last words? What a tool. We pull away, leaving this tableau... UNTIL ADAM, MS. GRANADA and the OTHER MEMBERS of the tribe emerge from the rubble. Disoriented, freaked. A beat. MS. GRANADA Let's agree to never talk about this. FADE TO: INT. PETER'S APARTMENT - NIGHT Charlie, Amy, Jane and Peter are in Peter's penthouse. It's a glittering night, a spectacular view. 110. Jane, released from the hospital, looks healthy and glowing. She smiles at Peter, who also looks more together. She has a glass of wine -- he's drinking a COKE. JANE Think you'll ever feel the same about a nighttime sky? PETER Same as what? I was always terrified. JANE Right. We're just catching up. ON AMY AND CHARLIE Charlie sees the connection between Peter and Jane. Shudders. CHARLIE I'm not seeing that. AMY She deserves some fun. Your mom fully cheated death. CHARLIE (SUGGESTIVE) You too. You deserve fun. AMY Oh, I plan on it. Now that you've killed your first vampire... CHARLIE I am so going to perform. Charlie KISSES her. It's intense, passionate. It's different, they're different. The childish part of them long gone. He runs his hands through her hair, pulls her close. SOMETHING BEEPS, talks... VOICE "Frak!" "Frak!" AMY (PULLS BACK) What is that? Charlie, a little sheepish, shows her. He's wearing a BATTLESTAR GALACTICA wrist watch. CHARLIE Battlestar. AMY Right. CHARLIE It was Ed's. Amy smiles a little, softens. AMY Right. (THEN) Frak? PETER is passing. Hears this. Is down with it. PETER Frak! Right on. (TO AMY) Perfect Woman, can I get you a drink? AMY I'll take another. Thanks. CHARLIE (TO PETER) I'll give you a hand. Charlie follows PETER into the DINING ROOM, where a BAR CART is set up. Peter moves to it. Pours himself a Midori. CHARLIE (CONT'D) I thought you were on the wagon. PETER It's dark. (off his look) I'm on the "day" wagon. CHARLIE Thanks for inviting us. PETER We should celebrate. Being alive. Your mom's clean bill of health. CHARLIE You wanted to put the moves on her. 112 PETER What? No. What? CHARLIE Just -- I'm watching you. I've got to look out for her. PETER Yeah you do. So here's what I'm thinking. We faced the beast and we won. Can you imagine the possibilities if we had got that shit on film? CHARLIE VAMPIRES DON'T-- PETER Show up on film, yeah. But werewolves do, bigfoots do. We get proof, catch something -- we could build a stage act around that, you wouldn't believe. We'd blow those Cirque bitches away! CHARLIE An act? Seriously? What about saving people from evil? What ABOUT-- A CHILLING LAUGH interrupts them. Distant. Eerie. And somehow familiar. Peter nods to his COLLECTION CABINETS. PETER It happens. All this stuff... CHARLIE Ever think about collecting something else? Snow globes or-- Charlie stops, catches sight of something MOVING IN THE REFLECTION ON THE FLOOR-TO-CEILING WINDOW. Just a wisp, a phantom. The face - is it ED? His features twisted in a grimace of fear and pain... It's CHILLING. Charlie's spooked. But he looks again and the face is gone. CHARLIE (CONT'D) Yeah, definitely get new stuff. 113. Peter leads CHARLIE OUT, back to the ladies in the other room. Still on about his idea... WE HOLD ON THEIR REFLECTION IN THE WINDOW PETER (O.S.) I'm serious, man. Do you know how much we could make? Think about how much people pay to see a tiger, or boobs, right? What if we had a tiger, boobs -- and a zombie! After they've gone we linger on the window. Is that Ed's eerie reflection again?, barely visible... AS WE GO TO BLACK ED (0.S.) You're so coooool Brewster!! THE END \ No newline at end of file diff --git a/unformated_scripts/Script_From Dusk Till Dawn.txt b/unformated_scripts/Script_From Dusk Till Dawn.txt new file mode 100644 index 0000000000000000000000000000000000000000..4e205adbb2ef761c59530f97076891b49f065a97 --- /dev/null +++ b/unformated_scripts/Script_From Dusk Till Dawn.txt @@ -0,0 +1 @@ +FROM DUSK TILL DAWN Screenplay by Quentin Tarantino Story by Robert Kurtzman Directed by Robert RodriguezThis script was transcribed, proof read and formatted by ueli rieggemail: webmaster@studiour.tsx.org; url: http://studiour.tsx.orgCast List:Quentin Tarantino Richard GeckoGeorge Clooney Seth GeckoBrenda Hillhouse Hostage GloriaHarvey Keitel JacobJuliette Lewis KateErnest Liu ScottCheech Marin Border Guard, Chet Pussy, CarlosSelma Hayek Santanico PandemoniumDanny Trejo Razor CharlieErnest Garcia Big EmilioTom Savini Sex MachineFred Williamson Frost"I earnestly wish an end would come to this bloody race I am forced to run." Countess in: "La Comtesse Noire" by Jess Franco FADE IN: EXT. LIQUOR STORE - DAY A convenience store in a Texas Suburb. No other businesses surround it. CLOSE-UP: A light switch is flipped on. The sign on top of the store lights up. It reads: BENNY'S WORLD OF LIQUOR. TITLE CARD: BIG SPRING, TEXAS 109 MILES WEST OF ABILENE 345 MILES EAST OF THE MEXICAN BORDER A Texas Ranger patrol car pulls into the parking lot and a real live Texas Ranger, EARL MCGRAW, steps out. McGraw is in full ranger uniform - button shirt, cowboy hat, boots, mirrored shades, tin star and a colt revolver on his hip. It's about an hour and a half before sundown and McGraw is off duty for the day. The only other car in the parking lot is a 1975 Plymouth INT. BENNY'S WORLD OF LIQUOR - DAY A young Hawaiian Shirt wearing man named PETE sits on a stool behind the counter. A few CLOSE-UP:STOMERS fiddle about. A MAN wearing a black suit, black tie, and wire rim glasses holds hands with a PRETTY BLONDE GIRL in cutoffs and bare feet. They look through magazines. Another black suit wearing MAN holds hands with a RED-HEADED GIRL in a prep school uniform. They look through the beer cooler in the back of the store. Both girls are around seventeen. MCGRAW enters the store. MCGRAW Hot goddamn day! PETE Haven't felt it a bit. Been inside with the air conditioner blastin' all day long. MCGRAW Not even for lunch? PETE I'm by myself today, ate my lunch outta the microwave. McGraw walks over to the beer cooler, as if done ritually every night (it is), takes out a beer, pops it open and joins Pete by the front counter. MCGRAW Jesus Christ man, that microwave food will kill ya as quick as a bullet. Those burritos are only fit for a hippie high on weed. Pull me down a bottle of Jack Daniels. I'm gettin' tanked tonight. PETE Whatsamatter? MCGRAW (sighs) Awww, it's just been a shitass day. Every inch of it hot and miserable. First off, Nadine at the Blue Chip got some sorta sick, so that Mongoloid boy of hers was workin' the grill. That fuckin' idiot don't know rat shit from Rice Krispies. I ate breakfast at nine, was pukin' up pigs in a blanket like a sick dog by ten thirty. PETE Isn't there a law or something against retards serving food to the public? MCGRAW Well, if there ain't there sure oughta be. Who knows what goes on inside Mongoloid's mind? PETE You could sue the shit out of her, ya know. That kid belongs under a circus tent, not flippin' burgers. You could own that fuckin' place. MCGRAW What the hell would I do with that grease pit? Besides, Nadine's got enough of a cross to bear just taking care of that potato head. Then all this Abilene shit happened. You heard about that bank robbery in Abilene, didn't ya? PETE That's all that's been on the box all day. They killed some people didn't they? MCGRAW Four Rangers, three cops, and two civilians. And they took a lady bank teller as a hostage. Pete doesn't say anything. MCGRAW They'll probably make a run for the border, which would bring 'em this way. And if we get our hands on those shit asses, we're talking payback time. We'll get 'em all right. I gotta piss. I'm gonna use your commode. PETE Knock yourself out. McGraw drops his last drip of beer, crushes the can and exits in the bathroom. The black suited man by the beer cooler turns around and, with the prep school girl in tow, walks rapidly toward Pete. We see that the girl is crying. BLACK SUITED MAN #1 (to Pete) Do you think I'm fuckin' playing with you, asshole? (points to the tearful prep school girl) Do you want this little girl to die? (pointing to the blonde with the other guy) Or that little girl? Or your bosombuddy with the badge? Or yourself? I don't wanna do it, but I'll turn this fuckin' store into the Wild Bunch if I even think you're fuckin' with me. The two men in black suits are the notorious Abilene bank robbers, SETH and RICHARD GECKO, "The Gecko Brothers." And the other customers are all being held hostage. Seth is the one with the prep girl. Richard is the one with the blonde. Everybody speaks low and fast. PETE What do you want from me? I did what you said. SETH Letting him use your toilet? No store does that. PETE He comes in here every day and we bullshit. He's used my toilet a thousand times. If I told him no, he'd know something was up. SETH I want that son-of-a-bitch out outta here, in his car, and down the road or you can change the name of this place to "Benny's World of Blood." Richard, holding tightly the hand of the terrified girl, leans next to Seth's ear and whispers something. Seth looks at Pete. SETH Were you giving that pig signals? PETE What? Are you kidding? I didn't do anything! Richard whispers something else in Seth's ear. SETH He says you were scratching. PETE I wasn't scratching! SETH You callin' him a liar? Pete controls himself. PETE I'm not calling him a liar, okay? I'm simply saying that if I was scratching, and if I did scratch, it's not because I was signaling the cop, it's because I'm fuckin' scared shitless. Richard speaks for the first time in a low calm voice to Seth. RICHARD The Ranger's taking a piss. Why don't I just go in there, blow his head off and get outta here. PETE Don't do that! Look, you asked me to act natural, and I'm acting as natural -- in fact, under the circumstances, I think I ought get a fuckin' Academy Award for how natural I'm acting. You asked me to get rid of him, I'm doing my best. SETH Yeah, well, your best better get a helluva lot fuckin' better, or you're gonna feel a helluva fuckin' lot worse. The toilet FLUSHES. SETH Everybody be cool. Everybody goes back to what they were doing. McGraw steps back out of the back. He appears to be unaware of the situation. MCGRAW Yeah, and I'm gonna be right back at it tomorrow. So tonight I'm gonna sit in front of the box and just drink booze. How much is the bottle? PETE Six-fifty. Out of nowhere Richard WHIPS out his forty-five automatic and SHOOTS McGraw in the head. McGraw goes down screaming. Richard stands over him and SHOOTS him twice more. Seth charges forward. SETH (to Richard) What the fuck was that about? RICHARD (in a low monotone) He signaled the Ranger. PETE (hysterical) I didn't. (to Seth) You gotta believe me, I didn't. RICHARD (to Seth) When they were talkin', he mouthed the words "Help Us." PETE You fuckin' liar, I didn't say shit! Richard SHOOTS Pete and Pete falls down behind the counter. Seth grabs Richard and throws him up against the wall. SETH What the fuck is wrong with you -- RICHARD Seth, he did it. You were by the beer cooler with your back turned. I was by the magazines, I could see his face. And I saw him mouth: Richard mouths the words, "Help Us." While Pete lies on the floor behind the counter bleeding from his bullet wound, he opens his floor safe and pulls out a gun from it. Seth releases his brother. SETH Start the car. RICHARD You believe me don't cha? SETH Shut up and start the car. Richard walks away from Seth and crosses the counter... ...when Pete SPRINGS up, gun in hand, and SHOOTS Richard in the hand. Richard FALLS to his knees, howling. Both Pete and Seth SPRAY the store with gunfire. Seth DIVES down an aisle. He reloads. Pete DUCKS behind the counter. He reloads. Richard has crawled to safety behind an aisle. The two girls have run out screaming. SETH (yelling) Richie? You okay? RICHARD (yelling) I'm not dead, but I'm definitely shot! I told you that bastard said, "Help us!" PETE (yelling) I never said help us! SETH (yelling) Well that don't matter now, 'cause you got about two fuckin' seconds to live! Richie! RICHARD (yelling) Yeah? SETH (yelling) When I count three, shoot out the bottles behind him! RICHARD Gotcha! SETH One... Two... Three. The two brothers start FIRING toward the counter. They HIT the bottles of alcohol on the shelf behind Pete. Pete is crouched on the ground as glass, debris and alcohol RAIN down on him. Seth grabs a roll of paper towels from off a shelf. Richard keeps FIRING. Seth douses the paper towels with lighter fluid, sets it on fire with his Zippo, then tosses it. The flaming roll of paper towels FLIES through the air. The fireball lands behind the counter. The entire counter area immediately BURSTS INTO FLAMES. Pete screams from behind the counter. Seth smiles to himself and stands. Richard shakes his head in amusement and stands. Pete runs out from behind the counter, ENGULFED IN FLAMES still holding his weapon and FIRING. Seth and Richard hit the ground FIRING their .45's. Pete, the human torch, FALLS like a tree into the Hostess Pastry display. Seth and Richard rise from the rubble. EXT. BENNY'S WORLD OF LIQUOR - DAY They exit the store squabbling. The store is bursting into flames. SETH What did I tell you? What did I tell you? Buy the road map and leave. RICHARD What am I supposed to do, Seth? He recognized us. SETH He didn't recognize shit. Both Seth and Richard stand on opposite sides of the car. RICHARD Seth, I'm telling you, the way he looked at us -- you especially -- I knew he knew. They both climb in the car, Seth behind the wheel. Seth starts it op. The souped up engine ROARS to life. We can hear Seth mumbling under the motor. SETH Low profile. Do you know what the words "low profile" mean? CLOSE-UP: SETH'S FOOT PUNCHES GAS. The Plymouth tears out of the parking lot backwards, hits the street, and speeds off down the road. We CRANE UP HIGH to see the car leaving a trail of dust behind it, as the store burns out of control. OPENING CREDIT SEQUENCE. Raunchy, honky-tonk MUSIC fills the theater. CUT TO: EXT. TEXAS PANHANDLE - DAY The Plymouth tears ass across Texas plains. As TITLES PLAY OVER, we see Seth and Richard enjoying their getaway/road trip. Seth behind the wheel, pops open a bottle of prescription pills, empties out four of the red capsules in his hand, pops them in his mouth, and washes it back with a slug of Jack Daniel's from a pint bottle. Richard looks at Seth through the hole in his hand. Like a boxer, Richard wraps his wounded hand with gaffer's tape. The camera leaves the boys, as they woosh down the street, and goes along the length of the car to the trunk. It hangs on the trunk. Then we see through the trunk, like Superman: AN OLDER WOMAN tied up and helpless in the trunk. The rest of the titles play over black as the song continues. CREDIT SEQUENCE ENDS CUT TO: EXT. EMMA AND PETE'S GRAVY TRAIN - DAY Emma and Pete's Gravy Train is a truck stop off of Highway 290. SUBTITLE APPEARS AT THE BOTTOM OF THE SCREEN': FORT STOCKTON 238 MILES FROM THE MEXICAN BORDER INT. EMMA AND PETE'S GRAVY TRAIN - DAY Emma and Pete's PATRONS are made up of regulars, truckers, cowboys and road-weary travelers. The CAMERA DOLLIES through the maze of tables, patrons, and waitresses. It stops when it gets to a table occupied by the FULLER FAMILY. The Fullers definitely fall into the road-weary category. The members of the unit consist of the father, JACOB, age 44, an ex-preacher, a good man with rough edges, and his two children, KATE, age 19, is a young beauty who possesses what can only be described as an apple pie sensuality. She is dressed like a nice Christian girl, complete with crucifix. SCOTT, age 16, is a Jacob's Vietnamese adopted son. Scott is a likable, long-haired kid who always wears a T-shirt with the name of the heavy metal garage band he plays guitar for, "Precinct 13." The three of them are wolfing down a late lunch. JACOB We got about two more hours of day light left. That'll get us into El Paso, which is right next to the border. We'll stop at a motel -- SCOTT Stop? We're not going to actually stop at a motel, are we? Scott and Kate speak together, obviously repeating something that Jacob has said about three hundred times. SCOTT AND KATE We've got a Winnebago. We don't need those over priced roach havens. We're self contained. JACOB Okay, Okay, maybe I was a little overzealous, but give me a break, I just bought it. Scott and Kate continue the impersonation. SCOTT Why, just look at all this. You got your kitchen -- KATE -- you got your microwave -- SCOTT -- you got your sink -- KATE -- you got your shower -- SCOTT -- see this, television! KATE Feel this, real wood paneling. That's real wood, too, not that fake stuff. JACOB Unless you two wiseacres wanna be introduced to the joys of hitchhiking, what say we drop this? SCOTT (to Kate) The truth hurts. KATE (to Scott) It's the bitterest of pills. JACOB You two ought to start a stand-up act, because you're just wasting your humor on me. KATE Ain't it the truth. SCOTT Why do you want to stop? JACOB I'm exhausted. SCOTT Lie in the back, Dad, I'll drive us into Mexico. Jacob gives Scott a look that says, "You aren't touching my new motor home." JACOB I just bet you would. Don't even thin about it. Besides, I want to have one night's sleep in an honest-to-goodness bed. The beds in the home are okay, but they're not like a real bed. KATE Hey, if we go to a motel, we can swim. SCOTT I'll be right back. I'm gonna go to the bathroom. Scott gets up from the table and walks out back to the restroom. Jacob and Kate are left alone. There's an awkward moment of silence before... KATE Dad, when I called the machine to check our messages there was one from Bethel Baptist. Mr.Franklin said he wouldn't permanently replace you until we came back. He said when we come home, if you still feel the same way -- JACOB That's very nice of Ted, but I'll call him tomorrow and tell him not to bother waiting. KATE I didn't want to talk about this in front of Scott because he gets upset. But you don't believe in God anymore? JACOB Not enough to be a pastor. Look, I know this is hard on you kids. After Jenny's death, this is probably the last thing you need. But I can't do it any longer. My congregation needs spiritual leadership. Well, they can't get that from me anymore. My faith is gone. To answer your question, yes, I do believe in Jesus. But do I love them? No. After Jenny died, I just thought, what's the point? KATE (pushing him) It's just, all our lives you've been a pastor. For twenty years you've preached trust in the lord. And then one day you wake up and say fuck him? JACOB I didn't say fuck him. I'm just not connected anymore. KATE That happens, you'll get it back. JACOB Kate, give your old man a little credit. Every person who chooses the service of God as their life's work has something in common. I don't care if you're a preacher, a priest, a nun, a rabbi or a Buddhist monk. Many, many times during your life you'll look at your reflection in the mirror and ask yourself, am I a fool? We've all done it. I'm not going through a lapse. What I've experienced is closer to awakening. I'm not trying to shake your faith. I've just decided not to devote my life to God anymore. KATE What do you think Mom would say? JACOB Mom's got nothing to say, she's dead. CUT TO: CLOSE UP: COUNTER BELL. A hand slams down on it. RING. INT. LOBBY - DEW DROP INN - DAY Seth stands at the front desk of the Dew Drop Inn. A standard issue Texas motel. Richard sits outside in the car. Nobody responds to the bell. Seth BANGS it impatiently five times. TEXAS VOICE (O.S.) Hold your horses! An OLD-TIMER walks through a curtain behind the counter. He's eating a BBQ rib. OLD-TIMER (rough) Whatcha want? SETH Whatcha think I want, ya mean old bastard? I wanna room. EXT. COURTYARD - DEW DROP INN - DAY Richard sits in the car listening to Merle Haggard on the radio. He watches from his perspective, Seth taking the walking outside and getting in the car. Seth starts it up, and drives them to their room. RICHARD Do they have cable? SETH No. RICHARD Do they have an X-rated channel? SETH No. RICHARD Do they have a waterbed? SETH They don't have anything except four walls and a roof, and that's all we need. Their car drives up to room #9, but they park backing up the trunk close to the door. The two brothers get out of the car. SETH (tossing Richie the motel keys) Open the door. We gotta do this fast. Richie opens the door. Seth goes to the trunk, looks around the court yard. It's empty. CLOSE UP: KEY going into the trunk lock, turning. TRUNK POV: Seth looking into the camera. SETH'S POV: A WOMAN in her late forties is lying scrunched up in the trunk. She is the HOSTAGE BANK TELLER from Abilene. She's stiff, scared and looks an absolute mess. SETH Don't say a word. The two brothers, quick as lightening, yank the woman out of the trunk and whisk her into the motel room. SETH closes the trunk, looks around for any Johnny eye-witnesses, doesn't see any, slams the door. INT. SETH AND RICHARD'S ROOM - DAY Seth turns from the door, sees the hostage woman standing. SETH You. Plant yourself in that chair. She sits down in the chair. HOSTAGE What are you planning on doing with -- SETH -- I said plant yourself. Plants don't talk. You wanna get on my good side? Just sit still and don't make a peep. She shuts up. Richard slowly takes off his jacket. He winces from his wound. SETH Let me help you. He helps him get his jacket off. SETH How's it feel? RICHARD How ya think, it hurts like a son-of-a-bitch. Richie goes over to the bed and lies down on it. Seth takes the pillow and stacks them for Richie to prop his back up against. SETH I got both rooms on either side of us, so we don't gotta worry about eavesdropping assholes. How's that feel? You okay? RICHARD Feels good. SETH I'm gonna go get the money. He heads for the door. EXT. COURTYARD - MOTEL - DAY Seth goes into the car, takes out a big suitcase. He scans the perimeter with his eyes, goes back inside. INT. MOTEL ROOM #9 - DAY Seth comes back in, lays the suitcase on the bed. Richie has the TV remote control in his hand and he's flipping stations. Seth looks at his watch. SETH It's about five o'clock. (to hostage) What time does it get dark around here? HOSTAGE About seven. SETH Good. I'm going towards the border to check things out while it's still daylight. Call Carlos and arrange the rendezvous. RICHARD Hey, when you talk to him, see if you can arrange a better deal than thirty percent. SETH That's their standard deal, brother. They ain't about to change it for us. RICHARD Did you even to try to negotiate? SETH These guys ain't spic fire cracker salesman from Tijuana. They don't even know the meaning of the word "barter". You wanna stay in El Ray? You give them thirty percent of your loot. It's scripture. So it is written, so shall it be done. You want sanctuary, you pay the price, and the price is thirty percent. RICHARD All I'm saying -- SETH -- This conversation is over. Richie shrugs and turns back to TV, Seth turns to the hostage, grabs a chair and slides it up in front of her. SETH Now, we need to have a talk. What's your name? HOSTAGE Gloria. He shakes her hand. SETH Hello, Gloria, I'm Seth and that's my brother Richie. Let's cut to the chase. I'm gonna ask you a question and all I want is a yes or no answer. Do you want to live through this? GLORIA Yes. SETH Good. Then let me explain the house rules. Follow the rules, we'll get along like a house on fire. Rule number one: No noise, no question. You make a noise... (he holds up his .45) ...Mr. 45 makes a noise. You ask a question, Mr. 45 answers it. Now are you absolutely, positively clear about rule number one? GLORIA Yes. SETH Rule number two: You do what we say, when we say it. If you don't, see rule number one. Seth takes the .45, places the barrel next to the woman's cheek. She squirms and shuts her eyes. He pulls back the hammer. SETH Rule number three: Don't you ever try and fuckin' run on us. 'Cause I got five little friends, and they all run faster 'n you can. Got it? She nods her head yes. He takes the gun away and replaces the hammer. SETH Open your eyes. She does. SETH Gloria, you hang in there, follow the rules, and don't fuck with us, you'll get out of this alive. I give you my word. Okay? She nods her head yes. Seth rises. SETH I'll be back in a bit. He exits. Richard looks to the TV, then looks to Gloria sitting across the room in the chair. RICHARD Wanna come up here on the bed and watch TV with me? You can tell she doesn't want to. He pats the empty space next to him. RICHARD Come on. She gets out of her chair, walks across the bed, and sits next to him. EXT. PHONE BOOTH - DAY A phone booth outside of a gas station. Seth is in the middle of a conversation with the party on the other end. SETH Things are real hot here. Crossing's gonna be a bitch. (pause) Don't worry, we'll get across. But when we do, where do we go? (pause) Can we make it as close to the border as possible? Texas wants our balls. The quicker we're in your protection, the better I'll feel. (pause) Okay, where? (pause) The Titty Twister? (he laughs) I love it already. Okay, Carlos, I'll see you and your men at the "Titty Twister" tomorrow morning. (pause) Bye, my friend. Seth hangs up the phone, lights up a cigarette with his Zippo lighter and exits frame. After Seth exits, leaving the frame empty, a subtitle appears: EL PASO 5 MILES FROM THE MEXICAN BORDER CUT TO: INT. SETH AND RICHARD'S MOTEL ROOM - NIGHT Richard lies on the bed by himself, propped up by pillows, watching TV, taking on hits from a water bong in the shape of a wizard. ON TV A local newscaster named KELLY HOUGE is reporting a story about the brothers. KELLY HOUGE (talking to camera) This bloody crime spree started just a week ago today. The oldest of the two brothers... MUG SHOT OF SETH KELLY HOUGE (V.O) ...Seth Gecko was serving time in Rolling's Kansas State Penitentiary for his part in the 1988 Scott City bank robbery in which two law enforcement officers lost their lives. BACK TO KELLY KELLY HOUGE Having served eight years of his twenty-two year sentence, Seth Gecko was brought to Wichita Municipal court house for his first parole hearing. It was while at the court house that this man... MUG SHOT OF RICHARD GECKO KELLY HOUGE (V.O.) ... his younger brother Richard Gecko, a known armed robber and sex offender, pulled off a daring daylight escape... BACK TO KELLY KELLY HOUGE ...resulting in the death of four Wichita law enforcement officers, and this woman... PHOTO OF WOMAN SMILING KELLY HOUGE (V.O.) ...Heide Vogel, sixth grade teacher who was run over by the Geckos during a high speed pursuit through downtown Wichita. MAP OF AMERICA A red line travels from Wichita to Oklahoma. KELLY HOUGE (V.O.) From there the brothers traveled from Kansas through Oklahoma... The red line enters Texas and the camera moves into Texas. KELLY HOUGE (V.O.) ...into the great state of Texas, and then finally... WE ZOOM in on a red-circled Abilene. KELLY HOUGE (V.O.) ...into Abilene. We hear GUNFIRE and SCREAMS. CUT TO: EXT. THE CRIMINAL COURT BUILDING - DAY Kelly Houge walks down the courthouse steps of the criminal courts building of Abilene. She talks to the camera. Cops, lawyers and citizens bustle in the background. KELLY HOUGE The list of the dead climbed up three more notches since our last telecast. CUT TO: PHOTO: OFFICER SHERMAN GOODELL in full police uniform. KELLY HOUGE (V.O.) Officer Sherman Goodell, who was in intensive care following the gun battle outside of the Valley Federal bank building... CUT TO: EXT. COURTHOUSE - DAY Kelly Houge standing on the court house steps talking into the camera. KELLY HOUGE ...died about forty-five minutes ago at Hopkins General hospital. And about six hours ago, during a daylight liquor store robbery in Big Springs, The Gecko Brothers killed another Texas Ranger... CUT TO: PHOTO: EARL MCGRAW in uniform. KELLY HOUGE (V.O.) ...Earl McGraw... CUT TO: PHOTO: PETE in a Hawaiian shirt holding up a big fish. KELLY HOUGE (V.O.) ...and liquor store clerk Pet Bottoms. CUT TO: VIDEO FOOTAGE: Of Benny's World of Liquor burning down. KELLY HOUGE (V.O.) Then they proceeded to burn the store down to the ground. CUT TO: VIDEO GRAPHIC: Picture of The Gecko Brothers with a tally underneath: THE GECKO BROTHERS WICHITA JAIL BREAK VALLEY FEDERAL BANK ROBBERY BIG SPRINGS CONVENIENCE STORE ROBBERY DEATH TOLL 13 TEXAS RANGERS - POLICE OFFICERS - CIVILIANS 4 7 2 KELLY HOUGE That changes the death toll to fifteen. (It changes under "Death toll") Five Texas Rangers... (it changes) Eight police officers (it changes) Three civilians. (it changes) CUT TO: BACK TO KELLY KELLY HOUGE And one hostage... CUT TO: PHOTO: GLORIA HILL KELLY HOUGE (V.O.) ... bank teller and mother of four, Gloria Hill. KELLY TO CAMERA KELLY HOUGE Heading the case to bring these fugitives to justice is FBI agent Stanley Chase. We talked with agent Chase earlier this afternoon. CUT TO: VIDEO INTERVIEW Kelly Houge interviewing STANLEY CHASE of the FBI. STANLEY CHASE For the time being we are very confident we will apprehend the fugitives in the next forty-eight hours. The Bureau, local law enforcement and the Texas Rangers have all joined forces in forming a dragnet to snare Seth and Richard Gecko. KELLY HOUGE Agent Chase, does it appear that they are heading for Mexico. STANLEY CHASE Yes, it does, Kelly. We have already alerted the Mexican authorities. They intend to cooperate every way possible in bringing these fugitives to justice. KELLY HOUGE Are you optimistic about the safety of the hostage they took in Abilene, Gloria Hill? STANLEY CHASE We've received no news one way or the other. We can only hope for the best. KELLY HOUGE What about the report from an eyewitness at the liquor store who said one of the brothers was shot? STANLEY CHASE This can't be confirmed at this time, but we do believe it to be true. We have reason to believe it was the youngest brother Richard, and he was shot in the vicinity of his neck and shoulders by the store's clerk. KELLY HOUGE Is it safe to assume that because the death count involved and the loss of life of law enforcement officers, that the Bureau, the Rangers and the police force are taking this manhunt personally? STANLEY CHASE I would say that's a very safe assumption. CUT TO: RICHARD SMILES. RICHARD (Newscaster's voice) Is it safe to assume since the law enforcement authorities in the great state of Texas are homosexuals of a sick and deviate nature, that they will be too busy fucking each other up the ass to actually catch The Gecko Brothers? (in an FBI voice) I would say that's a very safe assumption. He changes a channel on the television. We see a Casper the Friendly Ghost cartoon on the screen. CASPER Would you play with me? A big burly COP turns around. COP Sure, little boy... A GHOST!!! The cop heads for the hills. Casper cries. Seth enters the room carrying a six pack of beer and two take-out bags of Big Kahuna burgers. RICHARD Shit, I started to get worried. Where the fuck ya been? SETH Sight seein'. RICHARD What'd ya see? SETH Cops. RICHARD Didya look at the border? Seth dumps the burgers on the bed. Both men pop open beers and Richard goes to town on a hamburger. Seth flips off the TV SETH Yeah, I saw the border. Through binoculars from on top of a high building. That's about as close as I risked getting. What's the TV say? RICHARD They're going to apprehend us in forty-eight hours. Seth sits down and takes a hit off his beer. SETH (to himself) I gotta figure a way to get across that goddamn border. Longer we fuck around El Paso our lives ain't worth a shit. RICHARD Look, fuck the border. Let's just dig in and wait for things to cool down. SETH Richie, it's gonna get a lot fuckin' worse before it gets any fuckin' better. We showed our ass in Texas. We killed Texas fuckin' Rangers. They ain't gonna stop lookin' till they find us, and when they find us, they're gonna kill us. Texans take it very personal when ya kill their law enforcement officers. The El Paso police have already started a motel and hotel search for us. RICHARD How do you know? SETH I heard it on the radio. We gotta get our asses into Mexico tonight. Carlos is gonna meet us tomorrow morning at a rendezvous on the other side, then Carlos and his boys will escort us to El Ray and -- Seth stops talking and looks around. SETH Where's the woman? RICHARD What? Seth's out of his chair. SETH What'd ya mean, what? The fuckin' woman, the hostage. Where the fuck is she, Richard!? RICHARD She's in the other room. SETH What the fuck is she doin' there?! He goes to the door of the adjoining room. RICHARD Seth, before you open the door, let me explain what happened. Seth stops and looks at his brother. He knows what he means. He can't say anything, only point at his younger sibling. Then he BURSTS open the door. The dead, naked body of Gloria Hill lies on the bed. It's obvious Richard raped her and killed her. Seth covers his eyes with his hands. He slowly enters the room with the dead body. SETH (to himself) Oh, Richard, what's wrong with you? Richard rises from the bed. RICHARD Now, Seth, before you flip out, let me just explain what happened. Seth slowly turns to his brother, then walks toward him. Richard backs up. SETH Yeah, explain it to me. I need an explanation. What's the matter with you? RICHARD (low and calm) There's nothing wrong with me, brother. That woman tried to escape and I did what I had to do. SETH No. (pause) That woman wouldn't of said shit if she had a mouthful. RICHARD Wrong, wrong, wrong, wrong, wrong, wrong, wrong! Once you left, she became a whole different person. SETH (slowly approaching) Is it me? Is it my fault? RICHARD It's not your fault, it's her fault! Seth grabs Richard and THROWS him in the corner of the room, holding tightly to his wrist. SETH Is this my fault? Do you think this is what I am? RICHARD What? SETH This is not me! I am a professional fucking thief. I steal money. You try to stop me, god help you. But I don't kill people I don't have to, and I don't rape women. What you doin' ain't how it's done. Do you understand? RICHARD Seth, if you were me -- SETH Just say yes! Nothing else, just say yes. RICHARD Yes. SETH Yes, Seth, I understand. RICHARD Yes, Seth, I understand. Seth hugs his little brother. Tight. SETH (whispers in Richie's ear) We get into Mexico, it's gonna be sweet Rosemary, hundred-proof liquor, and rice and beans. None of this shit's gonna matter. INT. MOTOR HOME - NIGHT Scott and Kate are in the front seat of their parked motor home. The motor home's parked in front of the Dew Drop Inn's front office. We see Jacob inside getting a room from the Old-Timer. KATE I can't believe he's stopping here. This place looks totally cruddy. Jacob walks out of the office. Kate yells from the motor home. KATE Dad, why are we stopping here? He opens the meter home door and climbs in. JACOB There's nothing wrong with this place. KATE It's a flop house. JACOB It's not a flop house. It's basic and simple. That doesn't make it a flop house. KATE If it doesn't have a pool, we're looking for a new place. Starting the huge car and slowly maneuvering it through the courtyard. JACOB It has a bed. That's all I care about. KATE Other places have beds, they also have cable TV, a gym, room service... EXT. COURTYARD - NIGHT Seth walks out of room #9 with a beer in his hand. He's thinking about how he's going to get over the border tonight. Lost in thought, he steps out in the path of the Fuller's motor home. Jacob slams on the brakes. Seth jumps back, startled. Both Kate and Scott are TOSSED out of their seats onto the floor. THUD... THUD... KATE Owww, my head. Jacob (pissed) honks his horn at Seth and yells out the window. JACOB Watch where you're going! THROUGH WINDSHIELD Seth just stands right in their way without moving, gazing up at the giant motor home. JACOB BEHIND THE WHEEL Kate and Scott join him up front looking at this weirdo. SCOTT What's this guy's problem? JACOB I have no idea. Seth continues standing in their way, making no attempt to move. Not threatening, just looking at them. HONK! JACOB Anytime, man. The horn snaps Seth back to this world. A smile breaks out on the escaped fugitive's face and he politely steps to one side to let them pass. Pass they do! KATE Creepy guy. SETH The Sword of Damocles is lifted from above Seth's head. He's just solved a problem that a mere thirty seconds ago seemed unsolvable. He knows exactly how he's going to cross the border. Whistling a happy tune, he turns and walks back into room #9. INT. FULLERS' MOTEL ROOM - NIGHT The Fullers are in room #12. It's identical to the one that the Gecko boys are in, except that the paintings above the beds are different. Jacob has fallen asleep in his clothes on the bed. Scott sits in a chair, headphones on, playing an unplugged electric guitar. Kate is nowhere in sight. KNOCK... KNOCK... KNOCK... on the door. Scott doesn't hear shit but his music. Jacob stirs a bit, but doesn't wake up. POUND... POUND... POUND... on the door. Jacob SPRINGS UP. He looks over at Scott, who, lost in guitar heaven, is oblivious of the knocker, then to the door. JACOB (yelling) What? From the other side of the door comes a friendly voice. VOICE (O.S.) I'm your neighbor in room 9, I hate to disturb you, but I'd like to ask a favor. Jacob swings his feet to the floor, stands up and walks to the door. As he passes Scott, he says, in his direction -- JACOB I hope none of this is disturbing you. Scott can't hear him, but when he sees his dad look at him, he smiles. Jacob opens the door and sees... ... Richard Gecko standing in the doorway, looking like the nicest guy in the entire world. RICHARD Hi there, I'm from room 9, my name is Don Cornelius. No, not the Don Cornelius from Soul Train. Me and my lady friend need some ice and we don't seem to have an ice bucket. Could we possibly borrow yours? I'll bring it right back. JACOB (still partially asleep) Sure. We follow Jacob as he turns to the dresser to get the motel ice bucket. He grabs it, turns back to the door, takes a couple of steps towards it, then stops: in his tracks. He sees Richard and Seth both inside the room with the door closed, both with .45's in their hands, both aimed at him. JACOB What is this? Seth SLUGS Jacob in the mouth, KNOCKING him to the ground. SETH It's called a punch. Scott suddenly becomes aware of what's going on around him and instinctively stands. Richard shoves his .45 in Scott's mouth. RICHARD Sit down. Scott lowers himself back down onto his seat. RICHARD Good boy. Jacob lifts his head off the floor and wipes blood away from his lip. He looks at his opponent who stands over him. SETH (to Jacob) What's your name? JACOB Jacob. SETH Okay, Jacob, get up and sit your ass down on the bed. Make a wrong move and I'll shoot you in the face. Jacob rises and sits on the edge of the bed. SETH (to Richard) Okay, move the Jap over there. Keeping the gun in Scott's mouth, Richard makes Scott rise... RICHARD Upsy daisy. ...guiding him over to the bed by his father. Richard removes the gun from Scott's mouth and stands next to his brother, looking down at their two hostages. SETH (to his hostages) What's the story with you two? You a couple of fags? JACOB He's my son. SETH How does that happen? You don't look Japanese. JACOB Neither does he. He looks Vietnamese. SETH Oh, well, excuse me all to hell. JACOB What's this about, money? SETH It's about money, all right, but not yours. You see, me and my brother here are in a little hot water and we need your assistance. The door to room #12 opens and a dripping wet, bikini clad Kate walks in. The brothers spin their guns in her direction. Kate, startled, screams. Jacob and Scott get on their feet and move forward. Seth spins back towards the two men, gun ready to spit. SETH (to Scott and Jacob) Stop! Jacob and Scott freeze. Richard moves like quicksilver, shutting the door and positioning himself behind the terrified Kate. KATE What's going on? RICHARD We're having a wet bikini contest, and you just won. JACOB (to Kate) It's okay, honey. Everything's going to be all right. SETH Just listen to daddy, sugar, and don't do nothin' stupid. (he turns to Jacob and Scott, who are still standing) You two, Simon says sit the fuck down! They slowly sit. Richard can't take his eyes off the dripping wet Kate. Both Jacob and Seth see this and neither men like it. Both for their own reasons. SETH (to Jacob) Where are the keys to the motor home? JACOB On the dresser. SETH Richie, take the keys. Start that big bastard up, and drive it up front. Richard doesn't move from his position behind Kate. Kate feels his eyes on her. She slowly turns and looks at him. He looks in her face. CLOSE-UP KATE She smiles at him. KATE Richie, will you do me a favor and eat my pussy? CLOSE-UP RICHARD RICHARD Sure. SETH (O.S.) Richard! Richard's eyes go to Seth. Everybody is where they were. Kate never turned around. SETH Not when you get around to it, now. Without saying a word, he takes the keys and leaves the room. SETH (pointing at Kate) You, Gidget, go in the bathroom and put on some clothes. She grabs some clothes from the floor and moves towards the bathroom. Seth GRABS her wrist. SETH You got three minutes. One second longer, I shoot your father in the face. Do you understand what I just said? KATE Yes. SETH Do you believe me? KATE Yes. SETH You damn well better. Go. She goes into the bathroom. JACOB Look, if you want the motor home, just take it and get out. Seth grabs a chair and slides it up to his two male hostages. SETH Sorry, Pops, it ain't gonna be that easy. We hear the motor home "HONK" twice outside. SETH Get ready to move out, we're all going on a little ride. Jacob shakes his head "no." JACOB Not a chance. SETH Come again? JACOB If you're taking people, take me. But my kids aren't going anywhere with you. SETH Sorry, I need everybody. JACOB My children are not going with you, and that's that. SETH (angry) That's not fuckin' that... (holds up his gun) this is fuckin' this. (he calms down and looks at Scott) Go sit over there. Scott gets up and walks to the other side of the room, leaving the two men alone. Seth speaks in a quiet, conversational tone. SETH I ain't got time to fuck around with you, so I'll make this simple. Take your kids and get in the car, or I'll execute all three of you right now. (he cocks the gun and puts it right in Jacob's face) What's it gonna be, yes or no answer? Jacob looks at him. JACOB Yes. SETH Good. (to Scott) Your old man's all right, he just saved your life. Seth BANGS on the bathroom door. SETH Times up, Princess. The bathroom door opens. Kate stands there, wearing a T-shirt, jeans and bare feet. SETH Okay, ramblers, let's get to rambling. CUT TO: EXT. HIGHWAY - NIGHT The motor home with the powder-keg interior drives through the Lone Star night. INT. MOTOR HOME NIGHT Richard's in the back bed area with a gun trained on Kate and Scott. The two scared siblings hold hands. KATE Excuse me. Richard zeros in on her. RICHARD What? KATE Where are you taking us? RICHARD Mexico. KATE What's in Mexico? RICHARD Mexicans. He doesn't smile. In the front part of the motor home, Jacob sits behind the wheel, driving into the night. Seth sits in the passenger seat, going through Jacob's wallet and talking to him calmly. SETH (reading his driver's license) Jacob Fuller. Jacob, that's biblical, ain't it? What am I askin' for, of course it is. (motioning behind him) What are their names? JACOB Scott and Kate. Seth repeats the names as he thumbs through the wallet. SETH Scott and Kate... Kate and Scott... Scott Fuller... Kate Fuller... Seth comes to a snapshot of Jacob and his wife. SETH Who's this? JACOB My wife. SETH Where is the little lady? JACOB In heaven. SETH She's dead? JACOB Yes, she is. SETH How'd she die? JACOB Auto wreck. SETH Come on, gimme some more details. How'd it happen? Some fuckin' drunk kill her? JACOB No. It was a rainy night, the brakes on the car weren't great. She had to stop suddenly. She slid on the road, she crashed, she died. SETH Died instantly? JACOB Not quite. She was trapped in the wreck for about six hours before she passed on. SETH Whewww! Those acts of God really stick it in and break it off, don't they? JACOB Yes, they do. Seth looks back at the wallet. He sees Jacob's minister's license. SETH Is this real? JACOB Yes. SETH I've seen one of these before. A friend of mine had himself declared a minister of his own religion. Away to fuck the IRS. Is that what you're doing, or are you the real McCoy? JACOB Real McCoy. SETH You're a preacher? JACOB I was a minister. SETH Was? As in not anymore? JACOB Yes. SETH Why'd ya quit? JACOB I think I've gotten about as up close and personal with you as I'm gonna get. Now if you need me like I think you need me, you're not gonna kill me 'cause I won't answer your stupid, prying questions. So, with all due respect, mind your own business. SETH I seem to have touched a nerve. Don't be so sensitive, Pops, let's keep this friendly. But you're right, enough with the getting to know you shit. Now, there's two ways we can play this hand. One way is me and you go round an' round all fuckin' night. The other way, is we reach some sort of an understanding. Now, if we go down that first path at the end of the day, I'll win. But we go down the second, we'll both win. Now, I don't give a rat's ass about you or your fuckin' family. Y'all can live forever or die this second and I don't care which. The only things I do care about are me that son-of-a-bitch in the back, and our money. And right now I need to get those three things into Mexico. Now, stop me if I'm wrong, but I take it you don't give a shit about seeing me and my brother receiving justice, or the bank getting its money back. Right now all you care about is the safety of your daughter, your son and possibly yourself. Am I correct? JACOB Yes. SETH I thought so. You help us get across the border without incident, stay with us the rest of the night without trying anything funny, and in the morning we'll let you and your family go. That way everybody gets what they want. You and your kids get out of this alive and we get into Mexico. Everybody's happy. JACOB How do I know you'll keep your word? SETH Jesus Christ, Pops, don't start with this shit. JACOB You want me to sit here and be passive. The only way being passive in this situation makes sense is if I believe you'll let us go. I'm not there yet. You have to convince me you're telling the truth. SETH Look, dickhead, the only thing you need to be convinced about is that you're stuck in a situation with a coupla real mean motor scooters. I don't wanna hafta worry about you all fuckin' night. And I don't think you wanna be worrying about my brother's intentions toward your daughter all night. You notice the way he looked at her, didn't ya? JACOB Yes. SETH Didn't like it, did ya? JACOB No, I didn't. SETH Didn't think so. So, as I was saying, I'm willing to make a deal. You behave, get us into Mexico, and don't try to escape. I'll keep my brother off your daughter and let you all loose in the morning. JACOB You won't let him touch her? SETH I can handle Richie, don't worry. The two men look at each other for some measure of trust. Seth sticks out his hand. SETH I give you my word. Seth can't help but think about the last time he gave his word. SETH (hand sticks out) My words, my law. Better you not take it, and that's just where we are, then take it and not mean it. Jacob takes his hand, but looks right into Seth. JACOB If he touches her, I'll kill him. I don't give a fuck how many guns you have, nothing will stop me from killing him. SETH Fair enough. You break your word, I'll kill all of you. (calling to the back) Kate, honey! KATE Yeah. SETH You must have a bible in here, don't cha? KATE Yeah, we got a bible. SETH Get it and bring it up here, will ya, please? Kate goes into a drawer, pulls out a bible and brings it up front. SETH Hold it right there, sweetie pie. (to Jacob) Put your hand on it. Jacob does. SETH Swear to God, on the Bible, you won't try to escape and you'll get us across the border. JACOB I swear to God I won't try to escape and I'll do my best to get you into Mexico. SETH You best better get it done, Pops. Seth places his hand on the Bible. SETH I swear to God I'll let you loose in the morning. And your daughter will be safe. And I also swear if you do anything to fuck me up, I'll slit all your throats. TIME CUT TO: INT. MOTOR HOME - NIGHT Richard's in the back with Kate and Scott. Richard, expressionless, looks at Kate's bare feet. SLOW ZOOM KATE'S BARE FEET EX CLOSE-UP KATE'S TOES. They wiggle. His eyes go to her hands. SLOW ZOOM KATE'S HANDS EX CLOSE-UP KATE'S FINGERS His eyes go to her neck. SLOW ZOOM NAPE OF KATE'S NECK EX CLOSE-UP KATE'S ADAM'S APPLE. She swallows. His eyes move up. SIDE PROFILE OF KATE, SLOW ZOOM TO KATE'S LIPS Back to Richard. RICHARD Did ya mean what you said back there? Kate turns to him. KATE What? RICHARD In the room. Were you serious, or were you just foolin' around? I'm just bringing it up, 'cause if you really want me to do that for you, I will. KATE Do what? RICHARD (in a whisper) What you said to me in the room. KATE (whispers back) What did I say? RICHARD (whisper) You asked me if I would -- SETH (O.S.) Richard! RICHARD (to Seth) What? Seth and Jacob. SETH I told you to watch those kids, I didn't say talk to 'em. You guys ain't got nothin' to say to one another. So cut the chatter. Richard turns to Kate. RICHARD (quiet) We'll talk later. Kate still hasn't a clue what he means. CUT TO: EXT. THE MEXICAN BORDER - NIGHT Automobiles are lined up, waiting one by one to go into Mexico. Cop cars with their red and blue lights flashing are all over the place. Border Patrol men and Police are stopping all cars. Pulling up to the end of the line is the Fuller's mobile home. INT. MOBILE HOME - NIGHT Jacob at the wheel, Seth in the passenger seat. Seth jumps up and goes into action. SETH Okay everybody, it's show time. Richie, take Kate in the bathroom. Richard grabs the terrified Kate and drags her in the bathroom, SETH Scott, you come up front with your daddy. Scott does. Seth, keeping low, gets behind Jacob. JACOB I'm telling you, don't hurt her. SETH As long as you're cool, she'll be cool. What're ya gonna say? JACOB I don't have the slightest idea. SETH Well, you just keep thinkin' of that gun next to Kate's temple. Seth disappears into the bathroom with Kate and Richard, closing the door behind him. Father and son are alone for the first time since this whole thing began. SCOTT What are you gonna do? JACOB I'm gonna try and get us across the border. SCOTT No, dad, you gotta tell 'em that they're back there. Jacob is surprised to hear Scott say this. INT. BATHROOM - MOBILE HOME - NIGHT The bathroom, which consists of a shower, a toilet and a small sink, is a tight fit with three people in it. Richard has his back against the wall, with his arm around Kate, holding her in front of him. One hand is over her mouth, the other holds a .45 against her head. Kate's eyes are wide with fear. Seth stands, .45 in hand, ready to fire if the wrong person should open the door. Everybody talks low and quiet. RICHARD This isn't gonna work. SETH Shut up. It's gonna work just fine, RICHARD I just want to go on record as saying this is a bad idea. SETH Duly noted. Now, shut up. Everyone's quiet for a second, till Richard breaks it. RICHARD (to himself) They're gonna search the van. SETH (offhand) As long as you don't act like a fuckin' nut, we'll be just fine. RICHARD What does that mean? SETH (distracted) What? Richard lets Kate go, she quickly moves to the side. RICHARD You just called me a fuckin' nut. SETH No, I didn't. RICHARD Yes, you did. You said as long as I don't act like a fuckin' nut, implying that I've been acting like a fuckin' nut. SETH Take a pill, kid. I just meant stay cool. RICHARD You meant that, but you meant the other, too. Kate can't believe what she's watching. Neither can Seth. SETH (serious as a heart attack) This ain't the time, Richard. RICHARD (his voice rising) Fuck those spic pigs! You called me a fuckin' nut, and where I come from, that stops the train on its tracks. SETH (real quiet and violent) Keep your voice down. RICHARD (quiet back) Or what? BACK TO JACOB AND SCOTT JACOB Have you forgotten about your sister? SCOTT They're gonna kill us. They get us across the border, they're gonna take us out in the desert and shoot us. JACOB If they get over the border, they're gonna let us go. SCOTT Dad, I watch those reality shows. They never let anybody go. Any cop will tell you, in a situation like this, you get a chance, you go for it. This is our chance. JACOB What about Kate? SCOTT They're gonna kill her anyway. At least now with all these cops we've got a fighting chance. JACOB Son, I have this situation under control. I know exactly what I'm doing. You're going to have to trust me on this. SCOTT If trusting you means trusting those fuckin' killers, I can't do that. If you don't tell the cops, I will. Jacob grabs Scott by the front of his shirt, and yanks him to him. JACOB Now, you listen to me. You ain't gonna do a goddamn fucking thing, you hear me! Nobody cares what you think, I'm running this show, I make the decisions. SCOTT He's running the show. JACOB I'm running the show. I make the plays, and you back the plays I make. Stop thinking with your fucking balls. Kate in a room with a couple of desperate men with nothing to fucking lose ain't the time to "go for it." I need your cover. Cover my ass. There's a HONK behind them. They both look out the window. It's their turn with the BORDER PATROL GUARDS. JACOB takes the wheel and drives up. A stern BORDER GUARD approaches JACOB'S window. BORDER GUARD How many with you? JACOB Just my son and I. BORDER GUARD What is your purpose in Mexico? JACOB Vacation. I'm taking him to see his first bullfight. BACK TO BATHROOM RICHARD I'm curious. What was the nuttiest thing I did? SETH This ain't the time. RICHARD Oh, I know, was it possibly when your ass was rotting in jail and I broke it out? Yeah, you're right, that was pretty fuckin' nutty. Not to mention stupid. But you know what? I can fix that right now. SETH HAULS off and PUNCHES Richard smack in the head. Richard HITS the floor, Guard, Jacob, and Scott hear Richard fall in the bathroom. BORDER GUARD What was that? JACOB Oh, that's just my daughter in the bathroom. BORDER GUARD You said it was just you and your son. JACOB I meant me, my son and my daughter. CLOSE-UP BORDER GUARD BORDER GUARD Open the door. I'm coming aboard. BACK TO BATHROOM CLOSE-UP KATE We can only see Kate's face. It's scared. We hear rustling around the bathroom, but we don't know what it is. Then it's quiet. Then we hear talking outside the door, but we can't make it out. Then we hear a knock. KATE I'm in the bathroom. BORDER GUARD (O.S.) It's the Border Patrol. Open up. KATE It's open. We hear the door open and see the light change on Kate's face. She's looking up. BORDER GUARD in the doorway looking in. HE SEES: Kate by herself, pants around her ankles, sitting on the toilet. KATE Do you mind? Shut the fucking door. BORDER GUARD Excuse me. He closes the door. Kate lets out a breath. We wait a beat, Seth pulls back the curtain in the shower, we see Richie on the floor of the shower knocked out. Seth and Kate meet eyes. He gives her the O.K. signal. CUT TO: BACK WINDOW MOTOR HOME We see through the back window of the motor home, the border getting smaller as we drive away from it. Scott knocks on the bathroom door. SCOTT It's clear. Seth BURSTS out of the bathroom. SETH Goddamn, that was. intense! Seth goes to the back window. He sees the border getting farther and farther away. No cars following. SETH (to himself) We did it. (pause) We're in Mexico. Seth throws his head back and SCREAMS for joy. Kate, emerging from the bathroom, reacts to Seth's scream, along with Scott. Seth is so happy that he does a little jig in the back of the van. Everybody else is still tense as shit. But Seth lets go of all his tension, and becomes a new man before our eyes. He turns to Kate. SETH (loud and happy) Come here, Kate! Kate, nervous, takes a step back. He charges for her. GRABS her, hugs her around her waist, and spins her around. When he lets her go, she stumbles dizzily onto the bed. SETH (to Kate) You were magnificent! You told him to shut the fucking door. I'm hiding in the shower, and I'm thinking to myself, "Did I just fuckin' hear what I just fuckin' heard? And what does he do -- he shuts the fucking door! Kate kind of half smiles. SETH If I was a bit younger, baby, I'd fuckin' marry you! Seth goes up front and slaps Jacob on the back. SETH I gotta hand it to ya, Pops, you raised a fuckin' woman. Jacob doesn't share Seth's enthusiasm, but he is relieved. JACOB We did our part, we gotcha in Mexico. Now it's time for your part, letting us go. SETH Pops, when you're right, you're right, and you are right. KATE (suddenly brightens) You're gonna let us go? SETH In the morning, darlin', in the morning, we are G-O-N-E and you are F-R-E-E. Now, I know I put you guys through hell, and I know I've been one rough pecker, but from here on end you guys are in my cool book. Scotty, help me pick Richie up, and lay him down. Jacob, keep going on this road till you get to a sign that says, "Digayo." When you get to Digayo, turn this big bastard left, go on down for a few miles, then you see a bar called "The Titty Twister." From what I hear, you can't miss it. JACOB Then? SETH Then stop, 'cause that's where we're going. He slaps him once again on the back, and leaves to attend to Richard. CUT TO: CLOSE-UP RICHARD without glasses. Unconscious, Seth slaps his face. SETH (O.S.) C'mon, kid, wake up. Don't make a career out of it. Richard starts coming to and opens his eyes. Seth sits at the foot of the bed. SETH You okay? RICHARD (disoriented) Yeah, I think so. What happened? SETH I don't know, you just passed out. RICHARD I did? SETH Yeah, we were just standing there. You said something about your shoulder hurting, then you just hit the ground like a sack of potatoes. RICHARD Really? SETH Yeah, when you fell your head smacked the toilet hard. It scared the shit outta me. Sure you're okay? RICHARD Yeah, I guess. I'm just a little fucked up. SETH Well, let me tell ya something, gonna clear your head right up. We are officially Mexicans. RICHARD What? SETH We are... (singing) "South of the border down Mexico way." RICHARD We are? SETH Yep. We're heading for the rendezvous right now. We get there, we pound booze till Carlos shows up, he escorts us to El Ray. And then me and you, brother, kick fuckin' back. How ya like them apples? Slowly shaking the cobwebs out of his head. RICHARD Far out. (pause) Where are my glasses? SETH They broke when you fell. RICHARD Oh, fuck, Seth, that's my only pair! SETH Don't worry about it, we'll get you some glasses. RICHARD What dya mean, don't worry about it. Of course I'm gonna worry about it, I can't fuckin' see. SETH When we get to El Ray, I'll take care of it. RICHARD Yeah, like a Mexican hole-in-the-wall's gonna have my fuckin' prescription. SETH It's not a big deal, unless you make it a big deal. Now, I'm real happy, Richie, stop bringing me down with bullshit. Jacob calls to the back. JACOB Guys! We're here. CUT TO: A neon sign that flashes: THE TITTY TWISTER Hiker/Trucker bar, Dusk till Dawn Underneath the joint's proud name on the sign, and on top of "Biker/Trucker bar, Dusk till Dawn" is a well-endowed woman, whose breast is being twisted by a neon hand. EXT. THE TITTY TWISTER NIGHT The neon sign sits on top of the rudest, sleaziest, most crab-infested, strip joint, honky-tonk whorehouse in all of Mexico. The Titty Twister is located out in the middle of nowheres ville. It sits by itself with nothing around it for miles. A plethora of choppers and eighteen wheelers are parked out in front. The walls almost pulsate from the LOUD, RAUNCHY MUSIC within the structure. Signs cover the walls outside reading things like: "NUDE DANCING", "WHORES", "BEER", "AUTHENTIC MEXICAN FOOD", "BIKERS AND TRUCKERS ONLY", "OPEN DUSK TILL DAWN", "THURSDAY COCKFIGHT NIGHT", "WEDNESDAY DOGFIGHT NIGHT", "DONKEY SHOW MONDAYS", "EVERY FRIDAY BARE KNUCKLE FIGHT TO THE DEATH, FEATURING THE LOVELY SANTANICO PANDEMONIUM", "ATHENA AND DANNY THE WONDER PONY", and "THE SLEAZY TITTY TWISTER DANCERS." In the parking lot, a BIKER and a TRUCK DRIVER beat the shit out of each other, one with a pipe, the other with a hammer. A SECOND BIKER fucks a Titty Twister WHORE against the wall. A greasy man, known as CHET PUSSY, stands in the parking lot, soliciting customers through a Mr. Microphone. CHET Pussy, pussy, pussy! All pussy must go. At the Titty Twister we're slashing pussy in half! This is a pussy blow out! Make us an offer on our vast selection of pussy! We got white pussy, black pussy, Spanish pussy, yellow pussy, hot pussy, cold pussy, wet pussy, tight pussy, big pussy, bloody pussy, fat pussy, hairy pussy, smelly pussy, velvet pussy, silk pussy, Naugahyde pussy, snappin' pussy, horse pussy, dog pussy, mule pussy, fake pussy! If we don't have it, you don't want it! The Fullers' recreational vehicle pulls into the parking lot and stops. INT. MOTOR HOME - NIGHT What's left of the Fuller family and the Gecko family look out the windshield onto the sight that is the Titty Twister. SETH (to the group) Okay, troops, this is the homestretch. Here's the deal; this place closes at dawn. Carlos is gonna meet us here sometime before dawn. Which by my guesstimate is somewhere between three or four hours from now. So we're gonna go in there, take a seat, have a drink -- have a bunch of drinks, and wait for Carlos. That could be an hour, that could be three hours, I don't know which. But when he gets here, me and Richie are going to leave with him. After we split, you guys are officially out of this stewpot. Let me just say I'm real happy about where we're at. We got a real nice, "I don't fuck with you -- you don't fuck with me" attitude going on. Now, if everybody just keeps playin' it cool -- and I'm talking to you, too, Richie -- everybody's gonna get what they want. Comprende, amigos? Everybody nods and mutters in agreement. SETH Okay hard drinkers, let's drink hard. I'm buyin'. EXT. PARKING LOT - NIGHT The camper door FLIES OPEN and the two brothers and the Fuller family step out into the night. They look across the parking lot at the Titty Twister. It literally looks in some ways like the entrance to hell. JACOB Out of the stew pot and into the fire. SETH Shit, I been to bars make this place look like a fuckin' 4-H club. RICHARD I gotta say I'm with Jacob on this. I been to some fucked up places in my time, but that place is fucked up. Seth can't believe it. SETH (in a baby talk voice) Aww-w, whatsa matter, is the little baby too afraid to go into the big scary bar? The two brothers square off, not like strangers fighting, but like brothers fight. They talk real quiet, but real personal. RICHARD That's what you think? SETH That's how you're lookin', Richie. RICHARD I'm lookin' scared? SETH That's what you look like. RICHARD You know what you look like? SETH No, Richie, what do I look like? RICHARD You're lookin' green. That's not what Seth expected to hear. SETH How? RICHARD Where are you right now? SETH What do you mean? RICHARD Where are you? SETH I'm here with you. RICHARD No, you're not. You're sippin' margaritas in El Ray. But we're not in El Ray. We're here -- getting ready to go in there. You're so pleased with yourself about getting into Mexico, you think the job's down. It ain't. Get back on the clock. That's a fuck-with-you-bar. We hang around there for a coupla hours, in all likelihood, we'll get fucked with. So get your shit together, brother. SETH My shit is together. RICHARD It don't look together. SETH Well, it is. Just because I'm happy doesn't mean I'm on vacation. You're just not used to seein' me happy, 'cause it's been about fifteen fuckin' years since I been happy. But my shit is forever together. Richard believes Seth's response. RICHARD Okay, just checkin'. They walk toward the bar's entrance. Chet Pussy talks into the microphone. CHET (yelling into the microphone) Take advantage of our penny pussy sale. Buy any piece of pussy a tour regular price, you get another piece of pussy, of equal or lesser value, for a penny. Now try and beat pussy for a penny! If you can find cheaper pussy anywhere, fuck it! Chet notices our heroes, especially young Kate. CHET (in microphone, towards Kate) What's this? A new flavor approaching. Apple Pie Pussy. SETH Step aside, asshole. Chet POKES HIS FINGER in Seth's CHEST. CHET Not so fast, Slick. Seth GRABS HOLD of Chet's FINGER, BENDS it BACKWARDS till the BONE SNAPS in two. Chet lets out a SCREAM. Seth VIOLENTLY brings his HEAD FORWARD PULVERIZING Chet's NOSE. Chet FALLS to his KNEES in front of Seth. Seth HOOKS him with a powerful FIST UNDER his CHIN that SNAPS Chet's HEAD BACK, and THROWS him on his BACK. After HITTING the GROUND, Seth SENDS a SAVAGE KICK straight to Chet's FACE, ROLLING HIM OVER. Chet is OUT. The whole altercation took two seconds. Everyone's in shock and looks at Seth. Seth looks back at everyone. SETH Now, is my shit together, or is my shit together? Richard and Seth laugh with each other. RICHARD (slappin' Seth five) Your shit is forever together! They head for the door. Richard stays behind for a second, and gives the fallen Chet a few, swift kicks, INT. THE TITTY TWISTER NIGHT If the Titty Twister looked like the asshole of the world from the outside, in the immortal words of Al Jolson, "You ain't seen nothin' yet." This is the kind of place where they sweep up the teeth and hose down the cum, the blood and the beer at closing. In the back, TOPLESS DANCERS do lap dances with customers, while a SLEAZY SEXY STRIPPER STRIPS to RAUNCHY MUSIC, played at ear drum-bursting level. TWO MEN are in a savage BAREKNUCKLE FIGHT, surrounded by screaming customers of bikers and truckers. One of the dancers is a man with a saddle on his back, his name is DANNY THE WONDER PONY. The woman on his back, in the saddle, feet in the stirrups, hands on the reins, is ATHENA, his rider. They dance around to the cheers of the crowd. Bikers and truckers play pool in the back. Fights break out here about one every ten minutes. The customers may start 'em, but the bouncer, BIG EMILIO, ends 'em. Seth, Richard, Jacob, Scott and Kate walk through the door. They each individually take in the sights and the smells. Seth is the first to say something. SETH Now this is my kinda place! I could become a regular. The man behind the bar is RAZOR CHARLIE. He eyes the group as they approach. Their difference from the usual road waif nomads who populate the Twister disturbs him. He exchanges a knowing look across the room with Big Emilio, as the group bellies up to the bar. SETH Whiskey! RAZOR CHARLIE (in English) You can't come in here. SETH What dya mean? RAZOR CHARLIE This is a private club. You're not welcome. SETH Are you tellin' me I'm not good enough to drink here? RAZOR CHARLIE This bar is for bikers and truckers only. (points his finger to Seth) You, get out! Big Emilio almost magically appears behind Seth and places HIS BIG BEEFY SAUSAGE-FINGERED HAND HARD on Seth's shoulder. BIG EMILIO (to Seth in Spanish) Walk, Pendaho. Seth slowly turns his eyes to the big hand on his shoulder. SETH (low) Take your hand off me. BIG EMILIO (Spanish) I'm going to count to three. SETH No, I'm going to count to three. BIG EMILIO Uno... SETH Two.. Jacob jumps in the middle. JACOB Now wait a minute, there's no reason to get ugly. There's just a misunderstanding going on here. You said this bar is for truckers and bikers, Well, I'm a truck driver. Everybody looks at Jacob. As Jacob talks he takes out his wallet. JACOB If you look outside your door, parked in your parking lot, you'll see a big ass recreational vehicle. That's mine. In order to drive that legally, you need a class two driver's license. That is the same license that the DMV requires truck drivers to carry in order to drive a truck. (he takes the license out of his wallet and lays it on the bar) That is me, and this is my class two license. This is a truck driver's bar, I am a truck driver, and these are my friends. Everybody's a little stunned after Jacob's speech. Razor Charlie picks up the license, looks at Jacob, looks at everyone in the party and smiles. RAZOR CHARLIE (to Jacob) Welcome to the Titty Twister. What can I get you? Seth BRUSHES OFF Big Emilio's paw. SETH Bottle of whiskey and five glasses. Razor Charlie's eyes go to Seth. Even though he has a big smile on his face, he looks like he's going to kill Seth. But instead he just says, RAZOR CHARLIE Coming right up. Razor Charlie goes for the bottle. Big Emilio gives the party one last look and walks away. Richard gives Jacob a buddy punch on the shoulder. RICHARD Good job, Pops. Seth's still frying an egg on his head. SETH That's just fuckin' typical. Biggest number one problem with Mexico, it's not service oriented. I was feelin' so good, and those fuckin' spies brought me down. Richard puts his arm around Seth. RICHARD Fuck 'em, shake it off. Razor Charlie brings the bottle and the glasses. Seth looks at the guy, still pissed. SETH You serve food, Jose? Razor Charlie knows Seth's taunting him with a racial slur, but he just smiles and says, RAZOR CHARLIE Best in Mexico. SETH I kinda doubt that. We're grabbin' a table, send over a waitress to take our order. Seth walks away, and the group follows him. We just hang on the evil wheels turning inside of Razor Charlie's head. The five of them move across the floor to a table. As they walk, Kate attracts stares, wolf whistles and rude comments from some of the patrons. Jacob keeps near his daughter. The dancers do their sexy routines. A big-chested, wild-haired blonde catches Scott's eye. She winks at him. Richard leans over and whispers in Scott's ear. RICHARD Anytime you want a lap dance with that broad, say the word. It's on me, kiddo. He gives the boy's neck a squeeze. Jacob's eyes survey the surroundings. Big Emilio and Razor Charlie quietly exchange words about the party in Spanish. RAZOR CHARLIE (in Spanish) They're not the normal road trash we normally feed on. But it'll be okay. No one knows they're here. The five of them find a table and sit down. Seth, still in a bad mood, takes the cork out of the whiskey bottle and tosses it. He pours Richie and himself a glass. SETH Who else? JACOB Pass. SETH (picking a fight) Why not, against your religion? JACOB (won't be baited) No, I do drink, I'm just not drinking now. SETH Suit yourself, more for me. (to Scott) Scotty? Scott shakes his head no. SETH (to Kate) How 'bout you? (pointing at Scott and Kate) are safer in here with us than wandering around a Mexican border town all night long. Just don't do nothin' stupid and we'll all get along fine. (to Scott) Scotty, you sure you don't want a drink? SCOTT Okay, I'll have one. JACOB No you won't. Seth pours Scott a shot. SETH Sorry, Pops, but I'm drinkin' and I don't like drinkin' alone. Bottoms up, boy. Scott takes the drink and he, too, experiences an on-drinker's tremor. Seth turns to Kate. SETH How about you, cutie pie? Ready for round two? KATE Okay. Seth just passes her the bottle. She pours her own shot and knocks it back. RICHARD (to Seth) Hey, Dr. Frankenstein, I think you just created a monster. Jacob turns to Seth and asks quietly. JACOB Why are you so agitated? SETH I'm still stewing about that ape laying hands on me. And that fuckin' bartender sticks a weed up my ass, too. JACOB He backed down. SETH He's smilin' at us. But behind his smile, he's sayin', "Fuck you Jack." I hear that loud and clear. JACOB What are you going to do? SETH (picking up the whiskey bottle) I'm gonna just sit here and drain this bottle. And when I've drunk the last drop, if I still feel then, the way I feel now, I'm gonna take this bottle and break it over his melon head. JACOB Before we stepped in here, you told all of us to be cool. That means you, too. SETH (tossing it off) I never said do what I do, I said do what I say. JACOB Are you so much a fucking loser, you can't tell when you've won? Richard, Kate and Scott both turn to Jacob. Nobody can believe what he just said. Neither can Seth who calmly lays down his drinking glass. SETH What did you call me? JACOB Nothing. I didn't make a statement. I asked a question. Would you like me to ask it again? Very well. Are you such a loser you can't tell when you've won? (pause) The entire state of Texas, along with the FBI, is looking for you. Did they find you? No. They couldn't. They had every entrance to the border covered. There's no way you could get across. Did you? Yes, you did. You've won, Seth, enjoy it. Seth looks at Jacob, then picks up the bottle. SETH Jacob, I want you to have a drink with me. I insist. Jacob slides his empty glass over to Seth. Seth pours booze in Jacob's glass and his own. Both men pick up the glasses. SETH To your family. JACOB To yours. They both knock 'em back and slap the empty glasses down. JACOB Now, is your shit together? SETH Forever together. Seth turns to Scott. SETH In that camper out there I saw a guitar. I take it that's yours. SCOTT Yeah, it's mine. SETH Go out and bring it in. I feel a song coming on. CUT TO: Seth sitting at the table, playing guitar, singing Mexican songs. Some bikers, truckers, and whores have gathered around their table. Everyone's groovin'. Seth finishes the song. Everybody applauds. Razor Charlie behind the bar grabs the greasy microphone that he uses to announce dancers. RAZOR CHARLIE (announcer voice in Spanish) And now for your viewing pleasure. The Mistress of the Macabre. The Epitome of Evil. The most sinister woman to dance on the face of the earth. Lowly dogs, get on your knees, bow your heads and worship at the feet of SANTANICO PANDEMONIUM! The lights go down low. A light hits the stage. The opening notes of the Coaster's "Down in Mexico" fills the room. The crowd hushes up. And on the stage steps SANTANICO PANDEMONIUM. This Mexican goddess is beautiful, but not the beauty that Stendhal described in "As the Promise of Happiness," but the beauty of the siren who lures men to their doom. She dances to the raunchy music, not like she owned the stage, but like she owned the world. And if the patrons of the Titty Twister are her world, the world is proud to be her possession. All activity in the bar, save Santanico, stops. Even the Fuller/Gecko table falls under her spell. Especially Richard, Scott and Kate. Seth knows this song and accompanies from the table with the guitar. When the music builds to its explosive section. Santanico LEAPS from the stage, LANDING in the middle of the room. She does an eyes-closed voodoo dance in perfect step with the beat. As the music continues to play, a very fucked-up looking Chet Pussy walks in. He goes over to Razor Charlie and points at Seth's table, describing what happened. As the last verse plays, Santanico, like a snake, comes up from the ground, on top of the Fuller/Gecko table. Richard, Kate and Scott are enraptured. Santanico scans the table, zeroing in on our boy Richard. She STANDS OVER him. While moving her body to the music, she lifts up the whisky bottle from the table, and pours the whiskey down her leg. She lifts up her foot, with the whiskey dripping from her toes, and sticks it in Richard's face. SANTANICO (to Richard in Spanish) Drink up. Richie, mesmerized, sucks the whiskey off her toes. The CROWD GOES WILD. Santanico smiles, master of all she surveys. Jacob and Scott are embarrassed. Kate, oddly enough, is turned on by the controlling power this woman has over a man she's deathly feared. Seth laughs out loud a Mexican "yi yi yiii" laugh, keeping the beat with his guitar. Across the room, Razor Charlie, Chet by his side, motions over Big Emilio. He begins explaining with pointing what Seth and company did to Chet. Richard continues to suck her toes. The song ends, Santanico extracts her foot from Richard's mouth. Steps off the table. Takes a drink of whiskey. Looks down at the seated Richard. She GRABS the back of his hair, YANKS his head BACK. His mouth OPENS because she's hurting him. She LEANS her FACE OVER his like she's going to kiss him. Then let's the whiskey from her mouth fall into his. They never touch. The crowd applauds. She lets go of Richard's hair. Except for Jacob and Richard, both for their own reasons, the table applauds, none louder than Seth. SETH Bravo! Bravo! Bravo! Now that's what I call a fuckin' show! One of Santanico's FLUNKIES brings the naked woman a robe, which she puts on. Richard, still in a daze, looks up at his new friend. SETH (snapping his fingers) Earth to Richie. Don't you wanna ask your new friend to join us? RICHARD Yeah. SETH Well, then ask her, dumb ass. RICHARD (looking up at Santanico) Por favor, Senorita. Would you care to join us? SANTANICO (to Richard) Muy bien, gracias. Santanico sits down next to Richie. Seth pours her a drink. SETH Richie, you lucky bastard! (to Santanico) Now, little lady, you could of just as easily done that to me. Who a Nelly! You got my dick harder 'n Chinese arithmetic. The table laughs. SETH Which reminds me of a joke. Little Red Riding Hood is walking through the forest and she comes across Little Bo Peep, and Little Bo Peep says: "Little Red Riding Hood, are you crazy? Don't you know the Big Bad Wolf is walking these woods and if he finds you he's gonna pull down your dress and squeeze your titties?" Then Little Red Riding Hood hitches up her skirt and taps a .357 Magnum she has holstered on her thigh and says: "No he won't." As Seth tells his joke, Jacob notices Razor Charlie, Big Emilio and Chet moving rapidly towards their table. JACOB (to himself) Oh, shit. (to Seth) Seth -- Seth waves him away. SETH Not now. So finally she comes across the Big Bad Wolf and the Big Bad Wolf's laughing and says: "Little Red Riding Hood, you know better than to be walking around these woods alone. You know I'm just gonna have to pull down your dress and squeeze your titties." Then Little Red Riding Hood whips out her .357, cocks it, sticks it in the Big Bad Wolf's face and says: "No you won't. You're gonna eat me, just like the story says." Seth starts laughing at his own joke uproariously. Richard, Kate, Scott and Santanico join in too. Before Jacob can say anything -- The Titty Twister trio stand over the table. RAZOR CHARLIE (to Chet in Spanish) Which one? CHET (pointing at Seth) This piece of shit broke my finger and my nose... (pointing at Richard) then this fag kicked me in the ribs while I was down. That's all Big Emilio has to hear. BIG EMILIO (to The Gecko Brothers) Up! RICHARD Fuck off, ape man! Big Emilio leans in with his beefy hand, GRABS Richard by the shoulder. Richard lets out a howl as blood pours from his wounded shoulder. Santanico steps back from the table. Seth jumps to his feet and FIRES a round from his .45 into Big Emilio, sending his bullet-ridden body to the floor. Razor Charlie whips out a straight version of his name sake and SLASHES Seth across the face. Seth SCREAMS at the top of his lungs as his hand goes up to his laid open cheek. Richard, who has fallen to the ground holding his wound, brings up his .45 and starts BLASTING. Razor Charlie takes a bullet in the head, chest and belly before he hits the floor. Jacob and his children have hit the floor as well to stay out of gunfire. The bikers, truckers, waitresses and whores all stop what they were doing. The music continues to play, though the dancers stop dancing. Santanico, who's closest to the two brothers, smells something. Her NOSTRILS FLARE. Richard moves to his brother, who takes out a handkerchief and puts it to his face. RICHARD How are you? SETH Scarred for life, that's how I am! Seth looks up and sees Chet still standing there. SETH You thought it was pretty funny, didn't you? Both brothers FIRE on Chet. Chet's blown left... right... left... right... then drops, pointing their guns towards the crowd. SETH Everybody be cool, or you'll be just as dead as these fucks! SLOW MOTION: Blood drips down the side of Seth's face. SLOW MOTION: It splatters to the floor. The CAMERA scans the crowd. The patrons are scared, but the waitresses, whores and dancers lick their lips. SLOW MOTION: Blood drips from Richard's shoulder. It falls to the floor, splattering. WE MOVE INTO SANTANICO'S FACE. A special aroma fills her nostrils. Her eyes lock on Richard. The look on her face could easily be read as intense sexual desire. CLOSE-UP KATE ON FLOOR Looks up and watches, eyes wide with fear, Santanico's transformation. Her NOSE RECEDES INTO her face like a rodent's. The whites of her eyes turn YELLOW. The FANGS of a beast PROTRUDE from her mouth. Kate yells from the floor. KATE (yelling) Richie, look out! Before Richie can turn around. SANTANICO LEAPS ACROSS THE FLOOR, LANDS on his BACK and SINKS her FANGS into Richie's wounded SHOULDER. Richard LETS LOOSE with an agonizing SCREAM. Seth turns to his brother's cry. He sees SANTANICO PANDEMONIUM, like a mongoose attached to a cobra, legs wrapped around Richard's waist, fangs buried deep in his shoulder, and Richard screaming and slamming about, trying to knock her off. Richard screams to Seth: RICHARD Shoot her! Shoot her! Get her off! Seth tries to aim his gun, but there's too much movement. He can't get a clear shot. Jacob and his children can't believe what they're seeing. Richard can't take it anymore, his knees buckle. Santanico rides him down to the floor. Seth gets a clear shot, he takes aim and FIRES, hitting the vamp in the head, blowing her off his brother. Richard, who's on all fours, tries to stand and gets about half way before he stops, saying: RICHARD (with his dying breath) Fucking Bitch! He tumbles over, a corpse. SETH Richie. Suddenly, the eyes of Big Emilio, Razor Charlie and Chet Pussy pop open. The "dead" men sit up with evil grins on their faces. The patrons scream. A WHORE locks the front door (which is a complicated lock with steel rods going into the ground), turns toward the bar and yells: WHORE Dinner is served! The bikers and truckers who have been transfixed, watching the impossible, realize that the waitresses, naked dancers and whores who they were pawing just five minutes ago, have turned into yellow-eyed, razor-fanged, drool-dripping VAMPIRES. The vamps attack. What follows is a shark feeding frenzy. Whores, who had been sitting on customer's laps, sink their teeth into unshaven necks. Naked strippers and bikers wail the shit out of each other. Truckers get their heads caved in by women half their size. The patrons use what ever they can find to fend off the monsters: chairs, chair legs, broken bottles, switchblades, anything. Jacob, Kate and Scott make a dash and dive behind the bar. They hide and watch. Seth stands where his was, limp dick of a .45 in his hand, too freaked, scared and stunned to do anything. He stands motionless, watching what he can't believe. Behind him, Santanico, who lies next to the dead Richard, eyes POP OPEN. She RISES in her snake/dance way. Seth feels her and SPINS in her direction, gun raised. SANTANICO Let's see if you taste as good as your brother. She approaches Seth, who FIRES at her. BAM... BAM... BAM... CLICK... CLICK... CLICK... CLICK. She laughs and gives her hair a toss back. Seth, moving backwards, is terrified. Santanico gives Seth a SWINGING ROUND HOUSE PUNCH to the JAW, that sends him FLYING over a table, SLIDING ACROSS the FLOOR and INTO the WALL. A bad-ass biker named FROST, with a hideous burn on the side of his face, stands on top of a pool table, swinging a pool cue, left to right, fending off vamps. Big Emilio picks up a biker who stabbed him with a switchblade and throws the poor bastard from one end of the bar to the other. The biker-winner of the bare knuckle fight, SEX MACHINE, goes head to head with a stripper. The vamp might have superhuman strength, but Sex Machine has close to superhuman strength, and he's matching the vamp bitch blow for blow. Then he GRABS her by the waist, LIFTS her up over his head and BRINGS her DOWN HARD on an upturned table, IMPALING her on the wooden leg. FROST is still swinging his POOL CUE, when Razor Charlie appears, straight razor in hand. Frost JUMPS off the table to meet the challenge. Razor Charlie SWINGS at him, Frost LEAPS back, SWINGING his pool cue at him. They do this dance, till Frost CRACKS Charlie UPSIDE the HEAD with the pool cue, breaking it in half. Charlie FEELS the HIT. Frost PLUNGES the splintered end of the cue in Razor Charlie's heart. Green blood comes out of his chest, as Charlie screams the vampire's death scream. Seth comes to and finds Santanico standing over him. He tries to rise, but Santanico places her bare foot on his chest, pinning him down to the floor. He tries to move, but the pressure of her foot is equivalent to an engine block placed on his chest. SANTANICO I'm not gonna drain you completely. You're gonna turn for me, You'll be my slave. You'll live for me. You'll eat bugs because I order it. Because I don't think you're worthy of human blood, you'll feed on the blood of stray dogs. You'll be my foot stool. And at my command, you'll lick the dog shit from my boot heel. Since you'll be my dog, your new name will be "Spot". Welcome to slavery. SLOW MOTION: A WHISKEY BOTTLE FLIES THROUGH the AIR, sailing end over end. CLOSE-UP SANTANICO looking down at Seth, her face contorts to FEED MODE, when the bottle HITS her SQUARE in the HEAD, SHATTERING. We see that Jacob behind the bar threw it. Santanico, bathed in whiskey and broken glass, is momentarily dazed. She looks down at Seth. Seth sits up, .45 in hand, and fires. Santanico is HIT in the CHEST. The bullet from the gun makes the liquor-soaked robe ignite. Santanico SCREAMS as she GOES UP IN FLAMES. Big Emilio sees Santanico's fiery death. He lets out a cry. BIG EMILIO Noooooo! He turns his hateful gaze on the two humans. Seth and Jacob see Big Emilio zeroing in on them, then they see him move his big frame in their direction. Seth turns to Jacob. SETH We may be in trouble. Big Emilio walks steadily through the bar like Godzilla walks through Tokyo. Tipping over tables, knocking fighting vamps and humans alike on their asses on his way to stamp out Seth and Jacob. A TRUCKER JUMPS in his path to attack him, with a QUICK SWING of his hand the trucker is brushed aside, receiving a broken neck for the effort. Big Emilio never breaks his stride or takes his eyes off Seth and Jacob. Seth and Jacob both grab pieces of wood, holding it like a weapon, but the wood looks puny compared to their opponent. Big Emilio stands in front of them. The two men hold their wood tight. Fangs grow in Big Emilio's mouth that make him look like a huge walking shark. Just when Big Emilio's ready to strike, he hears behind him, VOICE (O.S.) Hey, you, monkey man! Big Emilio turns and sees Sex Machine across the room. SEX MACHINE Anything you gotta say to them, say to me first. Both Seth and Jacob ATTACK Big Emilio from behind. He effortlessly knocks them away. They both hit the ground. Sex Machine gestures with his hand to Big Emilio to "come ahead." Big Emilio CHARGES towards Sex Machine, like a runaway locomotive. Sex Machine stands his ground waiting for IMPACT. The two huge men COLLIDE. What follows is literally a war of the Gargantuans. The two mastiffs POUND each other till one buckles. Finally, the one who buckles first is Big Emilio, who HITS the floor. Once on the floor, Seth and Jacob, stand over the huge vamp, BEATING him with clubs and pipes, like L.A.'s finest. The vamp can do nothing except SQUIRM on the floor from the savage beating. SEX MACHINE That's enough. Jacob and Seth stop. Sex Machine holds a pool cue in his hand. He SNAPS off the end tip, making it jagged, and like a spear, STICKS it into big vamp's fallen body. Big Emilio, SCREAMS, TWITCHES and dies. The pool cue sticks out straight up from the dead vamp. Chet Pussy spies Ms. Apple Pie Pussy herself, Kate. He breaks into a lecherous grin and licks the blood from around his mouth. Kate and Scott are cowering behind the bar when Chet appears over the top. They both let out a scream. Scott goes to protect his sister and receives a punch in the face for his trouble. Chet dives at Kate. CHET You know what everybody says about me? I suck! Chet goes to bite Kate, grabbing at her t-shirt, and sees her crucifix. HE recoils backwards. Scott grabs hold of his head from behind. Kate jumps up from the floor, rips off her cross and grabs Chet by his beatnik beard, opening his mouth. She SHOVES the cross inside. Chet's eyes roll up back into his head. Scott SLAPS Chet hard on the back. GULP. Chet has swallowed the crucifix. A SIZZLING sound is heard moving down from his throat to his belly. He opens his mouth and lets out a noise similar to a train whistle. He jumps up from behind the bar, doing a wild dance from pain. He jumps from wall to wall and floor to ceiling, screaming all the while. Kate and Scott watch him from the bar, mischievous grins on their faces. Chet is on his knees, arms stretched out, yelling at the top of his lungs like a vamp King Lear. CHET I-AM-IN-AGONNNYYYY! Chet breaks off a chair leg, muttering to himself. CHET Stop the pain, stop the pain, stop the pain, stop the pain, stop the pain... He plunges the stake into his own heart, but instead of the vampire's cry that escapes from the others upon being staked, Chet lets out a sigh of relief. By this time there are not too many people left. Most of the vampire have been killed by wooden stakes and most of the customers have been butchered or drained. All that's left on the vampire side are two naked dancers and two whores. On the human side are Seth, Jacob and his kids, Sex Machine and Frost. Aside from the children, who are hiding behind the bar, all the humans are holding wooden stakes. The four human men group together. The four female vampires charge, teeth exposed, snarling and dripping with blood. Seth, Jacob, Sex Machine and Frost raise their weapons and slam, almost simultaneously, the four vamps. All four staked bodies hit the floor. Kate and Scott run from behind the bar to their father's side. They all stand looking at the horrible carnage that has taken place. The floor is littered with dead bodies. FROST Ain't they supposed to burn up or something? At that moment a bright flash ERUPTS, illuminating everyone's face. The sound of quick burning flames fills the air. Everybody shields their eyes from the intense light, which lasts only a split second. It vanishes, along with the bodies of the vampires. All that remains is a smoldering mess of goo where the bodies once lay. They all stare at the mess for a few seconds and then RUN for the door. It's locked. They BANG on the door, but it's useless. It ain't budging, yet they all go on banging. Except for Seth. He never ran for the door. He walks over to his dead brother's body and kneels beside it. He takes his dead hand. SETH Richie, I'm sorry I fucked things up. You'd really like it in El Ray. We'd find peace there. I love you little brother, I'll miss ya bad. Seth goes to kiss his brother's lips when, RICHARD 'S EYES POP OPEN. They're YELLOW. Seth RAISES his head in surprise. RICHARD I'm glad you feel that way, Seth. I love you, too. Richard GRABS Seth by the front of his shirt and pulls him down to him. Fangs are now exposed. Seth tries to pull away. He SCREAMS for the others to help. Richard PULLS Seth down to striking distance and opens his mouth to take the big bite, when Sex Machine grabs Seth from behind and YANKS him from Richard's grasp. Jacob, Frost and the kids have surrounded Richard and proceed to KICK him and STOMP his head. Sex Machine picks up a chair and SMASHES it against a wall. He picks up one of the chair legs and walks over to where the others are holding Richard down. Richard sees the wood in the biker's hand. He knows what that means. Seth whips out his .45 and points it at Sex Machine. SETH Touch my brother with that stake, biker, and vampires won't need to suck your blood, they'll be able to lick it up off the floor. SEX MACHINE He ain't your brother no more. SETH That's a matter of opinion, and I don't give a fuck about your's. Jacob, Frost and the kids continue to hold Richard down to the ground. JACOB Don't be an idiot, he'll kill us all! Seth aims his gun at the group. SETH Shut up! Richard's giggling. RICHARD Yeah, shut up. Seth, still holding the outstretched gun, takes the stake out of Sex Machine's hand. Seth lowers the .45. SETH Hold him down. The smile evaporates from Richard's face. SETH Richie, here's the peace in death I could never give you in life. Seth puts the stake over Richard's heart. Using the butt of his .45 like a hammer, he POUNDS the stake into Richard's heart. Richard screams and dies. They all stand around the body as it BURSTS INTO FLAMES and disintegrates into goo. Seth breaks away from the group and walks over to the bar. He grabs a bottle of whiskey and starts downing it. Kate, of all people, walks away from the group and joins Seth at the bar. KATE Are you okay? SETH Peachy! Why shouldn't I be? The world's my oyster, except for the fact that I just rammed a wooden stake in my brother's heart because he turned into a vampire, even though I don't believe in vampires. Aside from that unfortunate business, everything's hunky-dory. KATE I'm really sorry. SETH Bullshit! You hate us. If you had half a chance you'd feed us to them! JACOB Then why didn't I? Jacob walks over to Seth. JACOB I saved your life. I didn't have to, but I did. And I'm sorry you lost your brother. I'm sorry he's dead. I'm sorry everybody's dead. Now, if we're gonna get out of this we need each other. And we need you sober and thinking, not drunk and... As Jacob has been talking, a sound has started that has grown LOUDER and LOUDER. Jacob stops in mid-sentence to identify it. JACOB What the hell is that? FROST At first I just thought it was birds. SEX MACHINE No, it's more of a gnawing sound. Birds peck, they don't gnaw. Rats gnaw. Seth puts the bottle in his hand down. SETH It's bats. EXT. TITTY TWISTER - NIGHT The outside of the Titty Twister is literally covered with hats, CLAWING, FLAPPING, GNAWING, trying like hell to get inside. INT. TITTY TWISTER - NIGHT Everybody listens to the bats SCRATCHING and clawing all along the walls, the roof and at the front door. Everyone's scared shitless and nobody has the slightest idea what to do next. The door begins to crack and splinter, little claws poke their way through. JACOB Give me a hand! Jacob runs to a table top. He grabs it and covers the area the bats are trying to claw through. The others grab other items to help secure and barricade the door. As the survivors are panickedly boarding up the door and the windows, a DEAD BIKER that the vampires fed on, pops open his yellow eyes. He sits up and sees all the furious activity. Everyone's so busy they don't notice their new friend. The dead biker vamp sets his sights on Kate, who's putting a board into place. He springs to his feet and POUNCES on her, just as Sex Machine turns from across the room in her direction. SEX MACHINE Watch out, girly! The biker vamp GRABS Kate from behind. She lets out a scream. The vamp holds her close to him in a bear hug, but she's moving around so much he can't get a clear bite. The others hear the scream and look toward Kate. Sex Machine, Big Emilio's baseball bat in hand, is halfway to the rescue. As the biker vamp opens his mouth to take a juicy bite out of Kate's shoulder, Kate RAMS her head back, hitting the vamp in the mouth and breaking his fangs. He releases her and spits out his teeth just as Sex Machine runs up and SWINGS the baseball bat upside the vamp's head, breaking the bat in two and sending the vamp to the floor. As the vamp lies on the floor seeing stars, Sex Machine grabs one of the broken ends of the bat and SHOVES it in the vamp's heart. He dies and bursts into flames. At that point, three other dead victims rise to a sitting position. Sex Machine grabs a chair and THROWS it to the ground, breaking it. He grabs the four legs. SEX MACHINE (mumbling to himself) Goddamn fuckin' vampires. The biker has turned into Captain Sex Machine, Vampire Hunter. He stakes two of the vampires as they get to their feet. Both SPEW green blood, scream, die and burst into flames. The third, a trucker vampire wearing a cat cap, SMACKS Sex Machine in the mouth, which sends the biker for a loop. As CAT CAP runs toward the fallen Sex Machine, Kate JUMPS on his back from behind. Both of them go tumbling into a stack of whiskey cases. Sex Machine runs over and grabs Kate by the hand, pulling her up and out of the way. Cat Cap is lying in a pile of broken bottles and whiskey. Sex Machine raises his stake as Cat Cap dies and DRIVES it in the vamp's black heart. Cat Cap dies and bursts into flames, which hits the whiskey, starting a giant fire. SEX MACHINE Fire! Frost and Jacob stop barricading and run to the fire. FROST (to Sex Machine) We'll put this out. You stake the rest of these fuckers. SEX MACHINE Way ahead of ya. (to Kate) What's your name, girly? KATE Kate, what's yours? SEX MACHINE Sex Machine. Pleased to meet'cha. Kate, let's stake these blood-sucker fuckers. Kate and Sex Machine give each other a high five and go to work STAKING the dead bodies. Jacob and FROST beat down the fire with their jackets and whatever else is at hand. A hole begins to appear where a window had been plastered over. Little claws scrape their way through. Scott stands in front of the window. SCOTT (yelling) We got a problem! Seth, who is barricading doors and window, looks in Scott's direction. The hole in the plaster cracks open and out POPS a little, fleshy vampire bat/rat head. The bat/rat, which is SQUEAKING and HISSING its head off, tries to SQUEEZE its body through the newly formed hole. Seth, gun in hand, RUNS to the window. He points the .45, point-blank range at the head of the bat/rat. The bat/rat sees this, makes an "oh shit" face, and YANKS his head back through the hole. Seth was ready to fire, he lowers his gun in bewilderment, when... WHAM ! The bat/rat BURSTS through the hole, like shot out of a cannon, HITTING Seth in the gut and sending him FLYING, LANDING HARD on his back. Once Seth hits the ground, the bat-thing (which has the body of a fat rat with a bat's large wingspan) lickity-split RUNS UP Seth's body to his juggler. Seth's hand GRABS the bat's neck, and tries to PUSH it away. But the bat-thing has its CLAWS DUG in Seth's clothes. The bat-thing is just inches from Seth's face. Its mouth is SNAPPING. SETH Get this bastard off of me! Frost leaves Jacob with the fire, comes from behind and GRABS the bat-thing and YANKS it off of Seth. Sex Machine and Kate are a green, bloody mess from their preventative staking of dead bodies. Sex Machine kneels by a dead body, raising the stake in his hand to spear him. The body SPRINGS UP and bites Sex Machine on the arm. Red blood squirts all over. Sex Machine screams, then brings the stake down in the body's chest. It dies, burns and turns into goo. Sex Machine holds his bit arm and wraps it with a piece of his shirt. He quickly looks around to see if anybody saw him get bit. Nobody saw it, everybody was too busy. Frost holds the FLAPPING, FIGHTING, SNAPPING bat-thing in front of him at arm's length. He struggles with it for a while, then... BASHES its head against the bar. The first bash takes some fight out of the little fucker, so... Frost BASHES his head against the bar six or seven times. He then THROWS the bat-thing on the bar, turns it over, garbs a pencil in a cup next to the register, and RAMS it in the bat-thing's heart. The bat-thing coughs and dies. There's a FLASH of FLAMES, followed by a pile of goo. Sex Machine and Kate have covered up a hole in the plastered window with a table while Frost, Scott and Seth wrestle with the bat-thing. Jacob has put out the fire. Everybody comes together, exhausted, and takes a breather. Outside, the bats continue to try and claw their way in. JACOB Is everybody okay? Everyone mutters "yeah." JACOB Okay, does anybody here know what's going on? SETH Yeah, I know what's going on. We got a bunch of fuckin' vampires outside trying to get inside and suck our fuckin' blood! That's it, plain and simple. And I don't wanna hear any bullshit about "I don't believe in vampires" because I don't fuckin' believe in vampires either. But I do believe in my own two fuckin' eyes, and with my two eyes I saw fuckin' vampires! Now, does everybody agree we're dealin' with vampires. Everybody agrees. SETH You too, preacher? JACOB I'm like you. I don't believe in vampires, but I believe in what I saw. SETH Good for you. Now, since we all believe we're dealing with vampires, what do we know about vampires? Crosses hurt vampires. Do you have a cross? JACOB In the Winnebago. SETH In other words, no. SCOTT What are you talking about? We got crosses all over the place. All you gotta do is put two sticks together and you got a cross. SEX MACHINE He's right. Peter Cushing does that all the time. SETH I don't know about that. In order for it to have any power, I think it's gotta be an official crucifix. JACOB What's an official cross? Some piece of tin made in Taiwan? What makes that official? If a cross works against vampires, it's not the cross itself, it's what the cross represents. The cross is a symbol of holiness. SETH Okay, I'll buy that. So we got crosses covered, moving right along, what else? FROST Wooden stakes in the heart been workin' pretty good so far. SEX MACHINE Garlic, holy water, sunlight... I forget, does silver do anything to a vampire? SCOTT That's werewolves. SEX MACHINE I know silver bullets are werewolves. But I'm pretty sure silver has some sort of effect on vampires. KATE Does anybody have any silver? ALL No. KATE Then who cares? SCOTT When's sunrise? Jacob looks at his watch. JACOB About two hours from now. KATE So all we have to do is get by for a few more hours and then we can walk right out the front door. SEX MACHINE Yeah, that's true, but I doubt our barricades, that door, those plastered windows and these walls will last two more hours with those bat fucks fuckin' with 'em. JACOB Has anybody here read a real book about vampires, or are we just remembering what a movie said? I mean a real book. SEX MACHINE You mean like a Time-Life book? Everybody laughs. FROST (in a cowboy voice) John Wesley Hardin, so mean he once shot a man for snorin'. JACOB I take it the answer's no. Okay then, what do we know about these vampires? SETH Aside from they're thirsty. FROST Well, one thing, they might got super human strength, but you can hurt 'em. JACOB Yeah, that bottle upside the head of Santanico didn't kill her, but it didn't feel too good either. SEX MACHINE Another thing, you try and ram a broken chair leg in a human, you better be one strong son-of-a-bitch. The human body is one rough-tough machine. But these vamps got soft bodies. The texture of their skin is softer, mushier. You can push shit right through 'em. Conceivably, if you hit one hard enough, you could take their fuckin' head off. SCOTT You could take their head off. SETH Actually, our best weapon against these satanic cocksuckers is this man. (he points at Jacob) He's a preacher. Frost and Sex Machine look toward Jacob. SETH As far as God's concerned, we might just as well be a piece of fuckin' shit. But he's one of the boys. Only one problem, his faith ain't what it used to be. Jacob PUNCHES Seth in the mouth, sending him to the floor. Jacob stands over him. JACOB I've had enough of your taunts. Seth looks up from the floor. SETH I'm not taunting you. We need you. A faithless preacher doesn't mean shit to us. But a man who's a servant of God can grab a cross, shove it in these monsters' asses. A servant of God can bless the tap water and turn it into a weapon. Seth rises. SETH I know why you lost your faith. How could true holiness exist if your wife can be taken away from you and your children? Now, I always said God can kiss my fuckin' ass. Well, I changed my lifetime tune about thirty minutes ago' cause I know, without a doubt, what's out there trying to get in here is pure evil straight from hell. And if there is a hell, and those monsters are from it, there's got to be a heaven. Now which are you, a faithless preacher or a mean, mother fuckin' servant of God? Jacob has to laugh at that. So does everybody else. Jacob sticks out his hand and shakes Seth's. JACOB I'm a mean, mother fucking servant of God. The laughter and good humor passes quickly and the only sound to be heard is that of the bats gnawing and clawing. It immediately reminds the group of the deep, deep shit they're in. KATE I don't know if I can take two hours of that noise. FROST You can. You'll take it 'cause ya got no choice. How'd ya like twenty four hours of it, lying in a muddy ditch with only the rotting corpses of your friends to keep you company? JACOB What are you talking about? FROST Back in '72 I was in Nam, trapped behind enemy lines, lying in a rat hole with my entire squad dead. They thought they killed everybody, and except for me, they were right. But it wasn't for lack of trying. A grenade blew up right next to me, that's why I'm so pretty. They thought I was dead, so I played dead. They dumped all the bodies in a ditch. All I could do was lie there playing possum. Dead bodies under me, dead bodies on top of me, listening to the enemy laugh and joke hour after hour after hour... As Frost goes into his monologue, the sound fades out and the camera moves to Sex Machine. He's having a hot flash. He can't hear anything. He's looking at Frost speaking, but he doesn't hear any sound. Then he hears a deep, MALE VOICE say: MALE VOICE (V.O.) Thirst. "Who the fuck was that?" he thinks to himself. He turns around: nobody's there. No one else in the group seems to hear it, A FEMALE VOICE seductively says: FEMALE VOICE (V.O.) Thirst. We hear Sex Machine's thought in a voice answer. SEX MACHINE (V.O.) Stop fucking saying that! TWO MALE VOICES (V.O.) Thirst! SEX MACHINE (V.O.) That bite weren't nothin'. It just hurt like a son-of-a-bitch, that's all. It barely punched the skin. Sex Machine looks at Frost, who's acting out his story. The biker is pantomiming fighting and slashing. He's describing all the while, but we can't hear anything. All we hear are many voices, male, female, children saying: VOICES (V.O.) Thirst... Thirst... Thirst... Sex Machine begins looking at the other members of the group in a thirsty way. He stares at each of their necks, closer and closer until he can see the veins on Frost's neck actually pulsating, throbbing, beckoning to him. Sex Machine has turned into a vampire. The sound comes back as Frost finishes his story. FROST ...and then when I came back to my senses, I realized I had killed the entire V.C. squadron single handedly. My bayonet had blood and chunks of yellow flesh on it like some cannibal shish kabob. And to this day I don't have the slightest idea how I -- Sex Machine lets out a hideous cry. SEX MACHINE THIRST! Frost SCREAMS as Sex Machine grabs hold of him and BITES into his neck. The group tries to PULL the TWO men apart. Jacob gets his arm around Sex Machine's neck and tries pulling. Sex Machine takes his teeth out of the biker's neck and SINKS them in Jacob's arm. Jacob SCREAMS and lets go. Seth, Kate and Scott react to Jacob being bit. Sex Machine GRABS Jacob and TOSSES him effortlessly over the bar, CRASHING into a shelf full of liquor bottles. Frost HOPS around the room, mad as a hornet, holding his bleeding neck. FROST I been bit! He fuckin' bit me! Sex Machine PUNCHES Seth in the face, dropping him like a sack of potatoes. He smacks the shit out of Kate. She goes FLYING into a table. Sex Machine turns, seeing Frost breaking off a big table leg. Frost looks at the big vamp. FROST (to Sex Machine) You're dead, mother fucker! You're gonna bite me! You just turned me into a vampire, asshole! SEX MACHINE What are you gonna do about it? Frost, table leg in hand, RUNS, SCREAMING his head off, straight at Sex Machine. Sex Machine's nostrils flare. He raises his meaty fist and pulls it back, so he can really haul off. Frost, top speed, stake raised, screaming. Sex Machine lets loose with his punch, Seth, Scott and Kate look up from the floor. Jacob rises from behind the bar. Frost's face COLLIDES with Sex Machine's fist. Sex Machine hits Frost so hard it lifts the biker off the ground and propels him through the air. Seth sees where Frost is heading and says: SETH Oh shit! Jacob sees. JACOB Good lord! Frost, in mid-air, HITS the barricaded, plastered overwindow and CRASHES through it. Sex Machine lets loose with a maniacal laugh. Hundreds of bat-things fly into the bar. Seth grabs the two kids by the hand and runs for the backroom. Behind the bar, Jacob grabs two pieces of wood from off the ground. Ten bat-things are in hot pursuit of Seth, Kate and Scott, who are RUNNING for their lives. They get to the door of the back room, whip it open, dive in and SLAM it behind them. An ugly, fleshy bat-thing manges to get its head caught in the door as it closes. Kate and Scott PUSH on the door as hard as they can. The bat-thing's head, which is inside, screams, howls and snaps in fury. Seth turns toward the bat/vamp in the door. He sticks his .45 in its big mouth. SETH You wanna suck something, suck on this! He FIRES four shots that blow the bat vamp's head all over the wall. Kate yells: KATE We have to go back for Daddy! SETH Daddy's dead. KATE Noooo! She spins and grabs the door knob, ready to fling the door and help her father. Scott grabs her and pushes her up against the wall. SCOTT He's right, Kate. Daddy's dead! He was too far away. If flinging that door and filling this room with those bat-things would save him, I'd fling it. The only thing it'll do is turn us into one of them. SETH He needs our help! SCOTT He's beyond our help. You saw him get bit. I saw him get bit. We all saw it. You can't help him. I've got no one left to lose but you. I can't be alone again. We're sticking together. Just then they hear Jacob's voice BOOMING from the bar room. INT. BAR ROOM - NIGHT Jacob, holding a cross made out of two sticks and reciting appropriate verse from the bible, is keeping the vampires at bay. But, as Seth predicted, it is the shining power of his restored faith that is his mightiest weapon. Jacob is making his way through the vampires, toward the back door. A lot of the bats have transformed into bat/devil/human creatures. The creatures stand at the edge of Jacob's force field of holiness. Many bat things fly around the bar like mad, whirling dervishes. A cluster of bat-things over above and in front of Jacob. They all growl and hiss at the man of god. For every one step forward Jacob takes, the vampire stake one step back. Jacob recites the verse from the bible in a threatening, mean, mother fucking, servant of god tone. As he speaks with authority and strength, he sees Frost lying on the ground, bat-things on him like ants on a candy bar. But Jacob is too much in control to let even this repugnant sight trip him up. Jacob has backed himself up by the door. JACOB Open the door. The door FLIES open. Jacob jumps inside. The door SLAMS shut. Jacob hugs daughter and son. As he hugs them, we see his bloody arm. When he releases them, they can't help but notice. SETH Did he...? JACOB Yep. Seth explodes, knocking over boxes, busting chairs, tipping over tables and cussing a blue streak. SETH Fuck, piss, shit! Mother fuckin' vampires! Mother fuckin' vampires! Goddamn mother fuckin' vampires! Seth runs over to the barricaded door and yells to the creatures on the other side. SETH You all are gonna fuckin' die! I'm gonna fuckin' kill every last one of you godless pieces of shit! JACOB (to Seth) You bet your sweet ass you are, and I'm gonna help you do it. But we ain't got much time. Kate is crying, she knows what's happened to her father. KATE You're gonna be okay, aren't you, daddy? JACOB No, I'm not. I've been bit. In effect, I'm already dead. Scott and Kate, crying, grab their father and hold on for dear life. Jacob wants to cry, but if he breaks down, the kids will never have the courage for what they must do. JACOB (to his children) Children, listen to me. I love you two more than anybody. And I just want you to know you've made me proud all your lives. But never more so than tonight. And I wish we could sit here and cry till I pass on, but we can't. Because I'm not going to pass on. I'm going to turn into a monster. And when I do, I'm going to be dangerous. But before that happens, just know I love you. (to Seth and the kids) Now, I'd say in the next twenty or thirty minutes our friends outside will bust in this door. And I'll probably turn into a vampire within the hour. Now, you have two choices. You can wait for me to turn, then deal with me, then wait for them to burst inside here and the three of you will deal with them. Or, we can kick open that door and the four of us can hit 'em with everything we have, and carve a path right through 'em to front entrance. But if we're gonna go at 'em, we gotta go at 'em now. I confused them, I scared them, I took them off guard. But they're going to get unconfused, they're going to get unscared, they're going to get together and they're going to hit that door like a ton of bricks. And when that moment arrives, we gotta be ready. Jacob sees that the back room is pretty damn big and filled with boxes and crates. JACOB What's this stuff? SETH My guess is that this little dive's been feeding on nomad road waifs like bikers and truckers for a longtime. This is probably some of the shipments they stole off the trucks. JACOB Well, I say lets tear this place apart for weapons. So when they burst through that door, we'll make 'em wish they never did. SETH I don't give a shit about living or dying anymore. I just want to send as many of these devils back to hell as I can. JACOB Amen. MONTAGE The survivors are opening boxes and prying open crates. A lot of what they find is bullshit. Pantyhose, coffee, teddy bears, etc. But a few of the boxes are just what the doctor ordered. Cases from a sporting good supplier yield a shipment of baseball bats. Meant to arrive at toy stores are a shipment of Uzi replica squirt guns and a box of balloons. And captured en route to a hardware store are shipments of power tools, saws and jack hammers. Seth and Scott saw the bats into wooden stakes. Kate fills the Uzi squirt guns with tap water from the backroom sink. Jacob, with Seth's knife, etches a cross into every bullet in the .45 automatic's last full clip of ammo. Vampires all start converging on the back room door, getting their courage back. Kate makes water balloons. Scott sharpens the stakes to a point with the tools. Seth attaches a wooden stake to the end of a jackhammer. Jacob blesses the water in the squirt guns and balloons, turning it into holy water. Our heroes work together, preparing for the battle to come. The back room door, barricaded with crates and boxes, begins to be pounded on by the undead on the other side. The room tone is a combination of chewing, scratching, pounding, squeaking and screaming. Finally they're ready. Jacob turns to his kids. JACOB Before we go any further, I need you three to promise me something. I'll fight with you to the bitter end, but when I turn into one of them, I won't be Jacob anymore. I'll be a lap dog of Satan. I want you three to promise you'll take me down, no different from the rest. The kids can't say the words. SETH I promise. JACOB Kate, Scott? KATE I promise. JACOB Scott? SCOTT Yeah, I promise. Jacob doesn't believe them. JACOB Why don't I believe you? (he picks up the .45) I'm gonna ask you two again, then I want you to swear to God that you'll kill me. If you don't, I'm gonna just kill myself right now. Now, since you need me I think you better swear. Kate, do you swear to God that when I turn into one of the undead, you'll kill me? Kate doesn't answer. Jacob places the .45 barrel against his temple. JACOB Kate, we don't have all day, so I'm only gonna count to five. One...two... three... four... KATE Okay, okay, I promise I'll do it! JACOB Not good enough, swear to God. KATE I swear to God, our father, that when you change into one of the undead, I will kill you. JACOB Good girl. Now, Scott, we have even less time, so I'm only giving you the count of three. One... SCOTT You don't believe in suicide. JACOB It's not suicide if you're already dead. Two... SCOTT Okay, I'll kill you when you change, I swear to God in Jesus Christ's name. JACOB Thank you, son. SETH Okay, vampire killers, let's kill some fuckin' vampires. INT. BARROOM - NIGHT The vampires, bat-things and what have you, start BREAKING down the door. They are in a mad frenzy. They burst through the door. Waiting for them are Scott and Kate holding Uzi squirt guns and water balloons draped down their chests on a belt like grenades. Jacob is holding a cross made of sharp wooden stakes and the .45 with the cross bullets. Seth is holding the jackhammer. The survivors walk out of the back room into the bar. The vamps back up, letting them inside. What we have here is a Mexican standoff, a la "The Wild Bunch." A moment of peace before the battle. The vamps just watch the humans. The humans just watch the vamps. Then, like the bull in the china shop, Seth ends the peace by starting up the jackhammer. SETH Kill 'em all! Jacob holds up the cross, the vamps react. The kids SPRAY the crowd with UZI fire, burning vampire flesh. The pack of vamps retreat while the Fuller squad walk forward. They are attacked on all sides, but they keep moving towards the door. Seth slams the stakes into several of the vamps, it speeds in and out of vampire chests, each time spraying him in green vamp blood. Jacob shoves his cross stake into a vampire with one hand and SHOOTS three vampires with blessed bullets with the other. Flame BURSTS from the vampires' chests when the bullets hit. Kate and Scott both whip water balloons off their belts and toss them into the crowd. They burst and FRY several of the vamps, who fall, screaming in pain. From its perch on a wood ceiling beam, a bat-thing drops and HURLS toward the group. Jacob sees it, raises his gun and FIRES. The bat-thing bursts into a ball of screaming fire. Seth continues carving a path to the front door by slamming the hammer stake into vampire chests. The front door is barricaded again by a big table and other junk. SCOTT (yelling) Why did they block the door again? JACOB (yelling) To keep the daylight out! This is where they sleep! Get to the door! Seth tries to get to the front door, when Sex Machine, now a half bat, half devil vamp, about six foot seven, drops from above in front of him. Seth RAMS the stake in its chest. The Sex Machine-thing screams out, LIFTING the hammer and Seth off the ground. Seth is thrown from his hold on the hammer across the room, he CRASHES into a table. The Sex Machine-thing falls back with the jackhammer sticking out of his chest, dead. Kate, spraying Uzi fire like Rambo, sees Seth fall. She screams: KATE Seth! Seth quickly gets up to find himself surrounded by vampires on all sides. With no weapons, he puts up on dukes. SETH Okay, dead boys, come on! Take a bite and feel all right! Kate clusters with her father and Scott. KATE (yelling) I'm going for 'em! JACOB No! KATE Everybody goes home! Kate turns into a squirt gun firing, water-balloon throwing, one-woman army, as she breaks from her father and heads in Seth's direction. KATE (screaming) Die, monster, die! Die, monster, die! Kate mows down the group by Seth, they lie on the floor, burning in agony. Kate takes Seth's hand and gives him a couple of water balloons and a stake. KATE (to Seth) Watch my back! SETH Anytime. Cutting through vampires, the two make their way across the bar. Jacob, firing the .45, takes out several more vampires in fiery death. Scott fires the Uzi and chucks more water balloons. As Jacob fights, all of a sudden the sound goes out. He can't hear anything. He wonders if he's gone deaf. He starts to hear the words: "Thirst, thirst, thirst." He notices the vampires have stopped attacking him. They look at him wit happy smiles on their devilish faces. Fangs begin to grow. His eyes are yellow. Scott turns to his dad. He sees his father is a monster. Jacob, with a devilish grin on his face, GRABS Scott and sinks his teeth into Scott's forearm. Scott screams bloody murder as his dad begins to drain him of blood. Scott takes one of the water balloons he's wearing and SMASHES it against Jacob's head. The holy water melts half of Jacob's face away. He lets go of Scott, screaming, and drops the .45 on the floor. Scott drops to the ground, picking up the gun. He brings it up to fire. A totally evil Jacob, with only half a face, matches stares with the boy he once called his son. Scott's eyes turn to steel. SCOTT I swear to God, in Jesus Christ's name. He FIRES, sending a holy bullet into Jacob's forehead, creating a hole from which fire shoots out. Jacob's entire head bursts into flames, then explodes. From across the room, Fate sees her daddy ignite. She cries out. In the thick of the battle, Seth yells: SETH Fight now, cry later. Kate takes his advice and hits a vamp square in the face with a holy water balloon, which melts his head. A bat-thing lands on the back of Scott's neck. He screams as it bites into him. He drops the .45. Kate sees Scott get bit. KATE Oh my god. Another bat-thing lands on Scott's arm and takes a bite. Scott screams. KATE You bastards! She goes to spray them when her Uzi runs out of water. Now seven bat-things are on Scott biting and sucking blood. Scott is in agony. SCOTT Kill me, Kate! Kate runs for her brother, does a DIVE and a ROLL, coming up by the .45, SNATCHING it in one motion and FIRING three times. One... two... three bat-things are hit, shoot flames, then all of them EXPLODE, BLOWING UP Scott. The remaining vamps approach. All the humans have left is a few bullets and one holy balloon. SETH How many bullets left, kid? KATE Not many. SETH Well, when you run out of weapons, just start cold cocking 'em. Make 'em sing for their supper. The two survivors are backed up against a wall. Two bat things do a Kamikaze dive from the air toward Seth. Seth throws the holy balloon at them. Direct hit. The two bat-things burst into flames and spiral to the floor. The two survivors look at the vampires, who stand before them. A moment of stillness before the attack. Kate stands holding the .45, arm outstretched. KATE (to Seth) Should I use the last bullets on us? SETH You use 'em on the first couple of these parasites that try to bite you. The vamps begins to close in. Kate lines up the .45 sights on the face of an approaching vampire. Seth holds the Uzi like a club, ready to bash in the first vampire's head that gets in swinging distance. Beams of sunlight shoot through the holes that Kate shot through the wall. Approaching vampires burn. The scorched vamps scream like they've never screamed before. SETH Shoot more holes! Kate turns away from the vamps and shoots holes in the wall behind him, Daylight comes through, providing Kate and Seth with a safe, lighted area. The .45's empty. The vamps hiss and scream at the frustration of not being able to get at them. The two survivors hold hands, when... All of a sudden the door to the Titty Twister is pounded on from the outside. The vamps look towards it in horror. From the other side of the door, we hear a voice with a Spanish accent. VOICE (O.S.) (in Spanish) I'm looking for my friend. Is Seth in there? SETH (yelling) Carlos! (in Spanish) Help us, bash the door. Bash the door in! CARLOS (O.S.) (in Spanish) Danny, Manny, knock down the door. Hurry, hurry! The vamps are totally fucking freaked out! They run and fly around the bar in a panic. Crying, howling, grabbing onto each other. The front door is TORN apart from shotgun fir coming from the outside, punching holes the size of basketballs in the door. The table in front of the door gives and FALLS forward. The door caves in and sunlight invades the bar. Many vamps are instantly fried, bursting into flames. The Mexican gangster CARLSO and his two henchmen, DANNY and MANNY, are horrified at what they see. They cross themselves in fright. Vampires search for dark corners, but all is lost. Sunlight hits a mirrored ball attached to the ceiling, sending hundreds of beams of sunlight scattering through the room. Vamps try and dodge the beams. No dice. All around the vamps combust in fiery explosions. The Titty Twister is now on fire, burning out of control. Seth and Kate run through the building and leap through the door into the parking lot. EXT. TITTY TWISTER PARKING LOT - MORNING Carlos, Danny and Manny help them to their feet and walk them away from the blazing bar. They catch their breath by Carlos's Mercedes. CARLOS (to Seth) What the fuck was going on in there? Seth signals Carlos to wait a minute while he catches his breath. Then he hauls off and PUNCHES Carlos square in the kisser. Danny and Manny aim their shotguns at Seth. CARLOS (in Spanish) Whatsamatter with you? Are you crazy? SETH Why the fuck, outta all the god forsaken shit holes in Mexico, did you have us rendezvous at that place? CARLOS I don't know, one place's as good as another. SETH Have you ever been there before? CARLOS No, but I passed by it a couple of times. It's out in the middle of nowhere. It seems like a rowdy place, so there wouldn't be a lot of police. And it's open from dusk till dawn. You said meet you in the morning. SETH Well, because you picked that place out of a hat, my brother's dead now. And this girl's family's dead. Carlos stands up again. CARLOS I'm sorry to hear that. What were they, psychos? SETH Did they look like psychos? They were fuckin' vampires. Psychos don't explode when sunlight hits 'em, I don't care how crazy they are. Danny and Manny react to the vampire news by crossing themselves again. CARLOS Oh, Seth, how can I ever make it up to you? SETH You can't, but fifteen percent instead of thirty for my stay at El Ray is a good start. CARLOS Twenty-eight. SETH Jesus Christ, Carlos, my brother's dead and he's not coming back, and it's all your fault. Twenty. They look at each other, then shake hands, saying in unison. SETH AND CARLOS (in Spanish) Twenty-five. Seth gets the suitcase and gives Carlos 25%. Seth walks over to a red 1990 Porsche 911. CARLOS You like the car? SETH I said new, this is an '90. CARLOS It's hardly been used at all. I got it from a drug dealer who only drove it 5 times in as many years. Swear to God. That's like new. SETH So do I just follow you? CARLOS Yeah, follow us. SETH So let's do it. CARLOS (to Danny and Manny) Vamanos! Carlos, Danny and Manny pile into Carlo's white Mercedes. Seth by his Porsche, looks back at Kate. Kate stands alone. The whole desert seems between them. So much to say ... but no words. SETH I'm sorry. KATE Me too. Long pause. SETH See ya. KATE Later. Seth turns his back on her. Just as he opens the door, Kate says behind him: KATE (O.S.) Seth. Seth turns around. KATE You want some company? Seth smiles. SETH Kate honey, I may be a bastard. But I'm not a fuckin' bastard. He blows her a kiss across the desert. She blows one back. Seth's in his car and GONE. Kate turns around, faces endless desert before her, and begins her long walk home. THEME OF MOVIE BEGINS POUNDING THE END \ No newline at end of file diff --git a/unformated_scripts/Script_From Here to Eternity.txt b/unformated_scripts/Script_From Here to Eternity.txt new file mode 100644 index 0000000000000000000000000000000000000000..f4a6f09a90ebdf1368b87bdd427de6d1eeb48e2d --- /dev/null +++ b/unformated_scripts/Script_From Here to Eternity.txt @@ -0,0 +1 @@ + FROM HERE TO ETERNITY Written by Daniel Taradash (Second Draft - 8/29/1952) FADE IN: EXT. QUADRANGLE - DAY LONG SHOT The quadrangle of Army buildings is quiet and deserted. A broken-down taxi drives in at one corner and slowly makes its way around the quadrangle. SUPERIMPOSED over shot is the LEGEND: HAWAII, 1941 SIX MONTHS BEFORE PEARL HARBOR The taxi pulls up across the street from camera. A soldier gets out, pulls two heavily loaded barracks bags after him. He pays the driver, hoists the bags to his back, moves toward camera. The taxi drives away slowly. The soldier walks toward steps leading to a low building. He is PREWITT (called "PREW" for short), 22 years old, well-built, good-looking. He wears an enlisted man's uniform and on the sleeves are marks where chevrons have been removed. He pauses, looks up over the door. CAMERA PANS UP to sign which reads: ORDERLY ROOM - G COMPANY, 219TH REGIMENT. MEDIUM SHOT A small thin soldier in an undershirt and fatigue pants backs out of the screen door and into shot. He is wielding a frayed broom. This is PRIVATE ANGELO MAGGIO. He is violent and funny and sour and friendly. He sees Prewitt's legs but not his face, speaks as he sweeps a cloud of dust off the porch. MAGGID Fine way to pass the time. Good for the mind. PREW Hello, Maggio. Maggio turns and stares at Prew, astonished. MAGGIO Prew...? PREW (NODS) I transferred out of Fort Shatter. Maggio notices the marks on the sleeves where the stripes have been removed. Prew follows his glance. MAGGIO You quit the Bugle Corps...? 2. Prew nods. Maggio jerks his head toward the sign. MAGGIO To here...? PREW (SHRUGS) That's what the orders say. MAGGIO You made a bad mistake. This outfit they can give back to Custer. Prew smiles slightly, starts toward door. MAGGIO The Captain ain't in yet. Prew puts down his barracks bags. PREY I'll look around. MAGGIO (smiles for first time) Maybe we borrow some money from a twenty per cent man and take a real trip to town some night. PHEW Maybe. TRUCKING SHOT ALONG COMPANY STREET Prew walks slowly down the raised porch alongside the street. He takes the mouthpiece of a bugle from his pocket, jiggles it idly, a habit of his. He comes to the Dayroom, glances through the screen door, goes in. INT. DAYROOM - DAY MEDIUM SHOT The Dayroom has a pool table, ping-pong table, a radio, etc. Moth-eaten, upholstered chairs line both walls. The place is empty as Prew enters. He looks around casually, sees the pool table in an alcove. He moves over to it, puts the bugle mouthpiece in his pocket, picks a cue from the rack on the wall. He switches on the light, chalks the cue. MEDIUM CLOSE SHOT The triangle of balls is already racked on the table. Prew addresses the cue ball, shoots and breaks the rack solidly. He watches the balls hurry around the table. 3. WARDEN'S VOICE (O. S.) What're you think you're doing!? Why ain't you out in the field with the Compny? What's your name? The voice is brawling, brash, vigorous. Prew turns slowly. CAMERA ANGLE WIDENS to INCLUDE FIRST SERGEANT MILTON WARDEN, almost at Prew's elbow. He is thirty-four, big and powerful, has a neatly-trimmed moustache. PREW Prewitt. Transfer from Shafter. WARDEN Yeah. I heard about you. PREW I heard about you, too, Warden. WARDEN Well, put up that cue and come along. This here's a rifle outfit, Prewitt. You ain't suppose to enjoy yourself before sundown. The Man's very particlar about little things like that. Warden goes out of the Dayroom. Prew puts up the cue and follows him. EXT. COMPANY STREET TRUCKING SHOT as Prew and Warden walk along the porch, Warden a few paces ahead. They go into the Orderly Room. INT. ORDERLY ROOM - DAY MEDIUM SHOT as Prew and Warden enter. Maggio is sweeping the room. MAZZIOLI, a bespectacled, intellectual-looking Private First Class, is at the clerk's desk, opening it, taking out papers, etc. Prew sits on a bench as Warden goes over to Mazzioli. WARDEN Mazzioli! Grant went to the hospital yesterday. Did you make up his sick record? Did you make a note for the morning report?! You're the Compny Clerk. The lousy Sickbook is your job! 4. MAZZIOLI Those medics didn't get the Sickbook back till late yesterday -- I'll tend to it right now -- WARDEN Thanks. I already done it for you. ANOTHER ANGLE Maggio has swept his way over to Prew. He stops sweeping now, stares at the other man as if still incredulous. MAGGIO But you the beat bugler they got over at Shatter. You probly the best on this whole Rock. In b.g., Warden has turned from Mazzioli and is looking at Prew. Prew looks back coolly, answers Maggio thoughtfully. PREW That's true. Maggio wags his head, bends over to pick up wastepaper basket. MAGGIO Well, friend, I feel for you. But from my position I can't quite reach you. WARDEN Ten-sh-HUT! Prewitt, Mazzioli and Maggio spring to attention. The screen door bangs and CAPTAIN DANA HOLMES enters shot. He wears cavalry boots and spurs. He is about forty, unsure of himself, therefore always too certain with his men. He nods pleasantly. HOLMES At ease. Good morning, men. Anything special this morning, Sergeant Warden? I've only a few minutes. WARDEN New man here, sir. HOLMES Oh, yes. Bring him in. 5. Holmes goes into his office. Warden jerks his thumb toward the door. Prewitt goes into the office. Warden follows him. INT. CAPTAIN'S OFFICE - DAY Holmes is seated at his desk as Prewitt and Warden enter. A placard on it reads: CAPTAIN HOLMES. A smaller desk nearby has a placard' reading: 1ST SERGEANT WARDEN. Warden seats himself at this desk. On the walls are framed photographs of prizefighters as well as one of a large golden trophy. On Holmes' desk is a small framed photograph of a very attractive blonde woman. Prewitt comes to attention in front of Holmes' desk. PREWITT Sir, Private Robert E. Lee Prewitt reporting to the Compny Commander as ordered. HOLMES At ease. (takes papers out of drawer, glances through THEM) They sent your service record over... Twenty-two years of age... born in Kentucky... enlisted first at Fort Myer, Virginia... Bugle Corps... re-enlisted for overseas duty... Fort Shafter... First Bugler... (BENIGNLY) Prewitt, I always make it a policy to talk to my new men. It's important for an officer and his men to understand each other. Now I have a fine smooth-running outfit. ANGLE FEATURING WARDEN Holmes cannot see Warden who is grinning at Prewitt with unholy glee. HOLMES Plenty of room for advancement for a man who knows how to soldier. But he's got to show me he's got it on the ball. I don't know what you've been used to in the Bugle Corps, but in my outfit we run it by the book. What kind of trouble were you in over there? 6. PREW No trouble, sir. HOLMES What made you transfer out, then? PREW It's a personal matter, air. HOLMES Oh. I see... He studies Prew for a moment, sees Warden on the edge of his chair, watching hawk-like. HOLMES Something you wanted to ask, Sergeant? WARDEN (EXPLODES SUDDENLY) Who? Me? Whv, yes, air. You had Corpral's stripes in the Bugle Corps, Prewitt. You took a bust to buck Private to transfer to an Infantry Compny. Why? Because you like to hike? PREW I dint have no trouble if that's what you mean. WARDED (GRINS SUDDENLY) Or was it just because you couldn't stand to bugle? PREW It was a personal matter. WARDEN That's up to the Compny Commander's discretion to decide. PREW (looks straight at Warden) All right. I was First Bugler at Shafter for two years. The topkick had a friend who transferred in from the states. Next day he made him First Bugler over me. 7. WARDEN And you asked out on account of that!? PREY Maybe I just ain't sensible... But that's the reason. WARDEN (SNORTS) His feelings were hurt! Kids they send us now! Warden swings his chair around, absorbs himself in work at his desk as if the Prew situation is too absurd to concern himself with. Holmes speaks blandly, winningly. HOLMES I've got a mighty sour Company Bugler here... but I suppose you wouldn't want that job. PREY No, air. HOLMES (SMILES) Well, we'll get your stripes back for you, maybe an extra one for good measure. You know why you were sent over here when you requested transfer? PREW No, sir. HOLDS I pulled a few strings. I'm the Regimental Boxing Coach, Prewitt. I saw your fight with Connors in the Bowl year before last. With any luck you should have won it. I thought for a while, in the second round, you were going to knock him out. PREW (TENSE) Thank you, sir. MEDIUM CLOSE SHOT HOLMES 8. HOLMES (BITTERLY) My Regiment got beaten last year in the finals, as you know. (SAVAGE INSISTENCE) But I mean to win this year. And I will. All I've needed was a top middleweight. (waves at pictures) Next year I'll hang your picture up there with the others, my boy. MEDIUM SHOT FEATURING PREW PREW I'm sorry, air. But I quit fighting. HOLMES. Quit fighting? When? What for? PREW I just stopped, sir... After -- Maybe you heard about what happened... HOLMEB You mean that fallow you hurt -- the one that went blind? CLOSE SHOT PREW Prew's lips are drawn tight. He nods almost imperceptibly. MEDIUM SHOT During this shot Maggio can be seen in b.g. through door to Orderly Room. He pretends to be sweeping, but stops now and then to listen. HOLMES Yes, it's too bad about that. I can understand how you feel. But those things happen in this game. A man has got to accept that possibility when he fights. PREW That's why I decided I would quit, sir. HOLMES (LESS WARMLY) But on the other hand, look at (MORE) 9. HOLMES(CONT'D) it this way. What if all fighters felt like that? PREW They don't. HOLMES Would you have us disband our fighting program because one man got hurt? PREW No, sir. I dint say -- HOLMES You might as well say stop war because one man got killed. Our fighting program is the best morale builder we have off here away from home. PREW I don't want it disbanded, sir. (DOGGEDLY) But I don't see why any man should fight unless he wants to. HOLMES It looks to me like you're trying to acquire a reputation as a lone wolf, Prewitt. You should know that in the Army it's not the individual that counts. If a man wants to get ahead he has certain responsibilities to fulfill that go beyond the regulations. It might look as though I were a free agent, but I'm not. Nobody is. Holmes waits hopefully for a moment, then realizes Prew is not going to respond further. He stands. Prew snaps to attention. HOLMES Maybe you'll change your mind. In the meantime just don't make any mistakes in my outfit. (TO WARDEN) I've got to go into town. Is there anything else for me today, Sergeant? 10. WARDEN (holds up papers) Yea, sir! The Compny Pond Report's got to be made out. It's due TOMORROW -- HOLMES You make it out. Is that all? WARDEN (holds up more papers) No, sir! HOLMES Well, whatever it is, you fix it. If there's anything that has to go in this afternoon, sign my name. I won't be back. He goes out, crossing Warden's desk and knocking a wire basket filled with papers on the floor. In a moment, the sound of the screen door slamming is heard. Warden picks up the papers. WARDEN He'd strangle on his own spit if I weren't here to swab out his throat for him. (TO PREW) Come on. I'll show you the Supply Room. Warden goes out to Orderly Room, Prew following. INT. ORDERLY ROOM - DAY MEDIUM SHOT as Prew and Warden enter and walk through. Maggio bobs his head approvingly at Prew. EXT. COMPANY STREET - DAY MEDIUM SHOT WARDEN AND PREW as they come out of the Orderly Room. Prew hoists his barracks bags to his shoulders, balancing them delicately. CAMERA TRUCKS with him and Warden as they walk down the porch. WARDEN (one of his unexpected INTENSE BURSTS) Know what you did just now? (MORE) 11. WARDEN(CONT'D) When you turned down Dynanite Holmes' boxing squad? You put your head in a noose. Things are soft for a boxer in his Compny. Otherwise, you better know how to soljer. PHEW I can soljer with any man. WARDEN This ain't the Bugle Corps -- this is straight duty. PREW I'll take my chances. A convertible, top down, drives by and pulls up outside the Orderly Room. KAREN HOLMES, a tall, lean blonde woman, gets out. Her skirt hikes up a little as she goes up the stairs to the Orderly Room. Warden and Prew stop walking and watch her. Karen stops, glances at Warden momentarily, then goes into the Orderly Room. WARDEN Since when is this place gettin to be the Royal Hawaiian? PREW Who's she? WARDEN His wife. Captain Holmes'. They resume walking. WARDEN You'll fight, Prewitt. You'll fight because Captain Holmes got a bee in his hat he needs a winnin team to make Mayor. And if you don't do it for him you'll do it for me. I only been in this outfit eight months myself but I learned one thing. My job is to keep him happy. The more he's happy the less he bothers me and the better I run his Compny. So we know where we stand, don't we, kid? PREW I know where I stand. I don't believe that's the only way a man can get along. (MORE) 12. PREW(CONT'D) A man's got to make up his own mind and go his own way. It he don't, he's nothin... WARDEN Maybe back in the days of the pioneers a man could go his own way. But not in our time, kid. Today you got to play ball. You got to divide it all by two. They have reached a Dutch door, top half open. A sign over it reads: SUPPLY ROOM. MEDIUM SHOT SHOOTING INTO SUPPLY ROOM SUPPLY SERGEANT LEVA is eating a candy bar with one hand and leisurely typing up a form with the other. He is a foolish- looking man, about thirty-five. WARDEN Lava! Can't I once walk by this Supply Room and find you workin with both hands! LEVA (comes up to door) I can't do no better on what you people pay me. WARDEN Draw some supplies for this man. (TO PREW) That's G Compny barracks over there. Get rid of your bags and come back here, and Leva'll find you a cart to lug your stuff over in. Save you makin four five trips. PREW (surprised, pleased) Okay. WARDEN I just hate to see energy wasted. Any kind. Besides, you'll be needin yours. Prew walks off, toting the barracks bags. The bang of the Orderly Room door is heard and Lava and Warden look in that direction. LONG SHOT KAREN HOLMES FROM WARDEN AND LEVA'S ANGLE as she walks along porch toward them. She is at a considerable distance. Karen is about thirty. She wears a 13. sweater and skirt. She is aware the men are studying her. MEDIUM CLOSE SHOT WARDEN AND LEVA watching Karen. Leva leans over the counter. LEVA Her and them sweaters. LONG SHOT KAREN FROM WARDEN AND LEVA'S POV as she continues toward them. As much as a man can make out, she is probably not wearing a brassiere. Warden's and Lava's voices, loud at first, get softer and softer the nearer Karen gets to camera. At end of the shot, as she is only a few yards away, they are practically whispering. WARDEN'S VOICE Army women... They're cold, they got no more warmth than a diamond. There's no pleasure in them... LEVA'S VOICE Yeah, but this one knows the score... Like I been tellin you. WARDEN'S VOICE (SARCASTIC) Is that right? LEVA'S VOICE Okay, not around here. But I was back at Fort Bliss with Holmes. When they was married only a year or two. I heard plenty about the lady then. Plenty. WARDEN'S VOICE You heard. LEVA'S VOICE Okay, never me. But a lot of them. I know some of the Use she played 'around with, don't tell me. WARDEN'S VOICE I ain't tellin you. You're tellin me. Karen stops, a few paces from camera. KAREN Good morning, Sergeant. MEDIUM SHOT 14. Lava watches, listens avidly but discreetly in b.g. During the dialogue, Karen seems irritated by Warden, who looks at her coolly, appraisingly, physically. KAREN I'm looking for my husband. WARDEN Captain Holmes just went in town, ma'am. KAREN Oh. Of course, He was to have left some things for me. (STUMBLES SLIGHTLY) That he was to have purchased. Do you know anything about them? WARDEN No, ma'am, I don't. Is there anythin I can do for you? KAREN. No, thanks, Sergeant. She makes slight move to go, pauses. KAREN He's been telling me quite a bit about you lately. My husband. He says you're very efficient. WARDEN Yes, ma'am. KAREN What is it that makes you so efficient, Sergeant? WARDEN I couldn't help it if I was born smart, ma'am. Karen laughs suddenly, loudly. KAREN I love that. Well, good-bye, Sergeant. Karen turns and walks back up the porch toward her car. Warden and Leva watch her. When she is out of earshot Leva speaks. 15. LEVA But man, she sure is one, ain't she? WARDEN One what? LEVA One woman. WARDEN (UNCONVINCINGLY) I've seen better. DISSOLVE TO: INT. KAREN'S BEDROOM - NIGHT MEDIUM SHOT 22 Karen, in a negligee, is seated at a dressing table, brushing her hair -- steadily, gracefully, enjoying the sensual pleasure of it. Karen is a woman of moods and tempers, spontaneous, quick to impulse. A car is heard pulling up in the driveway, the motor stopping. Karen's brush strokes become faster, rougher. The front door is heard opening and Holmes' voice calling, "Karen." She does not answer. Holmes enters. He seems to have had a few drinks. Through the following, Karen continues brushing her hair. HOLMES I'm sorry I'm so late. And about dinner, I -- KAREN It doesn't matter. HOLMES -- I got tied up with General Slater. Bumped into him at the Officers' Club. KAREN Yes? What did the General have to say? HOLMES Success, he said. Success in war, success in peacetime... And not a word about my promotion... There are times I think the Old Man's just waiting to ship me down... (slumps into chair) I've had a bad day all around... (MORE) 16. HOLMES(CONT'D) started right off this morning... trouble with a new man... KAREN If you'd spend less time buttering Generals and more time with your Company, maybe you'd get that promotion. HOLDS The Company takes care of itself. Or my Topkick takes care of it. KAREN I went over there this morning looking for you. HOLMES (FLUSTERED) I had some business to attend to in town. During the afternoon. KAREN (UNEMOTIONALLY) From the way you look I gather your business wasn't too successful. HOLMES Now what does that mean? KAREN Dana. Give me credit for a few brains. HOLMES How many, times do I have to tell you I haven't any other women before you'll believe me? CLOSE SHOT KAREN SHOOTING INTO MIRROR ON DRESSING TABLE Karen laughs sharply, loudly, then stops suddenly as she looks at herself in the mirror, sees the repugnance in her face. She puts down the hairbrush, picks up a long comb. HOLMES VOICE If it were so, don't you think I'd admit it? The way things are between us now? What right have you to always be accusing me? KAREN What right? TWO SHOT 17. They are both tense now. Holmes is out of the chair and pacing. Karen combs her hair spasmodically. HOLMES That again. How long will it be, I wonder, before I'm allowed to live that down? After eight years, how many times do I have to tell you It Was An Accident? KAREN That makes it all right, I suppose! HOLMES I didn't say that. I know what it's done to you, but -- KAREN You know I hate to talk about it! He moves over to her. HOLM ES How many times do I have to tell you I'm sorry, about that? How many times that I had no way of knowing - He puts his hands on her shoulders. Karen shakes away, rises, faces him. KAREN You had a way of knowing, Dana. I want to go to bed. Please get out of my bedroom. Holmes looks at her sullenly, then exits to adjoining room, closing the door behind him. There is a moment of silence, then a sharp snap as Karen breaks the comb in two. DISSOLVE TO: INT. DAYROOM - NIGHT MEDIUM SHOT WARDEN The room is fairly well filled with soldiers. The click of pool balls is heard over shot. Warden is reading a newspaper.. A column heading, conspicuous in shot, reads: JAPS ADVANCE IN CHINA. Warden drops the paper on his lap, looks toward pool table, squinting thoughtfully. FULL SHOT AT POOL TABLE Maggio, Prew and CHIEF CHOATE, a Corporal, are playing pool. Choate is a full Choctaw Indian, a man of great bulk and tolerance. He speaks in a tremendously deep bass voice. The 18. table on one side is surrounded by the prizefighters of G Company. They are IRE GALOVITCH, an ape-like, bent-kneed man weighing about two twenty, with a widow's peak almost to his eyebrows; BALDY DHOM, chunky and tough, his head as bald as an orange; TURP THORNHILL, a stringy, chinless Mississipian; HENDERSON, a tall, hard Texan; CHAMP WILSON, wiry and good- looking. They are all Sergeants except Wilson, who is a Corporal. The men have been heckling Prew and are watching with cold belligerence. Choate, bending over his cue, shoots and misses. CHOATE I'm coldern a Idaho winter tonight. Prew shoots, makes a brilliant shot. MAGGIO Man, what I would not give to have this character in the corner poolroom in my home town: I'd dress him up on overhalls and a straw hat and put a grass in his teeth, and I would make a whole mint of ghelt off him! Choate laughs deeply. Prew sizes up a new shot. WILSON We'd of won last year if we had a good middleweight. You box as good as you used to over at Shatter we're a cinch this year. Prew doesn't respond. He bends over his cue again. THORNHILL You ain't forget the Division champs get ten day furloughs, did you, son? Ey? GALOVITCH You no talk now, Prewitt. But out in field with us you sing different song. An don't think you are tough guy. Quickest way to stockade is BEING TOUGH guy. HENDERSON You heard him. Better think it over. 19. MAGGIO Lissen, it's his right not to fight if he don't want. Without bein kicked around. Now, we playin pool. Whyn't you take off? DHOM You want a busted head, Maggio? MAGGIO (SERIOUSLY) No. DHOM Then keep your big nose out altogether. (turns back to Prew) Trainin season starts next week -- Prew has been growing more and more agitated, as much by an inner turmoil as by the men. His control snaps suddenly. PREW I told you I quit fightin! I'm through! An that's all she wrote: You guys want to put the screws on, go ahead. I can take anything you hand out! DHOM Okay, Prewitt. No halts barred. The five men move off, file out of the Dayroom. MEDIUM CLOSE SHOT WARDEN His paper still on his lap. He has been watching. He wears a faint smile of respect. MEDIUM SHOT PHEW, MAGGIO, CHOATE Prew chalks his cue, hands trembling, turns to Maggio. PREW Thanks. MAGGIO I just hate to see a good man get it in the gut. 20. CHOATE You might as well get use to it, kid. You probly be seein it often before you die. DISSOLVE TO: INT. SQUAD ROOM - NIGHT MEDIUM SHOT PREW AND CHOATE In b.g. a few of the men are moving to and from the latrine but most of them are in their bunks. Over shot the sound of a bugle blowing Tattoo is heard. Lights are being extinguished in various parts of the room. Prew and Choate are lying on adjoining bunks, smoking. Choate's voice is almost linked to his last speech of preceding scene. CHO ATE ... oh, sure, we got a few bad non- coms and we got Dynamite Holmes for a Captain. But I been around twenty years in this Army. They even up. In b. g. Warden and SERGEANT PETE (POP) KARELSEN come through from the latrine. The latter is a grizzled, crumbled dog- face, about fifty. CHOATE Take A Compny. They got the best Compny Commander I ever saw. But their Topkick -- he ain't no Warden. Warden stops beside Prew and Karelsen moves on, going in to a small room off the main squadroom. Warden's big, powerful body is covered only by a towel around his loins. He smiles at Prew. WARDEN Hello, kid. Everythin nice and comfy? PREW Never better. WARDEN 'at's the lull before the storm, kid. Set yourself. He moves off, goes into the room he shares with Karelsen. 21. PREW What's the deal with him, anyway? I can't figure him. The lights are almost all off and activity in the room has ended. CHOATE The Warden? He's a wild man. He was in the 15th when they seen their action in the Settlement in Shanghai. I heard about it down in the Philippes even. He got himself a DSC and a Purple Heart out of it but you'd never know it if I dint tell you. This next war comes, Warden'll be right in there, standin up on the skyline, trio to get himself killed, but nothing will ever touch him. He'll come through maddern, wildern, craziern ever. All I know is he's the best soljer I ever saw... The lights are all out now and the room is in darkness. FADE OUT. FADE IN: EXT. ROAD - DAY TRUCKING SHOT PLATOON OF MEN carrying rifles, marching at attention. Prew is FEATURED in shot; a light smile of pleasure as he moves along. Choate, bringing up the rear, is singing the Regimental Marching Song in a wonderful basso. Dhom marches on one side of the platoon, Galovitch on the other. Dhom calls out the "huts." CLOSE SHOT FEET OF MEN MARCHING They are in perfect unison. CLOSE TRUCKING SHOT PREW DHOM'S VOICE Prewitt! Get in step, Prewitt! Prew frowns slightly. He hops once, changing stride, realizes he is now out of step. GALOVITCH'S VOICE Prewitt! Dis a drill, not picnic! Get in step! 22. Prew hops again, changing step. He marches along. Dhom's voice commands "Platoon -- Halt!" Prew and men around him come to halt. MEDIUM SHOT PLATOON DHOM Prewitt! Step out! Prew steps to the front, still smiling faintly. DHOM You march like a drunk gooney bird! Corpral Paluso! Take this man to the track. Send him 'round seven laps double-time rifle at high port! DISSOLVE TO: EXT. CINDER TRACK - DAY Prew running around track, his rifle at high port. He wears a slightly contemptuous smile. CORPORAL PALUSO sits on the grass infield watching him. DISSOLVE TO: EXT. FIELD - DAY MEDIUM SHOT THE PLATOON kneeling over their rifles, laid out on shelter halves. Prew is FEATURED in shot. His shirt is wet and he is sweating heavily, as if he has just come from the run around the track. Henderson stands in front of the group, instructing. HENDERSON -- rifle's your beat friend. In case them weapons jams in combat could mean life or death. You got to know 'em inside out. Now I want you to strip them weapons and put it together again. (holds up stop watch) Go! The men start taking their rifles apart as fast as they can. Henderson walks around watching them. MEDIUM SHOT PREW AND MAGGIO stripping rifles. Prew is efficient and brilliantly fast, Maggio fumbling and slow. Maggio keeps looking over at Prew, admiring his speed. 23. CLOSE SHOT PREW as he strips the rifle. (This mechanical operation should be interesting to audiences; a good man can field strip the weapon in thirty or forty seconds.) Prew finishes the job and CAMERA MOVES to CLOSE on shelter half where all the parts are laid out. HENDERSON'S VOICE 'at's fair time. Now lemma see you put it together. Prew's hands start to work over rifle parts, putting them together. DISSOLVE TO: EXT. FIELD - DAY CLOSE SHOT THE RIFLE in Prew's hands, assembled, CAMERA PULLS BACK as Prew stands up, holding the weapon. The rest of the men are still working over their rifles, Maggio is staring up at Prew in awe. Henderson grabs the rifle from Prew, turns his back to him, pretending to squint along barrel. CLOSE SHOT HENDERSON looking along barrel. SHOT FEATURES his thumb as he flips the rear sight to one side. Henderson turns around and ANGLE WIDENS to include Prew. He throws the rifle at Prew, who catches it, staggering back. HENDERSON Your rear sight's way off! You'd be fifty feet off your target at three hundred yards! (to others, mockingly) That's what comes when a soljer don't know how to assemble a rifle. (TO PREW) You better get down to the track and carry it around a few times. Maybe that'll teach you... DISSOLVE TO: EXT. CINDER TRACK - DAY MEDIUM SHOT PREW running around track to sun, rifle held before him. The smile is fainter but still there. DISSOLVE TO: 24. EXT. FIELD - DAY GROUP SHOT BAYONET PRACTICE The platoon is divided into teams of two. Thornhill is the instructor. This is actual hand-to-hand training. Prew wields his rifle, bayonet fixed, in expert thrusts. Maggio is fighting in next lane. Thornhill walks behind Prew, trips him quickly as he passes. Prew falls off balance. His opponent smashes his rifle against Prew's, knocks it to the ground. Prew whirls on Thornhill in protest. THORNHILL Wide open, ey, Prewitt? Maybe seven laps'll teach you to watch yourself... Maggio, wielding his rifle madly, yells over. MAGGIO Hey, I saw that -- I saw what you PULLED -- DISSOLVE TO: EXT. CINDER TRACK - DAY MEDIUM SHOT PREW AND MAGGIO toiling around track together, holding rifles. DISSOLVE TO: EXT. COMPANY STREET - DAY TRUCKING SHOT OUTSIDE SUPPLY ROOM Maggio and Prew trudge wearily along the porch, rifles on shoulders. Their sweaty uniforms are plastered to their bodies. MAGGIO I use to think a shipping clerk was a dog's life. (sighs, shakes head) What I would not give to be back in Gimbel's basement! As they come up to the Supply Room, Warden, neat and cool, is leaning on the counter. He steps aside to let them pass, beams at Prew. WARDEN Chow's almost over, men. Better hurry up and wash. `less of course you'd rather go in the way you are. 25. Maggio gives Warden a dirty look. Prew's expression is noncommittal. They carry their rifles into the Supply Room. Leva comes up to the door as Warden turns to go back to the Orderly Room. As he does, Karen's convertible comes down the street. Warden stops, watches it. LONG SHOT FROM WARDEN'S POV as Karen drives by, turning her head slightly toward Warden. There is the vaguest trace of i smile. MEDIUM CLOSE SHOT FEATURING WARDEN as he turns to watch the departing car. LEVA I'm tellin you, Top, she's trouble. You better keep your mind off what you're thinkin. CAMERA MOVES TO CLOSE SHOT of Warden, still looking after the car, thinking. DISSOLVE TO: INT. CAPTAIN'S OFFICE - DAY MEDIUM SHOT WARDEN AND HOLMES It is a gloomy, rainy day and the lights are on in the office. Warden is at his desk, working. Holmes is buckling on his trench coat. He wears a happy smile. HOLMES I won't be back in time to take Retreat. (winks at Warden) Or Reveille either, probably. WARDEN Yes, sir. HOLMES (strides back and forth; JOVIALLY) All work and no play, Sergeant. All you do is sit around sweating over this paper and that. There are other things in this world beside work. Warden carries some official papers to Holmes' desk. HOLMES (bending over, tying SHOELACE) (MORE) 26. HOLMES(CONT'D) You ought to get out more yourself, Warden. Warden is looking directly at the picture of Karen on Holmes' desk. WARDEN I've been considering it. He turns aside as Holmes straightens up. HOLMES Well, I'm going. He claps Warden on the back fraternally. HOLMES I'm leaving it in your care, Sergeant. WARDEN It'll be here when you get back. Holmes goes out. Warden turns back to Holmes' desk. He is still holding the papers in one hand. He looks at Karen's picture, picks it up with his other hand, squints at it, considering the chances very, very carefully. DISSOLVE TO: EXT. BACK PORCH OF HOLMES' HOUSE - DAY MEDIUM CLOSE SHOT WARDEN standing on the open porch, in the rain. He wears a GI raincoat. He is squinting at the door with the same expression he used looking at Karen's picture. He takes a deep breath as if he were going off a high diving board, then knocks briskly. A shadow moves across the room behind the curtains. Then Karen opens the door. She is in shorts and a blouse. KAREN Oh. If it isn't Sergeant Warden. You better step inside or you'll get wet. Warden opens the screen door and jumps in past the water running off the eaves. INT. SMALL PANTRY OFF KITCHEN - DAY MEDIUM SHOT as Warden jumps in. He takes off his rain hat. 27. WARDEN I am wet. KAREN If you're looking for my husband, he isn't here. WARDEN (taking the long chance) And if I'm not looking for him? KAREN (UNSMILING) He still isn't here. If that does you any good. WARDEN (QUICKLY) Well, I'm looking for him. Do you know where he is? KAREN I haven't the slightest idea. Perhaps he's in town. I guess it was `in town' the way you put it, wasn't it? Or perhaps he's at the Club. Having a drink. WARDEN (fishes in his pocket, brings out papers) I got some papers it's important for him to sign. Today. KAREN (TURNS) I'll try phoning him at the Club for you. WARDEN I never like to disturb a man drinking. KAREN (TURNS BACK) What is it you want, Sergeant? WARDEN I could use a drink myself right now. Bad. Anyway, I got a faint suspicion the Captain's `in town.' Ain't you going to ask me in? 28. Karen finally smiles, faintly. She goes into the kitchen, leaving the door open. Warden follows her. INT. KITCHEN HOLMES HOUSE - DAY MEDIUM SHOT The kitchen is small and undistinguished. Karen takes a whisky bottle from a cabinet, pours a straight, stiff drink, puts it on the sink. Warden puts the papers down and drinks. Karen sits on a high kitchen stool. KAREN You're taking an awful chance, you know. My maid is liable to be home any time. WARDEN No she won't. Thursday's her day off. He takes off his raincoat, drops it on a chair. KAREN You think of everything, don't you, Sergeant? WARDEN I try. In my position you have to. KAREN (goes to sink, picks up THE PAPERS) Are these really important? WARDEN Yes. But not important they get signed today. Tomorrow's okay. Karen suddenly, deliberately, rips the papers in half. Then she tears them into bits and throws them into the wastebasket. Warden appreciates the gesture, relaxes for the first time. He grins widely. WARDEN I got carbons of those back at the office. So it won't be much work to fix them up. Warden's control has begun to affect Karen's now. She is losing her poise. 29. KAREN That's what I like about you, Sergeant. You have confidence. It's also what I dislike about you. WARDEN It's not confidence. It's honesty. KAREN Honesty? How did you acquire such an old-fashioned virtue? WARDEN I figgered out one day it was the shortest distance between two points. KAREN Well, he's clever as well as virile. WARDEN No -- it's just that I hate to see a beautiful woman goin all to waste. He moves close to Karen, is on the verge of embracing her. Greatly tempted but greatly disturbed, she turns away. During next she pours herself a drink, the bottle shaking in her hand. Her tone is no longer brittle. It is bitter. KAREN Waste, did you say? Now that's a subject I might tell you something about. There's we. And then there's waste. Positive and negative. The negative is sometimes more interesting... more evil. For example -- what about the house without a child? Tell me your thoughts, Sergeant. WARDEN You're going to cry. KAREN Not if I can help it. WARDEN Please don't cry... I can't stand to see somebody cry. 30. Karen turns to face him as he picks up his raincoat, is about to put it on. KAREN What are you doing? WARDEN I'm leaving. Isn't that what you want? KAREN (SLOWLY) I don't know, Sergeant. To be honest, I don't know. They stare squarely at each other, both puzzled and a little afraid of their emotions. This is something neither had counted on. WARDEN I know a beach near Diamond Head. Nobody ever goes there. The cars on the highway pass above and they never know it's there. You feel like you used to feel when you were a kid, hiding by yourself in a cave, watching the others hunting you. Karen turns, goes to the sink, puts the whisky bottle back in the cabinet. KAREN Maybe... why not? WARDEN How about Payday? Karen is trying hard to regain her glassy composure. She is unsmiling again. KAREN You don't have to spend money on me, Sergeant. WARDEN I just like to have some on me when I take out a woman. Can you get away? KAREN Maybe. 31. Warden grins as he puts on his raincoat. He goes to the door to the pantry, pauses there. WARDEN I'll be in Kuhio Park. Say, nine o'clock. Payday. Karen leans back against the sink, watches him go out to the pantry. A moment later the sound of the door is heard as he leaves the house. She turns on the faucet, starts to rinse, the glasses they have used. Suddenly she turns the faucet on full force, watches it pound into the sink. FADE OUT. FADE IN: EXT. QUADRANGLE - DAY MEDIUM SHOT HOLMES GALOVITCH THORNHILL WILSON DHOM HENDERSON The men are grouped around Holmes. He is pressing hard to pretend equanimity. The Sergeants appear somewhat baffled but determined. HOLMES -- this man Prewitt's been here over a month now. I expected you mend have him around before this. HENDERSON We've been runnin him pretty hard. But he don't faze. HOLMES Maybe he needs a good dose of The Treatment. The men react to the phrase; The Treatment is obviously reserved for very special, intractable cases. They consider it silently for a moment or two. GALOVITCH A double dose needs him to be given. THORNHILL (NODS) The Treatment'll bring that puppy boy around... HOLMES You understand. I don't want any rough stuff. (MORE) 32. HOLMES(CONT'D) But we all know good athletes make good leaders. And good leaders -- The music of the forthcoming MONTAGE drowns Holmes' words as he continues. DISSOLVE TO: EFFECT MONTAGE The MONTAGE consists of a continuous stream of SUPERIMPOSURES depicting Prew's growing humiliation and exhaustion at the hands of the non-corns. Mingling with the background shots are VARIOUS ANGLES of CLOSEUPS of Prew. As the speed of the sequence increases, the stubborn smile on his face gives way to hurt, bitterness, anger... Over shots we occasionally hear stray shouts of the non-corns as they belabor Prew, but for the most part these and other dialogue are obliterated by MUSIC. The MONTAGE can be selected and created from the FOLLOWING: FLASHES ADDITIONAL ANGLES OF PRECEDING TRAINING SEQUENCES FLASHES ADDITIONAL TRAINING SITUATIONS -- E.G. FIRING RANGE, PATROL EXERCISES, GRENADE PRACTICE (IF NEEDED) in all of which Prew excels. FLASHES GALOVITCH WILSON DHOM THORNHILL HENDERSON riding Prew, mocking him, grinning at him, thumbing him to the track, etc. FEATURED is Galovitch, who takes particular Joy in baiting Prew. FLASHES PREW running around track, staggering despite a tremendous effort not to show his fatigue. OBSTACLE COURSE with the platoon going through, crouched low, live ammunition spattering around them. Prew, nearest camera, is lower than any man in the line. Over shot we hear a snatch of Wilson's Voice yelling at Prew to get lower. CLOSE FLASH WILSON AND PREW Wilson bawling Prew out, thumbing him to one side of obstacle course. FLASHES PREW chinning himself on bar setup near obstacle course; he is near physical exhaustion. OBSTACLE COURSE PREW going through alone, on his belly in deep mud. CLOSEUP PREW (CULMINATION OF SUPERIMPOSED CLOSEUPS AND END OF MONTAGE) 33. coming HEAD-ON into camera as he bellies through the mud of the obstacle course. Snatch of mingled voices of non-coms yelling "Keep it downs", "Get that nose in the mud!", etc. Prew is utterly spent. His face drops into the mud, which splatters up, obscuring the screen. DISSOLVE TO: INT. KITCHEN - DAY CLOSE SHOT SWIRLING DISHWATER IN SINK MEDIUM SHOT PREW bent over the sink, scraping, washing and rinsing cooking pans and mixing basins. He hangs the soap bucket on the hot faucet and turns it on full force. As he does, PRIVATE WILLARD, a fat, whining cook, dumps an additional huge pile of pans before him. Prew looks at them ruefully. Willard says something to him with a "hustle up" gesture. The faucet drowns the words. MEDIUM SHOT ANOTHER PART OF KITCHEN PREW AT SINK IN B.G. Men are working in the steady, helpless motion of the KP. Waiters swing in and out of the entrances leading to the mess halls, carrying large trays. MEDIUM CLOSE SHOT SERGEANT STARK The Mesa Sergeant, a tall, gaunt man, surveys the scene possessively. Maggio, Dining Room Orderly today, wearing a soiled white coat, flashes by to the mess hall, almost dropping his loaded tray in his haste. MEDIUM SHOT PRIVATE TREADWELL A slow, lazy, heavy man, peeling potatoes. There is a large kettle filled with dirty water in front of him in which the potatoes are floating. Treadwell stabs at one with a long fork, misses it. He stabs again, almost in slow motion, misses again. He sees Stark glowering over him. TREADWELL Ah+m suppose to be a automatic rifle man, not a spud-cutter. STARK (DISGUSTEDLY) Rifle man, huh? All somebody'd have to do would be holler war at you and it'd be over the hill and far away. Stark walks off. 34. TREADWELL ... they just give me my chance they'll see... He is surprised and pleased as he spears a potato this time. He raises it triumphantly like a caught fish. MEDIUM SHOT PREW AND WILLARD The faucet is still on and we cannot hear what Willard says as he dumps more pans before Prew. However, he is obviously complaining that Prew is slow. Prew, sweating and angry, barks something back at him and turns the faucet off. PREW No cook ever used that many panel Not even for an officers, banquet, ladies invited! Want me to grow couple more arms?! Stark, always alert to trouble, comes into shot. Willard sees him and speaks with whining dignity, for Stark's benefit. WILLARD All I ask is that you keep the pans washed up so they're clean when I need them. In order that I am allowed to cook the kind of food required for men who work hard all day and who need good nourishing food to get their nourishment. STARK Hole up 'at noise. This man's hot as a forty-five shootin downhill. WILLARD (TERRIBLY INJURED) How you think I can do my job if the Mess Sergeant takes sides with a goldbricking KP? What do you think I am? STARK I think you're a fat cook who can't cook. As Willard retires, Maggio pours through from the mass hall. Screaming joyously, he shoves two empty platters in front of him. MAGGIO Comin through! Comin through! Me and my table waiters! (MORE) 35. MAGGIO(CONT'D) We workin our tail off. They runnin us to death. Hot stuff! Comin through hot stuff one side! Nobody pays any attention but Prew, who smiles at him. Maggio winks back. MAGGIO Hello, Prew! Bettern being threwn in jail, ain't it? Maggio passes camera, leaving the shot and disclosing Warden, who has entered from the mess hall in his wake. He carries a dish of eggs and sausage and is leaning against a pastry table. He is grinning lovingly toward Prew. He strolls over to Prew. He eats through following. The smile never leaves his face, broadens as the scene progresses. WARDEN You look awful tard, kid. CLOSE SHOT PREW working over the sink. WARDEN'S VOICE How do you like straight duty?. Life in a rifle compny, eh? Prew stops working, turns toward Warden. PREW What makes you think I mind it? MEDIUM SHOT FEATURING KP'S, STARK, MAGGIO, WILLARD, TREADWELL as something electric transmits itself and they all stop what they are doing to look over toward Prew and Warden. WARDEN I didn't say you minded it, kid. I just said you looked tard. Drawn to a fine edge. PREW (SMILES BACK) I don't mind it, Top. It's a great life, this. I find a pearl, I'll cut you in. Fifty-fifty, If you hadn't put me here, I wouldn't have had no chance to find it. TWO SHOT WARDEN AND PREW 36. WARDEN Well, well, there's a man for you. I'll see if I can fix you up with a lot more since you like it so much. How you like the garbage detail? PREW Thanks, Top, I've had it. You give it to me Tuesday. Remember? WARDEN (nods, as if just REMEMBERING) Well, then, how 'bout street cleaning detail? PREW That, too. Yesterday. WARDEN (NODS) You got a better memory than me. Guess the best thing to do is leave you right in the kitchen a while, huh? He pretends to turn away, then stops, turns back. WARDEN Course if you was an ath-a-leet you wouldn't have to pull KP. Or any fatigue duty for that matter... PREW (not smiling now) If you think you can push me into fightin, Warden, you're wrong. Not you and Dynamite and The Treatment. I'm twice the man you are. If you dint have them stripes I'd take you out on the green and beat you to a pulp. WARDEN (smile growing bigger) Don't let the stripes worry you, kid. I can always take my shirt off. Take it off right now. PREW You'd like that. You could get me a year in the Stockade for that one, couldn't you? 37. CLOSE SHOT PREW'S HAND closing around a heavy mug in the sink. MEDIUM CLOSE SHOT PREW AND WARDEN Warden looking at Prew's hand. Warden's grin broadens with something more than sarcasm. He is 'impressed and pleased by Prew's honest anger. WARDEN Don't throw it, Prewitt. It might break on my head. And that would cost you one thin dime next Payday. Warden deliberately turns his back and walks off. Prew looks after him. CAMERA MOVES IN to FEATURE his hand on the mug. He grasps it tighter, then lets it fall back into the soapy water, DISSOLVE TO: EXT. QUADRANGLE - DAY CLOSE SHOT PRIVATE FRIDAY CLARK He is blowing the bugle, sounding Pay Call. The rays of a blinding sun flash on its shiny surface. INT. MESS HALL - DAY MEDIUM SHOT The bugle is heard over shot. A line of spruced-up men stretches through the mess hall. A blanket is spread over a table and behind it sits Holmes, flanked by Warden and Mazzioli. In front of Holmes is a pile of greenbacks and a cigar box filled with silver. He is paying out the man at the head of the line. HOLMES -- and just see you don't drink all this up in one place. The man smiles, appreciating the whimsy, salutes, moves off. WARDEN Prewitt. Prew, next in line, steps up to the table. PREW Robert E. Lee, RA 345071. He is crisp, sharp, expressionless. He holds out his hands for fingernail inspection. 38. Holmes looks them over, then up at the perfect knot in his tie. He stares at Prew as if trying to fathom him. HOLMES Have you given any thought to the boxing team recently, Prewitt? PREW (TONELESSLY) I feel the same way, sir. Holmes' hands clench. He seems about to fly into a rage when he senses a motion at his side. He turns to see Warden looking straight at him. Warden's face has the same meaningfully expressionless look as Prew's. Holmes wilts before it, turns to Mazzioli. HOLMES What's this man's pay? MAZZIOLI (reading from Payroll) Private Prewitt, thirty dollars base pay. Deductions-laundry, insurance, PX checks. CAMERA MOVES IN to CLOSE SHOT of Holmes# hands laying money out on blanket. MAZZIOLI'S VOICE Total due twelve dollars thirty cents. DISSOLVE TO: EXT. RIVER STREET, HONOLULU - NIGHT FULL SHOT Payday night. A gay, noisy jamboree. Soldiers, mostly in civilian clothes, and uniformed sailors swarm down the street. Taxi drivers arguing with their fares as they pull up at bars. Filipinos padding in twos and threes. DISSOLVE TO: EXT. NEW CONGRESS CLUB - NIGHT MEDIUM SHOT AT ENTRANCE Maggio and Prew, dressed in slacks and Aloha shirts, stand in front of what looks like a renovated residence. They give evidence of having already accomplished a little substantial drinking. The sound of loud piano playing is heard from within. A sign over the door reads: NEW CONGRESS CLUB - SOFT DRINKS - DANCING - RECREATION - MEMBERS ONLY. The door opens 39. and MRS. KIPFER stands at the threshold. She is a sophisticated-looking woman with upswept hair, wears an evening gown with a corsage of orchids. The piano music, louder with the opening of the door, continues through all of the following. The pianist is hammering out "I Don't Want To Set The World On Fire" (or a similar hit of 1941). MAGGIO Greetings, Mrs. Kipfer. MRS. KIPPER (CORDIALLY) Why, it's Angelo Maggio. He barges past her through the door. Mrs. Kipfer frowns and follows him. Prew shrugs and goes in after her. INT. VESTIBULE NEW CONGRESS CLUB - NIGHT MEDIUM SHOT as Prew enters behind Mrs. Kipfer. The vestibule has an old South feeling of mustiness and respectability. Maggio is handing some bills to ANNETTE, a young, brash-looking girl, who sits behind a reception desk. MAGGIO Okay... so there y'are. Dues all paid up. Who ya got playin the piana -- a hippo? MRS. KIPPER Angelo, I don't believe I've met your friend. And you know how I hate to find you boys in this condition... MAGGIO There. You see. Any time women see a soldier, think he's drunk. Why? You know why? PREW Because he is. MRS. KIPPER Heavy drinking simply doesn't mix with the entertainment business. Every respectable place must consider its future. PREW Mrs. Kipfer, ma'am, I give you my solemn word your future will be safe with us. 40. Maggio nods vigorously in agreement, then pushes through the heavy curtains which separate the vestibule from the room beyond. Mrs. Kipfer looks after him a little unhappily. MRS. KIPPER Angelo is one of my favorites. Annette, dear, take care of this gentleman, will you, please? Mrs. Kipfer exits through the curtains. Annette takes a card from file, picks up pen. ANNETTE It'll be eight bucks, Babyface. Four for initiation fee, four for April dues. PREW Say, what do I get for it? ANNETTE (rattling it off) Members are entitled to all privileges of the club which includes dancing, snack bar, soft drink bar, and gentlemanly relaxation with the opposite gender so long as they are gentlemen and no hard liquor is permitted. (takes a breath) Got it? Prew grins, digs in his pocket for money. PREW I got it. INT. NEW CONGRESS CLUB - LARGE CLUB ROOM - NIGHT FULL SHOT Several rooms branch off from this main one. There are about a dozen soldiers in civilian clothes -- and about a dozen hostesses. Several couples are dancing. The man at the piano is banging away, his music clashing cacophonically with a jukebox record from an adjoining room. CAMERA PANS as Mrs. Kipfer moves to and fro encouraging the men to enjoy themselves. The New Congress is a sort of primitive U.S.O., a place of well-worn merriment. It is not a house of prostitution but the girls look available for goosing... all but one we see at the end of the PAN. She sits alone on a couch. This is LORENE. There is an innocent, child-like look about her. Her hair is done demurely in a circular roll low on her neck. She is about twenty-four. She is reading a 41. magazine, untouched by the din around her. MEDIUM CLOSE SHOT SERGEANT "FATSO" JUDSON pounding the piano as if he is trying to knock the keys out. He has an enormous head and a hogshead chest. He resembles Porky Pig. His dead eyes look like two beads of caviar spaced far apart on a great white plate. MEDIUM SHOT NEAR CURTAINS TO VESTIBULE Maggio is attempting some serious dancing with SANDRA, a very tall girl. Fatso's furious tempo and tune keep drowning the langorous tango coming from the jukebox. Maggio keeps switching his style as he tries to get out of the range of the piano but cannot. He is very annoyed. He and Sandra dance out of shot, as Prew and Annette enter from the vestibule. CAMERA PANS them to a trio of girls on a couch. ANNETTE ... Girls, here's some new poison. This is Billy and Jean and Nancy. The girls smile, ad-lib hellos. Prew is looking over the girls' heads at someone in rear of room out of shot. MEDIUM SHOT LORENE FROM PREW'S POV As if she senses someone is staring at her, she looks up from the magazine, smiles serenely across the room. MEDIUM SHOT FEATURING PREW AND ANNETTE as she reacts sourly to Prew's reaction to Lorene. He seems transfixed. ANNETTE Don't tell me the Princess is your style. Annette takes his arm, moves him toward two quite good- looking girls talking to a soldier. ANNETTE Meet Suzanne and Roxanne. The girls greet him heartily but Prew is looking back over his shoulder at Lorene. Annette plucks his sleeve with haughty disdain. ANNETTE Much as I adore your company, you must allow me to tear myself away. I see a few friends at the door. (SNAPS) Also I can see I will be of no use to you much. 42. She walks off. The other girls resume talking to the soldier. Prew continues to gaze across the room. MEDIUM CLOSE SHOT LORENE smiling back. Her head tilts up slowly as if someone is coming toward her. Prew comes into shot and stands before her, tongue-tied. She pats the couch. Her voice is low- pitched, poised. LORENE Would you like to sit down? PREW (SITTING) Oh... sure. LORENE I'm Lorene. PREW (enchanted by the name) Lorene... LORENE I haven't seen you in here before. Prew gestures with the membership card. PREW I dint know about this place till now. A friend of mine brought me. We're stationed at Schofield. LORENE Oh. Somehow I didn't think you were a soldier. PREW (bridles a bit) Well, I am. And I'm in for the whole ride. I'm a thirty-year man. LORENE I suppose it's different when a fellow is going to make a career of it. PREW There ain't anythin wrong with a soljer that ain't wrong with everyone else. Lorene smiles her fatal smile at Prew's seriousness. 43. LORENE I like you just the same. I liked you the minute I saw Annette bringing you in. PREW (MELTS) Me, too. I mean when I came in. I saw you over here -- There is a commotion across the room. A group of man and girls are surrounding the piano. Fatso has stopped playing and a shouting argument is going on between him and Maggio. Prew looks over, concerned. FATSO'S VOICE I'll play loud as I want, ya little Wop! A babble of voices drowns out Maggio's reply. PREW Friend of mine. (RISES) You wait right here for me, will ya? LORENE (SMILES SWEETLY) Surely. MEDIUM SHOT AT PIANO where two men are holding Fatso and three girls are restraining Maggio. The others are amused by the quarrel, but Fatso and Maggio are deadly serious. MAGGIO Mess with me, Fatstuff, I'll pull you apart! FATSO You're the kind of character I eat for breakfast, ya little -- Maggio breaks away from the girls and rushes toward Patso but Prew, stepping through the group, grabs him. Mrs. Kipfer bustles into the melee. MRS. KIPFER Now, you gentlemen know I will not have any of this sort of thing. 44. MAGGIO Shut up, you Wop, he says to me! FATSO Little Mussolini here tryin to tell me what way to play the piano. MAGGIO Yeah, my ear drums fit to bust already with that noise! MRS. KIPFER You man can simply leave if you're not going to behave yourselves. PREW Come on, Angelo, come on -- MAGGIO -- Ony my friends can call me Wop -- MEDIUM SHOT AT SIDE OF ROOM where Prew hauls Maggio away from the piano. SOLDIER (has been watching) You know who that guy is, buddy? MAGGIO Sure, I know who he is. Whadda I care? PREW Who is he? SOLDIER Fatso Judson. Sergeant of the Guard at the Post Stockade. MEDIUM CLOSE SHOT FATSO JUDSON settling down at the piano again. He glances over in direction of Maggio with a mean smile. Then he starts to hammer the keys viciously. MEDIUM SHOT MAGGIO PEW SOLDIER as the music starts, Maggio stiffens, turns as if to go back. Prew holds tight, to his arm. SOLDIER -- I'm tellin you, leave him be. Nets danger. I seen him nearly murder a guy once. He likes it. 45. Sandra comes over, disengages Prew's arm from Maggio's, puts her own around him. SANDRA All right, bully boy, now you won the war, let's dance. MAGGIO (beginning to quiet down) First I got to calm my nerves. Come on with me to a phone booth or some thin. (slaps himself on belly) Where I will unveil this fifth of whisky I got under this loose flowing sports shirt. He and Sandra start off toward an adjoining room. Prew smiles, turns back toward Lorene. The smile fades. MEDIUM SHOT FROM PREW'S POV Lorene is looking at another soldier, on the couch beside her, with her rapt, innocent expression. TRACKING SHOT PREW as he crosses room to Lorene, hurt and disappointed. CAMERA HOLDS on MEDIUM SHOT as he comes up to her and the soldier, a talkative man named BILL. BILL -- you go along as fast as forty miles per through that surf and your balance has got to be letter perfect. PREW Hey, I thought you were gonna wait. LORENE (looks up, smiles) Bill here was telling me about surfboarding. BILL Hello, friend. LORENE (PATS COUCH) Sit down and just listen. He describes it thrillingly. Prew sits down, disgruntled. Bill notes his expression. 46. BILL You know anything about surfboarding? PREW No. Nothing. Not a thing. BILL You must be stationed inland then. I'm at DeRussey so I get lots of chances. PREW Yeah? But then we got mountains. You know anything about mountain climbing? BILL A little bit. Are you a mountain climber? PREW No. You know anything about flying an airplane? Lorene is frowning now. BILL I've had a few lessons. PREW Well, I can't fly either. What do you know about deep sea diving? LORENE Do you want to move into another room, Bill? BILL Sure. The air in here seems to have gotten very smelly, hasn't it? PREW Yeah, I noticed that, too -- BILL Listen, fellow -- LORENE Shall we go, then? 47. She and Bill rise. She smiles tremulously at him as she takes his arm and they start off. She throws a severe glance over her shoulder at Prew. MEDIUM CLOSE SHOT PREW He settles lower in the couch, the picture of frustration and hopelessness. He pulls a cigarette from his pocket and lights it. EXT. KUHIO PARK - NIGHT MEDIUM SHOT PARK BENCH Karen sits on the bench, her ankles crosses primly, very ill at ease. There is Payday activity here also; amorous strolling couples; men in ones and twos looking for pickups. Several unattached men pass Karen, ogle her. She is about to get up and leave when Warden comes into shot, stands over her. His civilian suit is neat and well-cut. Both are strained, awkward, antagonistic. Now that the step has been taken they are not at all sure it was a clever one. KAREN Why, hello. I didn't think you were coming. WARDEN Why not? I'm not late. KAREN No, I guess you're not. But then I came a little early. I must have been overanxious. You weren't overanxious though, were you? You got here right on the dot. WARDEN Maybe I'd of been early too only I stopped to get a drink. KAREN You certainly chose a savory spot for our meeting. WARDEN Would you rather it'd been the cocktail lounge of the Royal? KAREN No, but I've had five chances to be picked up in the last few minutes. 48. WARDEN (sits beside her on the BENCH) That's par for the course around here. KAREN Well, I don't care for it. I never went in much for back-alley loving. WARDEN Didn't you? KAREN You probably think I'm a tramp, don't you? WARDEN What makes you think I'd think that? KAREN Don't try to be gallant, Sergeant. If you think this is a mistake, come right out and say so. WARDEN (OUTRAGE) Listen, what started all this, anyway? Why'm I shakin inside like a school kid out with teacher! Where'd I come up with a yen for of all things the Compny Commander's wife! And her actin like Lady Astor's horse all because I only got here on time! Warden's burst shatters the tension. Karen breaks into laughter. After a moment, Warden joins in. KAREN On the other hand, I've got a bathing suit under my dress. WARDEN Funny. I got one in a U-Drive-It parked around the corner. He takes her hand. They rise and walk away, backs to camera. They merge with the other couples in the little park. INT. LARGE CLUB ROOM - NEW CONGRESS - NIGHT 49. MEDIUM SHOT COUCH Fatso's piano music o.s. Prew is slumped on the couch. He stubs out the cigarette, which is almost burnt down. He sees someone coming toward him, slowly raises his eyes. Lorene comes into shot, looks down at him. PREW How's the surfboard rider? LORENE That was a terrible way to have acted. What you did. PREW I was jealous. LORENE (LAUGHS) You're a funny one. PREW What do you dames want? To take the heart out of a man and tie it up in barbed wire? LORENE (angry because she really LIKES PREW) Now, look here, what do you think Mrs. Kipfer pays us for? We're hired to be nice to all the boys. They're all alike. Is it so important? PREW (STANDS; URGENTLY) Yes, it's important. Maybe we seem all alike but none of us is ever all alike. (PAUSE) All right, I'm sorry about before. LORENE (touched by his outburst) That piano is about to drive me out of my mind. Let's go up to Mrs. Kipfer's suite and sit there. She lets us use it sometimes... for somebody special. PREW Are you mad? 50. LORENE No, I'm not mad. PREW Because if you're still mad I'd just rather we called the whole thing off. LORENE (takes his arm) You certainly are a funny one. They walk away from camera, merging with the others in-the room. DISSOLVE TO: EXT. OCEAN AND BEACH - NIGHT FULL SHOT WAVE sweeping over camera, spray flying. MEDIUM SHOT ON BEACH A tiny beach set among rocks. The pale sand glows in the moonlight. Warden, in a bathing suit, is lighting a fire about ten yards from the water's edge. Karen is just stepping out of her dress; her bathing suit is underneath. A couple of GI blankets near the fire. Her teeth are beginning to chatter in the chill of the night air; she raises her arms to the sky longingly, happily. KAREN I hope the ocean's ice cold. I hope I freeze in a solid chunk. WARDEN (sudden, intense laugh) Just so long's you melt afterwards. KAREN I love the way you laugh. He stands, moves to her. She laughs, turns and runs into the water. He runs after her. FULL SHOT WAVE near shore, as Karen dives into it. Warden follows her. The wave washes over them. INT. NEW CONGRESS CLUB - MRS. KIPFER'S LIVING ROOM - NIGHT 51. MEDIUM SHOT DIVAN CAMERA ANGLED so we see only back of the divan. We hear soft chuckles from Prew and Lorene o.s., then silence for several moments. CAMERA MOVES as we hear a few more low, intimate laughs, then Prew and Lorene are disclosed on the couch, their heads close together as if they have just kissed pleasantly but not passionately. Mrs. Kipfer's living room is on the order of the vestibule; it, too, has a faded lavender feeling. A door leading to another room is half open in b.g. A door leading to a hall is closed. Prew's arm is around Lorene's shoulder; he is very relaxed, regards her with something like wonder. Lorene is mellower, too, making no effort now to be "the Princess." She speaks as if resuming a conversation. LORENE ... I enlisted, too. I came out here on my own. To get away from my home town. In Oregon. PREW How come? LORENE I had a boy friend. I was a waitress. He was from the richest family in town. He just married the girl suitable for his position. After three years of going around with me. (PAUSE) It's a pretty story, isn't it? Maybe they could make a movie of it. PREW They did. Ten thousand of them. ANOTHER ANGLE Lorene smiles. LORENE So I left and went to Seattle, as a waitress. And I met a girl just back from Hawaii. She said she'd made a lot of money working for Mrs. Kipfer. I caught the first boat. I've been here a year and two months. PREW You like it much? 52. LORENE Oh, I don't like it. But I don't mind it. Anyway, I won't be here forever. PREW No. Sure not. I mean, why should you? LORENE I have it all figured out. In another year I'll be back home, with a pile of bills big enough to choke a steer. And then I will be all set for life -- There is a sound at the door and they turn towards it. MEDIUM SHOT DOOR TO HALL as it opens slowly and a disembodied arm pokes through, its hand gripping the neck of a whisky bottle. After a moment, Maggio's head follows the arm through the door. He is grinning like an amateur conspirator. MAGGIO I dint hear no sounds of combat. So I figgered maybe you'd like a drink. THREE SHOT as Maggio comes into the room. MAGGIO Or otherwise old Sandra would of drank it all by herself. She's a fine girl. But she drinks like a fish. There are glasses on a cupboard near the divan. Maggio sets three of them up, starts to pour whisky into them. LORENE No, thanks. I never drink much. Maggio stops short of the third glass. He takes a big gulp from the first. LORENE I think it' a a weakness. MAGGIO (ANOTHER GULP) I grant you that. 53. LORENE And I don't like weakness. (TO PREW) ) Do you? PREW No. I don't like weakness. (rises, takes a drink) But I like to drink. He comes back to the divan. LORENE With you it's not a weakness. With you it's more like a virtue. MAGGIO That sounds like a very profound remark. Maybe that's why I don't get it. LORENE (snuggles to Prew) Well, it's so. MAGGIO Hey! What you gonna do, marry this guy? Way you grinnin at him you look like his wife! PREW Get outa here! MAGGIO (picks up bottle) Okay. Back to old long-legged Sandra. I love 'em tall. Acres and acres. He goes out, closing door behind him. Suddenly the door opens again and Maggio pops back in. He puts the whisky bottle on a table next to the door. MAGGIO Enjoy yourself, pizon. You need it more than me. You be back with The Treatment tomorrow. He pops out again, the door closing after him. Prew's gaiety dims with the reference to The Treatment. Lorene sees this. Prew rises, goes to whisky bottle. 54. PREW That was nice before. The way you snuggled up. In front of him. LORENE What's he mean, The Treatment? Prew doesn't answer. He pours a drink, gulps it. LORENE What did he mean? PREW Some of the guys puttin me over the jumps because I won't fight. LORENE Fight? PREW On the boxing team. I don't want to fight! I don't want to talk about it! I don't want to think about it. And they make me think about it. Every day. He drops down on the divan beside her. PREW It's a personal thing... His dread of telling the tale crumbles before his overwhelming need to tell it, to have someone understand. PREW Over at Port Shafter... I used to fight... Middleweight. I was pretty good. I used to work out with Dixie Wells. He was a light-heavy, but he was fast... And good. He loved boxing. He was gonna come out of the Army and go right into the upper brackets... People on the Outside had their eye on him. (rises, paces) Dixie didn't want, to use the six ounce gloves this time. And we neither of us wore headgear, anyway. I was set flat on my feet when I caught Dixie wide with this no more than ordinary solid cross. Dixie just happened to be standing solid, too. (MORE) 55. PREW(CONT'D) (sits on chair) From the way he fell I knew. Dead weight, square on his face. He dint roll over. He was in a coma a week. Then he finally came out of it. The only thing was that he was blind... (rises, paces) I went up to the hospital to see him. Twice. Then I couldn't go back. We got to talking about fighting the second time. And Dixie cried... Seein tears comin out of those eyes that couldn't see... There are tears on Prew's face. He turns away from Lorene. ANOTHER ANGLE SHOOTING FROM BEHIND PREW Lorene, very moved, goes to him, stands behind him, puts her hand on his shoulder. Prew does not turn but his hand grasps hers. CAMERA MOVES TO CLOSE SHOT of the hands. EXT. OCEAN AND BEACH - NIGHT MEDIUM SHOT NEAR SHORE A wave sweeps by camera, Karen and Warden riding it into shore. CAMERA PANS with them as they walk out of the water, hand in hand. They stop at edge, as if by a mutual impulse. He swings her to him and kisses her. CLOSEUP as they kiss. The embrace is impassioned. When their lips separate, their arms remain around each other, holding tight to something they find is more than sex alone. EXTREME CLOSEUP as Karen and Warden kiss again, a tenderness in him not seen before and which he normally takes great pains to hide. MEDIUM CLOSE SHOT as their lips separate again. KAREN Nobody ever kissed me that way... not really... They are both disquieted by the quality of their reactions to the kisses. The jump to banter is a quick defense. WARDEN Nobody? CAMERA MOVES WITH them as they walk to the fire. Karen smiles at him. 56. KAREN No. Nobody. WARDEN Not even one? Out of all the many men you've been kissed by? KAREN Well, that will take some figuring. How many men do you think there've been? CAMERA HOLDS as they sit, beside the fire. Karen wraps one of the blankets around her. WARDEN I wouldn't know. Can't you even make me a rough estimate? KAREN Not without an adding machine. Do you have your adding machine with you? WARDEN No, I forgot to bring it. KAREN Then I guess you won't find out, will you? WARDEN Maybe I already know. The defense has given way and there is no mirth in the questions and answers now. KAREN What's the matter? What are you hinting at? WARDEN Why? Is there something to hint at? KAREN I don't know. Maybe a lot. Or maybe you just think there's a lot. WARDEN Maybe I do. Maybe there's been a long line of beach parties -- 57. KAREN You must be crazy -- ! WARDEN Am I? Listen, baby, maybe not here. But what about when you and Holmes were at Fort Bliss? Karen flings off the blankets, snatches her dress, stands up, raging. She speaks as she pulls the dress over her head, wriggles into it. KAREN I had to go and forget you were a man -- with the same rotten filthy mind the rest of them have. For a minute I had to convince myself you were different -- WARDEN Only it's true, ain't it? KAREN Yes, it's true! A part of it, some small part of whatever sewage you've been listening to. Some day perhaps you'll get all the story. WARDEN (YAPS UP) All what story? KAREN You're getting to sound so much like a typical male. So you just sweat it out like a typical male. She starts toward the rocks at the end of the beach, walking fast, then almost running. Warden runs after her. MEDIUM SHOT BEACH NEAR PATH UP ROCKS as Warden catches up with Karen. He grasps her arm roughly, hauls her down onto the sand. He stares at her bitterly, waiting f or her to speak. KAREN All right. I've never told it to anyone before. But I think now is the time. I'll tell you the whole bloody messy thing. You can take it back to the barracks with you. 58. She speaks rapidly, pouring it out in bursts. For much of the story her face is in shadow, as if a cloud is passing across the moon. KAREN I'd been married to Captain Dana E. Holmes two years. Only he was a First Lieutenant then. Back at Fort Bliss. We lived right on a little lake where we could fish and swim and be alone, our 'dream cottage'... I'm sure you must be able to picture it. It was off on a back road, four miles from the highway. Two miles from a neighbor and a telephone.... (pauses, then rushes on) I hadn't been married long when I knew my husband was stepping out on me. But -- you get used to that. Your mother tells you that it's life, that i t happens to a lot of women. Of course, she doesn't tell you until after it happens. ANOTHER ANGLE FEATURING WARDEN reacting with fury toward Holmes, compassion for Karen. KAREN Then, by that time, you're pregnant. And at least you've something else to hope for. I think I was almost happy that night the pains began. Even though they were weeks too early, a whole month too early. I remember Dana was putting on that dapper silk gabardine uniform he used to wear. He was going to an officer's 'seminar.' He was kidding me about false labor. I didn't think it was humorous. I told him to get home early, to bring the doctor with him. He smiled tenderly and told me about the psychic reactions of women to pregnancy. But never fear, he'd be back early. And maybe he would have... if the 'seminar' hadn't been with the hat-check girl in one of the night clubs. 59. WARDEN Listen. TWO SHOT KAREN He was only a little drunk when he came in... at five a.m. He looked alarmed when he saw me. I guess it was because of my screams. I was lying there on the floor, you see -- No, don't say anything. I'm not finished yet. Of course, the baby was dead. It was a boy. But they worked over me at the hospital and fixed me up fine. They even took my appendix out, too. They threw that in free. It was all fine. WARDEN Listen. Listen. Please. KAREN And, of course, one more thing no more children. Do you know what that means? You're not a woman. You're not anything. You're a gutted shell... Sure, I went out with some of the men after that. A few months of it. I'd been made dirty and I wanted to be clean. You can see that, can't you?... Anyway, I got my revenge on Dana. I kept on living with him. WARDEN The hateful, miserable -- KAREN You hunt so hungrily for love... love, if you can find it, you think, might give things meaning again. WARDEN Listens Listen to me -- KAREN All right. I'm listening. Warden shakes his head, inarticulate with his rage and love. Karen moves closer to him. 60. KAREN I know. Until I met you I didn't think it was possible, either. FADE OUT. FADE IN: INT. DAYROOM - NIGHT PAN SHOT AROUND ROOM Over shot soft strumming guitars and two voices singing a quiet blues. There are scattered groups,about fifteen men in all -- playing pool, ping-pong, reading, writing letters, talking. CAMERA REACHES PRIVATE SAL ANDERSON and Friday Clark, playing the guitars and singing. Clark plays only passably, but Anderson is highly accomplished, effortlessly sounding off chord progressions in diminished minors. Friday, the bugler, is about twenty-four, with shy, trusting eyes. Anderson is the same age, also quiet, non-aggressive. CAMERA CONTINUES PANNING, PASSES a soldier reading a newspaper who shakes his head and mutters, "... ain't it terrible about Lou Gehrig dyin...", then MOVES IN to HOLD on a group at a window seat, bulling. Prew is stretched out wearily, looks as if he's been through another recent dose of The Treatment. Maggio perches in the frame of the window like an aggressive robin. Treadwell slouches at the end of the seat. Pete Karelsen is in a chair nearby, reading a magazine. TREADWELL ... Ah'm in the Army because Ah can live better on the Inside than on the Outside. PREW It ain't the reason I'm in. MAGGIO Now he's gonna give us that snow about bein a Thirty-Year Man again. PREW That's right. Look at Karelsen there. Only seven years more for rockin chair money. Karelsen hears his name, looks over. MEDIUM SHOT KARELSEN CAMERA AT ANGLE so we see he's reading a full-page advertisement featuring a girl in a revealing negligee. He is feeling sorry for him;elf. 61. KARELSEN The Profession wears you down, though, young man. Down thin like a knife what's been honed and honed. All that good steel just rubbed away... He turns back sadly to study the figure of the girl. MEDIUM SHOT FEATURING ANDERSON AND CLARK OTHERS IN B.G. Anderson peels off a flourish as he and Clark end their song. TREADWELL Man, that's blues! Where'd you drag that one up Prom? ANDERSON (BASHFULLY) Oh, just stumbled on it. He strums aimlessly again. Prew and Treadwell come over to listen, prop themselves on chairs. During following, several others stroll over and a soldier writing at a desk nearby stops, turns to listen. CLOSE SHOT PREW warmed by the friendliness of the music and the moment. PREW They got Truckdrivers' Blues... Sharecroppers' Blues... Bricklayers' Blues... We oughta have a Soljers' Blues... MEDIUM SHOT GROUP as Anderson repeats a theme he has happened on. It has a haunting melody. CLARK Hey, look... I betcha we could make one out of what you just played. Do that again. Anderson repeats the melody. ANDERSON I could bring it down to a third line major ending... Regular twelve bars blues. TREADWELL I bet I got two hundred blues records back home. (MORE) 62. TREADWELL(CONT'D) But there ain't one could touch that. And that includes Saint Louis. And it could be ours... The men wear pleased smiles, delighted by the idea of possessing something quite rare and truly their own. Prew flips his cigarette into a can. PREW I got it. We call it the `Re- enlistment Blues'! There is a chorus of approval. PREW Lookit, w e could start it with the guy getting discharged. (reaches over to desk) Hey, fella, can I use this? The soldier at the desk nods, and Prew takes his pencil and paper. He writes down the words of the song as they are composed during following. PREW How's this? 'Got paid out on Monday... Not a dog soljer no more... They gimme all that money....' He stops, stuck. Anderson plays the melody and Prew sings the words to this point. Friday Clark chimes in suddenly. CLARK 'They gimme all that money... So much my pockets is sore...' They laugh. Anderson sings. Prew writes furiously. ANDERSON 'More dough than I can use. Re- enlistment Blues...' ANGLE Anderson plays a series of chords, then repeats the last two lines as the whole group joins in. GROUP 'More dough than I can use. Re- enlistment Blues...' DISSOLVE TO: 63. INT. GYMNASIUM - DAY FULL SHOT Raucous, hammering music sweeps away the melancholy blues. On the floor of the gym Dhom is punching the bag. In a corner of the raised ring Ike Galovitch is skipping rope. In the center of the ring Thornhill and Henderson are sparring. Holmes hovers beside them, issuing instructions in a strident voice. MEDIUM SHOT PREW He is in fatigue clothes, on his knees, scrubbing the floor. There is an expression of stubborn hate on his face. Above his head in the shot are Galovitch's feet jumping the rope. In b.g. of shot is Wilson, seated near ring. GALOVITCH'S VOICE Some day you get sense in your dumb head, Prewitt, you be up here instead down there! A fine spray of spit accompanies the words and showers over Prew but he keeps about his work. WILSON Still makin out you like it, huh? MEDIUM SHOT IN RING There are two water buckets near Galovitch. He skips near one of them, kicks it. The bucket falls on its side and dirty water spills over the ring and down onto Prew. GALOVITCH Clean up dis mess, Prewitt! Prew gets to his feet. Galovitch resumes skipping rope. GALOVITCH And look a life, hurry it up. You on fatigue detail, not vacation. Prew climbs into the ring, gets on his knees, starts to swab up the canvas. He is nearly finished when Galovitch "accidentally" kicks over the second bucket. GALOVITCH Clean up, Prewitt! Prew suddenly stands, no longer able to contain his rage. He throws his sponge and scrubbing brush on the ring floor. PREW Clean it up yourself! 64. GALOVITCH How? What! PREW You heard me -- rub your own nose in it a while! GALOVITCH What! Prew starts out of the ring. Holmes intercepts him. HOLMES What's the matter with you, Prewitt? You know better than to talk back to a non-commissioned officer. PREW Yes, sir. But I have never liked being spit at, sir. Even by a non- commissioned officer. HOLMES I think you owe Sergeant Galovitch an apology. PREW (RECKLESSLY) I don't think I owe him no apology. In fact, I think one's owed to me. HOLMES (FURIOUS) Sergeant Galovitch, take this man to the barracks and have him roll a full field pack, extra shoes, helmet and all, and then take a bicycle and hike him up to Kole- Kole Pass and back. And see that he hikes all the way. And when he gets back, bring him to me. GALOVITCH Yes, Sirr. Prew climbs out of the ring, Galovitch following him. DISSOLVE TO: EXT. ROAD - DAY LONG SHOT 65. Par below in the shot are Prew, hiking, and Galovitch, riding behind him on the bicycle. The dirt road is steep and the sun pours down, steaming hot. MOVING SHOT PREW AND GALOVITCH Prew is hunched under the seventy-pound pack as he plods along. He is sweat-soaked, puffing, dog-weary. Galovitch's bicycle is just behind him; he runs the wheels up on Prew's heels. GALOVITCH Move along. You not half way yet. Three more miles to top. A jeep rounds a curve a couple of hundred yards above and moves down the road. It slows its speed and pulls up when it nears Prew and Galovitch. MEDIUM SHOT The jeep is driven by an enlisted man. Sitting next to him is MAJOR GENERAL SLATER. Galovitch hops off the bike and he and Prew snap to attention. General Slater leans out of the vehicle. He seems puzzled and interested by the odd sight of the two men. GENERAL SLATER At ease. Where're you men headed? GALOVITCH Top of pass, Sir. This man insubordinate. The Captain is teaching him lesson. GENERAL SLATER (FROWNS) What's your outfit, Sergeant? GALOVITCH Company G, 219th, Sir. The General, still frowning slightly, nods. He signals his driver to move on. The jeep starts down the road. Galovitch gets on his bicycle. Prew starts hiking again. DISSOLVE TO: INT. CAPTAIN'S OFFICE - DAY MEDIUM SHOT Prew and Galovitch are standing in front of the Captain's desk. Prew is at attention, the heavy pack on his back; his face is drawn and tired; his clothes are plastered to him. He has regained his old expressionless look. Warden has swung his chair around and is surveying the scene. Holmes looks 66. Prew up and down, half-smiles. HOLMES I take it you're ready to apologize to Sergeant Galovitch now. PREW No, sir, I'm not. Holmes' face sets; he jerks his head toward the window. HOLMES Take him back up there again, Galovitch. He hasn't had enough yet. GALOVITCH (nods unhappily, sick of BICYCLING) Yes, air. Prew about-faces and goes out. Galovitch follows. MEDIUM CLOSE SHOT FEATURING WARDEN HOLMES IN B.G. Warden watches Prew go out, then looks toward Holmes whose back is to him. Disgust is reflected on his face. MEDIUM SHOT WARDEN AND HOLMES Holmes slams his fist on his desk. HOLMES 1 know that kind of man! He's an againster. A bitter-ender. You can't be decent to a man like that. You have to tame him, like an animal! (TO WARDEN) Warden, I want you to prepare court martial papers. Insubordination and insolence to an officer. WARDEN Yes, sir. Warden swings around to his own desk. He thinks for several moments, tries to sound quite casual. WARDEN Too bad you got to lose a middleweight like that... HOLMES Why? Do you see any other way of breaking him? 67. WARDEN I don't know... But even if he only gets three months, he'll still be in the Stockade when the boxing finals come up. He looks over at Holmes, sees him scowling, weakening. WARDEN How about just giving him a good stiff Compny punishment for now? Holmes ponders the situation unhappily, rubs his hand over his face,. shakes his head as if the whole thing is too much for him. HOLMES All right, all right. But throw the book at him. WARDEN (pleased but impassive) Yes, sir. DISSOLVE TO: INT. WARDEN'S ROOM OFF SQUAD ROCK - NIGHT CLOSE SHOT WARDEN SHOOTING INTO SMALL MIRROR He is trimming his moustache. WARDEN I'm sick of it! They ain't got no right to keep breakin it off in that kid! Sooner later Holmes is going to hound him right into the Stockade! CAMERA PULLS BACK, REVEALING Karelsen across the room, undressing tiredly, achingly. Warden is sharp and blustering, using Karelsen as an escape valve. During following he goes to his footlocker, opens it, takes out whisky bottle, drinks. WARDEN I'm through! I'm turnin in my stripes. I mean it, Pete. I could transfer out tomorrow. In Grade -- get that? To half a dozen Compnys in this Regmint! 68. KARELSEN Oh, sure. I could be Chief of Staff, too, except I can't stand leaving all my old buddies. Karelsen is naked now except for a bath towel knotted around his middle. He slips his feet into Japanese-style, wooden clogs, starts slowly for the door. WARDEN Where you going, Little Sir Echo? KARELSEN To take my stinkin shower, if the First Sergeant's got no objections. Where'd you think? To the movies in this towel? WARDEN (GRINS) Hurry up. Let's go over to Choy's for some beer and tear up all the tables and chairs. KARELSEN (smiles, moves faster) Okay, Okay. DISSOLVE TO: INT. CHOY'S - NIGHT MEDIUM CLOSE SHOT OLD CHOY An aged Chinese, at least seventy-five, OLD CHOY has a long white beard and wears a black skull cap and an embroidered robe. He is motionless, surveying the pandemonium which we hear over shot: the sounds of men laughing, talking and shouting blend with jukebox music blasting Chattanooga, Choo Choo. YOUNG CHOP, Old Choy's son, passes; he is thirty, white- aproned, bustling, Americanized. CAMERA PANS WITH him, DISCLOSING the small beer-house; it has unpainted cement walls and a cement floor; the only thing that might be called decorative is the jukebox. The place is crowded with men from Schofield, a raucous assemblage; everyone is drinking beer and the smoke hangs in thick layers. At a table near the door sit Prew, Maggio, Clark, Anderson, Treadwell and Mazzioli. At a corner table behind a forest of beer bottles and cans are Warden, Stark, Karelsen and Chief Choate. GROUP SHOT WARDEN'S TABLE 69. STARK ... China's the place. Your money's worth ten, twelves times as much. I'm gunna ship over soon as my time's up in this pineapple Army. KARELSEN (pinching beer off his NOSE) The Canal Zone for me. This girl down there. She was a planter's daughter, see. She lived a very sheltered life. A very moral young lady, Milt. I took her out to a high class dinner and then dancing. It was a great shock to her to learn about life. But she took it well. She got to like me very much after that. WARDEN The last time I heard it you told it different. KARELSEN Well, what did you expect? I was in a different mood, then. MEDIUM SHOT PREW'S TABLE Maggio, Anderson and Treadwell are comparing snapshots from home, spreading them out on the table. Mazzioli is talking to Prew with great earnestness. MAZZIOLI ... it's in regulations. You've got a right to complain. You've got a right to take your case to the Inspector General. Any soldier has, even a plain dogface. PREW I know it. I'm not complainin to nobody. They ain't goin to get the satisfaction of seein me squirm. Clark begins to play the bugle softly along with the jukebox music, noodling an uninspired obligato. MAGGIO (pointing to pictures) ... believe it nor not, this is one soljer who's got a family -- look, fifteen of 'em. (MORE) 70. MAGGIO(CONT'D) See that old man with the handlebars? (PROUDLY) Mr. Maggio is my father. MAZZIOLI Listen, Prew. I guess I ought not to tell you but --. Warden hasn't had you on KP much lately, has he? PREW Only my reglar turn. MAZZIOLI Well -- I was working in the Orderly Room this afternoon and I heard the Captain telling Warden you're to pull KP every weekend from now on. You know what that means -- you can' t even go into TOWN -- PREW Whadda they want? They done everything, now they look me in a box! What else they gonna try? Clark hits a sour note an the bugle. PREW (SAVAGELY) When you gonna learn to play a bugle!? In overwhelming, uncontrollable protest, Prew slaps the bugle away from Clark's mouth. In one motion he wipes the mouthpiece on his sleeve, raises it to his lips and blows his own wild, violent obligato to the jukebox music. FULL SHOT CHOY'S as Prew plays on, the bugle's pure tone pealing through the room. Everyone puts down his beer, stops talking and turns toward Prew. CLOSE SHOT WARDEN reacting. He frowns, moved by the cry behind the music. MEDIUM CLOSE SHOT PREW'S TABLE FEATURING MAGGIO as he watches and listens, an exultation for his friend nakedly revealed on his face. ANOTHER ANGLE PREW'S TABLE FEATURING PREW Hitting an almost impossibly high note, he stops as suddenly as he has begun. He has played perhaps fifteen seconds in 71. all. He puts the bugle down on the table, embarrassed now, the violence gone, some of the wrath unloaded. MEDIUM SHOT AT DOOR The room is quiet for several moments, except for the continuing jukebox music, which sounds pale and thin now. Fatso Judson strolls in, stands at the door. Some of the men see him, but no one greets him. Fatso threads his way between tables as the room slowly begins to return to normal and the men turn back to their beer. MEDIUM SHOT PREW'S TABLE as Fatso passes. He stops, leans over Anderson's shoulder to look at the snapshots on the table. He points to one picture, a pretty young girl of about fifteen, posing Hollywoodishly in a bathing suit, cracks his knuckles loudly. FATSO Who's that? Who's that dame? MAGGIO (IMPASSIVELY) My sister. Fatso whistles. He picks up the photograph, stares at it, whistles again. FATSO Whoever! Say, she's a real good piece of whistle bait! I'd sure like to get my mitts around her. He laughs complacently at his own wit, tosses the picture on the table, starts to move on, Maggio rises, picks up the heavy wooden stool he's been sitting on and smashes it down on Fatso's head with all his strength, ANOTHER ANGLE as again the laughing and shouting in the room stops abruptly. Fatso reels a little with the terrible blow but does not go down. FATSO Why, holy -- I You hit met You hit me! MAGGIO (CALMLY) You bet your life. (RAISES STOOL) And about to do it again. 72. FATSO (still blinking from the BLOW) What?! But what for? That's no way to fight! (reaches hand to head, brings away blood) Why, you dirty yellow sneaking -- Wop! You yellow little Wop! If that's the way you want to play! With his last sentence, Fatso whips out a knife and snaps open the blade. The blade is at least five inches long. It glints evilly as he raises it. There is a concerted whisking intake of breath from the room. Murder is clear on Fat sots face. MEDIUM SHOT NEAR PREW'S TABLE (EXCLUDING WARDEN) Maggio, holding the stool high, backs up a few feet as Fatso advances toward him. Men sprawl away from them. SOLDIER'S VOICE Hey, it you want to fight, fight with fists. Take it outsides There is a murmur of agreement from the crowd. A couple of men are about to rise. Fatso whirls toward them. FATSO I'm gonna cut this little Wop's heart out. Anybody steps in here, I give it to him first. MEDIUM SHOT OLD CHOY AND YOUNG CHOY side by side. Old Choy watches, immobile, his slit eyes almost closed. Young Choy is shaking with fright. MEDIUM SHOT FATSO AND MAGGIO Fatso turns toward Maggio, who circles back around the table as the other stalks him. MAGGIO (scared but brave; shouts) I'm gunna de-brain ya, Fatso! One step closer an I'm gunna kill ya! Fatso has his knife poised at his shoulder, ready to strike. Warden comes into shot suddenly. He brandishes a beer bottle wildly, looks like an avenging spirit of authority. 73. WARDEN Nobody's gunna do nothin! Anybody's killin anybody around here, it'll be me! Warden snatches another beer bottle from a table, now has one in each hand. He steps between Fatso and Maggio. FATSO Look outs here, Warden. This a private affair. WARDEN No it ain't! This man's in my Compny an I'm responsible for him. And you ain't makin two weeks extra paper work for me by killin him. Nor him you. Put that knife down! He smashes the neck off one of the beer bottles, points the wagged edge at Fatso, roars: WARDEN Put it down! Fatso slowly lowers the knife to his waist, but keeps it pointed towards Maggio and Warden. Warden deliberately turns his back to Fatso, spits his words at Maggio. WARDEN Killer! You unweaned punk& Come on, you want some killing, come on! (whirls on Fatso) Come on, barrelbelly. Ain't you comin? Neither Fatso nor Maggio moves. WARDEN (with mammoth contempt) Killers! You'll get plenty of killing, all right. More than you got the stomach for. You'll be in a war one of these days. When you feel that lead from a sniper's rifle hit you between the eyes, come and tell me how you like it. Killers! (turns to Maggio) Now put down that chair. Maggio puts down the stool. Warden turns to Fatso. 74. WARDEN Throw that knife on the floor. Fatso drops the knife. It clatters on the floor. There is another audible whoosh of breath from the room. WARDEN Almost scared there wasn't anybody going to stop you for a minute, weren't you? (finally lowers his voice) Is there any other little things you punks'd like me to take care of for you? He drops the beer bottles on a nearby table, strides to his own table. The room settles back, still hushed. Warden has broken the mood of certain death, but Fatso, still facing Maggio, bites off his words with sadistic, ominous venom. FATSO Tough monkey. Hard sister. Guys like you get to the Stockade sooner later. One day you walk in there I'll be waitin. I'll show you a coupla things. He walks away, drops into a stool at the counter. MEDIUM SHOT WARDEN'S TABLE Warden stands beside the table, watching. He seems satisfied as Fatso moves away from Maggio. Still standing, he raises his half-filled bottle of beer, drinks. MEDIUM SHOT PREW'S TABLE Maggio drops onto the stool, sidles it over to the table. He half-whispers to Prew. MAGGIO I made a mistake I guess, but I don't see how I could of done anything else, after that big stoop said a thing like that. Prew leans over and picks the knife off the floor. PHEW I'll tell you your mistake. You didn't hit him hard enough to put him out. 75. MAGGIO I hit him hard as I could. His head must be solid ivory. In b.g. Warden puts down the beer bottle and stalks towards the door. Maggio and Prew turn to watch him pass. MAGGIO Anyway, I'm glad he stopped it. He's a good man, you know it? As if on impulse, Prew rises and follows Warden out. EXT. CHOY'S - NIGHT MEDIUM SHOT as Prew carves out. Choy's is on a wide road across from the entrance to the Post. Prew looks around for Warden, sees him off to one side. CAMERA MOVES WITH Prew as he goes over to him. CLOSE SHOT WARDEN leaning against the building, undergoing a delayed reaction to the fierce moment in Choy's. He is white-faced, sweating heavily. He looks as if he's going to be sick. CLOSE SHOT PREW astonished yet appreciative that under Warden's confidence and control in Choy's there has been a human frailty. PREW ... That was a near thing. WARDEN ... Yeah. Prew holds out Fatso's knife. Warden is beginning to get control of himself; he manages a weak smile. WARDEN You keep it, kid. Keep it for a souvenir. Prew puts the knife in his pocket. They stare at one another a few moments, each inarticulate, each wanting to express some deep emotion of respect. WARDEN You ain't enjoying life much, are you, kid? 76. PREW (THIN SMILE) They can kill you but they can't eat you, Top. Warden studies Prew thoughtfully. Prew turns to go back into Choy's. WARDEN Prewitt. Prew stops, turns back. WARDEN Could you stand a weekend pass? Prew stares at him for a second, incredulously, unable to find his voice. PREW I thought -- WARDEN You thought what, kid? PREW How about Dynamite? WARDEN Leave Dynamite to me. He signs most anything I put in front of him `thout readies it. Though Prew is overjoyed he is somehow unable to say "thanks"; Warden grins broadly at him. WARDEN I hear you gone dippy over some dame you met at the New Congress Club. He slaps Prew on the shoulder roughly. WARDEN What'd you say her name was? FREW Lorene... WARDEN Pretty name. 77. Warden walks off across the street. Prew stares after him. DISSOLVE TO: EXT. WAIKIKI BEACH - DAY CLOSE SHOT PREW AND LORENE Lorene is covering Prew with sand and has him almost completely buried. Only his face remains uncovered. He is griming up at her. She seems thoughtful. PREW ... Lorene... She throws a towel over his face. He chuckles under it. LORENE My name's Alma. The chuckle from under the towel dies. LORENE Alma Schmidt... There is a sound as of strangling from under the towel. LORENE Mrs. Kipfer picked Lorene out of a perfume ad. She thought it sounded French... Lorene whisks the towel away. Prew's face is comic in its surprise and chagrin. DISSOLVE TO: INT. COCKTAIL LOUNGE - NIGHT MEDIUM SHOT AT BAR ALMA AND PREW (NOTE: From this point on "ALMA" will be used instead of "LORENE.") A fashionable Waikiki night spot. An orchestra in b.g, is playing "Someone's Rocking My Dream Boat." Alma and Prew are seated at the bar. She is dressed modestly and becomingly, might well be taken as a society girl. Prew is wearing a civilian suit; he looks bound and choked in it. PREW Alma... She smiles ruefully, realizes her real name has rubbed off some of the enchantment. 78. PREW No, honest, I like it. Alma's a -- swell name. It was great you gettin away today. ALMA I told Mrs. Kipfer I was sick. But I bet she doesn't believe it, PREW There's no tellin when I'll get into town next. The Warden gave me a break this time. But Holmes and those others, they got me on the edge. I just about went off the deep end the other day. ALMA You must hate the Army. PREW Hate the Army...? ALMA Sure. Look what it's doing to you. PREW It's not the Army that's doing it. It's Man. I love the Army. ALMA Love it? Well, it sure doesn't love you in return. PREW When you love something it doesn't mean they got to love you in return. ALMA Yes, but a person can stand just so much from something -- PREW No! A man loves a thing, he's gotta be grateful. (pauses, gropes for THOUGHTS) I left home when I was seventeen. Both my folks was dead, then. I bummed around. I got all sorts of jobs. I rode the rods. (MORE) 79. PREW(CONT'D) I landed in jails. I didn't belong nowhere. Until I entered the Profession. She frowns, not understanding the last word. PREW The Army. I enlisted at Fort Myer and I learned how to box and I learned how to play a bugle. I never had much call for the boxing - - but if it weren't for the Army I'd never of learned how to play a bugle. ALMA A bugle? Prew nods. He takes the mouthpiece out of his pocket, shows it to her. PREW This is the mouthpiece I used to play a Taps at Arlington. Alma takes the mouthpiece, looks it over, seems unimpressed. PREW (as if saying "I was ELECTED PRESIDENT") They picked me to play a Taps -- at Arlington Cemetery. She still looks dubious, hands the mouthpiece back. He tries desperately to communicate. PREW Look. Think. You ever think how strange a tree would look to one who had never lived upon the earth? Well, somehow that's how I feel when I play a bugle... There is a boisterous shouting nearby. MAGGIO'S VOICE Hello, citizen! I told ya I'd meet ya, dint I? They turn and ANGLE WIDENS to INCLUDE Maggio, who has just come up to the bar. He is in uniform. Prew is pleased to see him but also alarmed; there is something near-desperate under Maggio's drunkenness. 80. PREW How'd you get a pass? MAGGIO I dint get no pass. I just took off. I meant to bring a girl with me but -- PREW You better get your tail back to the Post. Right away. Maggio shakes his head violently in the negative. MAGGIO I'm out for the night. I got a bellyfull. A nail, Prew. A stinkin nail. I'm thirsty for a nail. Prew gives him a cigarette. Maggio hops on an empty bar stool a few places removed from Prew and Alma. MAGGIO Climb up on my shoulders, Prew. You can see everythin from up here. (TO BARTENDER) A beer. A BEER! MEDIUM SHOT AT SIDE OF ROOM TWO MPs watching Maggio, attracted by his voice and behavior. MEDIUM SHOT AT BAR FEATURING MAGGIO Maggio talks across others at the bar to Prew and Alma. MAGGIO I been in a crap game in the latrine. I win twenty bucks. PREW How much did you lose? MAGGIO Lose? Oh, lose. I lost twenty-seven bucks. (DEJECTEDLY) That's why I ain't got no girl. A tray on the bar contains olives, nuts and pretzels. Maggio snatches up two olives, shakes them in his fist beside his ear. 81. MAGGIO COMIN OUT! THE TERROR OF GIMBEL'S BASEMENT! COMIN OUT! SEV-EN! SEV- EN! SEV-EN! (rolls the olives out on BAR) Snake eyes. MEDIUM SHOT BARTENDER SEVERAL OTHERS AT BAR laughing. MEDIUM CLOSE SHOT PREW AND ALMA Prew is increasingly concerned for Maggio. ALMA You like him, don't you? PREW (NODS) He's such a comical little guy and yet somehow he makes me always want to cry while I'm laughin at him. MEDIUM SHOT AT BAR FEATURING MAGGIO finishing a long gulp of beer. He puts glass down on the bar, hard. MAGGIO The Royal Hawaiian's jist around the corner. That's where them movie stars stay. Rita Hayworth and Joan Blondell and Maureen O'Hara... You look like a movie star, Lorene... yes, you do... How long 'fore we get in the war, Prew? PREW I don't know. Maybe we won't get in. MAGGIO Tha's what you say. He jumps off the bar stool suddenly, tears off his tie. MAGGIO Hot in here. He throws tie on the bar, The Bartender starts to protest. MAGGIO Swimming It's a great night for swimmin. (MORE) 82. MAGGIO(CONT'D) (kicks off shoes) Goin swimmin with a movie star... He is unbuttoning his shirt as he abruptly dashes away, People around are laughing at him again. MEDIUM SHOT ALMA AND PREW as Prew watches Maggio rush out. He sees something else o.s, which worries him. LONG SHOT FROM PREW'S POV The two MPs cross toward direction Maggio has taken. They are obviously going after him. MEDIUM SHOT ALMA AND PREW Alma follows Prew's troubled look. ALMA You better go look out for him, Prew glances at her gratefully, then slips off his stool. He picks up Maggio's tie and shoes and hurries out after him. DISSOLVE TO: EXT. ROYAL HAWAIIAN GROUNDS - NIGHT MEDIUM SHOT Tall pale royal palms contrast with thick dark plants and bushes. An ornamental lamppost alongside a walking path a little distance away. Prew comes into shot cautiously, carrying Maggio's tie and shoes. He moves quickly, bends over. CAMERA PANS AND MOVES IN and we see it is Maggio's shirt and trousers which Prew has discovered on the ground. He looks at them wryly, picks them up, moves on. ANGLE PREW IN F.G. AND LAMPPOST WITH BENCH NEAR IT IN B.G. Prew, carrying Maggio's clothes, stops as he sees what looks like a shadow lying across the bench. PREW (CALLS SOFTLY) Is that you, Angelo? The shadow does not move. Prew approaches the bench. MEDIUM SHOT MAGGIO AND PREW Maggio is stretched out on the bench, seems to be sleeping blissfully. He is clothed only in his shorts. Despite himself, Prew smiles. He shakes the reclining figure. PREW Maggio, you nut. Get up. Wake up. 83. Maggio mumbles without opening his eyes or moving. MAGGIO I'm sorry, sir. I won't do it again. Just don't lock me up, sir. Honest, I won't. PREW Here's your clothes. He throws the clothes on Maggio. MAGGIO (opens his eyes) Well, give 'em back to the Indians. The Indians need clothes. All they wear is G strings. PREW Boy, are you drunk! MAGGIO ... maybe a movie star comes outs the hotel right now and picks us up and takes us back to the States in her private plane... and installs us in her private swimming pool -- Prew pulls Maggio off the bench and starts to drag him across the path away from the light. MAGGIO (YELLS) Take it easy, Prew. You scrapin my tail on the sandy sidewalk. PREW You'll get worse than that scraped - - Listen! The ominous sound of leggins brushing each other is heard, not far away. Prew looks off. LONG SHOT THROUGH BUSHES The two MPs are on the street just outside the grounds. They are still looking for Maggio, somewhat aimlessly now. MEDIUM SHOT MAGGIO AND PREW Prew whispers to Maggio as he pulls him to his feet. PREW Come on before you're in trouble -- 84. Maggio pushes him away. MAGGIO Stop it! PREW Shut up! MAGGIO I'm sick of its Can't a man get drunk? Can't a man do nothin? Can't a man put his lousy hands in his lousy pockets on a lousy street? A man gotta be hounded every minute of his life? I ain't gain to take its I ain't no cowards I ain't yellows I ain't no bums I ain't no scum! MPs! MPs! COME AND GET US! HERE WE IS! PREW (AGHAST) Now you done it. MEDIUM SHOT END OF PATH NEAR STREET The two MPs came running onto the path, spot Maggio and Prew about thirty yards away. MEDIUM SHOT PEW AND MAGGIO Maggio picks up his shoes, suddenly whips away from Prew and runs toward the MPs. ANOTHER ANGLE NEAR MPs as they stop, surprised. Maggio is shouting, "Can't a man do nothin?!" as he hurls first one shoe, then the other, directly at the MPs. One MP is hit in the shoulder, staggers back. Maggio dashes between him and the second MP, but the latter reaches out and grabs him. Maggio wrenches loose but instead of running, suddenly wades in, arms swinging wildly. In a moment, he is hanging crab-like on the man's back. The first MP charges Maggio. Maggio grabs the second MP's club and hits the first MP over the head. MEDIUM CLOSE SHOT PREW Horrified, he starts toward the fracas. MEDIUM SHOT MAGGIO AND MPs IN F.G. PREW IN B.G. The second MP has managed to get out from under Maggio. He smashes his fist into Maggio's face as the latter continues to wield the club. Maggio sees Prew coming toward them. 85. MAGGIO Get back! I'm handlin this! Take off! The first MP starts to intercept Prew. Maggio tackles him around the knees and brings him to the ground. MEDIUM CLOSE SHOT SECOND MP Club gone, his partner on the ground, the second UP fishes for his pistol, tugs to get it from the holster. MAGGIO'S VOICE This ain't your affair! Keep out of this! MEDIUM SHOT PREW IN F.G. MPs AND MAGGIO IN B.G. Prew sees the second MP raise his pistol, point it toward him. CAMERA PANS WITH him as he turns quickly and dives headlong into bushes nearby. CLOSE SHOT PREW CAMERA MOVES WITH him close to ground as he knees and elbows his way along deep into the bushes. He stops, breathing hard. The sound of the MPs fighting with Maggio can be heard, the ugly sound of fists and the uglier sound of clubs smashing bone and flesh. MAGGIO'S VOICE (screaming, crazed) Come on. Is that the best you can do? I bet you eat Wheaties, don't you? Come on... You can't even knock me out -- no matter -- Maggio's voice stops suddenly. CAMERA MOVES TO CLOSEUP of Prew on the ground, his face contorted. The voices of the MPs are heard now, panting. FIRST MP'S VOICE I wonder what was wrong with this guy. He must be same kind of madman. SECOND MP'S VOICE Come on, let"s get him into a wagon. A convulsive sob escapes Prew as his head drops in the dirt. DISSOLVE TO: 86. INT. ORDERLY ROOM- DAY MEDIUM SHOT PEEN WARDEN MAZZIOLI Warden is pinning some notices on a bulletin board. Prew sits on the bench against the wall, miserable, elbows on knees, chin in hand. There is a quiet tenseness in the room. Warden looks over at Prew, turns back to the bulletin board. Mazzioli gets up from his desk, wanders aimlessly to a window. The screen door slams and Leva enters, eating a candy bar. LEVA Any word on Maggio's Court Martial? MAZZIOLI It's on right now. At Headquarters. Lava sits on the bench beside Prew, shakes his head. LEVA He'll get the Stockade sure. The others tense at the word "Stockade," glare at Leva as if he had no right to mention it. Their fear of the place, now that it is imminent even for another soldier, is shown on their faces. There is a long pause. MAZZIOLI Maybe he won't get it. All he did was get drunk and run wild. That's a soldier's nature. It's almost his sacred duty once in a while. There is another pause. Warden barks suddenly, fiercely, at Leva. WARDEN What you hangin around here for? LEVA Can't a man rest himself for a min-- WARDEN What man? I can't stand to see people restin themselves. I'm eccentric. If you ain't got no work maybe I can scare you up some. Mumbling, Leva rises and goes out. Warden goes over to Prew. WARDEN Whyn't you go on over to the Day Room, shoot a little pool? (MORE) 87. WARDEN(CONT'D) I'll let you know when the word comes through. Prew looks up, nods, rises. He is half-way to the door when the phone at the Clerk's desk rings. Prew turns. Mazzioli stares at the phone as if afraid to touch it. Warden goes over, answers. WARDEN (ON PHONE) Compny G, First Sergeant Warden speaking... Yes, sir... Yes, sir, I will... I'll have his things in order... Yes, sir. Warden puts down phone. He looks at the waiting men. WARDEN He got it. Six months. DISSOLVE TO: EXT. BARRACKS - DAY MEDIUM SHOT Prew and a group of G Company men, including Sergeants Dhom, Thornhill and Henderson, are on the steps and porch as a Reconnaissance car pulls up and halts. CLOSE SHOT RECONNAISSANCE CAR Maggio sits between the driver and another MP, both armed. (NOTE: These are not the same MPs with whom he fought.) The G Company men cluster around the car, ad-libbing greetings, kidding Maggio, bucking him up. Even the Sergeants join in this; nobody likes to see a man on his way to the Stockade. MAGGIO Hello, men! Who's got the beer? DRIVER Shut up! MAGGIO Okay, Brownie. Whatever you say. ANOTHER ANGLE as the Driver gets out of the car and goes to pick up Maggio's stacked barracks bag on the porch. Prew moves up close to Maggio. PREW I'm sorry, Angelo. It's my fault. I SHOULDA -- 88. MAGGIO You crazy. You -- PREW I shoulda stopped you somehow -- MAGGIO It was all my party. Don't worry about it. (pronounces "e" as in "THE") Anyhow, I'm gunna e-scape. If Gimbel's basement couldn't hold me, neither can no lousy Stockade. SECOND MP You heard him say SHUT UP! MAGGIO (smiles at the men) I'm a prisoner. And prisoners ain't allowed to talk. They allowed to breathe though. If they good, that is. During last speech the Driver returns, dumps the barracks bag in the car, and gets in. The motor starts. The men shout good- byes. CLOSE SHOT PREW heartsick as he looks at Maggio. MEDIUM SHOT as the Recon pulls out and Maggio's last hearty shout drifts back. MAGGIO'S VOICE ... e-scape to Mexico and become a cowboy!... WIPE TO: EXT. STOCKADE GATE- DAY SHOT as the Reconnaissance car drives through the chain-mesh gate. In the distance is the Stockade, a building that looks something like a country schoolhouse. Music sweeps up as the gate clangs shut. WIPE TO: 89. EXT. STOCKADE YARD - DAY LONG SHOT Maggio walking across the yard flanked by the tall MPs. He looks around as if surveying the chances of escape. Music rises. WIPE TO: EXT. STOCKADE BUILDING - DAY MEDIUM SHOT as the MPs march Maggio up to a door and gesture him to enter alone. He goes in. INT. OFFICE OF SERGEANT OF THE GUARD - DAY MEDIUM SHOT CAMERA SHOOTS from behind a man seated at a desk. Prominent in shot is a wicked-looking chopped-off hoe handle lying on the desk. Maggio enters, recognizes the man. He walks, up to the desk, his face set in defiance. Music is rising in a fearful crescendo. CAMERA PANS just enough to REVEAL desk sign reading: "SERGEANT OF THE GUARD." The man stands up and the music stops abruptly. ANOTHER ANGLE REVEALING Fatso Judson as the man, on his face the same murderous expression as at Choy's. He cracks his fingers. FATSO Tough monkey. CLOSE SHOT MAGGIO his eyes following a movement of Fatso's hand. MEDIUM CLOSE SHOT FATSO Eyes on Maggio, his hand gropes on the desk. FATSO Hard sister. CLOSE SHOT FATSO'S HAND as it finds and tightens around the hoe handle. The music sweeps in abruptly. DISSOLVE TO: EXT. CLEARING IN VALLEY - DAY (TWILIGHT) CLOSE SHOT FLASH A POKER BEING DRIVEN INTO FIRE Music of preceding shot segues into an ancient, savage Hawaiian chant which continues through following. 90. CLOSE SHOT FLASH LONG-PRONGED FORK BEING DRIVEN INTO BELLY OF WHOLE ROAST PIG CLOSE SHOT FLASH LANG-BLADED CARVING KNIFE SLICING ROAST BEEF MEDIUM CLOSE SHOT STEAM RISING FROM BETWEEN HOT STONES OF FIRE FULL SHOT LUAU Shot covers the continuation of all the above activity. This is a native luau - definitely not for tourists. Shot includes long ditches, heated by red-hot stones and lined with layers of banana leaves, containing pig, chicken, rock crabs, fish... Pots of native stew... Bowls of exotic fruit... Peels of raw cane... Working over the food are the natives, many of the men stripped to the waist, the women arrayed in colorful Hawaiian costumes. LONG SHOT THROUGH BONFIRE HULA DANCERS A group of male dancers swaying with the insistent beat of a group of old Hawaiian instruments. This is far removed from the night club Hula. This is a thing of swift, agile angularity, primitive and powerful. PAN SHOT SPECTATORS THROUGH BONFIRE At end of PAN, CAMERA REVEALS Warden and Karen in the group. They are the only whites in the group. CLOSE SHOT KAREN her face lit by the flames. She watches the dancing breathlessly. FLASHES TINY TOM TOM NOSE FLUTE GROUP OF MUSICIANS The native instruments playing a thin, weird melody. MEDIUM SHOT HULA DANCERS The men laugh and grin as they dance, taunt and tease somebody o.s. MEDIUM SHOT SPECTATORS They shout and laugh and squeal with delight as they watch. It is Warden the dancers are teasing. Several of the dancers break out of the group, dance over to Warden, continue to prod him, apparently urging him to join them. MEDIUM CLOSE SHOT WARDEN protesting, joining in the laughter. Suddenly he kicks off his shoes, rolls his slacks up to his knees. He snatches a gardenia from the hair of a pretty Hawaiian girl next to him, sticks it over his ear, jumps into the firelight and dances with the others. The music comes up louder and faster as the spectators and dancers roar. 91. GROUP SHOT DANCERS AND WARDEN They are all laughing as they dance, but as Warden moves with them it is apparent he is as good as any of them. MEDIUM SHOT SPECTATORS nodding, pointing at Warden, their hilarious laughter fading to delighted smiles. CLOSE SHOT KAREN astonished and thrilled at Warden's ability. MEDIUM SHOT WARDEN His laughter now also diminished to a happy grin as he dances. In all he dances about thirty seconds. Then he breaks out of the group and runs over to Karen. GROUP SHOT FEATURING KAREN AND WARDEN as the spectators and dancers shout their applause. Warden comes up to Karen and puts the gardenia in her hair. Karen is glowing, tingling. KAREN You just love to shock people, don't you?! Where on earth did you learn to dance like that? WARDEN (PANTING HAPPILY) Believe it or not -- Chicago, Illinois. She flings her arms around him passionately. The onlookers howl with approval and merriment. Between Karen and Warden and camera, an enormously fat Hawaiian woman pours water on the stones in one of the trench-ovens. A cloud of steam rises, hiding them. EXT. CLIFF ROAD - DAY (TWILIGHT) LANG SHOT VALLEY SHOOTING DOWN a thousand feet into Palolo Valley. Bonfires and smoke rising from the floor of the valley. The thinnest carry of the ancient Hawaiian music. CAMERA PANS from precipice and INCLUDES Prew and Alma as they trudge into shot, climbing up the steep cliff road. TRACKING SHOT PREW AND ALMA holding hands as they walk. 92. PREW -- If I dint get to see you once in a while The Treatment would've cracked me long ago. Alma, fairly winded from the climb, smiles but doesn't answer. PREW We could have taken a cab. Except I ain't got cab fare. ALMA It's just around the bend. CAMERA HOLDS as they walk on around a bend in the road. EXT. ALMA'S HOUSE MEDIUM SHOT The small house is perched precariously on the very edge of the cliff. Alma and Prew come around the bend, come up to the door, Prew marvelling at the house. ALMA This other girl and I were lucky to rent it. (PROUDLY) It's a very fashionable district. She hands Prew her key. As he is unlocking the door: ALMA I'll get an extra one made for you. Prew swings open the door and they go in. INT. ALMA'S HOUSE LIVING ROOM - DAY (TWILIGHT) FULL SHOT Prew stops on the threshold, stares at the room in happy amazement. It is large, smartly furnished. In the rear, glass doors lead to a porch. One of the panelled walls is filled with bookshelves, floor to ceiling. The bookshelves are filled with books. A hearty feminine voice calls "Hi!" from the kitchen, and as Prew and Alma come into the room, GORGETTE enters from the kitchen. She is a very tall, very gay, good-looking girl. ALMA This is Gorgette, my roommate. Gorgette, this is Prew. I told you about him. 93. GORGETTE Don't mind me. I'm going out in a little while. Prew grins, can't keep his eyes off the astonishing books. Gorgette follows his glance. GORGETTE I belong to the Book of the Month Club. I always take every book. That way I get all the dividends. She giggles and goes off to the bedroom. PREW She'll be great for Maggio when he gets out of the Stockade. He'll be crazy about her because she's so tall. Alma smiles, presses him into a chair. ALMA Now you just get comfortable and I'll make you a Martini and see what's to cook for dinner. She starts oft to kitchen. PREW Hey. She turns. PREW This is just like bein married, ain't it? ALMA (over her shoulder as she exits to kitchen) It's better. DISSOLVE TO: EXT. CLEARING IN VALLEY - NIGHT FULL SHOT SHOOTING through smoke rising from one of the trench-ovens. As it clears we see the enormous Hawaiian woman and one or two others cleaning up and putting out the remnants of the fires. The merrymakers and dancers have gone; the luau is over. In b.g., quite alone, are Warden and Karen, sitting on 94. the trunk of a fallen palm tree. MEDIUM SHOT KAREN AND WARDEN The abandoned gaiety of the earlier scene gone. They survey the emptiness. The fat Hawaiian woman comes near, rakes ashes over one of the dying fires. She speaks to Warden in Hawaiian. He answers her in the native tongue. The fat woman stares, shrugs, goes off. KAREN What did she say? WARDEN She said it's over -- time to go HOME -- KAREN Home... A beach, a car, a park... Warden puts his arm around her tenderly. WARDEN It'll work out... KAREN It can't go on like this much longer, Milt. WARDEN I know. He rises, paces a moment. WARDEN If there were only a way! Your lovin husband'd probly give you the divorce. But even if he didn't know what for, he'd never let me transfer. KAREN (bucking up courage; QUIETLY) There is a way. I've been thinking about it. Warden looks at her apprehensively. KAREN You've got to become an officer. WARDEN What! 95. KAREN You're eligible for the extension course that came in with the draft. When you get your commission they'd ship you back to the States -- new officers aren't kept at posts where they've been enlisted men. Then -- WARDEN You sure made a thorough study of it. KAREN Then I could divorce Dana and follow you and marry you. WARDEN An officer! I've always hated officers. KAREN That's a fine, intelligent point of view. Suppose I said I've always hated Sergeants. That would make a lot of sense, wouldn't it? CLOSE SHOT WARDEN He sits, thinks it over unhappily. WARDEN Okay, suppose I did it. -- And don't think it's a cinch -- the exams are tough. Then you'd be getting your divorce here while I'm in the States. We'd be apart maybe six months! We'll probly be in the war by then -- TWO SHOT KAREN You can't be certain of that -- WARDEN (SNORTS) Put it down on your calendar. On October twenty-third, 1941, Milt Warden told you we'd be in the war in less than a year. KAREN (FLARING) Why don't you tell the truth? (MORE) 96. KAREN(CONT'D) You just don't want the responsibility. You're probably not even in love with me -- WARDEN You're crazy! I wish I wasn't in love with you. Maybe could enjoy life again. KAREN I don't know what's happened to you -- you were honest at first -- WARDEN At first! You were tough and solid as a rock -- and now you're a whining crybaby -- He stops abruptly. KAREN And so they were married and lived unhappily ever after. They are silent for several moments. WARDEN I've never been so miserable in my life as I have since I met you. KAREN Neither have I. WARDEN (CHEERLESSLY) I wouldn't trade a minute of it. KAREN (CHEERLESSLY) Neither would I. Warden rises and paces again. Suddenly he stops, turns, looks down at Karen, speaks in the same gloomy tone. WARDEN I'll probably make the lousiest officer they ever saw in this Army. A happy smile creeps over Karen's face. Despite himself, he begins to smile also. 97. KAREN (FERVENTLY) You'll make a fine officer. A remarkable officer. DISSOLVE TO: EXT. PORCH OF ALMA'S HOUSE - NIGHT MEDIUM SHOT The porch is at the rear of the house, leading off from the living room. It is on the very edge of the cliff. Prew and Alma are dancing to the music of a portable victrola. It is playing "Why Don't We Do This More Often?" A table still contains the dinner plates. Prew's expression holds the wonder of a child at a magic show. He misses a step, stumbles. PREW I never caught on to dancing much. ALMA You're a very good dancer. The record ends and Alma goes to change it. CAMERA FOLLOWS Prew to the edge of the porch as he looks out over the view. LONG SHOT VIEW PROM PREW'S POV A magnificent panorama -- strings of lights in the valley and across on St. Louis Heights -- in the far distance the neon of Waikiki. MEDIUM CLOSE SHOT PREW working with his thoughts, afraid to broach them. He lights a cigarette, his fingers trembling. PREW I been wanting to tell you a long time now -- (DEEP BREATH) I love you. MEDIUM CLOSE SHOT ALMA looking through records for a new choice. She speaks quite conversationally, as if offered a pleasant compliment. ALMA That's nice. Because I love you, too. She puts on a record -- "It All Comes Back To Me Now." It plays throughout the sequence. 98. TWO SHOT as Alma comes over to Prew. PREW I mean it. I need you. ALMA (AS BEFORE) I'm glad. Because I need you, too. PREW (RECKLESSLY) A thirty-year man is movin all over, goin all the time. Up to now I never thought a thirty-year man had any business to think of gettin married. She stares at him, amazed, a touch angry. ALMA You're a funny one, little Prew boy. PREW (HURT) Yeah. Must be the altitude. ALMA A very funny one that I cannot figure out. PREW Why's it funny if a guy wants to marry you? ALMA Because I'm a girl you met at the New Congress Club! And that's about two steps up from the pavement. PREW Okay -- I'm a private no class dogface soljer. And the way most civilians look at it, that's two steps up from no thin. There is a silence. Alma is honestly distraught. ALMA Oh, Prew, Prew, I thought we were happy: Why do you want to spoil things? 99. PREW Lissen, I ain't think in of now. But I got a plan cookin in my head. You want to go back to the States in a year. Well, you could stretch it some, make it two years. And I could swing a Sergeant's stripes -- If I were a non-com the Army'd let me pick my duty when I re-enlist. (lost in the picture of IT) And there's some posts back in the States -- like Jefferson Barracks -- The married noncoms rate solid brick houses... with lawns with new- cut grass and walks with big old oak trees... ALMA Now I know you've lost your mind! How do you expect to become a Sergeant under this Captain Holmes of yours? It's all you can do to keep out of the Stockade! CLOSE SHOT PREW PREW I could fight. TWO SHOT PREW It I go out for boxin he'd send me to non-com school. The Regimental Championship is next month. I bet I could win the middleweight even without training. I used to be pretty good I could do it. Alma is deeply moved. She speaks gravely, sincerely, not at all immodestly. ALMA No. I don't think you should give in to The Treatment... even to marry me. PREW This'd be worth it. 100. ALMA (ALMOST DESPERATELY) Prew -- it's true we love each other now. But back in America, it might be different... We might not even want each other... PREW Okay. But that ain't the real reason. ALMA All right. It's not. PREW What's the real reason you won't marry me? ALMA I won't marry you because I don't want to be the wife of a soldier. PREW Well, that's the top I could ever do for you -- ALMA Because nobody's going to stop me from my plan. Nobody. Nothing. Because want to be proper. PREW Proper? ALMA (IMPASSIONED) Yes, proper. Respectable. Secure. In a year I'll have enough money saved. I'm going back to my home town in Oregon and I'm going to build a new home for my mother and myself and join the country club and take up golf. And then I'll meet the proper, man with the proper position. And I'll be a proper wife who can keep a proper home and raise proper children. And I will be happy because when you are proper you are safe. PREW (bitterly disappointed but ADMIRING) (MORE) 101. PREW(CONT'D) You got guts, Alma. I hope you pull it off. The victrola record ends. Alma turns away from Prew and goes to the victrola. Now that shots had her say with such certainty, she deflates. Except for the fact that she looks like a girl who never cries, she looks as if she might cry. She lifts the record off the turntable. ALMA But I do mean it when I say I need you. Because I'm lonely. Sometimes I'm dreadfully lonely... You think I'm lying, don't you? PREW No. Nobody ever lies about being lonely... Alma puts the same record on again. Prew looks out over the beautiful view. FADE OUT: FADE IN: INT. KITCHEN HOLMES HOUSE - DAY CLOSE SHOT HOLMES HOLMES -- I've known about it for a long time! I've sensed it. And I'm not going to ignore it any longer! I want to know where you met him and just who he is. MEDIUM SHOT HOLMES AND KAREN at breakfast in a nook off the kitchen. Holmes is a mixture of petulance, anger and frustration. He doesn't touch his food, but occasionally takes a sip of coffee. KAREN I'm afraid I'm not going to tell you. HOLMES You can't keep a thing like this HIDDEN& KAREN I'm not going to hide anything. I'm just not going to tell you. 102. She applies herself to her food, anxious to drop the matter. HOLMES One thing I know. I know it's a civilian. You'd be too discreet to pick an Army man. KAREN I don't think it's any of your business who he is. HOLMES It is my business! I'm your husband! What do you think a scandal would do to my chances for a promotion? So if you're thinking of a divorce, you can forget it! Karen stiffens. She struggles to maintain her self- possession. She manages it, keeps outwardly calm through the scene. HOLMES Now -- how does it feel to know you'll have to live with a horror like me the rest of your life? KAREN Not very nice. But then there's the compensation of knowing you'll have to live with me the rest of your life. Her attitude makes Holmes progressively sorrier for himself. CAMERA MOVES with him as during following he rises, goes to stove, pours himself another cup of coffee. He spills a little and the liquid sizzles on the burner. HOLMES You don't know how a man feels about a thing like this. It breaks a man all up -- inside. KAREN (DRYLY) I gander why men feel so differently about it than women. HOLMES It's -- it's just not the same. CAMERA MOVES with him as he returns to the table, decides to try another tack. 103. HOLMES Why do you think I've done all I have...? KAREN Done all what? HOLMES Tried to be a Company Commander when I hate it, worked my fool head off with this miserable boxing squad, tagged after the General whenever I could. KAREN I don't know. Why? HOLMES Why, for you and for me. For our home, that's why. KAREN (DRYLY) I always thought you did it because you wanted to get ahead. She finishes the last of her food, stands. KAREN It's a lovely day out. I think I'll go for a walk. Holmes catches her wrist, stops her. HOLDS I'm willing to forgive you. Tell me who he is. Make a clean breast of it. And I'll forgive you. KAREN I wonder which is hurt more -- your pride or your curiosity? She disengages her wrist. KAREN (COOLLY) When I'm ready to ask you for a divorce we can discuss it again. She goes to door to pantry, pauses there. 104. KAREN (MATERNALLY) And do eat your breakfast, Dana. It's getting cold. She goes out to pantry. We hear the sound of the door to rear porch opening and closing. MEDIUM CLOSE SHOT HOLMES wretched, completely at a loss. He stares into space, then looks down at his food, picks up a fork and ruefully begins to eat. DISSOLVE TO: EXT. BARRACKS - DAY MEDIUM SHOT LAWN Prew, on hands and knees, is on a weeding detail with three other men, one of them Sal Anderson. Another is PRIVATE NAIR, a tousle-headed, sentimental man we have not seen before. Sergeant Thornhill, in charge of the detail, lolls on the ground, his head propped against a tree, reading a comic book. Prew works his way over to Nair. PREW You just get out of the Stockade? NAIR (NODS) It was rugged, sam. But I kept my mouth shut and watched my step and I wasn't in no trouble. PREW You see Maggio? Nair nods, tells his tale in half-humorous, half-reverent fashion. NAIR Fatso's workin him over with a hoe handle. Places where it won't show mostly. You know, the back and the chest. The kidneys. Once in a while in the face. Know what Maggio does when that happens? Spits in Fatso's eye. (CHUCKLES) Oh, he's a hot one. Ain't he a hot one? 105. PREW He's a good boy. NAIR Course, he throws up a little blood now and then. And he passes out a lot. But Fatso sure ain't reportin none of that. So there's no way they goin to find out. PREW Why don't he go to the C.O.? NAIR We tried to get him to. But he won't peep. He says he got a lot more scalp to lose first. That boy is about the hardest artery in the hospital. (with great sentiment) But he's got a heart just like a great big baby. Prew's face has been growing in fury. He pulls up a clump of sod, throws it down with all his might. PREW You think he's gonna be all right? NAIR Your guess is worth mine, sam. Maybe he's crackin a little at that -- cause after Fatso put him in the Hole -- that's what they call solitary -- a couple times he began talkin about how he's gonna e- scape. He said to tell you he'll look you up one of these nights. A shadow falls across the grass in front of Prew. SHOT GALOVITCH FROM PREW'S POV CAMERA SHOOTING UP from near the ground, the ANGLE EXAGGERATING Galavitch's ungainly, ape-like figure. He looks down at Prew, full of venom. GALOVITCH Still on knees, eh, Prewitt? Well, boxing finals next month. December f if teen. You s till got time help us make champions. MEDIUM SHOT PREW FROM GALOVITCHE'S POV 106. Prew is at the breaking point. Controlling himself, he weeds around Galovitch's shadow. It moves in front of Prew again. GALOVITCH'S VOICE Are proud dis Compny to be or not? Bites de hand dat feeds it der shoot dogs for. Infortunately, ony dogs day are allowed to shoot, not men. MEDIUM SHOT GROUP The other men have stopped weeding, are looking over at Prew and Galovitch. Thornhill, in b.g., puts down the comic book and comes over to them during following. PREW Get outa my way, Ike. I ain't gonna move around you again. GALOVITCH You need better lesson than up to now. Maybe I give to you myself. Maybe right now. He steps on Prew's hand. As Prew jerks away from the heavy shoe Galovitch hauls him up by his fatigue shirt. Thornhill steps between them. THORNHILL (TO GALOVITCH) Ey, leave him alone. `e's in my DETAIL -- Prew shoves Thornhill aside, cold decision in his eyes. He starts unbuttoning his shirt. PREW (TO GALOVITCH) All right. It's gonna be your way. Galovitch rips off his shirt, bursting some of the buttons as he does. Stripped to the waist, his whole appearance seems to change; he looks as he did in the ring, a hard-muscled prize fighter. THORNHILL Ey, wait a minute, you guys -- ! Prew is barely able to get out of his shirt before Galovitch charges him. VARIOUS ANGLES PREW AND GALOVITCH AND SPECTATORS During following men run from across the quadrangle and from out of the barracks to watch the affair, form a circle around 107. the fighters. Prew is a skillful boxer, moving around Galovitch quickly and cleverly. Galovitch is more lumbering but not awkward. His heavy blows stagger Prew several times. Prew drives his attack at his opponent's body. He never throws a punch at the other's head. NAIR The head, Prew! Hit him in the head! The other men around shout similar advice. CLOSE SHOT GALOVITCH puzzled by Prew's concentration on his body and by the shouts of the men. He seems to be wondering if Prew is pulling a trick. CLOSE SHOT PREW A fear, not born of cowardice, is reflected on Prew's face as he sets himself, stares at Galovitch. He seems haunted by the memory of Dixie Wells. CLOSEUP GALOVITCH'S EYES CLOSEUP PREW flinching without being hit. He seems mesmerized by the other's eyes. CLOSEUP GALOVITCH'S EYES MEDIUM SHOT PREW AND GALOVITCH fighting. Galovitch draws blood from a cut over Prew's eye. He is getting the better of the battle. In b.g. Thornhill breaks out of the crowd and runs across the quadrangle. MEDIUM SHOT BALDY DHOM AND SPECTATOR SPECTATOR I don't get it -- Why don't Prew go for the head? DHOM He blinded a guy once. Must be scairt of the same thing. MEDIUM SHOT PREW AND GALOVITCH as Galovitch batters Prew back against the crowd. A right to the temple sends him to his knees. He shakes his head a moment, gets up and goes into a clinch. LONG SHOT BARRACKS WINDOWS ON UPPER FLOORS The windows are crowded with men watching the fight. 108. INT. SQUAD ROOM - DAY LONG SHOT OUT WINDOW To FRONT OF BARRACKS SHOOTING OVER heads of men watching, out to Prew and Galovitch on the ground. Dispassionate, professional ad-libs from the men: why does Prew continue his attack to the body only, a good little man and a good big man, etc. INT. CAPTAIN'S OFFICE - DAY SHOT WARDEN AND HOLMES FEATURING WARDEN Warden is at his desk filling out an application blank. Holmes is glancing over his shoulder.. INSERT: OFFICER EXTENSION COURSE APPLICATION BLANK Warden's hand in shot filling out answers to sex, age, race, etc. HOLMES' VOICE I'll be glad to recommend you, Warden. You've got service, experience, grade. You'll make an excellent officer. BACK TO SCENE: Holmes waits for thanks. WARDEN (AFTER HESITATING) Thank you, sir. The screen door in the Orderly Room bangs. Thornhill runs into the office, breathless. He comes to a shaking attention as he sees Holmes. HOLMES At ease, Sergeant. What's the matter? THORNHILL They fightin on the green, sir! Galovitch and Prewitt. THORNHILL Ike looks like `e goin to murder him, sir. A pleased look crosses Holmes' face. Warden jumps up, starts for door. Holmes catches his arm. 109. HOLMES There's no rush. I'll take care of it. Holmes goes out. Thornhill follows, turns at the door. THORNHILL Ain't you want to see it, First? WARDEN (SHOUTS SUDDENLY) No! I ain't want to see it! Nor you either! Get out of here! Thornhill goes. The screen door in the Orderly Room bangs. Warden walks to his desk, stares down at the application form, picks it up. He carries it over to Holmes' desk. He looks at the picture of Karen on the desk. CLOSE SHOT PHOTOGRAPH OF KAREN MEDIUM CLOSE SHOT WARDEN He stares at the picture, then looks at the application blank. Then he looks down at the chevrons on his arm. He rubs his hand over the chevrons gently, fondly. He looks at the application blank again very thoughtfully. EXT. BARRACKS - DAY MEDIUM SHOT PREW AND GALOVITCH ON LAWN A continuation of the fight. Prew is tiring, his face is cut and bleeding and there is a welt under one eye. Galovitch is unmarked but grunting now from Prew's constant jabs at his stomach. He seems perplexed, as before, by his opponent+s tactics. MEDIUM SHOT SPECTATORS FEATURING the non-"ath-a-leets" of G Company, including Anderson, Clark and Treadwell. Ad-libbed shouts of "In the face, Prew! In the face!" ANOTHER ANGLE FEATURING the "ath-a-loots," including Dhom, Wilson and Henderson. They are watching quietly, nodding with approval as Prew feints, then darts several punches into Galovitch's ribs, It almost seems as if they are admiring Prew's courage, inwardly rooting for him. Holmes enters the group, Thornhill tagging after him. Holmes stops and watches the fight. There is a look of satisfaction on his face. MEDIUM SHOT PREW AND GALOVITCH The fight continuing. 110. ANOTHER ANGLE near rear of crowd. An officer, walking across the lawn, is attracted by the noise. He steps into the crowd. This is COLONEL WILLIAMS. He wears the insignia of the Inspector General's Department. He watches the fight, is about to step through to break it up when he sees Holmes. He stops, watches Holmes' reactions. MEDIUM SHOT PREW AND GALOVITCH Prew, backed up against the crowd, trips over somebody's feet. He falls without being hit. Galovitch kicks at him and Prew rolls away. The crowd murmurs angrily. Sergeant Stark steps out into the open circle, faces Galovitch. STARK This ain't no rassle, Ike. You got to fight this man fair. Approving shouts from the crowd. Stark steps back. Ike waits for Prew to get up. MEDIUM CLOSE SHOT PREW looking up at Galovitch. CLOSEUP GALOVITCH SHOOTING UP FROM PREW'S POV CLOSEUP GALOVITCH'S EYES CLOSEUP PREW His eyes narrow, harden as if his inner struggle has been resolved. MEDIUM SHOT PREW AND GALOVITCH Prew gets to his feet. As Galovitch comes to him, Prew feints for the stomach, then throws a hard right to Galovitch's face. It hits him flush on the nose. Blood spurts. The crowd roars. ANOTHER ANGLE Galovitch, surprised and hurt, throws up his hands. Prew drives both fists to his solar plexus. Galovitch drops his guard. Prew smashes him in the face and Adam's apple. Galovitch falls to his knees, hawking and choking. MEDIUM SHOT PREW AND GALOVITCH The whole nature of the fight has changed. Galovitch, hurt and reeling, rushes Prew, bull-like, head down, defense wide open. Prew dodges easily, slamming hard with rights and lefts to the head. MEDIUM SHOT Holmes, seeing Prew is now clearly in command, steps out of the crowd and up to the two fighters. 111. HOLMES (SEVERELY) All right. Let's cut it. There is a look of relief on the faces of both Galovitch and Prew as they stop fighting. HOLMES What started this? GALOVITCH (PUFFING) Prewitt talk back to non-com. Refuse order I give him, start fight. I teach him lesson. A laugh from the crowd. HOLMES You won't disobey any more orders in my Company, Prewitt. Warden saved you from a court martial once but he won't this time -- Anderson steps into the circle. ANDERSON Sir -- I'm sorry, sir but Private Prewitt's not to blame for this. Sergeant Galovitch started it. Holmes reacts, momentarily at a loss. He turns to Thornhill. HOLMES (MEANINGFULLY) Thornhill, you're in charge of this detail. How about it? Thornhill steps into the circle, nods toward Anderson. THORNHILL `e's right, sir. (points to Galovitch) `e begun it. Prewitt done nothin. From the crowd step Sergeants Dhom, Wilson and Henderson. They face Holmes and Galovitch implacably. HENDERSON No, sir, this wasn't Prewitt's fault. 112. DHOM That's right, sir. Everybody knows Galovitch started it. Wilson nods. There is a murmur of agreement from the crowd. Holmes looks at his fighters, rocked by this betrayal. They stare back at him. MEDIUM CLOSE SHOT COLONEL WILLIAMS Still near the rear of the crowd, he watches the scene with much interest. MEDIUM SHOT Holmes pulls himself together, turns to the crowd. HOLMES That's all. Break it off. Let's get back to our jobs. (to Prew and Galovitch; WEAKLY) I'm giving you two a break. I'll ignore this. He walks off. He does not see Colonel Williams. Galovitch moves off toward the barracks. Wilson, Henderson and Thornhill remain grouped around Prew. PREW You guys figure this means I'm steppin into a ring, you're wrong. EMERSON It's your show, kid. Run it the way you want. WILSON You better put same iodine on them cuts. DHOM Yeah. An come over to Choy's tonight. We buy you a beer. The non-coms walk off, Prew stares after them. DISSOLVE TO: EXT. CHOY'S - NIGHT LONG SHOT ACROSS ROAD PREW CLARK ANDERSON Sounds of gaiety from the beerhouse mingle with the mournful twang of guitars being played by Clark and Anderson. CAMERA MOVES SLOWLY toward the trio until the beerhouse noises are 113. low. The men are surrounded by many empty beer bottles. PREW, CLARK AND ANDERSON (SINGING SOFTLY) Woke up sick on Thursday Feelin like my head took a dare Looked down at my trousers All my pockets was bare That girl sure was bad news Re-enlistment Blues... The guitars finish the stanza with a flourish as CAMERA HOLDS on MEDIUM SHOT. The men chuckle. CLARK Some day I'm goin back to Scranton and play it for my folks. And tell em it wan composed in the Hawaiian Islands! Clear across the Pacific Ocean! PREW (finishes long swig of BEER) Hey, Friday. CLARK Yeah? PREW Why you called Friday? CLARK Don't know. I was borned on Wednesday. (plucks guitar, sings) Went back around on Friday Asked for a free glass of beer... The three laugh, sing in unison. PREW, CLARK AND ANDERSON My friends had disappeared Barman said, `Take off, no credit here'... MEDIUM SHOT NEAR ENTRANCE TO CHOY'S The music from across the road almost lost in the laughter and shouts from the beerhouse. Warden comes out, wobbles a bit. He has One On. He cups his hand over his ear, straining to hear the singing. He stumbles into Choate, coming along the sidewalk. 114. CHOATE Top, you sure plastered. WARDEN (MUSTERING DIGNITY) I am off duty. Off duty if I want to get plastered -- But Choate has gone into Choy's. CAMERA RETREATS with Warden as he wanders to the road, still trying to locate the singing. Half-way across the road he unceremoniously sits down, crosses his knees Buddha-wise. Here the singing is more audible. He listens contentedly. MEDIUM SHOT PREW ANDERSON CLARK PREW, ANDERSON AND CLARK (SINGING) Ain't no time to lose Re-enlistment Blues... Anderson, as usual, finishes the stanza with a brilliant display on the guitar. Prew stands up. In the glow of a streetlight his face shows the marks of his battle with Galovitch. He wobbles and we realize he, too, really Has One On. ANDERSON Where you go in? PREW Back to Choy's. Get nother drink. The guitars and singing continues in b.g. through following. CAMERA PANS with Prew as he weaves to the road. MEDIUM SHOT MIDDLE OF ROAD as Prew crosses. He can see the seated figure but the light from the street is too dim to identify it. WARDEN'S VOICE (BOOMS) Halt! Prew stops automatically. WARDEN'S VOICE Who goes there? PREW A friend. 115. WARDEN'S VOICE Advance, friend, and be reconized. Prew moves closer, CAMERA WITH him, until he recognizes Warden. WARDEN (roaring, laughing) Quiet! At ease! Fall out! Right dress! `bout face! Hit the track! Garbage Detail! Latrine Detail! Dis a drill, not picnic! Hello, kid. Whatever you doin out all by yourself? PREW I'm goin to get a drink. WARDEN Siddown. I got a bottle. He pulls a bottle of whisky from his field jacket, holds it up to Prew. Prew takes the bottle and drinks. Then he sits down in the road as matter-of-factly as did Warden. He gives the bottle back to Warden. WARDEN I hand it to you, kid. They called off The Treatment this afternoon. When you beat up Ike. I never heard of no soljer before ever lickin The Treatment... (drinks; then holds out BOTTLE) Here, old buddy. Have a lil drink. Prew drinks. WARDEN This is a terrible crummy life, you know it? PREW Miserble. Perfeckly miserble. WARDEN What if a truck or somethin was to come along and run over us? PREW Awful. Awful. We'd be dead, wouldn't we? 116. WARDEN (NODS VEHEMENTLY) An nobody to even mourn. You better not sit here any more. You better get up and move over to the side of the road. PREW What about you? You got more to live for than me. You got to take care of your Compny. WARDEN I'm old. Don't matter if I die. But your life's ahead of you. You get up. PREW No, sir. Never deserted a friend in need. I'll stay to the bitter end. WARDEN (shakes head stubbornly) We'll stay together. They square their shoulders heroically. WARDEN (as if to an invisible FIRING SQUAD) No blindfold. Save it to wipe your nose on, you skunk. PREW Amen. Each takes a drink. WARDEN Prew, I got the biggest troubles in the whole world. PREW The whole world? WARDEN (NODS) Take love. Did you personally ever see any of this love? Prew nods gravely. 117. WARDEN You'll unerstan, then... This girl, see, she wants me to become. PREW Become what? WARDEN (after long hesitation) An officer. Can you see me as an officer? PREW Sure I can see it. You'd make a good officer. WARDEN You both can see more'n I can. You know what, Prew? I'm scared become an officer. PREW You ain't scared of nothin, Warden. WARDEN Yes, I am. I tell myself diffrnt but it's a fack. Where'd I be as an officer? How could I handle him? That's the one thing I'm scared of... be an officer in the U.S. Army. (HASTILY) Army of the U.S. PREW A man should be what he can do. Warden nods solemnly as if Prew has uttered a great truth. They pass the bottle once more. WARDEN How's your girl? Wha'st that name again? PREW (HESITATES) Lorene. WARDEN Oh, yeah, I remember. Lorene. Beautiful name. 118. Warden claps Prew on the shoulder as if he is a lifelong friend. They smile. They look as if they are sharing a great secret, a secret known to them alone in the world. The mournful guitars and singing comes over a little louder. ANOTHER ANGLE The headlights of a jeep descend upon Warden and Prew. Then the vehicle skids into the shot with a screeching of brakes, comes to a halt directly in front of the men. Warden and Prew look at the car calmly, don't move. The headlights are blazing on them. Stark hops out from the driver's seat, furious. STARK Whatsa matter with you, you crazy, dumb screwballs?! You tryin to get killed?! WARDEN What you doin with that jeep, Sergeant Stark? STARK I borrowed it. I'm goin to town. What you doin in the middle of the road? The music of the guitars has stopped. There is a strange whine now, far in the distance, not identifiable. It grows during following. WARDEN My friend Prew and I sittin here discussin the weather. STARK Your friend, huh? PREW You beard me. I said my buddy Warden. My good friend Warden that you better not run over is what I said. MEDIUM CLOSE SHOT WARDEN WARDEN (ASSUMING ANGER) Don't you know you got to look out for this man. Get him off the road before you run him over. He's the best stinkin soljer in the Compny. 119. STARK You both must be plumb nuts. PREW You heard me. Get this man to some safety. Why, he's the best stinkin soljer in the Compny. STARK I guess I'm the one who's nuts. MEDIUM CLOSE SHOT MAGGIO as he stumbles around the side of the jeep directly into the blaze of the headlights. There are scars, new and healing on Maggio's face. One of his ears is cauliflowered, enough to give him the lopsided ribald look of a punchy. A couple of teeth are missing. Weirdly outlined in the glare, he is a nightmare figure, an apparition. The whine in the distance is identifiable now. It is the siren of the Stockade. MAGGIO ... figgered you might be at Choy's... GROUP SHOT The men gape at Maggio, unable to accept the shock of his appearance. Then Prew and Warden jump up and catch him as he is about to fall. The drunkenness drains out of them. Stark watches in bewilderment. MAGGIO (spewing words out) ... done it like I said... e- scape... e-scape like I figgered... Under a tarp inna back of a truck from the Motor Pool they rode me right out just like I figgered like I said... Ony the tailgate came down 'bout a mile back... an I fell inns road... (GIGGLES) ... shoulda seen me bounce... musta broke somethin... (clutches Prew's shirt) Prew... lissen... PREW Angelo... Warden steps back as Prew holds Maggio. During following Anderson and Clark come over, watch pop-eyed. 120. MAGGIO Fatso... Fatso done it to me... yestiday he did it for keeps... He likes to whack me in the gut with a hoe handle an then he asks `that hurt?' and then I spit at him... Ony yestiday he done it ten times runnin an somethin bust... you know, like they was a fish swiminin aroun inside you... PREW (TO OTHERS) Come on, let's get him to the hospital. Maggio grasps him tighter. He is crying now. MAGGIO Prew... they gonna send you to the Stockade...? PREW No, Angelo -- TWO SHOT MAGGIO AND PREW MAGGIO (PLEADING) Should they do, watch out for Fatso! You gotta make like it's a game... He'll try to crack you but you ain't gonna crack... He's gonna see you but he'll never see you saw... `n' when he puts you in the Hole you just lay there `n' be still... `at's the ony way -- be still... `n' remember things... but not people. Not people! Things like nature... woods you been in... trees is awys good... He goes limp in Prew's arms, slides to the road. GROUP SHOT Warden bends over Maggio. The others watch, scared. CLOSE SHOT PREW staring down at Maggio. GROUP SHOT Warden looks up. 121. WARDEN He's dead. CLARK Dead? But he was here just a minute ago. Prew bends over, picks up Maggio, holds him in his arms gently, unbelieving. STARK Fatso's lucky. They'll figure he got killed fallin out of that truck. PREW He ain't dead. CAMERA MOVES AHEAD of Prew as he carries Maggio to the jeep, the others following. He lifts Maggio into the rear of,the jeep. Warden puts his hand on Prew's arm. WARDEN He's dead, Prew. Prew stares at Maggio, lying in the jeep. Stark gets into the front of the jeep. STARK I'll take him, Prew. He starts the motor. Prew leans over, moves Maggio's body a little. PREW (TO STARK) See his head don't bump. The jeep drives off. DISSOLVE TO: EXT. BARRACKS AREA - NIGHT LONG SHOT Framed beautifully in the moonlight, the Quadrangle and Barracks area look like a college campus. Silence. No movement. LONG SHOT ANOTHER ANGLE A figure can be seen far in b.g, at the Bugler's post beside the megaphone. Another figure stands near him. The silence continues, then is broken by the sound of the bugle beginning 122. Taps. The first note is incredibly clear and loud and certain. It is held longer than most Buglers hold it. The second note is daringly short, abrupt. The last note of the first phrase rises, peals out, heartfelt. Two men come into the shot, smoking. They stop, turn toward the Bugler, listen attentively. One of them flips away his cigarette. The Taps continues through the following. INT. SQUAD ROOM - NIGHT FULL SHOT Most of the men turn in their beds toward the sound of the bugle. Some prop up on their elbows. CLOSE SHOT CHOATE as he listens. A look of mingled longing and satisfaction. CLOSE SHOT LEVA listening. A strange look of pride. CLOSE SHOT MAZZIOLI listening, his face also betraying emotions normally concealed. MEDIUM SHOT TREADWELL AND ANDERSON listening. Their bunks are next to each other. TREADWELL (a reverent whisper) I bet you it's Prewitt... EXT. PORCH ON BARRACKS - NIGHT MEDIUM SHOT Three men come out of the barracks, lean over the porch rail, listening. Their faces are thoughtful, sad. INT. CAPTAIN'S OFFICE - NIGHT MEDIUM SHOT WARDEN The office lit only by a light over his desk. He is working late, a sheaf of papers spread out before him. He listens to the bugle call, moved, sorrowful. He snaps off the light, listens in the darkness. EXT. QUADRANGLE - NIGHT MEDIUM CLOSE SHOT PREW at the Bugler's post. He is finishing the last phrases, full and wonderful. Behind him stands Friday Clark, motionless. The final note quivers to silence. Prew swings the megaphone for the repeat. Then the repeat begins, the clear proud notes reverberating across the silent quadrangle. 123. INT. WARDEN'S ROOM OFF SQUAD ROOM - NIGHT MEDIUM CLOSE SHOT KARELSEN lying on his back in his bunk, arms clasped behind his head. He listens, his gnarled face the picture of the old soldier. He breathes heavily as if he is hearing his own requiem and epitaph. EXT. PORCH ON BARRACKS - NIGHT MEDIUM SHOT There are eight or nine men here now, listening. CLOSE SHOTS DHOM HENDERSON THORNHILL There is a choked kinship on all the faces. INT. SQUAD ROOM - NIGHT FULL SHOT More men are propped on their elbows, their heads turned toward the Bugler. The dim figure of Treadwell can be seen, at a window now. TREADWELL (almost inaudible whisper) ... I told you it was Prewitt... EXT. QUADRANGLE - NIGHT CLOSE SHOT PREW continuing the Taps. There are tears in his eyes now. EXT. BARRACKS STEPS - NIGHT MEDIUM SHOT A half dozen men are sitting on the steps, listening, among them Stark and Wilson. Stark shakes his head sadly. EXT. COMPANY STREET - NIGHT MEDIUM CLOSE SHOT WARDEN listening now on the porch alongside the street. EXT. BARRACKS AREA - NIGHT LONG SHOT Several groups of two and three scattered about. They are standing in no particular places, as if they have been walking and stopped suddenly. They are all looking toward the Bugler. 124. INT. SQUAD ROOM - NIGHT MEDIUM CLOSE SHOT ANDERSON as the Taps repeat is drawing to a close. He is lying on his side, turned toward the Bugler, a look of serenity, of peace on his face. His eyes close as he falls asleep. EXT. QUADRANGLE - NIGHT MEDIUM SHOT PREW coming to the end of the Taps. CAMERA MOVES IN to a CLOSEUP. Prew's face is wet with tears. His lips are pinched and red. He blows the final notes. MEDIUM CLOSE SHOT PREW AND CLARK Prew lowers the bugle slowly and lets the megaphone rest in its swivel. He withdraws the mouthpiece, puts it in his pocket. He hands the bugle to Clark. Clark looks at the instrument as if it has become hallowed. Prew walks off into the darkness. FADE OUT. FADE IN: EXT. NEW CONGRESS CLUB - NIGHT TRACKING SHOT CAMERA MOVES along street, passing a lone pedestrian. It MOVES TOWARD the sign NEW CONGRESS CLUB, HOLDS beside an open window through which is heard the sound of harsh piano playing; the pounding style and lack of shading are clearly Fatso Judson's. CAMERA PANS AND INCLUDES Prew, leaning against the building. He is watching the entrance to the Club patiently. There is relentless hatred on his face. The music stops. Prew does not move. DISSOLVE TO: EXT. NEW CONGRESS CLUB - NIGHT MEDIUM SHOT AT ENTRANCE Hearty male laughter from within. The door opens and Fatso and a couple of sailors cane out. They are about to start down the street. PREW'S VOICE Hello, Fatso. Fatso looks around in direction of voice. CAMERA PANS, DISCLOSES Prew, still leaning against the building. Fatso squints, not recognizing him. 125. FATSO You want me? PREW Yeah, Fatso. Fatso takes a couple of steps toward Prew, squints again. FATSO I don't like that nickname. You want to see me about somethin? PREW Yeah. Let's step around the corner here where we can talk. Prew's voice is so toneless as to be ominous. FATSO (GRINS) Okay. Good night, gents. The sailors go off. Fatso walks into the darkness of an alley next to the building. Prew follows. EXT. ALLEY - NIGHT MEDIUM SHOT PREW AND FATSO Just enough light from the street lamp to illuminate about ten feet into the alley. FATSO Okay. You sore about somethin? PREW No. I just don't like the way you play the piano. Fatso throws back his head and laughs loudly. PREW You know Maggio? FATSO The little Wop? The one who bust out of the Stockade? Sure. He was a real tough monkey. But crazy, see? PREW You killed him. FATSO Did I? If I did, he ask for it. 126. PREW I hear they're gonna court martial you, Fatso. But before the Army gets you, I want a piece of you myself. There is the snick of a blade snapping open as Fatso pulls a knife. He moves toward Prew, who steps swiftly to one side. PREW I kinds thought you'd try that. There is the same sound as Prew pulls a knife from his pocket, snaps it open, holds it out flat in his hand, showing it to Fatso. PREW This here's the one you pulled on Maggio once. Reconize it? Fatso darts at Prew, knife raised. Prew moves back, but Fatso is on him and they both roll to one side along the building. The movement throws them deep into the shadows. ANOTHER ANGLE SHOOTING INTO THE SHADOWS The two figures feint and dart. There is the occasional silver flash of the knives as light hits them. The men go deeper into the shadows, are all but lost to view. There is a startled, pained cry. Then one of the figures falls to his knees and starts to crawl toward camera. CLOSE SHOT SHOOTING NEAR GROUND as the figure comes directly to camera, REVEALING the anguished face of Fatso. It slowly turns, is upside down in the frame. MEDIUM SHOT Fatso is on his back, his stomach gushing bloods his eyes already glazing. Prew staggers into the light now. His left side has two vicious cuts; he is bleeding badly. He stares down at Fatso, who manages a small, reproving voice. FATSO You've killed me. Why'd you want to kill me? Prew backs away from Fatso, turns, staggers down the alley away from camera. WIPE TO: 127. EXT. CLIFF ROAD - NIGHT MEDIUM SHOT Prew comes toward camera, laboriously struggling up the road. His side is hemorrhaging steadily, his shirt and trousers blood-soaked. He stops close to camera. He wads his handkerchief, sticks it inside his shirt near the knife wound. He smiles wearily, crookedly. PREW (mumbles to himself) Gonna have an awful bad scar there... He lights a cigarette, his fingers shaking. The flame from the match illuminates his left wrist. There is a deep scar on it. It seems to fascinate Prew as he stares at it, rubs his fingers across it. PREW ... scars... He turns, moves on up the road; CAMERA MOVES CLOSE behind him, as if overhearing his thoughts which come over on sound track. PREW'S VOICE (O.S.) ... got that one fallin off the barn back home... gashed it on a spike... Dad laughed... Dead now... Uncle John+s dead, too... Prew moves away from camera out of shot. WIPE TO: EXT. CLIFF ROAD - NIGHT TRACKING SHOT ANOTHER SECTION OF THE ROAD CAMERA FOLLOWS Prew, as he keeps in shadows, moves slowly up the cliff. He is in much pain now. His hand rubs across his face; his fingers linger on his forehead near his eye. PREW'S VOICE (O.S.) ... that cut over the eye... in the ring at Myer... wouldn't let `em stop it... knocked the guy out... sixth round... CAMERA LOSES Prew again as he stumbles into shadows. WIPE TO: 128. EXT. CLIFF ROAD - NIGHT TRACKING SHOT SITE OF PREVIOUS PREW-ALMA SCENE CAMERA FOLLOWS Prew, who is now fighting hard to keep his feet. His hand is pressed tight to his side. PREW'S VOICE (O.S.) ... ten stitch gash in the hip... workin in the gym attic... fell through the skylight... where was that?... so many scars... so many years... where they all gone to anyway...? He moves on around bend in road out of shot. DISSOLVE TO: INT. ALMA'S HOUSE LIVING ROOM - NIGHT MEDIUM SHOT ALMA AND GORGETTE The radio is blaring the "Hut Sut Song." Alma is crocheting. Gorgette is reading. CAMERA SHOOTS across them to the front door. The doorknob moves slowly, the door opens. Prew falls into the room and pitches to the floor. ALMA PREW -- She rushes to him, bends over him. Gorgette runs to the radio, turns it off. CLOSE SHOT ALMA Her face agonized as she leans over Prew. ALMA Prew! MEDIUM CLOSE SHOT ALMA AND PREW He pushes himself up on one elbow, seems pleased by her stricken expression. He manages a smile. PREW (WEAKLY) Don't worry... Ain't gonna die. They savin me for better things... Gorgette kneels into shot. Prew's smile becomes silly as he turns his head to her. 129. PREW ... just came up to borrow a good book. DISSOLVE TO: INT. GENERAL'S OFFICE - DAY MEDIUM SHOT GENERAL SLATER COLONEL WILLIAMS HOLMES The American flag, the General's flag and the Division flag are the only colorful elements in a rather severe office. Colonel Williams is reading from a typed report. COLONEL WILLIAMS --- In addition to inefficiency in administering his command and neglect of duty, Captain Holmes has been guilty of indefensible cruelty to the aforesaid Private Prewitt. This extended to instigating and encouraging wholly unauthorized and discreditable tactics to force the soldier to join the inter-regiment boxing team. These findings are the result of personal investigation by the Inspector General and are corroborated by numerous members of G Company. Colonel Williams puts his report on the General's desk. Holmes' face reflects a weary resignation as if underneath he has really expected something like this for a long time. He makes no move to speak. The General is angry clear through. GENERAL SLATER I'm waiting for your reply to this. HOLMES I haven't any, sir... The charges -- are true. GENERAL SLATER Holmes, the first thing I ever learned in the Army was that an officer takes care of his men. It seems to be the first thing you forgot. It's monstrous to think of anybody like you in command of troops. And believe me, you won't be for long. My only regret is that we have to keep you in uniform until a court martial is concluded. (MORE) 130. GENERAL SLATER(cont'd) In the meantime, of course, I'm relieving you of your present duties. He indicates the meeting is over. Holmes rises, is about to leave, pauses. HOLMES If there were any way to avoid a court martial, sir. Any way... The General frowns, is unresponsive. Holmes looks to Colonel Williams helplessly. COLONEL WILLIAMS There is one alternative, General... if you're so disposed. A resignation for the good of the service under AR 600-275. GENERAL SLATER (thinks a moment) I'll give you a chance you don't deserve, Holmes. Write a letter of resignation and have it on my desk this afternoon. I'll consider accepting it. Only because as far as I'm concerned, the quicker you're out of the Army the better for everybody. Especially the Army. DISSOLVE TO: INT. KAREN'S BEDROOM - DAY MEDIUM SHOT KAREN AND HOLMES He confronts her, waving a sheet of stationery. His voice is strangled, almost hysterical. HOLMES --- that's right, it's a letter of resignations I'm through! I've already been relieved! So you can begin packing. We're sailing for the States next week! She shakes her head, not wanting to believe; she takes the letter out of his hand, starts to read it. She stops after a sentence or two. Her hand falls to her side. Holmes sits on the bed heavily. The bluster bleeds out of him. He shakes his head, emotionally bewildered. For perhaps the first time in his life he is nakedly honest. 131. HOLMES Where has it gone, Karen? What happened to it? The gay, cheerful life we were going to have, you and I...? What happened to me...? The proud, dashing officer was going to be. The leader of men?... I've known all along how the men felt about me. They despised me... What's happened? I don't remember losing anything... Where has it all gone? MEDIUM CLOSE SHOT KAREN reacting; she is surprised, a little afraid of her own emotion. The outcry, so lost, so despairing, moves her. She is sorry for him. MEDIUM SHOT HOLMES AND KAREN HOLMES Karen -- you're coming back with me, aren't you...? Trembling, Karen puts the letter on the dressing table. Abruptly, she runs out of the room. DISSOLVE TO: INT. CAPTAIN'S OFFICE - DAY CLOSE SHOT DESK FEATURING placard reading LIEUTENANT ROSS. We hear Ross' first few words over this, then CAMERA PULLS BACK to MEDIUM SHOT. Ross is forceful, clean-cut, gives the impression of toughness but fairness. As he talks he takes down the photographs of prize fighters and prize fighting from the wall. Watching and listening are Sergeants Dhom, Thornhill, Henderson, Leva, Stark and Karelsen and Corporal Wilson. Ross is such a complete switch from Holmes that the men are almost unnerved by him. But a definite respect is reflected in their expressions. Warden, beside his desk, shares this. ROSS -- I don't intend to have a sloppy outfit. I don't intend to have a goldbrick outfit. I don't intend to have a soft soap outfit. I've called you noncoms in because you're the backbone of any Company. (MORE) 132. ROSS(CONT'D) From now on you'll have to prove you're entitled to have those stripes here. And not in the boxing ring. He bands the pictures to Leva. ROSS Get rid of these, Sergeant. LEVA Yes, sir. ROSS That's all I have to say. If you've any questions, speak up. Nobody speaks. ROSS Dismissed. The men troop out, passing camera. As last man leaves, CAMERA IS ON Warden. He is looking at Ross with considerable approval, even admiration. He resumes a more normal expression as Ross turns toward him. WARDEN One non-com was missing, sir. Sergeant Galovitch. ROSS I know. Private Galovitch is in the kitchen. WARDEN In the kitchen? ROSS As of now, he's an assistant cook. I busted him. On a blanket charge of inefficiency. What are you grinning at? WARDEN (GRINNING) I think the Company Commander made a wise decision, sir. The phone rings. Warden goes to his desk, answers. 133. WARDEN (INTO PHONE) Compny G, First Sergeant Warden speaking. Karen's voice is heard on the phone; we cannot understand what she is saying, but a flood of words pours through. With Ross looking on, Warden is embarrassed. WARDEN (INTO PHONE) Yes... Yes, I know... (glances over toward Ross) Yes, the - uh - parcel has already arrived... Yes... What?... (GRIM NOW) No. No, we'll have to talk about it soon. Right away. I - I don't know... Ross perceives Warden's distress. He starts toward the door. Warden nods gratefully. Ross smiles, leaves the room. WARDEN (INTO PHONE) Lissen, I'll get away somehow, tonight. I'll meet you in Kuhio Park. At eight... Right.... He puts down the receiver. He stares at the desk. Then he slowly pulls out the top drawer. The Officers Application Blank is lying on top of a pile of other papers. He takes it out, looks at it somberly. CAMERA MOVES IN to an INSERT of the Application. We see Warden's answers to sex, age, race, etc. CAMERA MOVES DOWN the page to the place for the signature of the applicant. It is unsigned. DISSOLVE TO: EXT. KUHIO PARK - NIGHT LONG SHOT In b.g. Warden, in uniform, and Karen are sitting on the same bench as in their first meeting in the park. We cannot hear what they are saying at first. CAMERA MOVES IN past a few pedestrians and HOLDS on a MEDIUM SHOT. There is a defeated, tired look about them, as if they have been talking for a long time to no avail. KAREN ... I guess I felt it that night I asked you to become an officer. When you didn't say yes right away. (MORE) 134. KAREN(CONT'D) I guess I knew deep down you wouldn't do it. But -- (a hint of tears) It seemed such a simple plan for us... WARDEN I wanted to -- I tried -- but I couldn't... He runs his hand through his hair. He seems to be groping inside himself for some way to explain. WARDEN Lissen -- there's a kid in our outfit named Prewitt... Robert E. Lee Prewitt... He came in from the States about a year ago. I thought he was a fresh punk at first... until I got to know him a little. He's AWOL right now -- probly in some kind of real trouble -- he ain't the kind to go AWOL otherwise. Anyway, I keep remembering somethin he said to me the first day he came in. He said a man has got to go his own way... if he don't, he's nothin... I'm an Enlisted Man. I'm a First Sergeant. Milt Warden. Once I cross that line and tried to be an officer, I'm somebody I don't know. A stranger. And a man has got to be what he is... KAREN I guess that's the trouble with Dana... He's always tried to be something he isn't. Poor Dana... I don't think he ever needed me until now. (shaken herself out of it) Well, here we are saying goodbye. And talking about two other people. WARDEN We're not saying good-bye -- we'll figger out a way for you to stay HERE -- KAREN I'm going back with him, Milt. There's something in being needed. It isn't love. But it's something. 135. WARDEN (DESPERATELY) Lissen, two people who love each other just don't stop loving each other! Nothin and nobody is goin to break us up l 1111 transfer out somehow and get back to the States. Maybe it'll take a little time but I'll do it! KAREN (SMILES) That sounds like Milt Warden, all right. He bends toward her to kiss her. She presses him back. KAREN No, Milt. I don't want to kiss you any more. I just want to remember you. And you to remember me. WARDEN Put it down. Put it down that on December 6th, 1941, Milton Anthony Warden told you he'd remember you... CAMERA PULLS BACK, PASSES a few pedestrians, Warden and Karen remaining in b.g. of shot. They begin to talk again, quietly, undemonstratively. We are too far away now to hear what they are saying. DISSOLVE TO: INT. ALMA'S HOUSE LIVING ROOM - NIGHT MEDIUM SHOT PREW AND ALMA Alma is reading a newspaper in b.g. Prew is disheveled and slovenly, needs a shave badly. His face is lined with pain. He is drunk from several days of steady drinking, stone drunk, as if in a trance. He wears crumpled civilian clothes. He is at a table laboriously writing out the Re-enlistment Blues. He finishes writing a stanza and sings softly. PREW Slep in the park that Sunday Seen all the folks gain to church Your belly feel so empty When you're left in the lurch -- Alma looks up from the paper. 136. ALMA Here it is -- they're putting it on an inside page already. (READS) `... still no clue in the fatal stabbing of Staff Sergeant James R. Judson...' Prew, who has stopped singing but not turned his head, resumes the song. PREW Dog soljers don't own pews Re-enlistment Blues... ALMA (ANNOYED) Did you hear me? Are you listening or not? Prew nods blankly. He rises slowly and walks across the room toward Alma. But his eyes are fixed on a whisky bottle on a table beside her. He moves stiffly, favoring his side, his face contorted. He picks up the bottle, pours himself a drink. ALMA (COLDLY) Are you trying to set a new world's record? CLOSE SHOT PREW He smiles faintly, holds the glass high. PREW Yeah... To the memory of Robert E. Lee Prewitt, Holder of the New World's Record... TWO SHOT PREW AND ALMA ALMA I want to know what you plan to do. PREW Plan to do? When? ALMA Any time. Now. Tomorrow. Next week. PREW Lessee... (counts on fingers) (MORE) 137. PREW(CONT'D) ... One... two... three... four... Four days I'm AWOL, ain't I? (picks up paper, looks at DATE) ... this is December sixth, ain't it...? ALMA (half-tirade, half-wail) It's December sixth and you're so drunk you're wall-eyed. And all you've done since you fell in here is drink and drink and drink and try to remember that old song of yours. And I want to know what you're going to do! Prew looks at her, hurt. He moves back to his table, mumbling. PREW ... might ship out on a tramp and go to Mexico and be a cowboy... ALMA Oh, be sensible! Prew sits at the table again, continues to mumble. PREW ... I'm goin back to the Compny... soon's my side heals... Goin back under my own power... Goin into the Ordrly Room 'n' say hello, Warden, Private Prewitt reportin... ALMA (BREAKING) Oh, Prew! Prew! Why did you have to do it? Why did you have to kill that man? Prew shakes his head sadly as if he doesn't know the answer. He picks up the paper he has been writing on, sings softly, testing the last couple of lines affectionately. PREW Recruitin crews give me the blues Old Re-enlistment Blues... DISSOLVE TO: 138. INT. MESS HALL - DAY FULL SHOT CAMERA FEATURES clock on wall reading 7:52. About half the Company is at breakfast. There is considerable laughter and horseplay. Near the kitchen a dozen men are in the chow line. MEDIUM SHOT FEATURING Warden at the NCO table. He rises, carries his plate with him towards the chow line. A sudden, deep-toned, earthquake-like blast shudders through the room. The cups on the tables rattle. Warden stops, cocks his head. The men stop eating, look at each other. ANDERSON (to the room) Must be dynamitin down to Wheeler Field. CHOATE Them engineers mighty ambitious Sunday mornin before eight o'clock. The men resume eating. Warden moves a couple of steps toward the chow line when the second blast hits. It is much heavier and fuller. CLOSE SHOT WARDEN He has a hunch about this now. He reaches out to put his plate down, holding it very carefully in both hands. However, he doesn't bother to see if there is anything under it. The plate falls and crashes on the floor a fraction of a second before the third groundswell of blast shakes the room. EXT. COMPANY STREET - DAY FULL SHOT NEAR MESS HALL A man sprints toward the mess hall, yelling to right and left at the top of his lungs. As he approaches camera we see it is Mazzioli. MAZZIOLI The Japs're bombing Wheeler Field! It's the Japs! They're bombing Wheeler Field! The Japs! It's the Japs! I saw the red circles on the wings! LONG SHOT SHOOTING UP CIRCLES ON UNDERSIDE OF MOVING PLANE The roar of the plane over shot. MOVING SHOT SHOOTING DOWN FROM JAP PLANE PAST PILOT The figure of Mazzioli gets closer and closer as the plane 139. dives toward him, machine guns spitting. MEDIUM SHOT MAZZIOLI as the Jap plane flashes by close above him. The stones in the pavement pop up. Mazzioli flops on the street. The plane zooms. FULL SHOT MESS HALL as the men rush out. In the front ranks are Warden, Karelsen, Stark and Choate, Choate carries his half-filled plate in one hand, a mug of coffee in the other. The men stretch their necks, following the plane. Then they look back up the street, CAMERA PANNING. Far in b.g, a column of black mushrooming to the sky. Warden dashes to Mazzioli. CAMERA MOVES IN to a CLOSE SHOT as Warden bends over him, hoists him to a sitting position. He is extremely gentle. Mazzioli's knee is laid open and is bleeding freely. Warden whips out a handkerchief and starts to apply a tourniquet. MEDIUM SHOT Some of the men continue to crane at the sky. A few pick up metal links from the Jap bullets. NAIR Say! This'll make me a good souvenir! A bullet from a Jap plane! WARDEN This ain't jawbone! This is for record. Theme real bullets that guy was usin. Get inside -- all of ya! Warden gets Mazzioli to his feet, turns to first man in group surrounding them. It is Anderson. WARDEN Help him over to the hospital. Anderson starts Mazzioli down the street. LONG SHOT SHOOTING UP TO SKY A pair of planes are diving toward the street. WARDEN'S VOICE GET INSIDE! MEDIUM SHOT The men rush for cover, all except Choate who is left alone in shot. He takes a big bite of his sausage and eggs, hastily downs a swig of coffee. Then he throws the plate and cup into the street and dives for cover as the terrifyingly loud noise of the Jap planes indicates they are directly overhead. 140. INT. DAY ROOM - DAY FULL SHOT The men are pouring in from the Company street, all shouting at once. Warden pushes his way through them and jumps up on the pool table. His big voice booms. WARDEN All right, all right, you men! Quiet down! Quiet down! It's only a war. Ain't you ever been in a war before? The men begin to quiet down, look to Warden respectfully. Through the scene the heavy earth shudders are felt and heard as bombs hit in the far distance. Also the sound of the strafing planes. WARDEN We're gonna organize a fire umbrella defense. I want the non- coms to get BARs and ammunition from the Supply Room and get up on the roof. Henderson, you're in charge of the loading detail. Get movin! The non-coms push out the door. TREADWELL Hey, what about me? I been waitin all my life to git to shoot a BAR at somethin! WARDEN Okay. It's your life. Treadwell hurries after the non-coms. WARDEN The rest of you guys - the CQ will unlock the rifle racks. Every man get his rifle and go to his bunk and stay there. And I mean stay there! I'm making each squad leader responsible to keep his men inside. If you have to use a rifle butt to do it, that's okay, too. There are shouts of protest. The men are over the first shock now and beginning to get angry, anxious for action. 141. WARDEN You heard me! This ain't no maneuvers. You go runnin around outside you'll get your ears shot off. You want to be heroes, you'll get plenty chances later. You'll probly have Japs in your laps before night. SOLDIER What if they bomb us? WARDEN You hear a bomb comin, you're free to take off for the brush. But don't worry -- the Japs'll probly drop all their bombs on Pearl Harbor and Hickam. They ain't gonna waste `em on us. So let's can the chatter. We're wastin time. Squad leaders, get `em upstairs! Squad leaders begin to herd their men out. Warden jumps off the pool table. Stark and Karelsen come up to him. STARK What you want me to do, First? I got a hangover, but I can still -- WARDEN You stick in the kitchen and make a big pot of coffee. No -- make a barrel of coffee. KARELSEN I think I could get one of them Japs with a machine gun, Milt. We'll put the tripod over a chimney. And hold her down by the legs. WARDEN Whatever you say, Pete. They smile at each other affectionately, then push into the crowd leaving the Day Room. EXT. SUPPLY ROOM - DAY MEDIUM SHOT The non-coma are arguing violently with Leva at the door to the Supply Room. Jap planes are loud overhead. 142. LEVA I don't care. I can't issue any live ammunition without a signed order from an officer. HENDERSON But there ain't no officers yet, you jerk! Lieutenant Ross lives off the post. LEVA (FOLDS ARMS) I'm sorry fellows. Lieutenant Ross give me them orders himself. No signed order, no ammo. And that's all they are to it. Warden hurries up to the group. DHOM He won't let us have no ammo, Top! CHOATE Hats got it locked up. An the keys in his pocket. WARDEN Gimme them keys! LEVA I can't, Top. I got to obey my orders. No live ammo without a SIGNED -- They flatten against the wall as a Jap plane roars building- high down the street, machine guns flaring. After it passes, they rush back to Lava, WARDEN What's the matter? You blind? You see them planes --?! Lava puts his hand in his pocket protectively, shakes his head. LEVA I ain't gonna do it, Top. I -- WARDEN Okay. Chief, bust the door down. (TO LEVA) Get the hell out of the way! 143. Choate, Henderson and Dhom back up for a run at the door. Leva moves in front of the door. WARDEN Go ahead. Bust it down. He'll get out of the way. LEVA Remember I warned you. I did my best. WARDEN Okay. I'll see you get a medal. Warden dashes up the porch steps as Choate, Henderson and Dhom launch themselves at the door. Leva steps aside. The door rattles ponderously, then flies open. The three battering rams careen into the Supply Room. The men standing by cheer and rush in after them. Leva shakes his head grimly. INT. SQUAD ROOM - DAY FULL SHOT The men are sitting on their bunks, unhappily, holding their rifles. Others who have slept through breakfast are dressing hastily. Warden rushes into the room. The men immediately bark ad-libbed questions at him: SOLDIERS (AD LIB) What's the deal, First? Why can't we go up on the roof? Where's the ammo, Top? Are we soljers -- or Boy Scouts? WARN (PITILESSLY) Start rollin full field packs! We may have to move out of here. Squad leaders, get `em packin! In b.g. Henderson and others are going up the porch stairs to the roof. They tote BARs and loading clips. Karelsen and two helpers follow with a heavy machine gun and belt boxes. Warden starts for the porch stairs. He is attracted by something, stops, looks out of scene. MEDIUM SHOT THORNHILL FROM WARDEN'S POV lying under an empty bunk with three mattresses piled on it. He is in his underwear and a helmet, hugs his rifle. MEDIUM SHOT THORNHILL AND WARDEN 144. WARDEN You'll catch a cold, Turp. THORNHILL Don't go out there, First Sergeant! You'll be killed! They're shootin it up! You'll be dead! You'll not be alive any more. Don't go out there! WARDEN You better put your pants on. Warden hits the floor as a plane is heard so loud and low it sounds as if it's coming right into the room. A dotted line of bullets crosses the floor and moves into Warden's and Karelsen's room. Warden jumps up and rushes into the room. INT. WARDEN'S ROOM OFF SQUAD ROOM - DAY MEDIUM SHOT as Warden runs in. Broken glass lies all over the floor. Bullet holes are stitched across the top of Warden's footlocker. He throws back the lid fiercely. His linen is polka-dotted with holes. He tosses out shirts, shorts, etc., digs underneath them. He pulls out a quart bottle of whisky; it is untouched. Warden smiles with relief. He lifts the bottle to his lips, drinks long and heartily. EXT. ROOF OF BARRACKS - DAY FULL SHOT ROOF About twenty of Company GIs men, including almost all the non- cams, are on the roof, They are crouched behind the chimneys or down on their knees in the corners. The BARs are propped on the low walls or chimney tops, their muzzles pointed to the sky. LONG SHOT SHOOTING FROM ROOF TO SKY Three Jap planes, forming a V, are heading straight for camera. FULL SHOT MEN ON ROOF DHOM (SHOUTING) Come on, you dirty sons -- The scream of the planes drowns Dhom's voice. There is a tremendous clatter as the men fire. The Jap planes pass, untouched. 145. From this moment on there is no letup of the noise -- there is a wild cacophony of Jap planes, BARs, Karelsen's machine gun, the deep sound of bombs hitting in the far distance. And Chief Choate, singing the Regimental marching song, loudly and lustily. ANOTHER ANGLE as Warden comes up on the roof through the skylight. He shouts incoherently at the men. They shout back in a wild cheer. They are like a pack of hungry men enjoying their first big meal in years. In b.g. the Jap V has swung about and heads back. Warden grabs a BAR from the roof. CLOSE SHOT FLASH JAP PILOT IN LEAD PLANE grinning as his plane dives, its guns roaring. His silk scarf ripples out behind him. MEDIUM CLOSE SHOT WARDEN firing the BAR, standing, as the Jap planes roar over. He staggers back from the recoil. FULL SHOT ROOF The men fire in unison. They rise after the planes pass, shake their fists. Henderson and others of the loading detail appear on the roof, bringing up more ammunition. CLOSE SHOT FEATURING WARDEN He lets out a hoarse yell of glee and pride. "These are my boys. This is my Company," it seems to say. The men answer back with a great answering shout. ANOTHER ANGLE Warden makes a tour of the roof, laughing, exhorting, slapping the men on their buttocks like a quarterback. They respond with tremendous spirit; they are having one hell of a time. We get only a snatch of what Warden is yelling. WARDEN -- Don't worry about wasting ammo! Throw your empty clips down into the yard. The loading detail will pick 'em up -- The sound of a bugle blowing insistently is now heard, blending into the rest of the noise. Treadwell runs to the edge of the roof, looks over. LONG SHOT SHOOTING FROM ROOF TO QUADRANGLE At the Bugler's post, Friday Clark is sounding a call. MEDIUM SHOT ON ROOF Treadwell turns, yells at the men. 146. TREADWELL Friday's gone crazy! He's blowing the Cavalry Charge! EXT. QUADRANGLE - DAY MEDIUM CLOSE SHOT CLARK His cheeks puffed, blowing the bugle madly. INT. LIVING ROOM OF ALMA'S HOUSE - DAY MEDIUM CLOSE SHOT PREW He is lying on a couch in pajamas. He has not shaven, his hair is unkempt. A Radio Announcer is heard over shot. Prew wakens, groggy with hangover and near-delirium, wrestles with the blanket over him. CAMERA PULLS BACK to MEDIUM SHOT, DISCLOSING Alma and Gorgette. They have negligees over their nightgowns, are listening to the radio. The Announcer's voice tries hard to be calm and official but he cannot keep the tremor out of it. (NOTE: Transcripts of the actual broadcast have been requested.) RADIO ANNOUNCER'S VOICE ... This is a real attack, not a maneuver. The Japanese are bombing Pearl Harbor. Please keep in your homes. Do not go on the streets. I repeat, this is a real attack. Japanese planes are bombing our naval and army installations. Civilians will remain in their homes. This is a real attack - The Announcer's voice goes on as above. PREW (MUTTERS) Oh, those dirty Germans... Those dirty sneakin Germans... ALMA What Germans?! PREW (points to the radio) Them... GORGETTE It's the Japs. The Japs! 147. RADIO ANNOUNCER'S VOICE ... Attacks are now taking place at Pearl, Wheeler, Hickam and Schofield... PREW ... dirty Germans... Alma shakes Prew, hard. He falls back on the couch, passes out. EXT. QUADRANGLE - DAY FULL SHOT The Jap strafing attack is continuing. Their planes are making a figure 8 in the sky. Silhouettes of men on the roof can b e seen. Friday Clark is blowing his Cavalry Charge. In b.g. men of the loading detail are scurrying around. Lieutenant Ross runs into shot. CAMERA PANS him across the quadrangle toward the barracks. MEDIUM SHOT NEAR BARRACKS Lieutenant Ross is hailed by the loading detail -- about ten men. He grabs a BAR and ammunition from them and runs into the barracks. The loading detail is working feverishly, same carrying ammunition into the barracks, others picking up empty clips as they are thrown from the roof and hustling them toward the Supply Room. EXT. SUPPLY ROOM - DAY MEDIUM SHOT FEATURING LEVA He is working hard, passing out ammunition to members of the loading detail. But he shakes his head dourly as if the whole thing is still very unofficial. EXT. ROOF OF BARRACKS - DAY FULL SHOT As before, pandemonium -- but controlled and efficient. The men are hoarse from shouting, red-eyed, puffing from excitement and exertion. Two Jap planes swoop past and the full-throated umbrella of fire lets loose. Lieutenant Ross clambers onto the roof, stooping under the burden of the BAR and loading clips. The men greet him with a concerted cheer. TWO SHOT LIEUTENANT ROSS AND WARDEN Ross looks around the roof, nods with evident approval, claps Warden on the shoulder. DHOM'S VOICE HERE THEY COME, MEN! 148. Sound of Jap planes comes up ear-splitting loud. Ross drops down behind a chimney, swings his BAR, fires. CAMERA MOVES TO INCLUDE Karelsen at the other side of the chimney, firing the machine gun. Two soldiers hang onto the bucking legs of the tripod. Two Jap planes pass in b.g. of shot, zoom off into the sky. KARELSEN (DISGUSTEDLY) Nuts! Led him too tar. MEDIUM SHOT as the men on the roof reload. In the distance the Jap planes have turned and are heading back for the roof. CLOSE SHOTS FLASHES JAP PILOTS IN PLANES Their lips curled bitterly as their planes head for the roof. CLOSE SHOT FLASH WILSON firing a BAR at the planes. CLOSE SHOT FLASH DHOM firing. CLOSE SHOT FLASH TREADWELL firing Joyously. CLOSE SHOT FLASH CHOATE singing as he fires. CLOSE SHOT KARELSEN firing the machine gun. He yanks the tripod away from his helpers, picks up the gun, stands and swings it after the plane. The recoil staggers him half way across the roof and deposits him on his rear. CLOSE SHOT JAP PILOT He jumps in his seat like a man tied to a hot stove, throws up his arms helplessly. LONG SHOT OPEN FIELD SHOOTING FROM ROOF The Jap plane bursts into flame and crashes. FULL SHOT ON ROOF The men rise as one with an uproarious cheer. They rush to Karelsen, pick him up. Warden lets go with another of his rebel yells. WARDEN You got him, Pete! You got him! 149. KARELSEN (spits over roof) Ah, nobody'll ever know which of us got that guy. ANOTHER ANGLE as the men return to their positions. Two planes head for them, pass over as Company G lets go again with everything it has. WILSON (pointing after second of THE PLANES) Hey! That last one was one of ours! That was an American plane! WARDEN Well, he ain't got no business here. We're takin care of this sector! ROSS HERE COMES A JAP! SHOT SHOOTING FROM ROOF JAP PLANE swooping across the quadrangle about ten feet from the ground. EXT. QUADRANGLE - DAY MEDIUM SHOT NEAR BUGLER'S POST Friday Clark, blowing the Cavalry Charge madly, abandons the megaphone as he sees the plane coming. He drops on his chest, hugging the bugle. The plane passes. Clark jumps up instantly, resumes blowing the Charge. LONG SHOT SHOOTING FROM ROOF JAP PLANE The same plane has gained altitude so that it is a few feet above the barracks as it heads straight for the roof. MEDIUM SHOT The men flatten, all but Warden. He stands, swings his BAR toward the plane. CAMERA IS ANGLED so that Warden is silhouetted against the sky as he fires at the Jap plane. LONG SHOT JAP PLANE It misses the roof by a foot or two, zooms up at a weird angle. A thick cloud of smoke pours out of the engine. The plane falls off on one wing and crashes into trees at the end of the quadrangle. CLOSE SHOT JAP PLANE crashing. The gas-tank explodes. A cloud of fire and black 150. smoke obscures the screen. DISSOLVE TO: INT. LIVING ROOM OF ALMA'S HOUSE - NIGHT MEDIUM SHOT PREW There are improvised blackout curtains over windows and the glass doors. The radio is on, volume low, and an announcer (not the one of the morning) is droning out an account of Pearl Harbor. Prew, still on the couch in his pajamas, looks as if he has just struggled to wakefulness. He listens to the radio for a few moments in confused disbelief. He shakes his head vigorously as if to throw off his grogginess. He shakes his head again, slowly, more knowingly now, nodding as if he remembers something from the broadcast of the morning. Then as if all of it hits him suddenly and fully and terribly he wrenches himself off the couch. He looks around at the dimly lit room. PREW Alma! Alma! He goes to the blackout curtains, peeps out. Then he turns back to listen to the radio. Abruptly, he runs into the bedroom. PREW'S VOICE Alma! The room remains empty for a few moments as the radio announcer goes on, continuing previous remarks. RADIO ANNOUNCER'S VOICE -- ready to fight and die for us, our Regular Army and Navy have this day upheld the faith and confidence we have always placed in them. They have proved their right to the esteem we have always had for them... Prew comes back into the room. He has his shoes on, holds civilian shirt and pants in his hand. He starts to put them on hurriedly, his attention still focused on the broadcast. The front door opens and Alma and Gorgette enter. They are surprised to see Prew up. He nods at them, turns back quickly to listen to the radio as he continues dressing. RADIO ANNOUNCER'S VOICE ... the attack caused serious damage to many installations of which Pearl Harbor suffered the worst. (MORE) 151. RADIO ANNOUNCER'S VOICE(cont'd) We will not forget this day -- and we will never let the Japanese forget it... PREW (yells at radio) You said it! Who they think they're fight in? (incoherent with rage; to GIRLS) They're pickin trouble with the best Army in -- the best riflemen -- you know we the ony country on the face of the earth that uses the shooting gunsling, not the carrying gunsling. You know that? The radio continues on under the scene. Alma and Gorgette speak breathlessly, in a rush. ALMA We've been at Queens Hospital -- giving blood -- GORGETTE The town's a madhouse. Trucks, busses, jeeps all over -- ALMA A house on Kuhio Street was bombed OUT -- GORGETTE And the drugstore on McKully and King is smashed flat. And the man and his wife were killed -- Prew gestures to radio as if he's heard all about it. He sticks his shirttails into his trousers. PREW I gotta get back to the Post -- I'll try to get in touch with you in a couple days -- ALMA The Post? Tonight? Prew nods vehemently, moves across room to a table. ALMA But why? 152. PREW Why? There's a war goin on. ALMA But you can't! You're not fit yet -- you're weak as a kitten -- you're AWOL -- they'll throw you in the STOCKADE -- PREP (LAUGHS WILDLY) They'll be throwin `em out of the Stockade. They need every man they can get. He picks up the sheet of paper with the "Re-enlistment Blues" written out on it, starts to fold it. Desperation is reflected on Alma's face; she turns to Gorgette, as if pleading for aid, GORGETTE Your side'll open up -- ALMA And they'll find out it was you who killed that soldier! Prew shakes his head, as if obsessed by only one thought. PREW Once I report in to the Compny I'll be all right. Once I get there. I gotta get back -- ALMA But you'll never make it! There's MPs all over -- PREW I'll make it. I'll go along the back roads. They'll let me in the West gate -- they'll know I'm a SOLJER -- He puts the folded piece of paper in his pocket and starts for the door. ALMA Stay till morning! Prew glances at Alma incredulously. She sobs suddenly, violently. 153. ALMA Maybe if you stayed till morning you'd change your mind... She throws her arms around him, clings to him. ALMA Don't go, Prew! I'll do whatever you want... We'll figure out a way to get to the States together... We can even get married... If you go I won't see you any more... I know it... Prew holds her closely for a moment, then moves her away from him. He turns toward the door. ALMA (tears turning to HYSTERIA) What do you want to go back to the Army for?! What did the Army ever do for you? Besides treat you like scum and give you one awful going over and get your friend killed? What do you want to go back to that for? Prew frowns as if he's not sure he heard correctly. PREW What do I want to go back for? I'm a soljer. ALMA (LAUGHING WILDLY) A soldier! A soldier! A Regular. From the Regular Army. A thirty- year man! PREW Sure. A thirty-year man. (GRINS) With only twenty-six years to go. He opens the door quickly and slips into the darkness. DISSOLVE TO: EXT. HIGHWAY ADJOINING GOLF COURSE - NIGHT MOVING SHOT JEEP WITH THREE MPs The night is inky black except for a little moonlight and the 154. dimmed headlights of the jeep. CAMERA SHOOTS PAST driver onto the highway as the jeep moves slowly along. The two other MPs clutch Thompson guns, try to scan the dark countryside. FIRST MP They say they seen parachutists land up in the mountains. SECOND MP I ain't worried about them. Sabatoors is what worries me. DRIVER Yeah. Theys the creepy ones. Walkin around just like ordinary civilians. I betcha they operatin all over these islands. LONG SHOT SHOOTING FROM SIDE OF HIGHWAY The headlights pass along the road as the jeep moves on out of sight. As its sound fades we hear Prew's heavy breathing, are barely able to distinguish his figure in the darkness. He is crouched, watching the car go down the highway. We hear his thoughts. The voice is labored and agonized. PREW'S VOICE (O.S.) ... almost home... ony across the golf course... now... now... no... wait... gotta be care?... gotta sweat it out... He groans, puts his hand to his side. In the feeble light from the moon we see blood on his shirt and hand. He looks up and down the road. PREW'S VOICE (O.S.) ... it's clear now... gotta get home... Still crouched, Prew starts across the road. LONG SHOT OPPOSITE SIDE OF ROAD We see nothing but the strip of road, then Prew+s figure is visible, bent low, weaving a little. As he approaches the camera, he is taught square in the twin beams of dimmed headlights which flash on from the side of the road. Now we see that a jeep is parked near camera, heading in the opposite direction from the jeep which passed before. It is also manned by three MPs. There is a startled cry from Prew. MP'S VOICE Halt! 155. Prew starts to run back across the road. A white spotlight flashes on, its harsh brilliant light following him. Prew slips to one knee. CLOSE SHOT PREW looking toward the jeep, blinded by the blazing light. He has the appearance of a terrified animal. There is a wildness, a senselessness about him. The blotch of blood oozes and spreads over his shirt. He picks up a rock from the road. MEDIUM SHOT Prew rises, staggers away from the jeep. MP'S VOICE HALT! Prew flings the rock desperately toward the lights. There is a crash of glass and one headlight winks off. Prew runs across the road and onto the golf course. MEDIUM SHOT JEEP The motor starts, The jeep moves out from its hiding place and starts across the golf course. MOVING SHOT SHOOTING FROM JEEP Prew, in a skirmisher's zigzag, is trying to elude the spotlight. He is about twenty yards in front of the jeep. He heads for a high sandtrap. The spot is full on him as he reaches the lip of the trap. He turns, yells something back at the jeep. It is barely heard over the sound of the jeep. PREW -- I'm a soljer! -- MP That guy ain't no soljer -- he dint HALT -- MEDIUM SHOT PREW standing on the lip of the trap, the jeep bearing down on him. He turns, starts to dive into the trap. A blast of gunfire from the jeep hits him. He falls sideways into the trap, rolls over on his back, The jeep moves into the shot, crawls half-way over the trap, stops, its spotlight pouring down on Prew. His eyes are open, looking up to the sky. ANOTHER ANGLE CAMERA SHOOTS DOWN to Prew from top of trap. A portion of the jeep is in shot, but we are not able to see the MPs. MP'S VOICE (quavering, almost TEARFUL) (MORE) 156. MP'S VOICE(cont'd) -- maybe he was a soljer -- I dint mean to kill him -- I dint mean it, guys -- you know we got orders -- SECOND MP'S VOICE Shut up. The voices are lost as CAMERA MOVES SLOWLY DOWN toward Prew's open eyes. We hear his thoughts on the sound track, clear and fast at first and slow and almost inaudible as the CAMERA REACHES A FULL HEAD CLOSEUP. PREW'S VOICE ... sweat it out and sweat it out and wait and wait and wait for it... and now it's here... it's here... gotta see to do it well... gotta do it well... won't take long... CAMERA MOVES CLOSER TO CLOSEUP of Prew's open eyes. PREW'S VOICE ... just a little more now... gotta do it good... it'll be over... nobody lies... lonely... a man has... got to have some place... Prew's eyes close. THE SCREEN GOES BLACK. FADE OUT. BLACK LEADER There is no sound as the screen remains black for several beats. FADE IN: EXT. GOLF COURSE - NIGHT TWO SHOT WARDEN AND A LIEUTENANT COLONEL They are looking down to camera, which SHOOTS UP as if from point of view of Prew's body in the sand trap. The dimmed headlights of two jeeps illuminates them. Warden is fighting to control his emotion, to remain the professional soldier. The Lieutenant Colonel is disturbed, but kindly. LIEUTENANT COLONEL Where's your Company Commander? WARDEN He's at Headquarters, sir. I'm the First Sergeant. 157. LIEUTENANT COLONEL Did you know this man personally? WARDEN Yes, sir. MEDIUM SHOT WARDEN AND LIEUTENANT COLONEL They are standing on the lip of the sandtrap. The hoods of the jeeps that chased Prew and the second jeep are just behind them in shot. LIEUTENANT COLONEL He didn't have any regular identification. But they found a card on him with his name -- (holds card close to HEADLIGHT) -- seems to be a membership in a club. The -- New Congress Club. WARDEN Yes, sir. The Lieutenant Colonel hands the card to Warden. LIEUTENANT COLONEL I'll turn this over to you. And these other things that were on him. This -- He unfolds a sheet of paper, holds it to the headlight. He and Warden squint at it. INSERT: CRUMPLED SHEET OF PAPER WITH PENCILED WRITING: "Re-enlistment Blues" is written at the top. The stanzas of the song are beneath the heading. LIEUTENANT COLONEL'S VOICE Seems to be acme sort of poem. WARDEN'S VOICE Yes, air. Very softly, so distant that we can only distinguish a word or two now and then, we hear the voices of Clark, Anderson and Prew singing the "Re-enlistment Blues." The plaintive melody continues under the rest of the scene. MEDIUM SHOT WARDEN AND LIEUTENANT COLONEL LIEUTENANT COLONEL And this. Whatever it is. 158. He holds Prew' s bugle mouthpiece up to the light, gives it to Warden. Warden holds it in his hand, stares at it. Under the "Re-enlistment Blues," even softer, farther away, we now hear Prew's bugle blowing Taps. It continues, with the song, to the end of the scene. WARDEN It's the mouthpiece of a bugle. The Lieutenant Colonel looks at Warden closely. LIEUTENANT COLONEL Are you all right, Sergeant? Was this man a friend of yours? Warden speaks very formally. WARDEN Sir, this man was a good soldier. He loved the Army moren any soljer I ever knew. I would like to make a formal request that this body be buried in the Army's permanent cemetery at Schofield Barracks. LIEUTENANT COLONEL I believe I can attend to that for you. WARDEN Thank you, sir. LIEUTENANT COLONEL I'm sorry, Sergeant. The Lieutenant Colonel walks off. ANOTHER ANGLE WARDEN INCLUDING Prew's body in the shot as Warden looks down at it. He looks at it for several moments. The Taps is just coming to an end. Warden speaks very quietly. WARDEN No, sir. I hardly knew the guy... DISSOLVE TO: EXT. HONOLULU HARBOR - DAY LONG SHOT SHOOTING FROM DOCK TO SHIP LEAVING HARBOR Taps and the Re-enlistment Blues are swept away by the lush strains of Aloha Oe. The Hawaiian music continues through the scene. 159. EXT. PROMENADE DECK OF SHIP - DAY MEDIUM SHOT KAREN She is looking back at the city. Around her neck is a garland of leis. LONG SHOT HONOLULU FROM DECK OF SHIP KAREN'S POV ALMA'S VOICE It's very beautiful, isn't it? MEDIUM SHOT KAREN She turns and CAMERA PANS to INCLUDE Alma in shot, standing beside Karen. She is dressed in black, quite severely. KAREN (SOCIABLY) I think It's the most beautiful place I ever saw in my lire. ALMA No one would know there was a war, from out here. Karen takes off her leis, begins tossing them over the rail. KAREN There's a legend. If they float in toward shore, you'll come back some day. If they float out to sea, you won't. ALMA I won't come back. I had to get away from here. You see, my fiance was killed on December seventh. KAREN Oh, I am sorry. ALMA (quickly, as if rehearsed) He was a bomber pilot. He tried to taxi his plane off the apron and the Japs made a direct hit on it. Maybe you read about it in the papers. They awarded him a Silver Star. They sent it to his mother. She wrote me she wanted me to have it. 160. KAREN (tossing the last of leis OVER) That's very fine of her. ALMA They're very fine people. Southern people. He was named after a General. Robert E. Lee -- Prewitt. Karen looks at Alma numbly. Alma is looking out across the water. KAREN Who? ALMA Robert E. Lee Prewitt. (on verge of tears) Isn't that a silly old name? LONG SHOT LEIS IN WATER They are floating on the water behind the ship. They are being carried out to sea. CLOSE SHOT SINGLE LEI A choppy wave washes over it, submerges it. FADE OUT. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Frozen (Disney).txt b/unformated_scripts/Script_Frozen (Disney).txt new file mode 100644 index 0000000000000000000000000000000000000000..c20116380c59a2e0736d0dee6259bbab14e44c3c --- /dev/null +++ b/unformated_scripts/Script_Frozen (Disney).txt @@ -0,0 +1 @@ + FROZEN Written by Jennifer Lee Final Shooting Draft 9/23/13 OPEN ON: ICE. We're underwater looking up at it. A saw cuts through, heading right for us. EXT. SNOW-CAPPED MOUNTAINS -- DUSK ICE HARVESTERS, dressed in traditional Sami clothing, score a frozen lake. They SING. "The Frozen Heart (Ice Worker's Song)" ICE HARVESTERS BORN OF COLD AND WINTER AIR AND MOUNTAIN RAIN COMBINING, THIS ICY FORCE BOTH FOUL AND FAIR HAS A FROZEN HEART WORTH MINING. The men drag giant ice blocks through channels of water. ICE HARVESTERS (CONT'D) CUT THROUGH THE HEART, COLD AND CLEAR. STRIKE FOR LOVE AND STRIKE FOR FEAR. SEE THE BEAUTY SHARP AND SHEER. SPLIT THE ICE APART! AND BREAK THE FROZEN HEART. Hup! Ho! Watch your step! Let it go! A young Sami boy, KRISTOFF (8), and his reindeer calf, SVEN, share a carrot as they try to keep up with the men. ICE HARVESTERS (CONT'D) Hup! Ho! Watch your step! Let it go! Young Kristoff struggles to get a block of ice out of the water. He fails, ends up soaked. Sven licks his wet cheek. ICE HARVESTERS (CONT'D) BEAUTIFUL! POWERFUL! DANGEROUS! COLD! ICE HAS A MAGIC CAN'T BE CONTROLLED. A sharp ice floe overtakes the workers, threateningly. They fight it back. ICE HARVESTERS (CONT'D) STRONGER THAN ONE, STRONGER THAN TEN STRONGER THAN A HUNDRED MEN! Massive fjord horses drag heavy ice plows. 2FROZEN - J. Lee ICE HARVESTERS (CONT'D) BORN OF COLD AND WINTER AIR AND MOUNTAIN RAIN COMBINING The sun sets. Lanterns are lit. ICE HARVESTERS (CONT'D) THIS ICY FORCE BOTH FOUL AND FAIR HAS A FROZEN HEART WORTH MINING. CUT THROUGH THE HEART, COLD AND CLEAR. In the dark, Kristoff and Sven finally manage to get a single block of ice out of the water. ICE HARVESTERS (CONT'D) STRIKE FOR LOVE AND STRIKE FOR FEAR. THERE'S BEAUTY AND THERE'S DANGER HERE. SPLIT THE ICE APART! BEWARE THE FROZEN HEART. The workers pile onto the giant horse-drawn ice sled as it pulls away. Left behind, Kristoff and Sven push their ice block onto a dinky little sled then head off. We sweep up from them to the Northern Lights filling the sky...then move across the mountains...beneath the snowline...and descend upon... EXT. THE KINGDOM OF ARENDELLE -- NIGHT A humble castle, built of wood, nestled in a deep fjord. INT. CASTLE, NURSERY -- NIGHT ELSA (8) sleeps in her bed. Her little sister ANNA (5) pops up beside her. YOUNG ANNA Elsa. Psst. Elsa! Psst. Elsa doesn't stir. Anna sits on Elsa and bounces. YOUNG ANNA (CONT'D) Wake up. Wake up. Wake up. YOUNG ELSA (grumbling) Anna, go back to sleep. Anna rolls onto her back and spreads all her weight on Elsa. 3FROZEN - J. Lee YOUNG ANNA (drama queen-ish) I just can't. The sky's awake, so I'm awake, so we have to play. YOUNG ELSA ...Go play by yourself. Elsa shoves Anna off the bed. Anna lands butt to floor, sighs, defeated. But then she gets an idea. She hops back on the bed and lifts one of Elsa's eyelids. YOUNG ANNA (mischievously) Do you want to build a snowman? Elsa's eyes both pop open. She smiles. INT. CASTLE STAIRCASE -- NIGHT Anna, now wearing snow boots, pulls Elsa by the hand. YOUNG ANNA Come on, come on, come on, come on. Elsa tries to shush her, but Anna's too excited. INT. BALLROOM -- NIGHT The girls sneak into the ballroom. Elsa shuts the door. YOUNG ANNA Do the magic! Do the magic! Elsa laughs and waves her hands together. Snowflakes suddenly burst forth and dance between her palms, forming a snowball. Elsa throws the snowball high into the air. Snow bursts out and flurries around the room. Anna dances about, catching flakes in her palms and mouth. YOUNG ANNA (CONT'D) This is amazing! YOUNG ELSA Watch this! Elsa stomps her little slippered foot and a layer of ice suddenly coats the floor, forming a giant ice rink. Anna slides off, laughing. 4FROZEN - J. Lee PLAY MONTAGE: -Anna and Elsa roll giant snowballs and build a snowman together. Elsa moves his stick arms around. YOUNG ELSA (CONT'D) (goofy voice) Hi, I'm Olaf and I like warm hugs. Anna jumps up and hugs him. YOUNG ANNA I love you, Olaf. -Anna and Olaf appear to be dancing. REVEAL: Elsa is actually propelling them across the ice floor with her magic. -The girls slide down snowbanks together! -Anna fearlessly jumps off a snow peak into mid air. YOUNG ANNA (CONT'D) Catch me! Elsa makes another peak to catch Anna. YOUNG ELSA Gotcha! Anna keeps jumping. Elsa keeps casting magic. YOUNG ANNA (jumping faster) Again! Again! YOUNG ELSA (struggling to keep up) Slow down! Elsa suddenly slips. Her magic accidentally STRIKES Anna in the head. Anna tumbles down a snowbank and lands, unconscious. YOUNG ELSA (CONT'D) ANNA! Elsa runs to Anna and takes her in her arms. A streak of Anna's hair, where struck, turns white. YOUNG ELSA (CONT'D) MAMA! PAPA! The room around them fills with frightening ice spikes. 5FROZEN - J. Lee The parents burst through the frozen door. GASP at the sight of the room. KING Elsa, what have you done? This is getting out of hand! QUEEN (seeing Anna) Anna! The King and Queen rush to Anna and take her in their arms. ELSA It was an accident. I'm sorry, Anna. QUEEN (about Anna) She's ice cold. KING ...I know where we have to go. SLAM CUT TO: INT. DARK ROOM -- NIGHT The King sifts through a shelf to find an ancient book inscribed with Old Norse runes. He opens the book, scrambles to a page with an ancient map. EXT. ARENDELLE -- NIGHT Carrying the girls, the King and Queen ride their horses out of the kingdom. Snow streams from Elsa's hands, leaving a trail of ice behind them. EXT. FJORD MOUNTAIN FOREST -- NIGHT A sleepy Kristoff and Sven travel alone through the dark woods. All of a sudden, the King and Queen race by with the girls, leaving the wake of ice. KRISTOFF Ice? SLAM CUT TO: 6FROZEN - J. Lee EXT. BLACK MOUNTAINS -- NIGHT Kristoff rides Sven as they follow the trail of ice. YOUNG KRISTOFF Faster, Sven! EXT. THE VALLEY OF THE LIVING ROCK -- NIGHT Kristoff hops off Sven at the edge of a deep valley. They hide behind a rock and peek out. Down below, the King holds a frightened Elsa. The Queen holds the still unconscious Anna. KING Please, help. My daughter! Suddenly, a bunch of rocks tumble down the valley toward them. It looks as though they'll be crushed! But, luckily, the rocks stop at their feet. The rocks then unfold, revealing bright faces. YOUNG KRISTOFF Trolls...? The rock in front of Kristoff "wakes up." Meet BULDA. BULDA Shush. I'm trying to listen. She grabs Kristoff and Sven by hand and hoof and hugs them close. Sven licks her face and she eyes them both. BULDA (CONT'D) Cuties. I'm gonna keep you. Back below, the crowd parts for a troll as old as the Earth. They call him GRAND PABBIE. He approaches arthritically, but determined. He nods respectfully to the king. GRAND PABBIE Your Majesty. (referring to Elsa) Born with the powers or cursed? KING Born. And they're getting stronger. Grand Pabbie motions for the Queen to bring Anna to him. She does. He examines her. 7FROZEN - J. Lee GRAND PABBIE (about Anna) You are lucky it wasn't her heart. The heart is not so easily changed, but the head can be persuaded. KING Do what you must. GRAND PABBIE I recommend we remove all magic, even memories of magic to be safe.... But don't worry, I'll leave the fun. Grand Pabbie pulls out a glowing blue energy from Anna's head. We see her memories floating right above her. Grand Pabbie changes all of her magical memories to ordinary memories -- snowy play indoors with the girls in their nightgowns changes to outdoors on the winter fjords with the girls in winter gear. He puts the ordinary memories back in her head. GRAND PABBIE (CONT'D) She will be okay. YOUNG ELSA But she won't remember I have powers? KING It's for the best. PABBIE Listen to me, Elsa, your power will only grow. As he speaks, he conducts the Northern Lights to show a silhouette of an adult Elsa creating magical snowflakes. PABBIE (CONT'D) There is beauty in your magic.... But also great danger. The snowflakes turn to sharp spikes. PABBIE (O.S.) (CONT'D) You must learn to control it. In the Northern Lights display, the sharp spikes cause human figures to panic and attack Elsa. PABBIE (CONT'D) Fear will be your enemy. 8FROZEN - J. Lee Elsa gasps and buries her face in the King's chest. The King wraps his arms around Elsa, protectively. KING No. We'll protect her. She can learn to control it. I'm sure. Over the King's words we... DISSOLVE TO: -The Arendelle castle gates shutting. KING (O.S.) (CONT'D) Until then, we'll lock the gates. We'll reduce the staff. We will limit her contact with people and keep her powers hidden from everyone... including Anna. -The castle shutters close. -Anna sits on her bed as Elsa's furniture disappears. -Anna rushes to the hall to see Elsa shut the door to her new room. Anna watches, confused and sad. DISSOLVE TO: INT. CASTLE WINDOW -- DAY We look out on a gentle snowfall. Little Anna skips up to the window. She lights up at the sight of the snow and rushes down the hall. INT. HALLWAY, ELSA'S DOOR -- DAY Anna knocks on Elsa's door and SINGS. "Do You Want to Build a Snowman?" YOUNG ANNA DO YOU WANT TO BUILD A SNOWMAN? COME ON LET'S GO AND PLAY. Anna peeks under the door. YOUNG ANNA (CONT'D) I NEVER SEE YOU ANYMORE. COME OUT THE DOOR. IT'S LIKE YOU'VE GONE AWAY. 9FROZEN - J. Lee -INT. ANNA'S ROOM -- Anna plays with two dolls, gives up, sad. YOUNG ANNA (CONT'D) WE USED TO BE BEST BUDDIES AND NOW WE'RE NOT. I WISH YOU WOULD TELL ME WHY. -ELSA'S DOOR. Anna peeks through the key hole. YOUNG ANNA (CONT'D) DO YOU WANT TO BUILD A SNOWMAN? -Anna calls through the keyhole. YOUNG ANNA (CONT'D) IT DOESN'T HAVE TO BE A SNOWMAN. YOUNG ELSA (O.S.) Go away, Anna. YOUNG ANNA (hearbroken) ...OKAY BYE. -BEHIND THE DOOR -- DAY. Elsa sits at the window looking out, longingly. Suddenly, her icy hands freeze the windowsill. -LATER. The King slips leather gloves onto Elsa's hands. KING The gloves will help. He pats her gloved hand. KING (CONT'D) See? You're good.... (starting their mantra) Conceal it. YOUNG ELSA Don't feel it. YOUNG ELSA & KING Don't let it show. -INT. HALLWAY, ELSA'S DOOR -- DAY. Anna, now 9, knocks on Elsa's door. ANNA (9) DO YOU WANT TO BUILD A SNOWMAN? -INT. HALLWAY -- DAY. Alone, Anna rides a bicycle built for two in the hall by standing on the back seat. 10FROZEN - J. Lee ANNA (9) (CONT'D) OR RIDE OUR BIKE AROUND THE HALL? I THINK SOME COMPANY IS OVERDUE... -INT. PORTRAIT ROOM -- DAY. Anna runs around the portrait room, gaining momentum to flip over the arm of the couch. ANNA (9) (CONT'D) I'VE STARTED TALKING TO THE PICTURES ON THE WALLS. Anna lands PLOP on the cushions, then looks up at the painting above her of the courageous Joan of Arc. ANNA (9) (CONT'D) Hang in there, Joan. -INT. EMPTY LIBRARY -- DAY. Looks like no one's around. ANNA (9) (CONT'D) IT GETS A LITTLE LONELY ALL THESE EMPTY ROOMS. But then we find Anna, laying at the base of the grandfather clock, playing with her braids, bored out of her mind. ANNA (9) (CONT'D) JUST WATCHING THE HOURS TICK BY. Anna's eyes follow the grandfather clock's pendulum. ANNA (9) (CONT'D) TICK TOCK. TICK TOCK. TICK TOCK. -INT. ELSA'S ROOM -- NIGHT. Elsa (now 12) paces as she panics. The entire wall is frozen behind her. ELSA (12) I'm scared. It's getting stronger. KING Getting upset only makes it worse. The King goes to hug her. ELSA (12) No. Don't touch me. I don't want to hurt you. He and the Queen look at each other with alarmed sadness. -INT. LIBRARY -- DAY. Anna, now a teenager, slides past Elsa's room without stopping. 11FROZEN - J. Lee -INT. KING AND QUEEN'S QUARTERS -- DAY. Anna runs into the room and throws herself into her parents' arms. TEEN ANNA See you in two weeks. -INT. ELSA'S ROOM -- DAY. Elsa curtsies in front of her parents, formally, not touching them. TEEN ELSA Do you have to go? KING You'll be fine, Elsa. -EXT. DOCKS -- DAY. The King and Queen leave on a ship. -EXT. ROUGH SEAS -- NIGHT. Lightning flashes. The sea rages in a storm. The King and Queen's ship is lost in the waves. -INT. CASTLE -- DAY. A portrait of the King and Queen is covered in mourning cloth. -EXT. CEMETERY -- DAY. Anna looks small, standing before her people, beside burial stones. -INT. HALLWAY, ELSA'S DOOR. Anna, still in her mourning clothes, approaches and knocks. ANNA (singing) Elsa? PLEASE I KNOW YOU'RE IN THERE PEOPLE ARE ASKING WHERE YOU'VE BEEN THEY SAY HAVE COURAGE AND I'M TRYING TO I'M RIGHT OUT HERE FOR YOU. PLEASE LET ME IN. Anna slides down the door and sits with her head against it. ANNA (CONT'D) WE ONLY HAVE EACH OTHER. IT'S JUST YOU AND ME. WHAT ARE WE GONNA DO? (weak, internal) DO YOU WANT TO BUILD A SNOWMAN? We move through the door... -INT. ELSA'S ROOM -- DAY. Elsa is sitting in the exact same pose as Anna. Her bedroom is frozen with ice. Snowflakes hang in the air, suspended by grief. FADE OUT. 12FROZEN - J. Lee EXT. THE KINGDOM OF ARENDELLE -- MORNING A new dawn rises over the fjords. Ships pull up to the docks. Guests pile out. DOCK MASTER Welcome to Arendelle! A BOY tries to get away as his MOTHER tries to stuff him in his bunad jacket. BOY Why do I have to wear this? MOTHER Because the Queen has come of age. It's Coronation Day! BOY That's not my fault. They pass the May Pole being raised and a Sami ice harvester chatting with his reindeer. We recognize them as Kristoff and Sven, all grown up. Sven hops around excitedly like a dog and nuzzles Kristoff's chest. KRISTOFF What do you want, Sven? Kristoff leans in and speaks for Sven, as if he can. KRISTOFF (AS SVEN) (CONT'D) Give me a snack. KRISTOFF (CONT'D) What's the magic word? KRISTOFF (AS SVEN) (CONT'D) Please! Kristoff pulls a carrot out of his shirt pocket and hands it to Sven. Sven tries to bite the whole thing. KRISTOFF (CONT'D) Hey, hey, hey! Share! Sven takes a smaller bite. Kristoff then has a bite himself, not seeming to care that it's covered in reindeer slobber. We move on to PERSI and AGGIE, a super-excited couple who rush towards the castle. 13FROZEN - J. Lee PERSI I can't believe they're finally opening up the gates! AGGIE And for a whole day! Faster, Persi! They pass a tiny but menacing DUKE, who wears taps on his shoes to "enhance" his presence. Two THUG guards follow close behind him. DUKE Ah, Arendelle, our most mysterious trade partner. Open those gates so I may unlock your secrets and exploit your riches. (catching himself) ...Did I just say that out loud? We leave him and head down the bridge towards the castle gates, passing an Irishman and a Spanish Dignitary. IRISHMAN Oh, me sore eyes can't wait to see the Queen and the Princess. I bet they're absolutely lovely. SPANISH DIGNITARY I bet they are beautiful. We move past them, to a particular castle window. CUT TO: INT. CASTLE, ANNA'S BEDROOM -- DAY Anna, 18, snores. Drools. KNOCK. KNOCK. KAI (O.S.) Princess Anna...? Anna sits up. She's got major bedhead. She coughs. Snorts. Pulls a hair from her mouth. ANNA ...Huh? Yeah? KAI (O.S.) Sorry to wake you, ma'am but-- ANNA No, you didn't. I've been up for hours. 14FROZEN - J. Lee She falls back asleep while sitting. She snores. Her head drops, startling her awake. ANNA (CONT'D) Who is it? KAI (O.S.) It's still me, ma'am. Time to get ready. ANNA Ready for what? KAI (O.S.) Your sister's coronation, ma'am. ANNA My sister's cor-neration... One eye opens enough to catch sight of her coronation dress. She bolts, wide awake in excitement. ANNA (CONT'D) Coronation Day! Ha ha! SLAM CUT TO: EXT. CASTLE HALL -- DAY Anna bursts out of her room, wearing her coronation dress. She finishes pinning ribbons in her hair. Seeing the hustle and bustle of preparations, she can't help but SING. "For the First Time in Forever" ANNA THE WINDOW IS OPEN! SO'S THAT DOOR! I DIDN'T KNOW THEY DID THAT ANYMORE. WHO KNEW WE OWNED 8000 SALAD PLATES...? -Anna slides along the floor of the ballroom in her socks. ANNA (CONT'D) FOR YEARS I HAVE ROAMED THESE EMPTY HALLS WHY HAVE A BALLROOM WITH NO BALLS? FINALLY, THEY'RE OPENING UP THE GATES! -She shakes hands with a suit of armor. Breaks it. Hides the evidence. 15FROZEN - J. Lee ANNA (CONT'D) THERE'LL BE REAL, ACTUAL PEOPLE - IT'LL BE TOTALLY STRANGE. BUT WOW AM I SO READY FOR THIS CHANGE! -Anna comes to a window and jumps out onto a window washer's pulley. She raises herself up to see the ships arriving. ANNA (CONT'D) FOR THE FIRST TIME IN FOREVER, THERE'LL BE MUSIC, THERE'LL BE LIGHT. FOR THE FIRST TIME IN FOREVER, I'LL BE DANCING THROUGH THE NIGHT. -Anna walks through the garden and follows a family of geese. ANNA (CONT'D) DON'T KNOW IF I'M ELATED OR GASSY, BUT I'M SOMEWHERE IN THAT ZONE 'CAUSE FOR THE FIRST TIME IN FOREVER, I WON'T BE ALONE. (speaking) I can't wait to meet everyone.... (GASP) What if I meet THE ONE? -Anna twists herself in a velvet drape like it's a gown. She acts like she looks gorgeous, but she looks ridiculous. ANNA (CONT'D) TONIGHT, IMAGINE ME GOWN AND ALL- FETCHINGLY DRAPED AGAINST THE WALL. THE PICTURE OF SOPHISTICATED GRACE. -She notices the bust of a man across the room. ANNA (CONT'D) (google-eyed) I SUDDENLY SEE HIM STANDING THERE, A BEAUTIFUL STRANGER TALL AND FAIR. (mouth full of chocolate) I WANNA STUFF SOME CHOCOLATE IN MY FACE! -She grabs the bust of the man and swings it around. ANNA (CONT'D) BUT THEN WE LAUGH AND TALK ALL EVENING, WHICH IS TOTALLY BIZARRE. NOTHING LIKE THE LIFE I'VE LED SO FAR. The bust goes flying and lands on the top of the cake. -Anna bursts into the portrait room, bounces on the furniture, and interacts with the paintings. 16FROZEN - J. Lee ANNA (CONT'D) FOR THE FIRST TIME IN FOREVER, THERE'LL BE MAGIC, THERE'LL BE FUN. FOR THE FIRST TIME IN FOREVER, I COULD BE NOTICED BY SOMEONE. AND I KNOW IT IS TOTALLY CRAZY TO DREAM I'D FIND ROMANCE. BUT FOR THE FIRST TIME IN FOREVER, AT LEAST I'VE GOT A CHANCE! -INT. LIBRARY. ELSA, now a very poised 21, watches out the window as the coronation guests arrive. ELSA DON'T LET THEM IN. DON'T LET THEM SEE. BE THE GOOD GIRL YOU ALWAYS HAVE TO BE. Elsa moves to a painting of her father's coronation. She takes off her gloves and mimics the painting by holding a candlestick and ornament in place of an orb and scepter. ELSA (CONT'D) CONCEAL. DON'T FEEL. PUT ON A SHOW. MAKE ONE WRONG MOVE AND EVERYONE WILL KNOW. The candlestick and ornament ice over. Elsa gasps, slams them back down onto the table. She tries to reassure herself. ELSA (CONT'D) BUT IT'S ONLY FOR TODAY. We cut between Anna's excitement and Elsa's nerves. ANNA IT'S ONLY FOR TODAY! ELSA IT'S AGONY TO WAIT. ANNA IT'S AGONY TO WAIT!!! ELSA TELL THE GUARDS TO OPEN UP THE GATE. ANNA THE GATE!!! -Finally, the gates are open! Anna moves through the crowd, admiring the people around her. 17FROZEN - J. Lee ANNA (CONT'D) ELSA FOR THE FIRST TIME IN DON'T LET THEM IN FOREVER. DON'T LET THEM SEE ANNA ELSA I'M GETTING WHAT I'M DREAMING BE THE GOOD GIRL OF YOU ALWAYS HAVE TO BE ANNA ELSA A CHANCE TO LEAVE MY SISTER'S CONCEAL. WORLD CONCEAL. DON'T FEEL. A CHANCE TO FIND TRUE LOVE DON'T LET THEM KNOW. -Anna hurries over the bridge and into the village square. ANNA (CONT'D) I KNOW IT ALL ENDS TOMORROW, SO IT HAS TO BE TODAY!! `CAUSE FOR THE FIRST TIME IN FOREVER. . . FOR THE FIRST TIME IN FOREVER! NOTHING'S IN MY WAY!!! -Anna SLAMS right into the breast of a HORSE! She falls back and lands in a small wooden boat. It tips off of the dock. She's heading overboard. But just then, the horse slams his hoof into the boat and steadies it. ANNA (CONT'D) (frustrated) Hey! HANS I'm so sorry. Are you hurt? The rider, HANS, sure is handsome and regal. ANNA (gentler) Hey. I-ya, no. No. I'm okay. HANS Are you sure? ANNA Yeah, I just wasn't looking where I was going. But I'm okay. He hops down from his horse and steps into the boat. ANNA (CONT'D) I'm great, actually. 18FROZEN - J. Lee HANS Oh, thank goodness. He offers her a hand and their eyes meet. Chemistry. He helps her to her feet. HANS (CONT'D) (bowing) Prince Hans of the Southern Isles. ANNA (curtseying) Princess Anna of Arendelle. HANS Princess...? My Lady. He drops to his knees, head bowed. The horse bows too, curling his hoof up and out of the boat. The boat tips. Hans tumbles on top of Anna. Awkward. ANNA Hi...again. The horse slams his foot back into the boat to stabilize it. Anna and Hans tumble the other way. Anna lands on top of him. HANS Oh boy. ANNA Ha. This is awkward. Not you're awkward, but just because we're-- I'm awkward. You're gorgeous. (did she just say that?) Wait, what? Hans quickly gets to his feet and helps Anna up again. HANS I'd like to formally apologize for hitting the Princess of Arendelle with my horse...and for every moment after. ANNA No. No-no. It's fine. I'm not THAT Princess. I mean, if you'd hit my sister Elsa, that would be-- yeash! `Cuz, you know... (patting the horse) Hello. (MORE) 19FROZEN - J. Lee ANNA (CONT'D) (to Hans) But, lucky you, it's-it's just me. HANS Just you? Hans smiles, amused. She smiles back. The bells RING. She doesn't notice at first; she's too busy drinking in Hans's handsomeness. ANNA ...The bells. The coronation. I-I-I better go. I have to...I better go. She hurries off, stops, turns back. Gives Hans a little wave. ANNA (CONT'D) Bye! As she rushes off again, Hans waves back. The horse waves too, once again taking his hoof out of the boat. HANS Oh no. The boat falls, with Hans in it. SPLASH! It lands upside down in the water. Hans raises it up off of him, gasping for air. CUT TO: INT. CHURCH CHAPEL -- DAY Elsa stands at the alter. Anna stands off to one side. She peeks out to the audience. Hans waves at her from the pews. He's changed his clothes. The crown is placed on Elsa's head. The scepter and orb are presented to Elsa on a pillow. She slowly reaches for them. BISHOP (a whisper) Your Majesty, the gloves. Elsa hesitates. She breathes nervously, removes her gloves, places them on the pillow. Her hands shake. She takes the orb and scepter, then turns to the people. BISHOP (CONT'D) (formal, in Old Norse) Sehm hon HELL-drr IN-um HELL-gum AYG-num ok krund ee THES-um HELL- gah STAHTH, ehk teh frahm FUR-ear U- thear... 20FROZEN - J. Lee The scepter and orb start to freeze over. BISHOP (CONT'D) ...Queen Elsa of Arendelle. CROWD Queen Elsa of Arendelle. Just in time. Elsa manages to set the orb and scepter back down on the pillow before anyone notices the ice. She picks up her gloves and slips them on. She made it. CUT TO: INT. GREAT HALL -- NIGHT Springy music fills the Great Hall. Guests dance. Eat. Laugh. TRUMPETS SOUND. KAI (announcing) Queen Elsa of Arendelle. Elsa enters, poised and looking surprisingly content. She stands under a formal awning. KAI (CONT'D) Princess Anna of Arendelle! Anna runs into the room, waves awkwardly. Kai ushers her over to stand right next to Elsa. ANNA Here? Are you sure? She and Elsa sneak awkward peeks at each other. ELSA ...Hi. ANNA Hi me...? Oh. Um. Hi. ELSA ...You look beautiful. ANNA Thank you. You look beautifuller. I mean, not fuller. You don't look fuller, but more beautiful. 21FROZEN - J. Lee ELSA Thank you. They look out at the celebration. ELSA (CONT'D) So, this is what a party looks like? ANNA It's warmer than I thought. ELSA And what is that amazing smell? They both close their eyes and inhale. ANNA AND ELSA (TOGETHER) ...Chocolate. Their eyes pop open. They laugh. Elsa looks back out at the party. Anna looks at Elsa. She wants to say so much, but she can't think of where to start. Just as she finds her way, Kai interrupts. KAI Your Majesty. The Duke of Weaseltown. DUKE Weselton. The Duke of Weselton. (to Elsa) Your Majesty, as your closest partner in trade, it seems only fitting that I offer you your first dance as queen. The Duke does a funny flitter of his feet, a hitch-kick, and a deep bow. DUKE (CONT'D) (whispers to himself) One, two, three. Jump. As he holds out his hand, head down, his toupee dips forward. Anna giggles. Elsa looks at Anna, stifles a giggle herself. ELSA (to the Duke) Thank you...only I don't dance. 22FROZEN - J. Lee DUKE (offended) Oh...? ELSA But my sister does. ANNA What? DUKE Lucky you.... ANNA Oh, I don't think-- The Duke grabs Anna's arm and yanks her away before she can protest. DUKE If you swoon, let me know, I'll catch you. Anna looks back at Elsa, desperately. ELSA Sorry. OUT ON THE DANCE FLOOR: The Duke showboats, but he's just awful. Anna tries to make the best of it. DUKE Like an agile peacock... CLUCK- CLUGGLE-CLUCK! He lands on her feet. ANNA Ow. Ow. DUKE Speaking of, so great to have the gates open. Why did they shut them in the first place? Do you know the reason? Hmm? He gets in her face, suspicious. ANNA ...No. 23FROZEN - J. Lee DUKE Oh, all right. Hang on. They don't call me the little dipper for nothing. He dips Anna back. Elsa peeks through the crowd, can barely hold in her laughter. Anna shoots Elsa funny, help-me looks. DUKE (CONT'D) (groove fully on) Like a chicken...with the face of a monkey...I fly. JUMP CUT TO: MOMENTS LATER... Anna limps back to Elsa. DUKE (O.S.) Let me know when you're ready for another round, M'Lady. ELSA Well, he was sprightly. ANNA (rubbing her sore feet) Especially for a man in heels. ELSA Are you okay? ANNA (loving Elsa's attention) I've never been better. This is so nice. I wish it could be like this all the time. ELSA (sincere) Me too.... But then Elsa catches herself. She stiffens up, looks away. ELSA (CONT'D) But it can't. ANNA Why not? If-- ELSA It just can't. 24FROZEN - J. Lee Anna's smile drops. She tries not to get emotional. ANNA Excuse me for a minute. She walks away. Elsa watches her go, saddened. Moving through the crowd, Anna gets bumped by a bowing man's butt. She falls. Just before she hits the floor, Hans catches her. He smiles perfectly. HANS Glad I caught you. ANNA Hans. He smoothly sets his drink down on a passing tray. He lifts her up and leads her in a romantic dance. DISSOLVE TO: LATER: Anna and Hans drink and chat. ANNA (CONT'D) I often had the whole parlor to myself to slide... Oops. Sorry. She hits him in the face by mistake with her hand. He laughs. DISSOLVE TO: -THE CASTLE DOORS: Anna and Hans stroll out of the castle. ANNA (CONT'D) ...Your physique helps I'm sure. DISSOLVE TO: -THE ROSE GARDEN... Hans notices her white streak. HANS (about her white streak) What's this? ANNA I was born with it, although I dreamt I was kissed by a troll. HANS I like it. DISSOLVE TO: 25FROZEN - J. Lee EXT. BALCONY -- NIGHT Anna teaches Hans how to eat krumkake. ANNA Yeah, the whole thing! You got it. They laugh as the krumkake crumbles in his face. ANNA(CONT'D) Okay wait, wait. So you have how many brothers? HANS Twelve older brothers. Three of them pretended I was invisible... literally...for two years. ANNA That's horrible. HANS It's what brothers do. ANNA ...And sisters. Elsa and I were really close when we were little. But then, one day she just shut me out, and I never knew why. He takes her hand. Leans in close. HANS I would never shut you out. ANNA Okay, can I just say something crazy? HANS I love crazy. "Love is an Open Door" ANNA (singing) ALL MY LIFE HAS BEEN A SERIES OF DOORS IN MY FACE. AND THEN SUDDENLY I BUMP INTO YOU. HANS I was thinking the same thing, because like. . . (MORE) 26FROZEN - J. Lee HANS (CONT'D) I'VE BEEN SEARCHING MY WHOLE LIFE TO FIND MY OWN PLACE. AND MAYBE IT'S THE PARTY TALKING, OR THE CHOCOLATE FONDUE. ANNA BUT WITH YOU- HANS BUT WITH YOU, I FOUND MY PLACE. ANNA I SEE YOUR FACE. BOTH AND IT'S NOTHING LIKE I'VE EVER KNOWN BEFORE. They jump to the neighboring balcony and enter a door. They come out on top of one of the castle's towers. BOTH (CONT'D) LOVE IS AN OPEN DOOR! LOVE IS AN OPEN DOOR! Cut to them sliding across an empty hallway in their socks. BOTH (CONT'D) LOVE IS AN OPEN DOOR ANNA WITH YOU! HANS WITH YOU! ANNA WITH YOU! HANS WITH YOU! BOTH LOVE IS AN OPEN DOOR. They hop up on the castle roof and watch a shooting star. HANS I MEAN IT'S CRAZY. ANNA What? 27FROZEN - J. Lee HANS WE FINISH EACH OTHER'S- ANNA SANDWICHES! HANS That's what I was gonna say! They slide down the back of the roof out of sight. We next find them strutting on a bridge ledge. ANNA I'VE NEVER MET SOMEONE- BOTH WHO THINKS SO MUCH LIKE ME. BOTH (SPOKEN) (CONT'D) Jinx.. . .jinx again. Are they doing the robot? No. They're imitating the mechanical figures on the clock tower. BOTH (CONT'D) OUR MENTAL SYNCHRONIZATION CAN HAVE BUT ONE EXPLANATION, HANS YOU- ANNA AND I- HANS WERE- ANNA JUST- BOTH MEANT TO BE. Anna and Hans dance on top of the lighthouse and cast dancing shadows across the sails of ships in the docks. ANNA SAY GOODBYE- HANS SAY GOODBYE- 28FROZEN - J. Lee BOTH TO THE PAIN OF THE PAST. BOTH (CONT'D) WE DON'T HAVE TO FEEL IT ANYMORE! LOVE IS AN OPEN- They play hide and seek amongst the stable doors. BOTH (CONT'D) DOOR! LOVE IS AN OPEN DOOR! They climb to the waterfall looking out over the kingdom. Anna raises up her hands to frame the moon. Hans puts his hands on top of hers. Together their hands form a heart. BOTH (CONT'D) LIFE CAN BE SO MUCH MORE- ANNA WITH YOU! HANS WITH YOU! ANNA WITH YOU! HANS WITH YOU! BOTH LOVE IS AN OPEN HANS DOOR. ANNA DOOR. HANS Can I say something crazy...? Will you marry me? ANNA Can I just say something even crazier? Yes. CUT TO: 29FROZEN - J. Lee INT. BALL -- NIGHT Anna pushes through the crowd towards Elsa, Hans in tow. ANNA Oops! Pardon. Sorry. Can we just get around you there? Thank you. Oh, there she is. Elsa! Elsa turns to Anna. Anna curtseys awkwardly. ANNA (CONT'D) I mean...Queen.... Me again. Um. May I present Prince Hans of the Southern Isles. HANS (bowing) Your Majesty. Elsa gives a polite but reserved curtsey. ANNA We would like-- HANS --your blessing-- ANNA --of-- ANNA/HANS --our marriage! ELSA Marriage...? ANNA Yes! ELSA I'm sorry, I'm confused. ANNA Well, we haven't worked out all the details ourselves. We'll need a few days to plan the ceremony. Of course we'll have soup, roast, and ice cream and then-- Wait. Would we live here? ELSA Here? 30FROZEN - J. Lee HANS Absolutely! ELSA Anna-- ANNA Oh, we can invite all twelve of your brothers to stay with us-- ELSA What? No, no, no, no, no. ANNA Of course we have the room. I don't know. Some of them must-- ELSA Wait. Slow down. No one's brothers are staying here. No one is getting married. ANNA Wait, what? ELSA May I talk to you, please. Alone. Anna sees Hans's worried face. Hooks arms with him. ANNA No. Whatever you have to say, you- you can say to both of us. ELSA Fine. You can't marry a man you just met. ANNA You can if it's true love. ELSA Anna, what do you know about true love? ANNA More than you. All you know is how to shut people out. ELSA You asked for my blessing, but my answer is no. Now, excuse me. 31FROZEN - J. Lee HANS Your Majesty, if I may ease your-- ELSA (flustered) No, you may not. And I-I think you should go. Elsa walks away. As she passes the Royal Handler-- ELSA (CONT'D) The party is over. Close the gates. ANNA What? Elsa, no. No, wait! Anna grabs Elsa's hand. She pulls off Elsa's glove. Elsa gasps, spins around and reaches for the glove in panic. ELSA Give me my glove! Anna holds the glove away from Elsa. ANNA (desperate) Elsa, please. Please. I can't live like this anymore. Elsa fights tears. ELSA (weak) ...Then leave. Elsa sees Anna's hurt face. It's too much. She can't hold it in. She turns and rushes away. ANNA (heartbroken) ...What did I ever do to you?! The party goes silent as everyone watches the sisters. ELSA Enough, Anna. ANNA No. Why? Why do you shut me out?! Why do you shut the world out?! What are you so afraid of?! ELSA I said, enough! 32FROZEN - J. Lee Ice shoots from Elsa's hand, spikes across the floor! Guests cry out in shock, back away. DUKE (ducking behind his men) ...Sorcery. I knew there was something dubious going on here. ANNA Elsa...? Elsa rushes out of the room. CUT TO: EXT. COURTYARD -- NIGHT Elsa bursts out of the castle door. The CITIZENS CHEER! CROWD There she is. Your Majesty! Long live the Queen! Queen Elsa.... Come drink with us. Elsa ducks through the crowd, holding her bare hand. BOWING TOWNSMAN Queen Elsa. TOWNSWOMAN WITH BABY Your Majesty? Are you all right? Elsa backs away from the baby. She knocks into the fountain, grabs its edge. The waters freeze at her touch. GASPS of shock and fear sweep over the crowd. The Duke and thugs come out the door. DUKE There she is! Stop her! ELSA (to the Duke) Please, just stay away from me. Stay away! Magic accidentally shoots from her hand and turns the staircase into ice. The thugs and the Duke fall. DUKE Monster.... Monster! 33FROZEN - J. Lee The crowd panics. A snowstorm begins. Elsa flees. Anna runs out of the palace doors, carrying the glove. ANNA Elsa! Hans follows closely behind her. GATES TO THE KINGDOM: Elsa runs out of the gates and down to the water's edge. The shoreline freezes under her feet. Anna calls to her from the gates. ANNA (CONT'D) Elsa! Wait, please! Elsa glances back at Anna, but turns away. She tentatively steps out onto the fjord. It freezes instantly. She breaks into a run, as the water freezes over with each step. ANNA (CONT'D) Elsa, stop! Anna rushes out onto the fjord ice, slips, falls. HANS Anna! Hans rushes to Anna's side. Elsa reaches the far shore. She doesn't look back. She just scrambles into the mountains. ANNA No. HANS (shocked) Look.... The fjord. The ice spreads out until the entire fjord is frozen, locking the ships in place. INT. CASTLE COURTYARD -- NIGHT Snow falls. Hans and Anna move through the panicking crowd. CROWD WALLAH Snow? It's...snow...in July. 34FROZEN - J. Lee HANS ...Are you all right? ANNA (in shock) No. HANS Did you know? ANNA No. Nearby, the Duke flutters about in fright. DUKE Look! It's snowing! It's snowing! The Queen has cursed this land! She must be stopped! (to his thugs) You have to go after her. Anna rushes up to the Duke. ANNA Wait, no! The Duke hides behind his thugs and points out at Anna. DUKE You! Is there sorcery in you, too? Are you a monster, too? ANNA No. No. I'm completely ordinary. HANS That's right she is... (realizing how that sounds) ...in the best way. ANNA ...And my sister's not a monster. DUKE She nearly killed me. HANS You slipped on ice. DUKE Her ice! 35FROZEN - J. Lee ANNA It was an accident. She was scared. She didn't mean it. She didn't mean any of this.... Tonight was my fault. I pushed her. So I'm the one that needs to go after her. DUKE Yes. Fine. Do. HANS What? ANNA (to the Royal Handler) Bring me my horse, please. HANS Anna, no. It's too dangerous. ANNA Elsa's not dangerous. I'll bring her back, and I'll make this right. The Royal Handler brings Anna her horse and a cloak. HANS I'm coming with you. ANNA No, I need you here to take care of Arendelle. He sees the desperation in her eyes. HANS ...On my honor. She throws on the cloak and hops right onto the horse, coronation dress and all. ANNA (to the crowd) I leave Prince Hans in charge! HANS (before letting her go) Are you sure you can trust her? I don't want you getting hurt. ANNA She's my sister; she would never hurt me. 36FROZEN - J. Lee She snaps the reins and rides out. Hans watches after her. The snow picks up and overtakes our view. We push through a blizzard...lose our way...then finds ourselves... EXT. HIGH UP IN THE MOUNTAINS -- NIGHT Well above the snow-line, a small figure climbs the highest peak. It's Elsa. Finally, she stops, looks around. Catches her breath and sings... "Let It Go" ELSA THE SNOW GLOWS WHITE ON THE MOUNTAIN TONIGHT, NOT A FOOTPRINT TO BE SEEN. A KINGDOM OF ISOLATION AND IT LOOKS LIKE I'M THE QUEEN. THE WIND IS HOWLING LIKE THIS SWIRLING STORM INSIDE. COULDN'T KEEP IT IN, HEAVEN KNOWS I TRIED. . . DON'T LET THEM IN, DON'T LET THEM SEE, BE THE GOOD GIRL YOU ALWAYS HAVE TO BE. CONCEAL, DON'T FEEL, DON'T LET THEM KNOW. WELL, NOW THEY KNOW. Elsa takes off her glove and throws it into the air. ELSA (CONT'D) LET IT GO. LET IT GO. CAN'T HOLD IT BACK ANYMORE. Elsa creates a snowman, just like the one she made with Anna when they were children. ELSA (CONT'D) LET IT GO. LET IT GO. TURN AWAY AND SLAM THE DOOR. I DON'T CARE WHAT THEY'RE GOING TO SAY. LET THE STORM RAGE ON. THE COLD NEVER BOTHERED ME ANYWAY. Elsa lets her cape fly back into the wind. 37FROZEN - J. Lee ELSA (CONT'D) IT'S FUNNY HOW SOME DISTANCE MAKES EVERYTHING SEEM SMALL. AND THE FEARS THAT ONCE CONTROLLED ME CAN'T GET TO ME AT ALL. IT'S TIME TO SEE WHAT I CAN DO, TO TEST THE LIMITS AND BREAK THROUGH. NO RIGHT, NO WRONG, NO RULES FOR ME...I'M FREE! Elsa creates ice steps and climbs them. ELSA (CONT'D) LET IT GO! LET IT GO! I AM ONE WITH THE WIND AND SKY. LET IT GO! LET IT GO! YOU'LL NEVER SEE ME CRY. HERE I STAND AND HERE I'LL STAY. Elsa slams her foot down and forms a giant snowflake. ELSA (CONT'D) LET THE STORM RAGE ON.... In a flurry of creative release, she raises the snowflake on ice beams, builds walls, archways, a glistening chandelier, and an intricate ceiling that leaves the sky visible. ELSA (CONT'D) MY POWER FLURRIES THROUGH THE AIR INTO THE GROUND. MY SOUL IS SPIRALING IN FROZEN FRACTALS ALL AROUND. AND ONE THOUGHT CRYSTALLIZES LIKE AN ICY BLAST- Standing firmly in her mighty ice palace, Elsa removes her crown and throws it. ELSA (CONT'D) I'M NEVER GOING BACK, (back to resolve) THE PAST IS IN THE PAST! She takes down her hair and creates a new dress made of ice. ELSA (CONT'D) LET IT GO! LET IT GO! AND I'LL RISE LIKE THE BREAK OF DAWN. LET IT GO! LET IT GO! The sun rises. Elsa struts onto out onto a balcony and into the light. She's free. 38FROZEN - J. Lee ELSA (CONT'D) THAT PERFECT GIRL IS GONE. HERE I STAND IN THE LIGHT OF DAY. LET THE STORM RAGE ON!! THE COLD NEVER BOTHERED ME ANYWAY. She turns and slams her ice palace door on us. CUT TO: EXT. THE FJORD FOREST -- DAY Anna rides her horse through two feet of snow. She shivers. ANNA (shivering) Elsa! Elsa! It's me, Anna...your sister who didn't mean to make you freeze the summer. I'm sorry. It's all my f-f-f-f-f-f-fault. DISSOLVE TO: LATER: Anna and the horse struggle through a wooded area. ANNA (CONT'D) (hearing a wolf howl) Of course, none of this would have happened if she'd just told me her secret...ha...she's a stinker. A branch of a nearby tree snaps and startles the horse. Anna goes flying off, lands face down in the snow. She sits up. Spits out snow. Sees the horse running away. ANNA (CONT'D) Oh no. No. No. No. Come back. No. No. No. No.... Oooo-kay. He doesn't come back. Anna grabs onto a branch of a leaning conifer, tries to pull herself to her feet, but the tree snaps upright and releases all its snow onto her. GROAN. DISSOLVE TO: EXT. MOUNTAIN -- NIGHT The Northern Lights shine as Anna struggles, out of breath, reaching the top of a hill. 39FROZEN - J. Lee ANNA Snow, it had to be snow, she couldn't have had tr-tr-tropical magic that covered the f-f-fjords in white sand and warm -- She sees smoke rising up in the distance. ANNA (CONT'D) Fire! WHOA! Anna goes tumbling down the hill. She lands with a crash in an icy stream at the bottom. ANNA (CONT'D) (from inside the snowball) Cold, cold, cold, cold, cold... EXT. A SMALL BUILDING AND STABLE -- NIGHT Anna shuffles up to the building, her dress frozen stiff. She shakes the snow off a sign and reads: ANNA Wandering Oaken's Trading Post. Snow drops off a smaller sign. She reads it, happily. ANNA (CONT'D) Ooh! And Sauna... INT. WANDERING OAKEN'S TRADING POST & SAUNA -- NIGHT Anna steps cautiously through the door--which hits her frozen butt and knocks her into the center of the shop. She looks around, sees only summer supplies. OAKEN (O.S.) Hoo hoo. Anna turns to see a bright-faced fellow sitting low behind the counter, fingers tapping tip to tip. OAKEN (CONT'D) Big summer blow out. Half off swimming suits, clogs, and a sun balm of my own invention, yah? ANNA Oh, great. For now, how about boots. Winter boots...and dresses? 40FROZEN - J. Lee OAKEN (slight disappointment) That would be in our winter department. The winter department contains one outfit, a pick ax, and a lonely pair of boots. ANNA Oh. Um, I was just wondering; has another young woman, the Queen perhaps, I don't know, passed through here? She brings the clothes and boots to the counter. OAKEN Only one crazy enough to be out in this storm is you, dear? The front door suddenly blows open and in walks a mass of a man covered in ice. Underneath is KRISTOFF. OAKEN (CONT'D) You and this fellow.... Hoo hoo. Big summer blow out. Kristoff walks right up to Anna. KRISTOFF (in her face) Carrots. ANNA Huh? KRISTOFF Behind you. ANNA Oh, right. Excuse me. Anna moves out of Kristoff's way. He grabs a bunch of carrots, tosses them on the counter, then moves through the place, gathering other supplies. OAKEN (to Kristoff) A real howler in July, yah? Where ever could it be coming from? KRISTOFF The North Mountain. 41FROZEN - J. Lee ANNA (to herself) North Mountain. Kristoff brings his supplies to the counter. Oaken counts on his fingertips. OAKEN That'll be forty. KRISTOFF Forty? No, ten. OAKEN (sweet as pie) Oh dear, that's no good. See these are from our winter stock, where supply and demand have a big problem. KRISTOFF You want to talk about a supply and demand problem? I sell ice for a living. Kristoff motions out the window, where we see the blocks of ice on his sled, covered in snow. ANNA Ooh, that's a rough business to be in right now. I mean, that is really... (he shoots her a look) Ahem. That's unfortunate. OAKEN Still forty. But I will throw in a visit to Oaken's sauna. Hoo hoo! Hi, family. Kristoff and Anna turn to see a naked family waving through the window of the steaming sauna. NAKED FAMILY Hoo hoo! KRISTOFF ...Ten's all I got. Help me out. OAKEN (isolating the carrots) Ten will get you this and no more. Kristoff seethes. Stalemate. 42FROZEN - J. Lee ANNA Okay, just tell me one thing; what was happening on the North Mountain? Did it seem magical? Kristoff pulls down his scarf and gives Anna a firm answer. KRISTOFF Yes! Now, back up while I deal with this crook here. Oaken stands up, revealing his seven-foot stature. OAKEN What did you call me? EXT. WANDERING OAKEN'S TRADING POST AND SAUNA -- NIGHT Oaken stomps out the door, carrying Kristoff with one arm. KRISTOFF Okay. Okay, I'm- Ow! Whoa! Oaken throws Kristoff, who face-plants in the snow. OAKEN Bye bye. Oaken slams the door. Kristoff sits up. His reindeer, Sven, canters over, snorts, and nudges him, expectantly. KRISTOFF No Sven, I didn't get your carrots. Sven huffs in his face. Kristoff turns away and sees something. He points to a dilapidated barn. KRISTOFF (CONT'D) But I did find us a place to sleep. And it's free. INT. WANDERING OAKEN'S TRADING POST AND SAUNA -- NIGHT Anna stands watching Oaken and all his great height as he squeezes behind the counter and sits down low again. OAKEN (teddy bear) I'm sorry about this violence. I will add a quart of lutefisk, so we'll have good feelings. Just the outfit and boots, yah? 43FROZEN - J. Lee Anna looks between Kristoff's supplies and the door. CUT TO: INT. OAKEN'S STABLES - NIGHT Kristoff, now unfrozen, relaxes on a bed of hay, playing his lute and singing to (and for) Sven. "Reindeer(s) are Better than People" KRISTOFF REINDEERS ARE BETTER THAN PEOPLE. SVEN, DON'T YOU THINK THAT'S TRUE? KRISTOFF (AS SVEN) (CONT'D) (throwing his voice) YEAH, PEOPLE WILL BEAT YOU & CURSE YOU & CHEAT YOU. EVERY ONE OF EM'S BAD, EXCEPT YOU. (speaking) Oh, thanks, Buddy. (singing, as Kristoff) BUT PEOPLE SMELL BETTER THAN REINDEERS. SVEN, DON'T YOU THINK I'M RIGHT? (As Sven) THAT'S ONCE AGAIN TRUE, FOR ALL EXCEPT YOU. (As Kristoff) YOU GOT ME. LET'S CALL IT A NIGHT. (As Sven) GOOD NIGHT. (As Kristoff) DON'T LET THE FROSTBITE BITE. The door opens. Anna enters. ANNA Nice duet. Kristoff sits up with a start...sees who it is. KRISTOFF Oh, it's just you. What do you want? ANNA I want you to take me up the North Mountain. 44FROZEN - J. Lee KRISTOFF I don't take people places. He lays back down, closes his eyes. ANNA Let me rephrase that... A sack of supplies lands in Kristoff's lap. KRISTOFF Umph. He sits up. Looks in the bag. ANNA Take me up the North Mountain.... Please. He eyes her. He clearly doesn't take orders. ANNA (CONT'D) Look, I know how to stop this winter. He considers, lies back down, pulls his hat over his eyes. KRISTOFF We leave at dawn.... And you forgot the carrots for Sven. A bag of carrots hits Kristoff in the face. KRISTOFF (CONT'D) Ugh! ANNA Oops. Sorry. Sorry. I'm sorry. I didn't-- (catching herself) We leave now. Right now. She steps back outside and waits, anxiously. Annoyed, Kristoff offers Sven a carrot. Sven has a bite. Then Kristoff has a bite, contemplating. SLAM CUT TO: EXT. MOUNTAIN HIGH -- NIGHT Sven races, top speed, up a narrow cliff, pulling the sled, which skids precariously. Kristoff mans the reins. Anna sits beside him. 45FROZEN - J. Lee KRISTOFF (trying to scare Anna) Hang on! We like to go fast! ANNA (fearless) I like fast! Anna leans back and puts her feet up on the dashboard. KRISTOFF Whoa, whoa! Get your feet down. He pushes her feet down. KRISTOFF (CONT'D) This is fresh lacquer. Seriously, were you raised in a barn? Kristoff spits on the dash to clean it. The spit flies back and hits Anna in the face. ANNA (grossed out) Ew. No, I was raised in a castle. She wipes off her face. KRISTOFF So tell me, what made the Queen go all ice-crazy? ANNA ...Oh well, it was all my fault. I got engaged but then she freaked out because I'd only just met him, you know, that day. And she said she wouldn't bless the marriage-- KRISTOFF Wait. You got engaged to someone you just met? ANNA Yeah. Anyway, I got mad and so she got mad and then she tried to walk away, and I grabbed her glove-- KRISTOFF Hang on. You mean to tell me you got engaged to someone you just met?! 46FROZEN - J. Lee ANNA Yes. Pay attention. But the thing is she wore the gloves all the time, so I just thought, maybe she has a thing about dirt. KRISTOFF Didn't your parents ever warn you about strangers? Anna eyes Kristoff up and down, then slides away from him. ANNA Yes, they did.... But Hans is not a stranger. KRISTOFF Oh yeah? What's his last name? ANNA ...Of-the-Southern-Isles? KRISTOFF What's his favorite food? ANNA ...Sandwiches. KRISTOFF Best friend's name? ANNA Probably John. KRISTOFF Eye color. ANNA Dreamy. KRISTOFF Foot size...? ANNA Foot size doesn't matter. KRISTOFF Have you had a meal with him yet? What if you hate the way he eats? What if you hate the way he picks his nose? ANNA Picks his nose? 47FROZEN - J. Lee KRISTOFF And eats it. ANNA Excuse me, sir. He's a prince. KRISTOFF All men do it. ANNA Ew. Look it doesn't matter; it's true love. KRISTOFF Doesn't sound like true love. ANNA Are you some sort of love expert? KRISTOFF No. But I have friends who are. ANNA You have friends who are love experts.... I'm not buying it. Sven suddenly stops, ears perked in alarm. KRISTOFF (to Anna) Stop talking. ANNA No, no, no. I'd like to meet these-- Kristoff clamps his hand over Anna's mouth. KRISTOFF I mean it. SHHH. Kristoff stands, looks into the dark woods surrounding them. Sensing something behind them, he holds up his lantern. Its light reflects off...EYES. Several. KRISTOFF(CONT'D) Sven, go. Go! Sven takes off. ANNA What are they? KRISTOFF Wolves. 48FROZEN - J. Lee Flashes of white dart through the woods. Kristoff hops into the back of the sled, grabs a torch. Lights it. ANNA Wolves. What do we do? KRISTOFF I've got this. You just...don't fall off and don't get eaten. ANNA But I wanna help. KRISTOFF No. ANNA Why not? KRISTOFF Because I don't trust your judgement. ANNA Excuse me?! A wolf jumps at them, but Kristoff kicks it off. KRISTOFF Who marries a man she just met? Anna grabs the lute, swings it right at Kristoff's head. ANNA It's true love! He screams, as she...BAM!...swings past Kristoff and knocks a wolf away. KRISTOFF (shocked) Whoa. Just then Kristoff is yanked off the sled by another wolf. The torch goes flying. Anna catches it, shocked. ANNA Christopher! Kristoff grabs onto a loose rope hanging from the back of the sled and holds on for dear life as he's dragged behind. KRISTOFF It's Kristoff! 49FROZEN - J. Lee A wolf jumps on Kristoff's back. KRISTOFF (CONT'D) AH! Anna thinks fast, uses the torch to light a blanket on fire. ANNA Duck! Anna throws the flaming blanket right at him. He ducks. The blanket hits the wolves. They tumble off Kristoff. KRISTOFF You almost set me on fire! Anna reaches out a hand, pulls Kristoff back onto the sled. ANNA But I didn't. Sven cries out. There is a massive gorge ahead. ANNA (CONT'D) Get ready to jump, Sven! KRISTOFF You don't tell him what to do! Kristoff shoves a satchel into her arms then scoops her up. KRISTOFF (CONT'D) I do! Kristoff tosses Anna onto Sven, then unhooks Sven's harness from the sled. KRISTOFF (CONT'D) Jump, Sven! Sven jumps the gorge with Anna on his back. Kristoff goes flying off behind them, still on the sled. Anna and Sven land safely on the other side of the gorge. Kristoff's sled loses momentum. It's not going to make it. He leaps off. He flaps his arms, claws at the air. He slams into the snowy edge of the cliff. Hanging by his hands, he looks down to see his sled hit the ground far below and burst into flames. 50FROZEN - J. Lee KRISTOFF (CONT'D) (shocked sadness) ...But I just paid it off. Suddenly, he starts to slip. He claws at the loose snow, but it's clearly hopeless. He's going down. KRISTOFF (CONT'D) Uh-oh. No, no, no. To make matters worse, an AXE comes flying right at his face. KRISTOFF (CONT'D) AH! NO, NO, NO! The axe slams into the snow, inches from his nose. ANNA (O.S.) Grab on! Kristoff grabs on. ANNA (CONT'D) Pull, Sven! Pull! REVEAL: The axe is tied to a rope, then wrapped around Sven. Anna helps Sven pull Kristoff to safety. Kristoff rolls onto his back, exhausted. Anna peeks down at the burning sled. ANNA (CONT'D) Whoa.... I'll replace your sled and everything in it. Kristoff groans. ANNA (CONT'D) And I understand if you don't want to help me anymore. Anna walks off, sadly. Sven comes over and nuzzles Kristoff. KRISTOFF Of course I don't want to help her anymore. In fact, this whole thing has ruined me for helping anyone ever again. KRISTOFF (AS SVEN) (CONT'D) But she'll die on her own. KRISTOFF (AS SELF) (CONT'D) I can live with that. 51FROZEN - J. Lee Through their conversation, they watch Anna go the wrong way...turn, go the other wrong way, turn, trip... KRISTOFF (AS SVEN) (CONT'D) But you won't get your new sled if she's dead. KRISTOFF (CONT'D) (knowing he's got a point) ...You know sometimes I really don't like you. Sven licks Kristoff happily. KRISTOFF (AS SELF) (CONT'D) (to Anna) Hold up. We're coming?! ANNA (excited) You are?! (catching herself) I mean, sure. I'll let you tag along. DISSOLVE TO: EXT. SHARP MOUNTAIN RIDGE -- DAWN Kristoff, Sven and Anna walk on a narrow rim of a mountain. DISSOLVE TO: EXT. MOUNTAIN FOREST CLEARING -- DAY As they step out of the thick trees, Anna catches sight of something far below. ANNA Arendelle. KRISTOFF It's completely frozen. ANNA ...But it'll be fine. Elsa will thaw it. KRISTOFF Will she? 52FROZEN - J. Lee ANNA (uncertain) ...Yeah. Now come on. This way to the North Mountain? She points straight ahead. KRISTOFF More like this way. He points her finger up towards a perilously mighty mountain. DISSOLVE TO: INT. FROZEN WILLOW TREES -- DAY Anna, Kristoff, and Sven walk beneath frozen willows. The hanging branches glisten like Christmas lights. Sven knocks them with his antlers. They tinkle like chimes. ANNA I never knew winter could be so beautiful. Suddenly, a voice comes in from nowhere. We'll call that voice OLAF. OLAF (O.S.) YEAH...It really is beautiful, isn't it? But it's so white. You know, how about a little color? Must we bleach the joy out of it all? I'm thinking like maybe some crimson, chartreuse... While this is going on, Anna and Kristoff look around for the source of the rambling. They look at Sven - could he actually be talking? Sven looks back at them, his antlers tangled in branches, just as baffled as they are. In the meantime, a nose-less snowman, Olaf, wanders up behind them. OLAF (CONT'D) How `bout yellow--no, not yellow. Yellow and snow? Brrrr...no go. He stops between Kristoff and Anna. They look down at him. How did he get there? He suddenly looks up at Anna. OLAF (CONT'D) Am I right? 53FROZEN - J. Lee Anna SCREAMS! Reflexes take over and she kicks Olaf's head, sending it flying off his body and into Kristoff's arms. OLAF (CONT'D) (cheery, to Kristoff) Hi! KRISTOFF You're creepy. Kristoff tosses the head back to Anna and they commence a game of hot potato. ANNA I don't want it! KRISTOFF Backatchya! OLAF Please don't drop me. ANNA Don't! KRISTOFF Come on, it's just a head. ANNA No! Olaf's body runs at Anna, arms waving. OLAF (O.S.) All right, we got off to a bad start. ANNA Ew, ew, the body! Anna slams Olaf's head back on the body, upside down. Olaf smiles happily, then looks confused. OLAF Wait, what am I looking at right now? Why are you hanging off the earth like a bat? ANNA (sympathetic) ...Okay. Wait one second. Anna kneels in front of Olaf and rights his head. 54FROZEN - J. Lee OLAF Oooh! Thank you! ANNA You're welcome. OLAF Now I'm perfect. She looks over his innocent face, gets an idea. ANNA Well, almost. She digs into Kristoff's satchel, holds up a carrot just as Olaf turns toward her. The carrot accidentally slams all the way through his head. OLAF Woo! Head rush! ANNA Oh! Too hard. I'm sorry! I-I, I was just.... Are you okay? Olaf sees a tiny piece of carrot sticking out between his eyes. He lights up. OLAF Are you kidding me? I am wonderful! I've always wanted a nose. (going cross-eyed to look at his tiny nose) So cute. It's like a little baby unicorn. Anna reaches behind Olaf to the bulk of the carrot sticking out the back of his head, and pushes it forward. OLAF (CONT'D) What? Hey! Whoa. (seeing his now big nose) Oh, I love it even more! Hah.... All right, let's start this thing over. Hi everyone. I'm Olaf. And I like warm hugs. Olaf opens his arms wide to Anna. That triggers a memory. It takes her a moment to place it, but then she does. ANNA Olaf?...That's right, Olaf. 55FROZEN - J. Lee OLAF ...And you are? ANNA Oh, um...I'm Anna. OLAF And who's the funky-looking donkey over there? ANNA That's Sven. OLAF Uh-huh. And who's the reindeer? ANNA ...Sven. Olaf looks from Kristoff to Sven, confused. OLAF Oh. They're--oh, okay.... (accepting it) Makes things easier for me. Sven tries to bite Olaf's nose. OLAF (CONT'D) Ha. Aw, look at him tryin' to kiss my nose. (gushes) I like you, too! ANNA Olaf, did Elsa build you? OLAF Yeah. Why? Curious, Kristoff takes one of Olaf's twig arms off, studies it. It seems to be moving in sync with his other arm. ANNA Do you know where she is? KRISTOFF (studying the arm) Fascinating... OLAF Yeah. Why? 56FROZEN - J. Lee ANNA Do you think you could show us the way? OLAF Yeah. Why? KRISTOFF (bending the arm) How does this work? Olaf's dismembered arm slaps Kristoff across the face. OLAF Stop it, Sven. Trying to focus here. (to Anna) Yeah, why? KRISTOFF I'll tell you why. We need Elsa to bring back summer. OLAF (shocked) Summer? (sinking into wistfulness) Oh, I don't know why but I've always loved the idea of summer, and sun, and all things hot. KRISTOFF Really? I'm guessing you don't have much experience with heat. OLAF Nope. But sometimes I like to close my eyes and imagine what it'd be like when summer does come. DISSOLVE TO: OLAF'S FANTASY WORLD -- PERFECT SUMMER DAY Olaf walks through a grassy meadow with the sun shining behind him. He SINGS. "In Summer" OLAF BEES'LL BUZZ / KIDS'LL BLOW DANDELION FUZZ / AND I'LL BE DOING WHATEVER SNOW DOES IN SUMMER. 57FROZEN - J. Lee -Olaf now lies in the sand on a beach. OLAF (CONT'D) A DRINK IN MY HAND / MY SNOW UP AGAINST THE BURNING SAND / PROB'LY GETTING GORGEOUSLY TANNED IN SUMMER. -Olaf sails in a boat. OLAF (CONT'D) I'LL FINALLY SEE A SUMMER BREEZE / BLOW AWAY A WINTER STORM / -Olaf floats in the water. All his pieces begin to separate. OLAF (CONT'D) AND FIND OUT WHAT HAPPENS TO SOLID WATER / WHEN IT GETS WARM. -Olaf tumbles on a sandy beach with sand-snowmen. OLAF (CONT'D) AND I CAN'T WAIT TO SEE / WHAT MY BUDDIES ALL THINK OF ME / JUST IMAGINE HOW MUCH COOLER I'LL BE IN SUMMER . . ! -Olaf and the seagull break out into a tap-dance. OLAF (CONT'D) DA DA . . . DA DOO / AH BAH BAH BAH BAH BAH BOO. -Olaf and another snowman drink hot chocolate in a hot tub. OLAF (CONT'D) THE HOT AND THE COLD ARE BOTH SO INTENSE / PUT `EM TOGETHER, IT JUST MAKES SENSE! -Olaf tap dances with a gaggle of seagulls. OLAF (CONT'D) RATDADAT DAD DADA DOO . . . -Olaf bounds down a grassy hill. OLAF (CONT'D) WINTER'S A GOOD TIME TO STAY IN AND CUDDLE / BUT PUT ME IN SUMMER AND I'LL BE A... He stops at a puddle, looks down at it. Smiles. Hops over it. 58FROZEN - J. Lee OLAF (CONT'D) HAPPY SNOWMAN! -Olaf runs with a checkered blanket that he spreads out. He relaxes and stares at the blue sky. OLAF (CONT'D) WHEN LIFE GETS ROUGH I LIKE TO HOLD ON TO MY DREAM / OF RELAXING IN THE SUMMER SUN JUST LETTING OFF STEAM! Sven, Anna, Kristoff and Olaf have a picnic. OLAF (CONT'D) OH THE SKY WILL BE BLUE / AND YOU GUYS'LL BE THERE TOO / WHEN I FINALLY DO WHAT FROZEN THINGS DO IN SUMMER! KRISTOFF I'm gonna tell him. ANNA Don't you dare. OLAF IN SUMMER! Olaf sings the final note. We swing around him and return to: REALITY. He then straightens up and smiles. OLAF (CONT'D) So, come on! Elsa's this way. Let's go bring back summer! Olaf grabs Anna's hand and pulls her along up the mountain. ANNA (laughing) I'm coming! Sven hops along, happily following them. Kristoff watches all of them like they're nuts. KRISTOFF Somebody's got to tell him. DISSOLVE TO: 59FROZEN - J. Lee EXT. ARENDELLE, VILLAGE -- DAY A layer of solid ice coats everything. People huddle around weak fires. Anxiety runs high amongst the villagers and guests. We pass two CITIZENS fighting over a woodpile. CITIZEN ONE No. No. You've got the bark facing down. The bark needs to be face-up. CITIZEN TWO Bark down is drier. CITIZEN ONE Bark up. CITIZEN TWO Bark down. CITIZEN ONE Bark up. Like a light in the dark, Hans moves through the crowd. HANS Cloak. Does anyone need a cloak? GERDA Arendelle is indebted to you, Your Highness. HANS The castle is open. There's soup and hot glˆgg in the Great Hall. He hands the stack of cloaks to a guard. HANS (CONT'D) Here. Pass these out. Just then the Duke approaches Hans. DUKE Prince Hans, are we just expected to sit here and freeze while you give away all of Arendelle's tradable goods? HANS (tall and confident) Princess Anna has given her orders and-- 60FROZEN - J. Lee DUKE And that's another thing; has it dawned on you that your princess may be conspiring with a wicked sorceress to destroy us all? Hans's nice eyes turn to threatening slits. HANS Do not question the Princess. She left me in charge, and I will not hesitate to protect Arendelle from treason. DUKE (flabbergasted, offended) Treason?! Suddenly they hear the alarmed whinny of Anna's horse. It returns alone, bucking and kicking. Hans grabs its reins. HANS Whoa! Whoa! Whoa, boy. Easy. Easy. CROWD (various) Princess Anna's horse. What happened to her? Where is she? Hans steadies the horse, looks up at the mountain. He sees all the panicked faces of the kingdom looking to him. HANS ...Princess Anna is in trouble. (calling out) I need volunteers to go with me to find her! Volunteers, some from Arendelle, some from other lands, rush up to offer their services. DUKE I volunteer two men, my Lord! (quietly to his thugs) Be prepared for anything, and should you encounter the Queen, you are to put an end to this winter. Do you understand? His two thugs sneer. CUT TO: 61FROZEN - J. Lee EXT. THE NORTH MOUNTAIN -- DAY Anna, Kristoff, Sven, and Olaf move through hostile terrain. Wind-swept icicles face horizontal. KRISTOFF So how exactly are you planning to stop this weather? ANNA (confident) Oh, I am gonna talk to my sister. KRISTOFF That's your plan? My ice business is riding on you talking to your sister. ANNA Yup. Kristoff, so stunned by her casual plan, doesn't look where he's going and ends up with an ice-spike to the nose. He stops short, GULP, moves carefully around the spike. KRISTOFF So you're not at all afraid of her? ANNA Why would I be? OLAF (oblivious) Yeah. I bet Elsa's the nicest, gentlest, warmest person ever. Olaf backs right into an icicle. It runs through his torso. OLAF (CONT'D) Oh, look at that. I've been impaled. He laughs it off. DISSOLVE TO: EXT. STEEP MOUNTAIN FACE -- DAY Anna and Kristoff hit what looks like a dead end. The face of the mountain goes straight up. ANNA What now? 62FROZEN - J. Lee Kristoff looks around, sighs. Digs in his rucksack. KRISTOFF ...It's too steep. I've only got one rope, and you don't know how to climb mountains. ANNA (O.S.) Says who? Sven nudges Kristoff, who looks up to see Anna trying to climb the cliff's flat face. KRISTOFF (finding her ridiculous) What are you doing? ANNA (straining) ...I'm going to see my sister. KRISTOFF You're going to kill yourself. Kristoff watches her searching for footholds and hand-holds. KRISTOFF (CONT'D) I wouldn't put my foot there. ANNA (O.S.) You're distracting me. KRISTOFF Or there. How do you know Elsa even wants to see you? ANNA (O.S.) I'm just blocking you out cause I gotta concentrate here. KRISTOFF You know, most people who disappear into the mountains want to be alone. ANNA (O.S.) Nobody wants to be alone. Except maybe you-- KRISTOFF I'm not alone.... I have friends, remember? Anna kicks a foot above her head to catch a foot hold. 63FROZEN - J. Lee ANNA You mean the love experts? KRISTOFF Yes, the love experts! Anna realizes she's stuck. ANNA ...Please tell me I'm almost there. REVEAL: she's only about six feet up. Her muscles shake. ANNA (CONT'D) ...Does the air seem a bit thin to you up here? Kristoff smiles, getting a kick out of her. KRISTOFF Hang on. He pulls the rope from his bag. Just then Olaf steps out from behind a rock and waves to Kristoff. OLAF Hey, Sven? Not sure if this is going to solve the problem, but I found a staircase that leads exactly where you want it to go. ANNA Ha ha. Thank goodness. Catch! Anna drops off the cliff. Kristoff catches her. ANNA (CONT'D) Thanks! That was like a crazy trust exercise. She hops down, brushes off her dress, and bounds off. Kristoff watches after her, digging her fearless pluck. EXT. BASE OF THE ICE PALACE -- DAY Anna, Kristoff, and Olaf approach Elsa's elegant ice palace. ANNA Whoa. KRISTOFF (in awe) Now that's ice. I might cry. 64FROZEN - J. Lee ANNA Go ahead. I won't judge. Anna climbs the steps with Olaf. Sven tries to follow. His hooves slip out. He scrambles but can't get traction. Kristoff runs to his aide. KRISTOFF All right, take it easy. I gotcha. Kristoff settles Sven back down the stairs and pats him. KRISTOFF (CONT'D) You stay right here, buddy. Sven obediently plops his reindeer butt down and wags his tail. Kristoff climbs the stairs, admiring the ice details. KRISTOFF (CONT'D) ...Flawless. Anna arrives at the door. Hesitates. OLAF ...Knock.... (she doesn't) Just knock.... (she doesn't. To Kristoff) Why isn't she knocking...? Do you think she knows how to knock? Anna finally KNOCKS. The sound echoes inside. The ice doors slide open. ANNA Ha. It opened. That's a first. Anna goes to step in. Kristoff follows. She gets a thought, stops him. ANNA (CONT'D) You should probably wait out here. KRISTOFF What? ANNA Last time I introduced her to a guy, she froze everything. KRISTOFF But, it's a palace made of ice. Ice is my life. 65FROZEN - J. Lee OLAF Bye, Sven. Olaf starts to head inside. Anna stops him. ANNA You too, Olaf. OLAF Me? ANNA Just give us a minute. OLAF Okay. As Anna walks inside. Olaf starts counting. OLAF (CONT'D) One...two... Kristoff joins in. OLAF AND KRISTOFF Three...four... INT. ELSA'S PALACE -- DAY Anna walks into a great foyer. The place is beautiful, but also eerie. ANNA Elsa? It's me...Anna?! Anna slips. Steadies herself. ELSA (O.S.) Anna. Elsa steps out of the shadows onto a balcony. She sees Anna, looks to her longingly. Anna can't help but be struck by Elsa's beauty. ANNA Elsa, you look different.... It's a good different.... And this place is amazing. 66FROZEN - J. Lee ELSA (cautious, polite) Thank you, I never knew what I was capable of. Anna starts to climb the stairs. ANNA ...I'm so sorry about what happened. If I'd known-- Elsa backs up, away from Anna. ELSA (on guard) No, it's okay. You don't have to apologize.... But you should probably go, please. ANNA But I just got here. ELSA ...You belong in Arendelle. ANNA So do you. Anna takes another step up. Elsa backs up more. ELSA No, I belong here. Alone. Where I can be who I am without hurting anybody. ANNA ...Actually, about that-- OLAF (O.S.) 58...59...60. ELSA Wait. What is that? Olaf comes running in the front door. He waves. OLAF Hi, I'm Olaf and I like warm hugs. ELSA (shocked) Olaf? Olaf stops beside Anna, looks up at Elsa, intimidated. 67FROZEN - J. Lee OLAF (bashful) You built me. You remember that? ELSA (astonished) And you're alive? OLAF Um...I think so? Anna kneels down beside Olaf. ANNA He's just like the one we built as kids.... We were so close. We can be like that again. Elsa smiles, but then a memory returns to her. FLASH CUT TO: FLASHBACK: Young Anna is struck by Elsa's powers. YOUNG ELSA Anna! Young Anna falls unconscious. Young Elsa races to her. FLASH CUT TO: THE PRESENT: Elsa's face sinks in pain. ELSA No, we can't. Elsa turns and heads up the second story steps. ELSA (CONT'D) Goodbye, Anna. ANNA Elsa, wait-- ELSA (calling back) I'm just trying to protect you. Elsa continues to flee. Anna pursues. ANNA You don't have to protect me. I'm not afraid. Please don't shut me out again. 68FROZEN - J. Lee Anna SINGS. "First Time in Forever, Reprise" ANNA (CONT'D) PLEASE DON'T SLAM THE DOOR. YOU DON'T HAVE TO KEEP YOUR DISTANCE ANYMORE. `CAUSE FOR THE FIRST TIME IN FOREVER, I FINALLY UNDERSTAND. FOR THE FIRST TIME IN FOREVER, WE CAN FIX THIS HAND IN HAND. WE CAN HEAD DOWN THIS MOUNTAIN TOGETHER. YOU DON'T HAVE TO LIVE IN FEAR. `CAUSE FOR THE FIRST TIME IN FOREVER, I WILL BE RIGHT HERE. They arrive on the top floor, Elsa's main living space. Elsa turns back to Anna, grateful, but determined. ELSA Anna, PLEASE GO BACK HOME. YOUR LIFE AWAITS. GO ENJOY THE SUN AND OPEN UP THE GATES. ANNA Yeah, but-- ELSA I know! YOU MEAN WELL, BUT LEAVE ME BE. YES, I'M ALONE BUT I'M ALONE AND FREE. Elsa opens up the balcony doors. ELSA (CONT'D) JUST STAY AWAY AND YOU'LL BE SAFE FROM ME. ANNA ACTUALLY, WE'RE NOT. ELSA WHAT DO YOU MEAN YOU'RE NOT? 69FROZEN - J. Lee ANNA I GET THE FEELING YOU DON'T KNOW? ELSA WHAT DO I NOT KNOW? ANNA ARENDELLE'S IN DEEP DEEP DEEP DEEP SNOW. ELSA What? Elsa looks past Anna's shoulder out white-peaked mountains. ANNA You kind of set off an eternal winter...everywhere. ELSA Everywhere? ANNA It's okay, you can just unfreeze it. ELSA No, I can't. I don't know how. ANNA Sure you can. I know you can. Snow starts to swirl around the room. ANNA (CONT'D) CUZ FOR THE FIRST TIME IN FOREVER, ELSA (panicking) I'M SUCH A FOOL! I CAN'T BE FREE! ANNA YOU DON'T HAVE TO BE AFRAID. ELSA NO ESCAPE FROM THE STORM INSIDE OF ME! The snow picks up. Anna tries to fight through it. ANNA WE CAN WORK THIS OUT TOGETHER. 70FROZEN - J. Lee ELSA I CAN'T CONTROL THE CURSE! ANNA WE'LL REVERSE THE STORM YOU'VE MADE. ELSA ANNA, PLEASE, YOU'LL ONLY MAKE IT WORSE! ANNA DON'T PANIC. ELSA THERE'S SO MUCH FEAR! ANNA WE'LL MAKE THE SUN SHINE BRIGHT. ELSA YOU'RE NOT SAFE HERE! ANNA WE CAN FACE THIS THING TOGETHER... But as Anna sings, we lose sight of her in the thickening blizzard taking over the room. ELSA NO! ANNA (O.S.) WE CAN CHANGE THIS WINTER WEATHER, AND EVERYTHING WILL BE... Anna's voice disappears in the storm as Elsa cries out. ELSA I CAN'T! Elsa's fear, so strong, sucks the blizzard back into her and then it bursts out, unwittingly, like a sharp snowflake. Anna is STRUCK right in the heart. She grasps her chest in pain and stumbles back. She falls to her knees. Elsa gasps when she sees Anna. Just then, Olaf and Kristoff rush into the room to Anna's side. KRISTOFF Anna. Are you okay? 71FROZEN - J. Lee ANNA I'm okay.... I'm fine. Anna gets to her feet, determined to hide the pain. ELSA (scared) Who's this? Wait, it doesn't matter. You have to go. ANNA No, I know we can figure this out together-- ELSA (desperate) How? What power do you have to stop this winter? To stop me? Anna doesn't have the answer. Kristoff sees spiky ice shadows creeping down the walls. Puts a protective arm around Anna. KRISTOFF Anna, I think we should go. ANNA (close to tears) No. I'm not leaving without you, Elsa. ELSA (heartbroken but decisive) Yes, you are. Elsa waves her arms and builds a giant, menacing snowman. We'll call him MARSHMALLOW. SLAM CUT TO: EXT. ICE PALACE -- DAY Marshmallow holds Anna and Kristoff by the scruff of their necks in one hand and Olaf in the other. ANNA Stop. Put us down! OLAF (to Marshmallow) You are a lot stronger than I think you realize. Marshmallow tosses Kristoff and Anna down the steps. 72FROZEN - J. Lee MARSHMALLOW (like a bouncer) Go away! Anna and Kistoff slide past Sven, who's got his tongue stuck to the ice railing. OLAF (O.S.) Heads up! Olaf's head smashes into a snowbank nearby. ANNA Olaf! OLAF Watch out for my butt! Anna and Kristoff duck as the rest of Olaf slams into the snowbank. Marshmallow turns to go back into the castle. Incensed, Anna tries to march back up the stairs. ANNA It is not nice to throw people! Kristoff grabs her, pulls her back. KRISTOFF ANNA All right feisty pants. Calm Let me at him. I want to get down. Woaw. Just let the snow him. I.... Okay. I'm Calm. man be. Anna backs down...for a moment. Then she grabs a snowball and throws it at Marshmallow. The tiny little ball hits Marshmallow's back, not making even the slightest dent. But it's enough to infuriate him. He ROARS. Spikes shoot out of his joints. KRISTOFF Uh-oh. Now you made him mad! OLAF ...I'll distract him. You guys go. Kristoff pushes Anna along. Sven runs off in the opposite direction. Olaf's belly and butt fall and follow Sven. OLAF (CONT'D) No, no, not you guys. 73FROZEN - J. Lee Marshmallow goes charging after Anna and Kristoff as Olaf's head falls and lands face down in snow. OLAF (CONT'D) (muffled) This just got a whole lot harder. Anna and Kristoff leap and slide down a steep slope. They tumble to a stop at the bottom just as Marshmallow lands hard right behind them. They're off again...through a maze of conifers that sag under the weight of the snow, Marshmallow hot on their trail. KRISTOFF This way! Anna grabs a branch of a sagging trees and releases all of the snow. The tree snaps upright, knocking Marshmallow back. KRISTOFF (CONT'D) (impressed) Ho-ho-ho! ANNA I got him! Anna and Kristoff burst out of the conifer forest and almost run right off a cliff. They stop short, toes on the edge. KRISTOFF Whoa, stop! ANNA It's a hundred foot drop. KRISTOFF It's two hundred. Kristoff ties the rope around Anna and pulls tight. ANNA Ow. He drops to his knees and starts digging a u-shape in the snow with a pick axe. ANNA (CONT'D) What's that for? KRISTOFF I'm digging a snow anchor. 74FROZEN - J. Lee ANNA (not trusting) Okay. What if we fall? KRISTOFF There's twenty feet of fresh powder down there; it'll be like landing on a pillow.... Hopefully. They hear an angry ROAR coming closer. KRISTOFF (CONT'D) Okay, Anna. On three. Anna preps for the jump like a boxer getting ready to fight. ANNA Okay. You tell me when... KRISTOFF One... ANNA ...I'm ready to go.... KRISTOFF Two... ANNA (pumped up) ...I was BORN ready! Yes! KRISTOFF Calm down. A huge tree flies through the air toward them. ANNA (O.S.) TREE! Anna jumps and pulls Kristoff over the edge with her. They hang upside down over the cliff by the rope. The rope catches their fall. KRISTOFF Whoa! That happened. Back up top, Olaf emerges from the woods. He's a complete mess, all his body parts are in the wrong places. He huffs and puffs, struggling to run. OLAF Ah. Ah. Man, am I out of shape. 75FROZEN - J. Lee He stops. Puts his body back together in the right order. OLAF (CONT'D) There we go. Hey, Anna! Sven! Where'd ya guys go? We totally lost Marshmallow back there! Marshmallow steps up behind Olaf. Olaf turns to face him. OLAF (CONT'D) (happily) Hey. We were just talking about you. All good things, all good things. Marshmallow roars and approaches Kristoff's snow anchor. OLAF (CONT'D) NO! Olaf jumps onto Marshmallow's leg trying to stop him, but not making much of a difference. OLAF (CONT'D) This is not making much of a difference! Marshmallow flicks Olaf off his leg and right over the cliff. OLAF (CONT'D) WHOA! Olaf passes Anna and Kristoff. ANNA Olaf! OLAF Hang in there, guys! Marshmallow starts yanking Kristoff and Anna's rope up. ANNA Wait, what? Kristoff's head hits the cliff. KRISTOFF Aargghh! Kristoff passes out and hangs like a rag doll. ANNA Kristoff! 76FROZEN - J. Lee Marshmallow pulls them up. He roars and breathes snow all over them. MARSHMALLOW Don't come back! ANNA (grossed out by his snow breath) Ugh. We won't. Anna whips out a knife and cuts the rope. Kristoff comes to just as they fall. They both SCREAM! SLAM! REVEAL: Anna opens her eyes to find herself buried up to her shoulders in the soft thick snow. She laughs. ANNA (CONT'D) Hey, you were right. Just like a pillow. She looks up to see Olaf's upper half hanging onto Kristoff's boots, which are sticking out of the snow. OLAF (shaking the boots) I can't feel my legs! I can't feel my legs! Suddenly, Kristoff's head pops up. He spits out snow. KRISTOFF Those are my legs. Olaf's bottom goes running by. OLAF (to Kristoff) Ooh. Hey, do me a favor, grab my butt. Kristoff grabs Olaf's head and puts it on his body. OLAF (CONT'D) Oh, that feels better. Sven walks up and sniffs Olaf's nose. OLAF (CONT'D) Hey, Sven! 77FROZEN - J. Lee Olaf turns to Anna and Kristoff just as Sven goes to bite off his nose -- and misses. OLAF (CONT'D) He found us. (to Sven, funny voice) Who's my cute little reindeer? KRISTOFF Don't talk to him like that. Kristoff goes over to help Anna, who is stuck in the snow. KRISTOFF (CONT'D) Here. He lifts her out easily. ANNA (impressed) Whoa! KRISTOFF You okay? ANNA Thank you. They meet eyes. Wait. Is that chemistry? ANNA (CONT'D) ...Um.... How's your head? She touches the spot where he banged his head. KRISTOFF (in pain) Ah! Ooh! He catches himself. Waves off the pain with a giggle. KRISTOFF (CONT'D) I mean, It's fine. Ah...I'm good. Ha. I've got a thick skull. OLAF I don't have a skull.... Or bones. KRISTOFF ...So.... The awkwardness is killing him. 78FROZEN - J. Lee KRISTOFF (CONT'D) (shy) Now what? ANNA (shy) Now what? (then...panicking) Now what?! Oh! What am I gonna do? She threw me out. I can't go back to Arendelle with the weather like this. And then there's your ice business-- KRISTOFF Hey, hey, don't worry about my ice business... (noticing something) Worry about your hair?! She thinks he means it looks bad. She smooths it down. ANNA What? I just fell off a cliff. You should see your hair. KRISTOFF No, yours is turning white. She grabs her braid as a tendril turns white. ANNA White? It's what? KRISTOFF It's because she struck you; isn't it? ANNA Does it look bad? KRISTOFF (thinking) ...No. Olaf's head pops up. He's holding his head up off his body to join the conversation. OLAF You hesitated. KRISTOFF No, I didn't. Anna, you need help. Now, come on. 79FROZEN - J. Lee He heads towards the sunset. Sven and Olaf follow. OLAF Okay! Where are we going? KRISTOFF To see my friends. ANNA (catching up) The love experts? OLAF Love experts?! KRISTOFF Yes. And don't worry; they'll be able to fix this. ANNA How do you know? He looks her over, remembering the moment he saw the trolls heal her as a child. KRISTOFF ...Because I've seen them do it before. As they round the bend, the sun sets and Olaf turns to Sven. OLAF I like to consider myself a love expert. CUT TO: INT. ELSA'S PALACE -- DAY Elsa paces, distraught. She talks to herself. ELSA (mantra-style) Get it together. Control it. Don't feel. Don't feel. Don't FEEL! She hears ice cracking. Stops. Looks around. She's left a sharp wake of ice spikes behind her on the floor. They grow up the wall, taking over the castle. DISSOLVE TO: 80FROZEN - J. Lee EXT. BLACK MOUNTAINS -- NIGHT The Northern Lights are bright. Olaf stares at them in awe as he rides on Sven's back. OLAF Look, Sven. The sky's awake. Behind Olaf and Sven, Anna walks with Kristoff. She shivers. KRISTOFF Are you cold? ANNA ...A little. He reaches like he might put an arm around her, but decides against it. He looks around as if he doesn't know what to do, then gets a thought. KRISTOFF Wait. Come here. He takes her hand and pulls her around a bend into a rock- lined pass. Steam vents, powered by the volcanic activity, dot the path. He holds her hands over one of them. ANNA Oooh.... That's nice. They continue on the path, walking from vent to vent. KRISTOFF (taking a deep breath) So, about my friends...well, I say friends, they're more like family.... Anyway, when I was a kid, it was just me and Sven...until they took me in. ANNA (moved) They did? KRISTOFF (nervous ramble) Yeah. I don't want to scare you, they can be a little bit inappropriate...and loud...very loud...they're also stubborn at times, and a little overbearing. And heavy. Really, really heavy. (MORE) 81FROZEN - J. Lee KRISTOFF (CONT'D) But they're fine.. You'll get it. They mean well. Anna touches Kristoff's arm, reassuringly. ANNA Kristoff, they sound wonderful. Kristoff smiles, appreciating her sincerity. KRISTOFF Okay then.... Mustering the courage, Kristoff steps forward and with a wave of the arms announces-- KRISTOFF (CONT'D) Meet my family. REVEAL: he's surrounded by rocks. KRISTOFF (CONT'D) (to the rocks) Hey, guys! As Kristoff and Sven move through the rocks, waving and greeting, Olaf and Anna stand frozen, dumbfounded. ANNA (to herself) ...They're rocks. OLAF (realizing) He's crazy. (covertly, to Anna) I'll distract them while you run. (Loud and slow to a rock) Hi, Sven's family! It's nice to meet you! (quietly to Anna) Anna, because I love you, I insist you run. (to the rock) I understand you're love experts! (to Anna) Why aren't you running? Anna snaps out of her shock and starts backing away. ANNA Okay. Um...I'm gonna go-- Just then the rocks around her start rolling. 82FROZEN - J. Lee ANNA (CONT'D) (panicking) Kristoff! Olaf lights up and chases the rocks, who surround Kristoff and unfold as trolls. BULDA KRISTOFF'S HOME! TROLLS (VARIOUS) Kristoff! Kristoff's home! It's been too long! Kristoff's home! Olaf jumps around all excitedly. OLAF (excitedly) Kristoff's home. He then stops, confused, and looks to one of the trolls. OLAF (CONT'D) Wait? Kristoff? Anna watches, shocked and confused. The trolls all want Kristoff's attention. One troll yanks him down with a boulder's strength. TROLL ONE Oh, lemme look at you! Another troll tries to pull off his clothes. TROLL TWO Oh, take off your clothes, Kristoff; I wash them. KRISTOFF (holding up his pants) Ah! No. I'm gonna keep my clothes on, thank you. KRISTOFF (CONT'D) Great to see you all. Where's grandpa? MUSHROOM KID TROLL He's napping. But look, I grew a mushroom. TROLL SCOUT KID And I earned my fire crystal. 83FROZEN - J. Lee KIDNEY STONE TROLL I passed a kidney stone. PICK ME UP TROLL Pick me up. The kid troll jumps up on Kristoff's arm. Kristoff sinks under the weight of him. Anna still stares, confused, then realizes... ANNA Trolls? They're trolls. Silence. All troll eyes turn to Anna. Blink. Blink. BULDA ...He's brought a girl! TROLLS (TOGETHER) He's brought a girl! Suddenly Anna is surrounded by trolls. They body-surf/roll Anna over to Kristoff. She falls into his arms. ANNA What's going on? KRISTOFF I've learned to just roll with it. Bulda climbs on top of her husband, Cliff, to get a good look at Anna. She studies her like she's a piece of cattle. BULDA Let me see. Bright eyes. Working nose. Strong teeth. Yes, yes, yes. She'll do nicely for our Kristoff. ANNA Wait. Oh. Um. No. KRISTOFF You've got the wrong idea. That's not why I brought her here. ANNA Right. We're not. I'm not-- Anna laughs, uncomfortable, not knowing what to say. 84FROZEN - J. Lee BULDA (to Anna) What's the issue, dear? Why are you holding back from such a man? Bulda SINGS. "Fixer-Upper" TROLLS (VARIOUS) IS IT THE CLUMPY WAY HE WALKS? OR THE GRUMPY WAY HE TALKS? OR THE PEAR-SHAPED, SQUARE-SHAPED WEIRDNESS OF HIS FEET? AND THOUGH WE KNOW HE WASHES WELL HE ALWAYS ENDS UP SORTA SMELLY. BUT YOU'LL NEVER MEET A FELLA WHO'S AS SENSITIVE AND SWEET. TROLLS (CHORUS) (CONT'D) SO HE'S A BIT OF A FIXER UPPER, SO HE'S GOT A FEW FLAWS- HIS PECULIAR BRAIN, DEAR. HIS THING FOR THE REINDEER THAT OUTSIDE A FEW OF NATURE'S LAWS. SO HE'S A BIT OF A FIXER UPPER, BUT THIS WE'RE CERTAIN OF- YOU CAN FIX THIS FIXER UPPER UP WITH A LITTLE BIT OF LOVE. KRISTOFF Can we just stop talking about this?! We've got a real, actual problem here. BULDA I'll say-- (To Anna) IS IT THE WAY THAT HE RUNS SCARED? TROLLS (VARIOUS) OR THAT HE'S SOCIALLY IMPAIRED? KID TROLL OR THAT HE ONLY LIKES TO TINKLE IN THE WOODS? TROLLS (VARIOUS) ARE YOU HOLDING BACK YOUR FONDNESS DUE TO HIS UNMANLY BLONDENESS? OR THE WAY HE COVERS UP THAT HE'S THE HONEST GOODS? 85FROZEN - J. Lee TROLLS (CHORUS) (CONT'D) HE'S JUST A BIT OF A FIXER UPPER- HE'S GOT A COUPLE A' BUGS. KRISTOFF No, I don't. TROLLS HIS ISOLATION IS CONFIRMATION OF HIS DESPERATION FOR HEALING HUGS. SO HE'S A BIT OF A FIXER UPPER, BUT WE KNOW WHAT TO DO. THE WAY TO FIX UP THIS FIXER UPPER IS TO FIX HIM UP WITH YOU. The girl trolls sweep Anna away. The boys take Kristoff. KRISTOFF (to the male trolls) Enough! She's engaged to someone else. Okay?! TROLLS beat. Blink. Blink. The boy trolls turn, huddle... TROLLS (VARIOUS) SO SHE'S A BIT OF A FIXER UPPER, THAT'S A MINOR THING. THIS QUOTE "ENGAGEMENT" IS A FLEX ARRANGEMENT. KID TROLL AND BY THE WAY, I DON'T SEE NO RING. TROLLS (VARIOUS) SO SHE'S A BIT OF A FIXER UPPER, HER BRAIN'S A BIT BETWIXT. GET THE FIANCE OUT OF THE WAY AND THE WHOLE THING WILL BE FIXED! GIRL TROLLS WE AREN'T SAYING YOU CAN CHANGE HIM TROLLS (VARIOUS) 'CAUSE PEOPLE DON'T REALLY CHANGE. WE'RE ONLY SAYING THAT LOVE'S A FORCE THAT'S POWERFUL AND STRANGE. PEOPLE MAKE BAD CHOICES IF THEY'RE MAD OR SCARED OR STRESSED. (MORE) 86FROZEN - J. Lee TROLLS (VARIOUS) (CONT'D) BUT THROW A LITTLE LOVE THEIR WAY (THROW A LITTLE LOVE THEIR WAY) AND YOU'LL BRING OUT THEIR BEST! TRUE LOVE BRINGS OUT THE BEST! Kristoff looks over at Anna. She actually looks shockingly beautiful dressed in moss, lit by shimmering crystals. ALL TROLLS EVERYONE'S A BIT OF A FIXER UPPER, THAT'S WHAT IT'S ALL ABOUT FATHER, SISTER, BROTHER WE NEED EACH OTHER TO RAISE US UP AND ROUND US OUT By this time Kristoff and Anna are being ushered into a pit by the sheer force of numbers. TROLLS EVERYONE'S A BIT OF A FIXER UPPER, BUT WHEN PUSH COMES TO SHOVE- THE ONLY FIXER UPPER FIXER THAT CAN FIX A FIXER UPPER IS TRUE TRUE TRUE TRUE LOVE During this last bit Anna and Kristoff are looking at each other differently. Hmmm. Maybe those trolls are right? Sparks! Chemistry! TROLL PRIEST Do you, Anna, take Kristoff to be your trollfully wedded-- ANNA Wait, what?! TROLL PRIEST You're getting married. TROLLS LOVE! Just then, Anna collapses. Kristoff catches her. She's shivering something fierce. KRISTOFF Anna? He pulls off her cape and hat. 87FROZEN - J. Lee KRISTOFF (CONT'D) She's as cold as ice. Just then Grand Pabbie pushes his way through the crowd. Trolls clear the way for Pabbie. He stops at the edge of the pit. GRAND PABBIE There's strange magic here! KRISTOFF Grand Pabbie! GRAND PABBIE Bring her to me, Kristoff. Kristoff helps Anna over. Pabbie looks into her weak eyes. GRAND PABBIE (CONT'D) Anna, your life is in danger. There is ice in your heart, put there by your sister. If not removed, to solid ice will you freeze, forever. ANNA What...? No. KRISTOFF So remove it, Grand Pabbie. GRAND PABBIE I can't. If it was her head, that would be easy. But only an act of true love can thaw a frozen heart. ANNA An act of true love? BULDA (googley, to her hubby) A true love's kiss, perhaps? A bunch of trolls give each other kisses. Anna shivers again, collapsing into Kristoff's arms. More of her hair turns white. KRISTOFF Anna, we've got to get you back to Hans. ANNA (still weak) ...Hans. 88FROZEN - J. Lee KRISTOFF Help us out, Sven. Kristoff grabs Sven's antlers. Sven pulls them out. Kristoff helps Anna onto Sven and hops up behind her. KRISTOFF (CONT'D) Come on, Olaf! Sven takes off. Olaf grabs Sven's tail, rides with them. OLAF I'm coming! Let's go kiss Hans! Who is this Hans?! CUT TO: EXT. ELSA'S PALACE - DAWN Hans and the men tread cautiously towards the castle. HANS We are here to find Princess Anna. Be on guard, but no harm is to come to the Queen. Do you understand? The Duke's thugs exchange a look. Suddenly, a mass of snow rises from the ground behind Hans. It's Marshmallow, Elsa's snow guard. MARSHMALLOW Go away! He slams a fist inches from Hans. Hans deftly dodges out of the way. All of the guards take up arms against Marshmallow, who quickly knocks them over. Marshmallow throws down a guard and his horse, who topple over Hans. Marshmallow raises his foot to stomp on Hans, but Hans barrel-rolls himself to safety. He sees his sword, leaps, and grabs it. Just then, Elsa peeks out the front doors. The Duke's two thugs see her. DUKE'S THUG The Queen. The thugs charge up the stairs. 89FROZEN - J. Lee INT. ELSA'S PALACE -- DAY They guards burst through the ice doors. Elsa flees to the top floor of her palace. The guards pursue. They trap her on the top floor, raise their crossbows. ELSA (scared) No. Please. One of the thugs shoots an arrow right at Elsa. At the last moment she creates an ice wall. It stops the arrow, inches from her face. The thugs reposition to take another shot. ELSA (CONT'D) Stay away! Elsa shoots ice at the thugs. They duck out of the way and continue the attack. THUG Get her! Get her! Elsa fights for her life. BACK OUTSIDE: Hans is nearly crushed by Marshmallow. He rolls away. Jumps to his feet. And with agile might, he slices Marshmallow's leg off with his sword. Marshmallow stumbles back, off balance. And falls off over the cliff, but not before striking Hans. Hans goes over the edge. REVEAL: Hans clings to the ice steps. His men help him up and they rush into the ice palace. INT. ICE PALACE -- DAY Elsa is surrounded. It's do or die. In two swift moves, Elsa traps one thug in a cage of spikes that threaten his neck. The other she pushes back with a wall of ice....up against the balcony doors...which BURST and CRACK. OUT ONTO THE BALCONY.... The balcony doors shatter. The thug is pushed to the edge. He's inches away from falling to his death. BACK INSIDE: Hans and his men run in. See the destruction and the thugs near death. 90FROZEN - J. Lee HANS Queen Elsa! Don't be the monster they fear you are. Elsa snaps out of her rage. She sees the men, frightened, moments from death. She stops. Elsa looks to Hans, overwhelmed, frightened. The wall retreats from the thug on the balcony. The ice spikes lower from the second thug's neck. He takes advantage and aims his crossbow at Elsa's back. Seeing it. Hans runs and pushes the crossbow up just as the arrow releases. The arrow hits the ice chandelier, hanging directly above Elsa. The chandelier comes CRASHING DOWN. Elsa dives out of the way but she falls in the blast. All we see is ice smashing like glass, and all we hear is the sound of it shattering as it rings out. CUT TO BLACK. FADE IN ON: Elsa's face as her eyes flutter open. She sits up. She's surrounded by stone. INT. ARENDELLE, DUNGEON -- DAY Elsa looks to the nearby window. Tries to rush to it. She's pulled taut by giant shackles that fit like iron gloves. She's chained to the wall. Elsa strains to looks out a window... INSET WINDOW: Arendelle is outside, frozen solid and getting further buried under the ice and snow that is falling. ELSA No....What have I done? Hans enters. He hangs a torch by the door. ELSA (CONT'D) Why did you bring me here? HANS I couldn't just let them kill you. 91FROZEN - J. Lee ELSA But I'm a danger to Arendelle. Get Anna. HANS Anna has not returned.... Elsa looks to the storm with worry. HANS (CONT'D) If you would just stop the winter, bring back summer...please. Elsa meets his eyes, desperate. ELSA Don't you see...I can't. Hans sees the sincerity in her eyes. ELSA (CONT'D) You have to tell them to let me go. Hans walks to the door. He takes the torch. HANS I will do what I can. He opens the door and leaves. Elsa, distraught, hears cracking. She looks down as her shackles begin to freeze over. The storm outside picks up. CUT TO: EXT. THE FJORDS -- DAY Sven charges down the mountain with Kristoff and Anna on his back. Olaf slides along beside them, penguin-style. Anna shivers in Kristoff's arms. She's weakening. Kristoff takes off his hat and puts it on her head. KRISTOFF Just hang in there. (to Sven) Come on, buddy, faster! They arrive at the walls of Arendelle. Olaf slides past them, out of control. OLAF I'll meet you guys at the castle! 92FROZEN - J. Lee KRISTOFF Stay out of sight, Olaf! OLAF I will! He disappears into the village streets. OLAF (O.S.) (CONT'D) Hello! TOWNSWOMAN (O.S.) Ah! It's alive! CUT TO: EXT. CASTLE COURTYARD -- DAY Guards see Kristoff and Anna approaching. GUARD It's Princess Anna! Sven skids to a stop outside the gates. Kristoff slides off, holding Anna, and carries her to the gate. KRISTOFF I've got you. Anna looks up at him, gratefully. ANNA ...Are you g-gonna be okay? KRISTOFF (touched, reassuring) Don't worry about me. Just then the castle gates open. Gerda, Kai, and a handmaid rush to help Anna. GERDA Anna! Oh, you had us worried sick. KAI My Lady. You are freezing. GERDA You poor girl, you're freezing. Let's get you inside. 93FROZEN - J. Lee KRISTOFF Get her warm and find Prince Hans, immediately. KAI We will. Thank you. Anna is swept away from Kristoff and into the palace grounds. KRISTOFF Make sure she's safe! Kristoff is shut out as the castle gates close on him. Kristoff stands there with Sven for a beat, staring with worry at the closed gates. Finally, he sighs, turns and walks off. Sven reluctantly follows. CUT TO: INT. LIBRARY -- DAY Hans stands with the dignitaries and guards. HANS I'm going back out to look for Princess Anna. FRENCH DIGNITARY You cannot risk going out there again. HANS If anything happens to her-- SPANISH DIGNITARY If anything happens to the Princess, you are all Arendelle has left. Hans hesitates, realizing how much this kingdom has come to depend on him. Is he really all they have left? Just then the door opens and Gerda and Kai bring in Anna. KAI He's in here. Prince Hans. HANS Anna. 94FROZEN - J. Lee Hans rushes to Anna. She falls into his arms. HANS (CONT'D) You're so cold. ANNA (weak, but desperate) Hans, you have to kiss me. HANS What? ANNA Now. Here we go. She tries to kiss him, but is too weak to pull herself up in his arms. GERDA We'll give you two some privacy. Everyone shuffles out, leaving Hans and Anna alone. HANS What happened out there? ANNA Elsa struck me with her powers. HANS You said she'd never hurt you. ANNA I was wrong. Anna crumbles, weak. HANS Anna. Hans carries her to a couch, sets her down. ANNA (shivering more) She froze my heart and only an act of true love can save me. HANS (understanding) A true love's kiss. He takes her chin in his hand and gives her a tender smile. He leans in slowly...gently... 95FROZEN - J. Lee Then he stops. HANS (CONT'D) Oh, Anna. If only there was someone out there who loved you. ANNA What? Hans gets up, leaving her there. ANNA (CONT'D) ...You said you did. He goes to the window and shuts the curtains. HANS As thirteenth in line in my own kingdom, I didn't stand a chance. I knew I'd have to marry into the throne somewhere-- ANNA What are you talking about? HANS (putting out the candles) As heir, Elsa was preferable, of course. But no one was getting anywhere with her. But you- ANNA Hans? HANS You were so desperate for love you were willing to marry me, just like that. Hans crosses the room, grabs a pitcher of water from a table and goes to the fireplace. HANS (CONT'D) I figured, after we married, I'd have to stage a little accident for Elsa. Hans pours the water on the fireplace, putting out the fire. Anna tries to stop him. She falls to the floor, weak. ANNA Hans. No, stop. 96FROZEN - J. Lee HANS But then she doomed herself, and you were dumb enough to go after her. ANNA Please. HANS (chuckles) All that's left now is to kill Elsa and bring back summer. Hans approaches Anna. ANNA ...You're no match for Elsa. He bends down, takes her chin in his hand again, this time not so gently. HANS No, you're no match for Elsa. I, on the other hand, am the hero who is going to save Arendelle from destruction. She wrenches her face out of his hands. ANNA (anger) You won't get away with this. Hans rises and crosses to the door. HANS Oh, I already have. Hans leaves and shuts her in, locking the door. Anna struggles to the door, yanks on the locked handle. ANNA (hoarse and weak) Please, somebody help. The rest of her hair turns white and she crumbles to the floor. CUT TO: 97FROZEN - J. Lee INT. COUNCIL CHAMBER -- NIGHT The Duke looks out the window at the growing snowstorm. He rubs his arms and shivers. DUKE It's getting colder by the minute. If we don't do something soon, we'll all freeze to death. Hans comes in, putting on his most distraught face. SPANISH DIGNITARY Prince Hans. HANS Princess Anna is...dead. VARIOUS DIGNITARIES What...? No.... Mon dieu. Hans stumbles, weak with grief. The men help him to a chair. DUKE What happened to her? HANS She was killed by Queen Elsa. DUKE Her own sister. HANS (really putting it on) At least we got to say our marriage vows...before she died in my arms. He bows his head in a brilliant display of teary grief. DUKE There can be no doubt now; Queen Elsa is a monster and we are all in grave danger. SPANISH DIGNITARY Prince Hans, Arendelle looks to you. Hans nods; he knows what he's being asked to do, and he'll do it with the perfect amount of authority and gravitas. 98FROZEN - J. Lee HANS With a heavy heart, I charge Queen Elsa of Arendelle with treason and sentence her to death. INT. ELSA'S DUNGEON -- DAY The cell ices over. Elsa looks out at the storm that is devastating Arendelle, then hears the guards approaching. GUARD (O.S.) She's dangerous. Move quickly and with resolve. Elsa pulls at her shackles. They crack. Just as the door busts open, the weight of the ice crumbles the walls. The men duck out of the way. Hans pushes his way into the room...sees... The back wall is blown open. Broken shackles rest on the floor. Elsa is gone. CUT TO: EXT. MOUNTAIN SLOPE -- DAY Kristoff heads into the mountains. Sven lags behind, not wanting to follow. He looks back at the kingdom, then shakes his head. Enough. He runs past Kristoff. Stops and turns to face him. He snorts and grunts. KRISTOFF What is it, buddy? Sven nudges Kristoff with his antlers. KRISTOFF (CONT'D) Hey, watch it. What's wrong with you? Sven snorts with more conviction, moos, brays. KRISTOFF (CONT'D) (avoiding) ...I don't understand you when you talk like that. 99FROZEN - J. Lee Kristoff tries to walk on ahead, but Sven uses his antlers to lift Kristoff off the ground. KRISTOFF (CONT'D) Ah! Stop it! Put me down! Sven drops him hard then "yells" at him once more. KRISTOFF (CONT'D) No, Sven! We're not going back! Sven shakes his head, angrily. KRISTOFF (CONT'D) She's with her true love. Sven makes an "of-course-she-isn't" face. Kristoff gets it; he's made his point. Just then the wind picks up. Kristoff looks back at the kingdom. Sees a violent winter storm swirling over the castle. Sharp ice claws its way up the castle, encasing it. KRISTOFF (CONT'D) Anna. Without hesitating, he dashes back down the mountain. Sven runs after him, catches up. Kristoff grabs Sven's harness and jumps onto his back. CUT TO: INT. LIBRARY -- NIGHT Anna shivers by the door. She looks up to see ice overtaking the ceiling. The door handle suddenly jiggles. Stops. Jiggles again. ANNA (barely a whisper) Help. CLICK. The door swings open. We see a carrot in the lock and hear a giggle of victory. Olaf takes the carrot, puts it back on his face. Then he sees Anna lying there. OLAF Anna. Oh no. He runs to the fireplace. Throws in some fresh wood, including one of his own arms, which he quickly rescues, before striking a match and relighting the fire. 100FROZEN - J. Lee ANNA Olaf? Olaf. Get away from there. OLAF Whoa! So this is heat.... (considering) I love it. He reaches a twig finger toward the flames. It catches on fire. OLAF (CONT'D) Ooh! But don't touch it! He shakes the flame out, as he rushes over to help Anna to the fire. OLAF (CONT'D) So, where's Hans? What happened to your kiss? ANNA I was wrong about him. It wasn't true love. OLAF (confused innocence) Huh. But we ran all the way here? ANNA Please Olaf, you can't stay here; you'll melt. OLAF I am not leaving here until we find some other act of true love to save you. He sits down behind her, stubbornly. Leans his back against hers and thinks. OLAF (CONT'D) ...Do you happen to have any ideas? ANNA I don't even know what love is. OLAF (confident) That's okay, I do.... Olaf hops back up and puts a soothing hand on her shoulder. 101FROZEN - J. Lee OLAF (CONT'D) Love is...putting someone else's needs before yours, like, you know, how Kristoff brought you back here to Hans and left you forever. ANNA ...Kristoff loves me? OLAF Wow, you really don't know anything about love, do you? His face starts to melt. ANNA Olaf, you're melting. OLAF (sweet and reassuring) Some people are worth melting for. But then...his face REALLY melts. He panics, pushes the snow back in place. OLAF (CONT'D) Just maybe not right this second. Suddenly, the window blows open, cold wind sweeps in. OLAF (CONT'D) Don't worry, I've got it! Olaf flitters to the window. He pulls one panel of it shut but struggles with the second panel. OLAF (CONT'D) (determined) We're going to get through-- (distracted) Oh, wait. Hang on. I'm getting something. He breaks an icicle off the window, uses it as a telescope and sees... Kristoff and Sven running back down the mountain. OLAF (CONT'D) It's Kristoff and Sven! They're coming back this way. ANNA ...They-they are? 102FROZEN - J. Lee OLAF Wow, he's really moving fast. Huh.... I guess I was wrong. I guess Kristoff doesn't love you enough to leave you behind. Anna tries to get to her feet. ANNA Help me up, Olaf. Please. He hurries over, tumbling over the couch, knocking over the chess set and water jugs. OLAF No, no, no, no, no. You need to stay by the fire and keep warm. ANNA I need to get to Kristoff. OLAF (clueless) Why...? (realizing) Oh, oh, oh, I know why. He hops around in an excited display of hope. OLAF (CONT'D) There's your act of true love, right there, riding across the fjords like a valiant, pungent reindeer king! Come on! The walls crack under the ice pressure. OLAF (CONT'D) Look out! They rush out the room just as the ceiling collapses. INT. CASTLE HALLWAY -- DAY Anna and Olaf struggle down the hall. Ice spikes grow and block their path. OLAF We're trapped. Anna looks around desperately for a way out. 103FROZEN - J. Lee EXT. FJORD -- DAY Elsa runs, but is nearly blinded by the snow and wind. EXT. CASTLE -- DAY Anna and Olaf bust open a window. The storm is so strong it sweeps the window panes away. OLAF Slide, Anna. It's a long, snowy way down. But what choice do they have? They slide down the iced-covered building. Anna arrives at the bottom, weak but uninjured. Olaf gathers snow along the way. He arrives at the bottom as a giant snowball. OLAF (CONT'D) We made it! He shakes off the extra snow as Anna struggles to her feet. EXT. FJORD -- DAY Kristoff and Sven bound off the mountain and sprint across the frozen fjord waters and right into the heart of the storm. Its white-out wind pushes them back. But they fight through. KRISTOFF Come on, buddy, faster. CUT TO: Anna and Olaf reach the shore of the fjords. ANNA Kristoff! The wind lifts Olaf up and pulls him apart. He goes swirling off into the storm. OLAF Keep going, Anna! Anna struggles on. 104FROZEN - J. Lee ANNA Kristoff! PAN TO: Kristoff rides Sven past cracking, frozen ships. Sven struggles over the uneven surface. KRISTOFF Come on! Come on! Suddenly, a mangled ship, risen by ice, capsizes over them. They give it all they've got as debris falls all around them and the mast shatters. They make it past just as the entire ship slams down and cracks the thick ice beneath their feet. The ice opens up. Sven bravely jumps over a gap. But it's too wide. He bucks Kristoff to safety, but lands in the freezing water and disappears below. KRISTOFF (CONT'D) Sven? Sven! At first there's nothing but the wind and the tumbling icy water. But suddenly, Sven surfaces and claws his way to a floating ice chunk. He calls out, signalling for Kristoff to go on. KRISTOFF (CONT'D) Good boy. CUT TO: Anna moves blindly across the fjord. Anna's hands frost over an icy blue. She stumbles on, determined. But she's running out of time. She clutches her chest. The color in her eyes fades, the inevitable is coming. CUT TO: Kristoff, lost in the white-out, doesn't know which way to turn. But then he hears a faint-- ANNA (O.S.) Kristoff. KRISTOFF Anna...? Anna! WHITE OUT TO: 105FROZEN - J. Lee Elsa struggles through her own storm, but the fear is consuming her. A dark shadow approaches. It's Hans. HANS Elsa. You can't run from this! Elsa backs away from him. ELSA ...Just take care of my sister. HANS Your sister? She returned from the mountain weak and cold. She said you froze her heart. ELSA What? No. HANS I tried to save her, but it was too late. Her skin was ice. Her hair turned white... Elsa's face sinks as she realizes what she has done. HANS (CONT'D) Your sister is dead... because of you. Elsa drops to her knees, emotionally broken. And with that, the swirling storm suddenly stops. The snow freezes mid-air, hangs suspended, trapped in grief. Citizens and dignitaries rush to the wall's edge and look out to see... Anna, barely able to move but now able to see across the fjords to... ANNA (a whisper) Kristoff. KRISTOFF Anna. Anna pushes on towards Kristoff. He runs top speed towards her. There's still a lot of fjord to cross, but Kristoff is giving it all he's got. He's going to make it. But then, Anna hears the sound of a sword being drawn from its scabbard. She turns and sees Hans, behind Elsa, as he raises his sword over his head. 106FROZEN - J. Lee ANNA Elsa. Anna looks back at Kristoff as he runs for her. She gives him a longing look, but then turns away from him and then... Using all of her remaining strength, as Hans brings his sword down, Anna throws herself in front of Elsa. ANNA (CONT'D) No! In that instant, Anna freezes to solid ice. The sword hits her instead of Elsa. The sword shatters completely. The force of it sends Hans flying back and knocks him out. ELSA Anna! Elsa rushes to Anna and touches her sister's frozen face. ELSA (CONT'D) Oh, Anna...no...no, please no. Olaf walks up and sees Anna, frozen. OLAF (confused, sad) Anna? Elsa hugs Anna and cries. Kristoff watches in shocked despair. Sven steps up to his side. Citizens and dignitaries on the castle walls bow their heads. All of Arendelle is joined in somber silence. But then, Anna warms. She begins to thaw. Olaf looks up and gasps. Kristoff and Sven notice, light up. Anna bends her arm and embraces Elsa. ELSA Wha-? Anna? Anna opens her eyes. She smiles at Elsa, relieved. ANNA Oh, Elsa. They embrace. 107FROZEN - J. Lee ELSA ...You sacrificed yourself for me? ANNA (weak) ...I love you. Olaf realizes what's happened. He's so excited about it, he lifts his head right off his body and exclaims-- OLAF An act of true love will thaw a frozen heart. ELSA (processing) Love...will thaw... (realizing) Love.... Of course. Elsa looks at Anna with confidence. ANNA Elsa? ELSA Love. Elsa lifts her arms, and the ground shakes and cracks. The ice and snow breaks away and rises high into the air. Beneath their feet the bow of a ship thaws. The entire fjord melts and other boats right themselves. The villagers come out to see the warmth returning. In one final wave, Elsa draws all of the snow into a giant snowflake in the sky, then waves it away, leaving only a warm summer day. ANNA I knew you could do it. OLAF (melting, good-naturedly) Hands down, this is the best day of my life...and quite possibly the last. ELSA Oh, Olaf. Hang on, little guy. 108FROZEN - J. Lee Elsa waves her hand and surrounds Olaf with a swirl of cold air. He refreezes. Above his head she leaves a little, perpetually-snowing storm cloud. Olaf loves it. OLAF Hey, my own personal flurry. Kristoff sees Hans trying to get to his feet. He marches toward him, prepared for a fight. But Anna puts up a hand and stops him. ANNA Uh. Uh. Uh. She'll handle this. She goes over to Hans. HANS (confused) Anna? But she froze your heart. ANNA The only frozen heart around here is yours. She turns away from him, proud of her words. But not yet satisfied, she turns back and punches him right in the face. HANS Ah! Whoa, whoa, whoa! He falls overboard. Elsa comes over to Anna and hugs her. Over her shoulder, Kristoff meets Anna's eyes. She smiles brighter, happy. DISSOLVE TO: EXT. ARENDELLE -- DAY It's a beautiful summer day. The mighty ships have been repaired and are sailing away. On one of the ships, HANS is thrown into a brig. FRENCH DIGNITARY (to Kai) I will return this scoundrel to his country. We shall see what his twelve big brothers think of his behavior. KAI Arendelle thanks you, my Lord. 109FROZEN - J. Lee Down on the dock, Arendelle guards lead the Duke and his two thugs to their ship. DUKE This is unacceptable. I am innocent. I'm a victim of fear. I've been traumatized. (bad acting) Ow! My neck hurts. Is there a doctor I could...No? And I demand to see the Queen! Kai steps down from the gangplank to the dock. KAI I have a message from the Queen. (reading a scroll) Arendelle will henceforth and forever no longer do business of any sort with Weaseltown. DUKE Weselton. It's Weselton! The guards usher him and his thugs onto their ship. EXT. VILLAGE SQUARE -- DAY Anna runs through the crowd, pulling a blindfolded Kristoff along behind her. She's so excited she can't stand it. ANNA Come on. Come on. Come on. Come on! She runs him right into a pole. KRISTOFF Pole. ANNA Oops. Sorry. EXT. ARENDELLE DOCKS -- DAY Anna skips to the perfect spot and stops. ANNA (stopping) Okay. Okay. Here we are. 110FROZEN - J. Lee She takes off the blindfold. Kristoff opens his eyes. Before him sits the most beautiful, suped-up sled. Sven poses in front of it -- Vanna White-style. ANNA (CONT'D) I owe you a sled. KRISTOFF (blown away) Are you serious? ANNA Yes. And it's the latest model. KRISTOFF No. I can't accept this... ANNA You have to. No returns. No exchanges. Queen's orders. She's named you the official Arendelle Ice Master and Deliverer. Sven shows off the Ice-Master-and-Deliverer medal like he's king of the bucks. KRISTOFF What? That's not a thing. But he can't help but admire her enthusiasm. ANNA Sure it is. And it even has a cup holder.... Do you like it? KRISTOFF Like it? He sweeps her up high overhead and spins her around. KRISTOFF (CONT'D) I love it.... I could kiss you! He drops her, suddenly embarrassed. KRISTOFF (CONT'D) ...I could. I mean I'd like to. I'd... may I? We me....I mean, may we? Wait, what? She gives him a quick kiss on the cheek. ANNA We may. 111FROZEN - J. Lee He smiles and goes for it. It's a true love's kiss, alright. We move past them to find Olaf enjoying the summer. With his snow cloud safely overhead, he's free to smell the flowers, which he does. Then sneezes his carrot nose off. Sven catches it between his teeth. Olaf gasps as Sven sucks the whole carrot into his mouth. It's gone. Olaf's face sinks in sadness. But not to fear, Sven spits the carrot back out and jams it into Olaf's face where it belongs. It's completely covered in reindeer spit, but Olaf doesn't seem to mind. He hugs Sven happily. CUT TO: EXT. CASTLE COURTYARD -- DAY The gates to the castle are wide open. In the courtyard, stands Elsa. ELSA Are you ready? Villagers cheer. Elsa stops and creates an ice rink. The people, skates at the ready, hope onto it and twirl about. Elsa then freezes the fountain in a beautiful design and adds some snow flurries for atmosphere. Anna comes slipping in. Elsa catches her. ANNA I like the open gates. ELSA We are never closing them again. Elsa then waves her hand and magical ice skates (literally made of ice) form on Anna's boots. ANNA What? Oh, Elsa, they're beautiful, but you know I don't ska-- Elsa grabs Anna's hands and pulls her along on the ice. Anna slips and slides, but laughs in delight. Sven goes slipping past. Kristoff runs after him. KRISTOFF Look out. Reindeer coming through! 112FROZEN - J. Lee Olaf skates and helps Elsa coach Anna. OLAF That's it. Glide and pivot and glide and pivot. We pull away slowly, into the sky. We arrive at a bird's-eye view to see that where the castle had crumbled has been repaired with a ice. All is right in Arendelle. FINAL FADE OUT. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Frozen River.txt b/unformated_scripts/Script_Frozen River.txt new file mode 100644 index 0000000000000000000000000000000000000000..b6e7f85d12694b009e937b049d6e4e9622ebc3ff --- /dev/null +++ b/unformated_scripts/Script_Frozen River.txt @@ -0,0 +1 @@ + FROZEN RIVER Written by Courtney Hunt FADE IN:1 EXT. INTERNATIONAL SEAWAY BRIDGE - DAY 1 A sign reads "Bridge to Canada." A steep 1940's era customs bridge arches over the St. Lawrence River. Cars and trucks line up in different lanes. Customs officials inspect and question impatient drivers. Beyond them a smaller sign: "THANK YOU FOR VISITING MASSENA NEW YORK, IT WORKS, for business, for family, for you".2 EXT. BELOW THE BRIDGE - DAY 2 The river stretches for miles in either direction, frozen, and still with trees on either side.3 EXT. RAY'S TRAILER YARD, MASSENA NEW YORK - DAY 3 RAY EDDY, 38, a bit worn for her years, with a long red ponytail, wearing an old bathrobe, sits in the passenger seat of her RED PLYMOUTH HORIZON with the door open, smoking a cigarette, thinking. Her breath is visible in the cold morning air. Her bare feet rest on the cold ground. Her 1970's rusted out TRAILER HOME SITS in front of her on CINDER BLOCKS AT A SLIGHT TILT. Beside it, a small SHED and behind it the CONCRETE FOUNDATION FOR A HOUSE. Around her, the yard is littered with junk: a rusted ski lift chair, the front end of a Plymouth Duster and a SMILING DUCK Kiddie Ride. Beyond the yard, flat, winterbare land. After a moment, a lanky boy of 15, her son, TROY, JR., leans out the trailer door. T.J. We're out of Capt'n Crunch. His breath is visible in the cold. RAY Just give him toast. 2. T.J. We got no butter, we got no jelly.Ray is out of ideas. He expects her to move, but shestays still. He looks around the yard. T.J. (CONT'D) What are you doing? RAY Listening for the trucks. T.J. Are they really coming? RAY Yeah. T.J. Where's dad?She is silent. T.J. (CONT'D) (says it slow) Where's dad?She looks at him. RAY I don't know how he found it, T.J. T.J. Found what?Ray takes a drag off her cigarette. T.J. walks over tothe car. T.J. (CONT'D) The money? RAY I locked it in my glove compartment.T.J. looks in at the OPEN AND EMPTY GLOVE COMPARTMENT. T.J. That was stupid. RAY Yeah, I see that now, but the trucks were coming before the bank opened. 3. T.J. Did you tell him you had it? RAY Duh? No, I guess he just sniffed it out. T.J. Jesus Christ! The glove compartment!? That's the stupidest place you could have put it. RAY He hasn't bought a scratch card in almost thirty two months. I thought it would be okay! T.J. Did he leave anything?She shakes her head. T.J. (CONT'D) What are you gonna do? RAY Nothing. T.J. You could look for him? RAY He could be anywhere. T.J. We should look for him. RAY Where? T.J. The Rez, RAY With more than four thousand dollars, he's probably in Atlantic City by now. T.J. So let's go, let's find him before he blows it all. (CONT'D) 4. RAY I can't. T.J. What do you mean? RAY I just can't do it anymore. T.J. But he'll lose it all. RAY T.J., we can't make him stop. T.J. He stole our money. Call the Troopers. RAY It's not stealing if you take it from your family. Anyway, he made some of it, too. T.J. So you're just gonna sit there? RAY I'm sorry. In the distance the RUMBLE OF TRUCKS. Ray hears it. It gets louder. T.J. Another Christmas in the tin crapper. T.J. goes into the shed and slams the door. Ray throws down her cigarette and goes into the trailer.4 INT. RAY'S TRAILER - DAY 4 She looks around the cramped trailer at the oversized RENTAWORLD furniture including a big screen TV. An enlarged wall photograph of the family catches her eye. In it, her husband, TROY, SR., 40, wearing a forced smile, his long, shaggy hair combed flat for the picture. Ray hurries down the hall to her bedroom and takes off her bathrobe -- she has several tatoos -- and slides into a pair or jeans and a t-shirt. 5. A sleepy-eyed, toe-headed boy, RICKY, 5, walks in, shirtless in pajama bottoms, eyes shining. RICKY Is it here? Ray stops what she's doing when she sees him and kneels down. RAY Hey, little sleepy head. RICKY Is it here yet? `Cause I'm ready. He drags a suitcase full of plastic dinosaurs around the corner. The RUMBLE OUTSIDE GROWS LOUDER. Ricky BOLTS out of the bedroom and down the hall to the trailer door. RAY Wait a sec- He bursts into the yard where:5 EXT. RAY'S TRAILER - DAY 5 A PICK-UP TRUCK DRAPED WITH A "WIDE LOAD" banner leads TWO SEMIS hauling halves of a DOUBLE WIDE MOBILE HOME wrapped in plastic, rippling in the wind. Ricky stops at the massive sight, twisting at his fly, trying not to pee himself. T.J. comes out of the shed. The Doubles come to a stop and idle in the yard. GUY VERSAILLES, pot-bellied, in a green velour running suit, squeezes out of his truck. On the door: "MASSENA MODULAR AND MOBILE HOMES, NEW AND RECONDITIONED." Ricky grabs a rope hanging off one of the doubles and tries to climb the side of it. The TRUCK DRIVER looks down from his cab. T.J. (to Ricky) Get down. Ray peeks out the kitchen curtain. 6.After a moment she comes out of the trailer, with apasted-on smile. RAY We're all ready for ya'.She points to the new concrete foundation. He consults aclipboard. VERSAILLES We'll need the balloon payment to unload.T.J. looks at Ray. RAY We have it, it's just that they called Troy from Titus last night. That's where Troy works. The ski place? And anyway- VERSAILLES Have you got the $4,372 dollars or not? RAY It was some emergency with the lifts. So he took off without thinking with the money. Completely forgot you were coming. So as soon as he gets back- VERSAILLES When's he gonna be back? RAY As soon as he can get here, I'll just run it down to you.T.J. could crawl out of his skin. VERSAILLES (ironic smile) This is the second time you've dragged me out here. If you don't come up with it by Christmas, you've lost your fifteen hundred dollar deposit.He walks toward his car. She follows him. RAY Look, Mr. Versales, I have a good job at ALL FOR A DOLLAR. They're probably gonna make me a manager after Christmas so I can handle the payments if you just leave the house- 7.He gets in the car. VERSAILLES Call me when you have the balloon payment.He makes a circle in the air with his hand and the semi'srev their engines and grind into reverse. RAY I'll call you...Her voice is DROWNED OUT by REVVING engines.Ricky rushes to her. RICKY Wait, where are they going?She takes his face in her hands. RAY Listen to me. We'll get them back. RICKY But why are they leaving? RAY Ricky, I'll get them back. I promise, honey. RICKY That's our house!He BREAKS AWAY from her and RUNS down the road chasingafter the semis. Ray chases after Ricky until he runs outof steam and stops, panting.She catches up to him and tries to hug him. He pushes heraway. She gets down on her knees and takes his face inher hands. RAY We're gonna get it back.She picks him up and walks back to the trailer. Rickylooks out mournfully at the trailers disappearing downthe road. RAY (CONT'D) (to T.J.) You better hurry or you're going to miss the bus. Let's get your clothes on, Ricky. 8. T.J. just stares at her. T.J. I can get a job you know. RAY You're 15, T.J. T.J. They won't ask any questions. RAY You're finishing school. T.J. Come on, you don't think we can live on what you make at All for a Dollar do you? RAY You're going to school. She goes inside. T.J. follows. T.J. I bet I could make more than you do. She ignores him.6 INT. RAY'S TRAILER - DAY 6 Ray helps Ricky into his clothes and puts his backpack on his back. RICKY Where's daddy? Ray and T.J. look at each other. RAY He'll be back. T.J. Aren't we even gonna look for him? RAY No! I'm going to work and you're going to school. T.J. That's it? 9. RAY The only thing that changed is that your dad started gambling again. Everything else is the same. RICKY Where did he go? RAY He had to take a business trip.T.J. rolls his eyes. T.J. Aren't you even gonna look for him? RAY And miss a day of work? No. Not again. We just have to live our lives. Now go get your backpack.T.J. stares, sullen. RAY (CONT'D) Go on! RICKY When is daddy coming home? RAY I don't know, Ricky. T.J. I can't believe you're not even gonna look for him. RAY Where? Where do I look? (He can't answer) T.J. The reservation. RAY I told you, he could be in Atlantic City by now.She helps Ricky get his backpack on and gives him a kiss. T.J. (shakes his head) The glove compartment. That's so stupid. RAY You're going to school. 10. He follows Ricky out the door to catch the school bus rolling up out front. Suddenly, Ray remembers: RAY (CONT'D) Wait, wait. They turn around. She digs in her pockets. RAY (CONT'D) Here. Lunch money. They take it and keep running for the bus. Ray looks after them and reaches for her cigarettes. She takes out her second to last one. She lights it and takes out her mascara. She tries to put it on the bathroom mirror, but her tears keep getting in the way. CUT TO:7 INT. ALL FOR A DOLLAR STORE - DAY 7 RAY stacks shelves with a knock-off version of plastic "My Little Pony" in a messy aisle of boxes. MATT, 22, her boss, bone thin with bad skin walks by. RAY (soft) Matt. Could I talk to you? He looks at her. RAY (CONT'D) I need to come on full-time. Matt blinks with a blank expression then: MATT I see you as a short timer. RAY What is that? MATT A short timer. Not here for long, not really committed. Ray follows him to the stock room. 11. RAY When I started you said it would be six months before I could come on full-time. And that was two years ago. He opens a can of RED BULL and takes a sip. MATT It's my opinion. RAY Well, I mean, you know, I do show up. Pat's late everyday. She's late now. She's always late. He stares blankly at her. She can think of nothing else to say. He walks out. Ray resumes unpacking ponies. A moment later PAT, 22, rushes in, looking sorry. As Pat hangs up her coat, Ray glimpses a tatoo just above her low riding pants with the words "How You Doin'?". Ray takes the last of her cigarettes out of the pack and heads out the back door. RAY (CONT'D) See ya' tomorrow.8 INT./EXT HORIZON, ROUTE 37 - DAY 8 Ray drives down a two-lane highway. It is empty flat land but for a few trailer homes and barns. She passes a lonely sign: "BRIDGE TO CANADA." Up ahead another sign: "AKWESASNE LAND OF THE MOHAWK." From the car, the Reservation consists of shabby houses with no siding, tax-free gas stations and dive bars with homemade signs. Ray slows a little to check out the parking lots scanning for her husband's car. Up ahead she sees a sign: "WOLF MART TAX FREE GAS AND CIGARETTES.9 EXT. WOLF MART GAS STATION - DAY 9 Ray pulls in to the combo gas station, restaurant and mini mart. 12.A MOHAWK TEENAGER wearing a bandana RUNS out to the CARwithout a coat, rubbing his hands together to ward offthe cold. MOHAWK TEENAGER Fill it up?She rolls down the window, digging for change under theseat of her car. She counts it out. RAY Just three...uh, no...two seventy one, two, three, four. MOHAWK TEENAGER Two seventy four.He nods and goes to the pump. She finds a wadded up fivedollar bill. RAY (yells out window) Make that seven seventy four.She spots a sign for "TRAILWAYS" bus in the window. RAY (CONT'D) Did you see a Blue Acclaim come in here last night? MOHAWK TEENAGER Blue Acclaim...no, but I only worked until 9 PM. You can ask inside.Ray glances inside at the mostly empty restaurant but fora few older Mohawk women. RAY No, that's okay. MOHAWK TEENAGER Did you want to support our Mosquito Lacrosse League. It teaches basic Lacrosse skills to the kids three to five.Ray shakes her head. MOHAWK TEENAGER (CONT'D) Thanks, anyway. Have a good day. 13.10 INT./EXT. ROUTE 37 INDIAN RESERVATION - DAY 10 Ray continues down the highway through the reservation. She comes to a huge warehouse, the "MOHAWK BINGO PALACE." She glances over at the sea of cars surrounding it. At the end of a row she spots it: a BLUE ACCLAIM. Ray abruptly turns in.11 EXT. MOHAWK BINGO PALACE PARKING LOT - DAY 11 Ray pulls up alongside the Acclaim and recognizes it by the "EASY DOES IT" bumper sticker. She gets out and looks inside. There is a small plastic T- Rex on the floor of the backseat. She leans against the car for a moment. RAY Thank you. Oh God, thank you, thank you thank you... After a moment Ray looks up at the Bingo Palace and heads for the entrance. RAY (CONT'D) You son of a bitch!12 INT. BINGO PALACE ENTRANCE - DAY 12 A SHORT, CHUBBY MOHAWK TICKET TAKER in her 60s, with piercing blue eyes and missing teeth sits perched on a metal chair beside a velvet rope. TICKET TAKER Sunrise session is almost over. Next session starts at 10:30. RAY I just need to look inside. Ray starts to walks toward the door and the ticket taker sticks out her foot. TICKER TAKER It's $5 dollars for admission. 14. RAY I don't want to play, I just need to look around for a second. TICKET TAKER I'm gonna need the five. RAY I'll stand right here at the door. I won't even go inside. I just need to see if my husband's in there. TICKET TAKER You still gotta pay admission. RAY He's gambling away the money for our house. TICKET TAKER What does he look like? RAY Long brown hair. Tall. Skinny. Ponytail. TICKET TAKER He's not in there. RAY Can I just look? TICKET TAKER I told you, lady, he's not in there. Ray walks away. The ticket taker watches her.13 EXT. MOHAWK BINGO PALACE, PARKING LOT - DAY 13 Ray walks out of the front entrance back across the parking lot toward the Horizon through rows of cars... Across the parking lot, LILA LITTLEWOLF, 20, a Mohawk girl with long black hair bursts out of the "Employees Entrance" and hurries across the parking lot pulling off her scratch card apron as she walks. Ray catches sight of her, but before Ray reaches the Horizon, Lila reaches the ACCLAIM, GETS IN IT AND BACKS OUT. RAY Hey! 15. But Lila drives off. Ray JUMPS back in the Horizon and TAKES OFF AFTER HER.14 EXT. RESERVATION ROADS - DAY 14 Ray follows the Acclaim down Route 37 and catches sight of it turning off on a dirt road. Ray makes the corner just in time to catch sight of the Acclaim bouncing off on a path through the woods. Ray follows it through the woods to a clearing: the Acclaim stops in front of a rusted out BUBBLE CAMPER. Lila gets out. Ray pulls up behind her and rolls down her window. RAY That's my car. Lila SPINS around. LILA Huh? RAY (points to the Acclaim) What are you doing with my car? Lila fingers the keys in her hand. LILA That? I found it. RAY You stole it. LILA The keys were in it. RAY So you just took it...? Lila goes in the bubble camper and shuts the door behind her. Ray gets out of the Horizon and walks up to the camper door and takes out her cell phone. RAY (CONT'D) We'll just see what the troopers say about that. 16. LILA (O.S.) (From inside camper) Go ahead, they got no jurisdiction here. This is Mohawk territory. Ray stops dialing closes up her phone, then goes to her car and takes the gun and goes back to the camper. RAY (knocks with the gun) You can cut the bullshit and give me my keys now. There is no reponse. Ray waits for a moment and then: RAY (CONT'D) (low voice) Troy, are you in there? There is no response. RAY (CONT'D) If you're in there you better come out.15 INT. LILA'S CAMPER - DAY 15 Lila sits on an army cot in the dingy camper next to a lamp on the floor. Her clothes are scattered among empty Pringles cans. RAY (O.S.) (tentative, controlled) Troy? Versales says as long as we get the money in by Christmas we won't lose the deposit. (pause) I think we need to talk about this, so come on out.(Pause) Troy? Troy?16 EXT. LILA'S CAMPER - DAY 16 Ray aims the gun and FIRES into the camper door.17 INT. LILA'S CAMPER - DAY 17 The shock of the blast throws Lila off the cot. She looks at the SMOKING HOLE. RAY (O.S.) I'm not kidding, honey, come on out. 17.18 EXT. LILA'S CAMPER - DAY 18 Keeping behind the door for cover, Lila opens it. Ray looks inside: there is no sign of Troy. LILA (from behind the door) The Tribal police don't like people shooting holes in other people's houses. Ray looks at her. RAY This is New York State so quit the bullshit and give me my damn keys! Lila throws the keys out the door. Ray picks them up off the ground. Lila shuts the door with her foot.19 EXT. LILA'S CAMPER - DAY 19 Ray gets in the Horizon and pulls it in behind the Acclaim then digs in the trunk, pulling out a rope. She ties one end to the Acclaim's back fender and the other to the Horizon's front fender. Lila watches out the camper window. Ray gets in the Acclaim and starts it up slowly TOWING the Horizon a few feet before the rope SNAPS. Ray gets out and looks at the broken rope. She begins digging in the trunk for more rope. Lila opens the camper door and looks at the bullet hole. LILA This camper belongs to my brother in law. He won't like this. RAY (over her shoulder) Then you should quit stealing cars. LILA I thought it was abandoned, the guy driving it got on a bus. Ray stops. RAY Did you see where the bus was headed? 18. LILA New York or Buffalo, I'm not sure.Ray RE-TIES the tow line with the remaining rope.This time the Horizon goes an inch or two before the ropeSNAPS. Ray gets out. RAY (under her breath) Shit!Ray RIFLES through the trunk for more rope."Home on the Range" plays on the cell phone in Ray's backpocket.Lila touches the bullet hole in the camper and listens toRay's conversation from the doorway.Ray puts the phone back in her pocket and takes an oldbelt of her husbands and tries to attach the fenders ofthe cars.Ray gets back in the Acclaim and tries TOWING the Horizononce again.This time the right side of the front fender SNAPS OFFand droops to one side.Ray gets out and looks at Lila. RAY (CONT'D) I'm not leaving this here. LILA (points at the Acclaim) I got a friend who might buy that. RAY It's not for sale. LILA He'll pay more than it's worth.Ray ignores her. LILA (CONT'D) Maybe two thousand. RAY Why's that? 19. LILA He's always looking for cars with button- release trunks. Ray thinks about it. LILA (CONT'D) He don't need papers or anything. RAY Does he use them to rob banks or something? Lila shrugs. LILA All I know is he pays good for a car like this. RAY Where does he live? LILA Through the woods. Not far. RAY What's in it for you? LILA He'll give me something for finding it. RAY If you try anything, I'm not afraid to use this. LILA Yeah.20 INT. ACCLAIM IN RESERVATION WOODS - DAY 20 Ray drives with one hand and holds the gun with the other. It is pointed at Lila in the passenger seat. LILA Turn up there. RAY Where? LILA Where that stump is. 20. Ray makes the turn with one hand and the car bounces through an overgrown path in the woods. Ray reaches the stump. RAY (nervous) There's no road. LILA There's a path. Ray hesitates. LILA (CONT'D) It's not far. Ray turns and drives into deeper woods. The gun jiggles around in Ray's hand as they bounce along between the trees. Lila tries to ignore it.21 EXT. ACCLAIM AT BOAT RAMP - DAY 21 The car emerges from the woods at a BOAT RAMP leading to a mile-wide section of the FROZEN ST. LAWRENCE RIVER.22 INT. ACCLAIM AT BOAT RAMP - DAY 22 Ray looks out at the ice. Tire tracks make a path across the snow-covered surface between carefully set out CUT EVERGREEN TREES. LILA Not too fast. There's ruts. RAY I'm not crossing that! LILA Don't worry they already put out the Christmas trees. There's no black ice. RAY That's Canada. LILA No, it's Mohawk land. The Rez is on both sides of the river. RAY What about the border patrol? 21. LILA There's no border. RAY I'm still not crossing that. LILA Don't worry, it'll hold a Plymouth. I've seen semis cross it. Ray looks at Lila suspiciously. LILA (CONT'D) The only other way is the Cornwall bridge and they won't let you take that. (points at the gun). Suddenly, A TRUCK driven by a MOHAWK TEENAGER ROARS out of the woods and SWERVES around the Acclaim FISHTAILING then SPEEDING out across the ice. LILA (CONT'D) They plow it and everything. Cautiously, Ray lets off the brake and rolls down the boat ramp towards the smooth surface of the river. RAY (under her breath) This is so fuckin' stupid. LILA Not too fast, there are ruts.23 EXT. ACCLAIM ON FROZEN RIVER - DAY 23 The Acclaim moves across the smooth surface of the river.24 INT. ACCLAIM ON FROZEN RIVER - DAY 24 Ray stares straight ahead clutching the wheel, barely breathing. Lila glances at the gun in Ray's hand, then out at the river, unfazed. They reach the midpoint of the river and pass it silently. LILA You gotta pick up some speed to get up the bank. 22. Ray speeds up. The Acclaim bounces up the steep bank. LILA (CONT'D) It's just on the other side of those trees.25 EXT./INT. ACCLAIM AT JIMMY'S GARAGE LOT- DAY 25 Ray and Lila pull into a used-car lot surrounded by a chain link fence. There is no sign of life. Ray stops. LILA Honk the horn. Ray honks. Suddenly, from under a gutted truck, A HUGE BLACK DOG, part wolf, SPRINGS onto the hood of the Acclaim. Ray is pinned against her seat at the sight of the dog. Lila GRABS the gun out of her hand and points it at Ray. LILA (CONT'D) Just keep your mouth shut. Ray stares at the snarling dog. LILA (CONT'D) Just keep it shut. Okay? Ray nods never taking her eyes off the dog. Lila honks the horn again and keeps the gun low and out of sight. Out of the garage comes JIMMY, 33, a stocky Mohawk, eating a sandwich. Jimmy looks suspiciously at Ray before he sees Lila. Thunder growls. JIMMY Thunder! SHUT UP!. The dog GROWLS ferociously at Ray. JIMMY (CONT'D) Get back under there! Thunder jumps off the hood and disappears back under the trunk. 23. Jimmy walks around to the passenger side of the car. Lila rolls down her window. LILA Hi, Jimmy. Jimmy glances at Ray. JIMMY He don't like whites, Lila. LILA Sorry. JIMMY And your late. LILA Sorry. JIMMY I shouldn't even be dealing with you. LILA I know. Sorry. He hands her a paper bag. Jimmy goes back to the garage and opens the door. TWO YOUNG CHINESE MEN in cheap jogging suits follow him out, looking around.26 INT. ACCLAIM JIMMY'S GARAGE LOT - DAY 26 Lila hands the paper bag to Ray and points the gun at her, keeping it low and out of sight. LILA Count it. RAY What's going on here? LILA Just count it. Ray opens the bag. It's full of cash. All fifties and hundreds. Ray counts it. LILA (CONT'D) How much is there? 24. RAY Twelve hundred.Lila opens the glove compartment and presses the trunkrelease.Jimmy motions to the Chinese men to get in the trunk.Jimmy shuts it.He taps twice on the hood of the car and walks back tothe garage. LILA (to Ray) Let's go. RAY Wait, who the fuck are they? LILA Just back up. RAY I'm not moving until those people get out of my trunk. LILA I'll give you half. Now let's go.Jimmy turns around, sees the two women arguing and getssuspicious. LILA (CONT'D) Let's go! RAY I'm not taking them over the border. That's a crime. LILA There's no border here. This is free trade between nations. RAY This isn't a nation.Lila jams the gun into Ray's side. LILA (under her breath) Let's go.Jimmy starts back toward the car. Ray puts the car inREVERSE and backs up. 25.27 EXT. ACCLAIM ON FROZEN RIVER - DAY 27 The Acclaim drives down the bank onto the frozen river and starts across.28 INT. ACCLAIM ON FROZEN RIVER - DAY 28 Ray drives. Lila sits angled toward Ray with the gun trained on her. LILA Why'd your husband leave you? RAY Fuck you. LILA Maybe he wanted a younger women. Ray stares out at the ice. LILA (CONT'D) That's what usually happens. Ray says nothing. LILA (CONT'D) I never have to worry about that. My husband is dead. Went down in the river on a run. They never found him. Probably tangled in river weeds. She gives Ray a spooky look. LILA (CONT'D) You better slow down there are ruts out here. You could get stuck in one. Ray speeds up and roars up the boat ramp off the ice skidding a little.29 EXT. ACCLAIM IN RESERVATION WOODS - DAY 29 Ray and Lila bounce through the woods with Lila holding the gun, this time. They come to a dirt road then to an intersection with State Route 37. A SIGN READS: "YOU ARE LEAVING AKWESASNE, LAND OF THE MOHAWK". 26.30 INT. ACCLAIM ON ROUTE 37 - DAY 30 Ray slows down at the sign. LILA Keep going. RAY What if the troopers stop us. LILA They won't stop you. You're white. Ray keeps going.31 EXT. ROUTE 37, THE RESERVATION LINE - DAY 31 Just beyond the Reservation line, partly hidden behind a barn, a NEW YORK STATE TROOPER VEHICLE sits parked.32 EXT. BOB'S MOTEL, MASSENA, NEW YORK - DAY 32 Ray pulls into a 1950s strip motel. A Pakistani man, the DEALER, looks out from the motel office.33 INT. ACCLAIM AT BOB'S MOTEL - DAY 33 Ray sees the Dealer hurrying towards them. LILA Pull around back then wait for him to come to the window. Lila keeps the gun low. The Dealer approaches cautiously. LILA (CONT'D) Roll down your window. He walks up slowly and hands her a brown paper bag. LILA (CONT'D) Count it. Ray opens the bag and counts out the cash, as before. RAY Twelve hundred. 27. Lila takes the cash from Ray and pops the trunk release. The two Chinese men hurry out. The Dealer ushers them into a Garage. LILA Let's go.34 INT. ACCLAIM ON ROUTE 37 - DAY 34 Ray and Lila return down Route 37 past the sign "AKWESASNE, LAND OF THE MOHAWK" Lila keeps the gun on Ray. LILA Turn down there. Ray looks at the dirt road leading into the woods. LILA (CONT'D) Stop here. Ray stops. LILA (CONT'D) Now open the door. Ray hesitates. Lila jams the gun in her side. LILA (CONT'D) Open the door. Ray opens the door. LILA (CONT'D) Now get out. Ray doesn't move. RAY You can't have my car. LILA Get out. RAY You can't have my car. Lila tries to push Ray out the driver's door with her feet. Ray clings to the steering wheel. 28. RAY (CONT'D) No! Suddenly, Ray grabs Lila by the hair and pulls her head down to the car seat. Lila hits Ray in the head with the gun. RAY (CONT'D) (gasps) Fuckin' bitch! Bleeding and holding Lila's hair, Ray pries the gun out of Lila's hand. Lila grabs the sack of money, jumps out of the passenger side of the car and takes off into the woods. Ray chases her, but Lila is faster and gets ahead, then disappears into the woods. Ray stops, panting, and wipes the blood from her forehead. RAY (CONT'D) (calls after her) Little bitch! Ray stares after her for a long moment then gets back in the Acclaim.35 EXT. RAY'S TRAILER YARD - DAY 35 Ray drives up in the Acclaim. T.J., wearing PROTECTIVE GOGGLES, works on the broken Duck Kiddie ride with a BLOW TORCH. He doesn't notice Ray. Ray covers over the cut with her hair and gets out and walks up behind him and taps him on the shoulder. He jumps and cuts the flame. RAY I told you not to use that thing when I'm not here. T.J. If I get it working I can sell it. She looks at the rusted pieces of it. RAY I don't care. Don't use that thing when I'm not here! 29. T.J. Rentaworld called. They're coming to get the TV if you don't pay by four tomorrow.He notices the car. T.J. (CONT'D) Did you find him? RAY No. T.J. Where was the car? RAY At the bus stop on the Rez. T.J. I bet he went to Atlantic City. RAY You don't know that. T.J. Yeah, but you could figure it out. Just find out what buses came through last- RAY And then what? Chase him across the country. Miss work. No. T.J. What happened to your face? RAY Nothin'. T.J. What, did you get in a fight with somebody? RAY It was no big deal. T.J. You got in a fight, for real? RAY Some Indian chick tried to steal your Dad's car. 30. T.J. No way. I say we go back there and kick some Mohawk ass. RAY It doesn't matter. T.J. Where's your car? RAY I'll get it tomorrow. T.J. You left it on the rez? That's so stupid. RAY I didn't have a tow rope. T.J. I still say we go back there and kick some Mohawk ass. RAY Forget it T.J. Did you and Ricky eat? T.J. That would be kinda miraculous since there's no food in the house. RAY There's food. T.J. Popcorn and Tang. Ray goes towards the trailer.36 EXT. MOHAWK USED CAR LOT - NIGHT 36 Lila walks in off the road. MIKE, the owner, plays a handheld video game. She looks around the lot. MIKE (In Mohawk) Hi, Lila LILA (In Mohawk) Mike. 31.She glances at a row of beat used cars. MIKE How's life at the Bingo Palace. LILA Good. How's business? MIKE Oh, you know, okay.She eyes a Malibu. LILA How much for that one? MIKE Come on, Lila. LILA What?! I've been saving up. MIKE You know what. LILA Does Bernie Littlewolf run your whole life? MIKE No, but he said not to sell you a car. LILA I gotta walk down 37 with the semis kickin' up snow and mud in my hair just to get to the work. MIKE For you, all I got are two Chevettes,a Horizon and a Civic. LILA I don't like Chevettes. MIKE I figured.She holds out a wad of cash. LILA I'll give you a thousand for the Malibu.On the windshield of the Malibu in huge white letters:$750. 32. MIKE Nothing with a trunk. LILA That thing has been sittin' here for six months. MIKE I don't want Bernie in my face. Okay? LILA He doesn't have to know. Mike rolls his eyes.37 INT. RAY'S TRAILER - DAY 37 Ray wakes up with Ricky staring at her. RICKY Mommy, I was thinking. What's gonna happen to the tin crapper when we get our new house? RAY (half asleep) They're gonna flatten it out and send it to China. RICKY Then what? RAY They're gonna melt it down and make little toys out if it. RICKY Then what? RAY They'll send them back here so I can sell them at All for a Dollar. RICKY And you can buy me some? RAY That's right. RICKY Yes! 33.38 INT. RAY'S TRAILER, KITCHEN - DAY 38 Ray puts out a breakfast spread of Microwave popcorn and tang. T.J. I'm not eatin' that again for dinner. RAY We just have to make it to my paycheck on Friday. T.J. What about Rentacenter? She searches through the couch cushions. RAY What about them? T.J. They said they're coming to get the furniture if they don't get a payment by 4 o'clock. RAY You told me that already. She finds change and hands it to him. RAY (CONT'D) Here, lunch money. She gives the rest to Ricky. T.J. Look I don't see why you won't just let me get a job with Mitch. RAY (to T.J.) Who's Mitch. T.J. He's got like this whole business he runs. RAY He sells pot to kids? T.J. No, it's computers. He works on computers. 34. RAY You're fifteen, it's not gonna happen so forget it. T.J. That's so stupid. We're gonna lose the TV while I'm sitting in some Christmas assembly when I could be- RAY Your job is looking after your brother. Who's gonna take care of him? T.J. (going out the door) I still say we should go back to the rez, get the Horizon and kick some serious butt. T.J. goes out the door behind Ricky and slams it in Ray's face. Ray slips into her jeans and goes to the bathroom mirror to put on her mascara. She cakes it on trying to ignore the cut over her eye but keeps looking at it. Finally she stops and stares at herself. CUT TO:39 EXT. LILA'S CAMPER - DAY 39 Ray pulls up in front of the camper and stops. The Horizon is still there and all is quiet. Ray gets out holding the gun and a long rope goes to the bumper and begins to tie it to the other bumper, looking over her shoulder every once in while at the camper. Once she has tied the cars together she gets back into the Acclaim, but instead of driving off, she just sits there. After a moment, she gets out with the gun and walks up to the camper. The bullet hole in the door has a sock stuffed in it. RAY (low tone) I want my part. 35.40 INT. LILA'S CAMPER - DAY 40 Lila is asleep next to a rattling propane heater. RAY (O.S.) (knocks with the gun) You hear me! Lila's eyes pop open but she stays perfectly still. Ray shakes the door handle. RAY (CONT'D) I want my part. Lila sits up on her cot and puts on her jacket. RAY (CONT'D) I want my part. LILA I'll give you the money if you give me the car. RAY No way. LILA The money's gone. RAY Then I wanna get some more of those Chinese. The door opens. Ray steps back holding the gun. They look at each other. LILA It's gonna cost me to get that hole fixed. I froze last night. Ray holds up her hair revealing the cut over her eye. RAY I just need enough for the balloon payment on my doublewide then I'm out of this. I'm no criminal. LILA It's not a crime. RAY You people can call it what you want to. I just want my double. 36. They stand staring at each other for a long moment, then Ray walks over and unties the rope around the bumpers of the Acclaim and the Horizon. LILA I don't usually work with whites. RAY Suit yourself. Ray gets in the driver's side of the Acclaim and starts it. After a moment, Lila gets in the passenger side.41 EXT. ACCLAIM ON FROZEN RIVER - DAY 41 Ray and Lila drive across the smooth surface of the river. Ray smokes with one hand and holds the gun with the other. LILA How many bedrooms? RAY Three. I got kids. LILA How old? RAY Five and Fifteen. LILA I got a boy. Almost one. Ray looks at her. LILA (CONT'D) He lives with my mother-in-law. (after a moment) She stole him from me. RAY Stole him? LILA Yeah. Right out of the hospital. RAY Stole him? 37. LILA Tribal police don't get involved in stuff like that. Lila looks out across the river at dusk with no expression. The ice looks clean and still. Ray picks up speed to climb the river bank.42 EXT. JIMMY'S GARAGE - DAY 42 Ray and Lila drive up in the Acclaim. Thunder SPRINGS out again, caught by his CHAIN just short of the car. Ray flinches but keeps hold of the gun. Jimmy walks out to meet them. Lila rolls down her window. JIMMY Bernie was askin' if I'd seen you. I told him no. LILA Thanks. JIMMY I don't want any trouble with him, Lila. LILA Don't worry about it. Jimmy's cell phone rings. JIMMY This guy's been calling all morning. He's got two up at the Old Casino. LILA Okay. Jimmy takes the call.43 INT. ACCLAIM AT JIMMY'S GARAGE - DAY 43 Lila rolls up the window. RAY What's going on? LILA We gotta pick them up. 38. RAY (hesitates) Where? LILA Not far. RAY Where's that? LILA An old casino through the woods. They used to have gambling there in the bootlegger days.44 EXT. CORNWALL ISLAND WOODS, OLD CASINO - NIGHT 44 Ray and Lila bounce through the woods to a collapsed building. An old BLACK SUV pulls up from the opposite direction, FACING THEM. Two MIDDLE-AGED CHINESE MEN, get out of the back. One carries an envelope. At the sight of Ray and Lila, he stops and says something to the other one. Both turn around and head back to the SUV. The DRIVER JACQUES BRUNO, a large Quebecois man, wearing a full-length fur coat gets out. They argue. He pulls out a LONG PISTOL and motions the men to the Acclaim. RAY What the hell is he doing? Ray reaches for her gun. LILA Keep that thing down. Bruno walks towards the Acclaim. LILA (CONT'D) Roll down the window and see what he wants. RAY What the hell is going on here? LILA Just roll it down. 39. Bruno stands at Ray's window. Ray slides the gun under her leg and rolls down the window. Bruno hands her a Tim Horton's bag. She takes it. BRUNO (Quebec-French accent) D'ey don't like de women driver. He hands Ray the envelope of cash. LILA Count it. Ray nervously COUNTS the money as the Chinese men shiver outside. RAY Twelve hundred. Lila pops the trunk. Bruno and the Chinese men disappear around the back of the Acclaim. They hear the trunk SHUT. Bruno comes back to Ray's window and taps on it. Ray looks at Lila. LILA Open it. Ray rolls down the window again. BRUNO D'is will keep d'em from running. He hands her men's shoes and dirty socks. Ray takes the belongings and ROLLS up the window and drives away.45 INT. ACCLAIM ON FROZEN RIVER - DAY 45 Ray drives across the river. The socks and shoes are between them. RAY Why would they want to run? LILA To get away from the snakeheads. 40. RAY What's that? LILA The snakeheads pay to get them here and then they gotta work off what they owe . RAY How much does it cost? LILA Forty, fifty thousand. Depends where they're coming from. RAY To get here? LILA Sometimes they gotta work for years to pay it off. RAY (disbelief) To get here? No fuckin' way. She gets a whiff of the socks. RAY (CONT'D) God those are ripe. She throws them into the backseat. LILA They always stink. Two more cars are seen coming toward them on the river. They swerve wide to avoid the Acclaim. She speeds up to make it up the boat launch.46 INT. RAY'S TRAILER, KITCHEN - DAY 46 Ricky watches cartoons on the big screen TV. T.J. flips through the telephone book to the back section: AKWESASNE and scans columns of names mostly either "BONAPARTE" "LITTLEWOLF" or "THREERIVERS". He chooses a name and dials the number. T.J. -Hello (in a grown-up voice) Is this Mrs. Irene ThreeRivers? -Mrs. Bonaparte, I have good news. (MORE) 41. T.J. (CONT'D) -I'm the business manager of Mr. E.F. ThreeRivers and I have been authorized to inform you that you have inherited money. -Are you still there? -Wait, I don't WANT any money, I want to GIVE you money. -That's right. You have inherited money from his computer fortune. -He was the second richest man next to Bill Gates. -He left you Twenty-six thousand seven hundred and fifty dollars.(pause) -TWENTY-SIX THOUSAND SEVEN HUNDRED AND FIFTY DOLLARS! -Oh no, you have no obligation whatsoever, Mrs. ThreeRivers, just a small processing fee of 29.00 dollars will authorize me to send out your first payment of thirteen-thousand three hundred and seventy five dollars. -You can put it on any major credit card. (pause) Of course, you can always refuse the money. -Sure, I can hold. T.J. holds his pen poised to write and looks at Ricky watching TV, then at the clock. It reads 3:40 PM.47 EXT. ACCLAIM ON ROUTE 37 - DAY 47 The Acclaim emerges from a dirt road onto State Route 37. Up ahead a sign reads: "YOU ARE NOW LEAVING AKWESASNE, LAND OF THE MOHAWK". The Acclaim drives past.48 EXT. ROUTE 37, THE RESERVATION LINE - DAY 48 Sitting in his New York State Trooper Vehicle, partly hidden behind a billboard, TROOPER MIKE NAPOLI, mid 40s, olive-skinned, watches the Acclaim drive by without expression.49 INT. ACCLAIM ON ROUTE 37 - DAY 49 Ray notices the vehicle. RAY Are they always there? 42. LILA Yeah, but they can't stop you unless you give them a reason. RAY Have you ever gotten caught? LILA Once. RAY What happened? LILA They gave me the choice of paying a fine or spending three months in jail. RAY What did you do? LILA I paid the fine. I made the money back in two nights of smuggling. But back then it was cigarettes and everybody did it. Some of the troopers were into it, too. RAY Smuggling? LILA Yeah. But when they lowered the tax on cigarettes in Canada most people got out of it and the rest switched over to Chinese.50 EXT. BOB'S MOTEL - NIGHT 50 The Acclaim pulls around back. The Pakistani Dealer approaches the car and hands Ray a paper bag full of cash.51 INT. ACCLAIM AT BOB'S MOTEL - NIGHT 51 Ray takes the money. LILA Count it. RAY Right, I know. 43. LILA Well, be sure it's right. I don't wanna get stiffed. RAY Then why don't you count it? LILA I got bad eyes. She counts it and nods at Lila. Lila POPS the trunk and the barefoot Chinese men get out. Ray and Lila look at them, they look back, blank and ungrateful. Ray rolls down the window and tosses out their shoes and socks. RAY You're welcome. Ray swerves back out onto Route 37.52 EXT. ROUTE 37 INDIAN RESERVATION - SAME 52 They continue down the road to the reservation line. After they pass the sign: YOU ARE ENTERING THE LAND OF THE MOHAWK, Ray pulls over and stops. Ray takes the money and consolidates it into one paper bag. LILA What about mine? RAY We're even now. They stare at each other for a second or two, but Ray does not take out the gun. Lila reaches for the door handle Lila gets out. Ray drives away.53 EXT. RAY'S TRAILER YARD - DAY 53 The kitchen clock reads 3:55. 44. A RENTAWORLD truck is parked outside. Two large RENTAWORLD MEN sit in it. T.J. sees them from inside the trailer. He comes outside. He walks up to the trunk. One of the men rolls down the window. T.J. My mom told me to give you her credit card number. RENTACENTER MAN (weary) We only take cash or money orders. T.J. Well, my Mom might be late. RENTACENTER MAN She's got three minutes. T.J. goes back inside.54 INT. RAY'S TRAILER - DAY 54 Ricky is glued to a cartoon. T.J. watches him, checking out the window every few seconds for Ray. A long moment passes with only the sounds from the cartoon.55 EXT. RAY'S TRAILER YARD - DAY 55 The RENTAWORLD men get out of the car and start toward the trailer. From down the road the Acclaim comes roaring along, kicking up dust. Ray swerves in and jumps out and runs up to the men. RAY It's okay. I got it right here. (she waves a wad of fifties and twenties). Two fifty five, right? The men nod, relieved. Ray counts out the money. Ricky bursts out the door and runs towards Ray. RICKY Mommy! 45. She catches him in her arms and hugs him. T.J. stands at the trailer door, watching as the men drive away. RAY (to Ricky) Who wants to go the Price Chopper and get some Cap'n Crunch? RICKY I DO! RAY Wanna to go to the Price Chopper? T.J. walks out, looking at the money suspiciously. T.J. Where'd you get that? RAY (a beat) Matt made me an assistant manager. T.J. No way. RAY Is that so hard to believe? T.J. It's been like two years. RAY Exactly, and that's why he gave me a bonus. He isn't convinced. RAY (CONT'D) Do you wanna go to the Price Chopper or not? T.J. gets in the car.56 EXT. HOUSE ON POINT - NIGHT 56 Near the river, smoke curls from the chimney of a modest house. Lila perches in a tree nearby with a can of Pringles potato chips dropping every other one on the ground below where a huge WHITE DOG, part wolf, takes his share. 46. From the tree Lila looks inside the window of the house where: A baby boy, "LITTLE JAKE," about a year old, bangs his spoon on his high chair tray then throws it down. EVELYN LITTLEWOLF, 48, a tall thin Mohawk woman with long hair pulled back, picks it up and gives it back to him. He throws it again. She knows the game. She gives it back, but the third time she holds it just out of his reach and laughs at him. He bangs his fists on the tray. Lila drinks in the sight. Abruptly, the DOOR OPENS and EVELYN leans out. EVELYN Chance! Chance, get in here before you freeze your ass off. The White Dog looks up at Lila who shakes the Pringles can upside down to show it's empty. Chance goes inside. The door SHUTS behind him. Lila stuffs a wad of cash in the can and jumps down from the tree. She leaves it near the front door and hurries into the woods. CUT TO:57 INT. T.J. AND RICKY'S BEDROOM - NIGHT 57 Ray tucks Ricky into the bottom bunk. The wind whines in the loose siding. Ray stuffs a blanket around the window to block the draft.58 INT. RAY'S TRAILER, LIVING ROOM - NIGHT 58 Ray walks through the kitchen now full of groceries and opens a can of Adirondack Cola. The remains of two Hungry Man dinners sit on the table. She sits down in the living room. T.J. watches the local weather. 47. WEATHER MAN (O.S.) Temps will dip tonight and tomorrow. Expect a Clipper from Northern Ontario to bring 8 to 12 inches of snow and winds gusting 25-45 miles an hour making it feel like minus 30. Area farmers are advised to bring in livestock. More on this after a message.A blaring TV commercial for the "HOT WHEELS TECH TRAX AIRSTUNT CHALLENGE SET" comes on. T.J. That's what he wants. RAY What?He points at the TV. T.J. For Christmas. RAY What is it, again? T.J. (recites it quick) Hot Wheels Tech Trax Air Stunt Challenge Set. RAY -Hot Wheels Tech Trax, what? T.J. Air-Stunt-Challenge-Set. RAY I got something even better than that. T.J. What? RAY The double wide. But don't mention it to Ricky, just in case. T.J. Yeah, "just in case." RAY This time is for real. 48. T.J.Is that why you bought Calgon Bath Stuff? RAYYes it is. We're getting a tub, T.J. It'sgonna happen. T.J.Yeah, right. RAYIf you keep that attitude I'll never letyou use it. T.J.Be afraid. Be very afraid. (a moment)What about Dad? RAYWhat about him? T.J.What are you gonna do? RAYWhy, did he call broke yet? T.J.No, but maybe he would call if youweren't so bitter. RAYOh, here we go again with Saint Dad. T.J.That's what I mean. You're always on him."Where's your paycheck, do you need ameeting, give me your receipts." RAYHe's an addict, T.J. T.J.You're still bitter. RAYYou gotta help Ricky get the tree uptomorrow after school okay? T.J.Where are you going? RAYChristmas shopping. 49.59 INT. RAY'S TRAILER, BEDROOM - NIGHT 59 Ray lays down her bed and checks her cell phone for new messages: a little zero blinks at her. She listens to her own cell phone message, RAY'S VOICE Hi, it's me. leave a message, and maybe I'll call ya back. It is harsh. She erases it and tries again. RAY (fake cheerful) Hi....it's me...leave a message and I'll call ya' back. She plays it back. It sounds fake. She tries again. RAY (CONT'D) (less cheerful, forced) Hey, leave me a message and I'll call ya' back. (under her breath) You son of a bitch. She plays it back. "You son of a..." was recorded. She tries again. RAY (CONT'D) Hi, it's me. I can't take the call right now, but if it's you, Troy, please at least tell me you are alive, because the boys are worried about you. She brings up OLD MESSAGES on her cell phone and listens to one. TROY (O.S.) Hey, I just got done here. I made two hours overtime fixing one of the snow- making machines. Pretty cool, huh? I'll be home late. I'm gonna catch that meeting at 7:30. Love you, bye. Ray stares across the room at a pile of Troy's dirty flannel shirts. She gets up and picks up the pile to move it to the closet, but feels something hard. From a shirt pocket she pulls out a stack of used scratch cards. She throws the shirts in the closet and reaches for her cigarettes. 50. She takes out a glossy picture of her double wide dream home, "The Commodore" a gleaming pre-fab structure with a landscaped yard and a family with paid-for smiles. After a moment she takes the wad of cash out of her pocket and begins making stacks of fifties and twenties.60 EXT. LILA'S CAMPER - DAY 60 The camper is buried in snow. A shiny SUV pulls up out front. BERNIE LITTLEWOLF, 35, burly, well-dressed, Mohawk man gets out. He yells across the yard BERNIE Lila. Get up. I got a job for you!61 INT. LILA'S CAMPER - DAY 61 Lila is sound asleep on her cot under three blankets next to the propane heater. Bernie's snow balls THUMP against the side of the camper. BERNIE (O.S.) Lila! Get up. Lila opens her eyes and looks out the window, squinting at the snow glare. BERNIE (CONT'D) They got two people out sick today, so if you get down there you got the job. LILA Huh? BERNIE Get dressed, I got coffee. Let's go! He holds up a paper cup. She slips on her jeans with a sweatshirt...62 EXT. LILA'S CAMPER - DAY 62 Lila forces the door open against the heavy snow and steps outside. 51. LILA Where is it? BERNIE Get in, I'll tell you on the way. She grabs her coat and trudges across the yard.63 INT. BERNIE'S SUV - DAY 63 Bernie hands her a paper cup of coffee. BERNIE Rita said you quit. LILA She fired me. BERNIE That's not what she said. LILA Well, she should have. I can't see to count the money. I told you that. I come up short half the time. BERNIE Then get some glasses. LILA They make me carsick. BERNIE Gimme a break. She sips the coffee. LILA So where are we going? BERNIE The Tribal Council needs someone to answer phones. LILA No way! She reaches for the door handle. BERNIE Why not? You can answer a phone, can't you? 52. LILA Not there! Not with them. She starts to get out. He notices the Horizon, buried under the snow, near the camper. BERNIE (suspicious) What's that? LILA I bought it. BERNIE From who? LILA Some white lady. He says nothing. Taps his thumbs on the steering wheel, suspicious. A long moment passes. LILA (CONT'D) What? BERNIE What do you need a car for? LILA To get to work. So I don't have to walk in the breakdown lane. Last week I almost got hit by the plow. BERNIE You'll live. And you know what I'm talking about. LILA It doesn't have a trunk. He stares at straight ahead. LILA (CONT'D) All right, all right! I'll go.64 INT. ALL FOR A DOLLAR STORE - DAY 64 Ray rings up a counter full of merchandise for a heavyset CUSTOMER in her 20s. RAY That's $87.50. 53. The customer hands her a credit card. Ray processes the credit card. It is declined. RAY (CONT'D) Sorry. Didn't go through. The customer looks up with exaggerated annoyance. RAY (CONT'D) (in a low voice) I can try to put it though again. The customer grabs her purse from the basket, and walks out the door, leaving the merchandise. CUSTOMER (yells back at Ray) You got a problem with your machine, lady! Ray moves the merchandise aside for the next customer. It is Trooper Napoli. Ray is startled to see him. He puts down some shaving cream and a diet Pepsi. RAY (rings him up) That'll be three seventy six. He digs in his pocket. TROOPER I got exact. He counts it out. She hands him his bag and watches him walk out.65 INT. MOHAWK TRIBAL COUNCIL, RECEPTION AREA - DAY 65 Mohawk paintings and a huge wolf carved out of wood decorate the waiting area. Nearby is an office marked "GRAND CHIEF" A MOHAWK WOMAN walks by the desk and recognizes Lila, then looks away, quickly. A tall, middle-aged woman, GRAND CHIEF ROSALIE comes out of the office and walks up to Lila. 54. ROSALIE Do I have any messages? Lila hands her a stack. She takes them and walks away, then stops. ROSALIE (CONT'D) I can't read this. She holds the message out to Lila. Lila tries to read it, squinting. LILA I think it's a "T.". ROSALIE No, I can't read any of it. LILA I told Bernie I couldn't see. Lila grabs her jean jacket. LILA (CONT'D) Nevermind. I'll go. She walks out.66 INT. ACCLAIM AT BUBBLE CAMPER - NIGHT 66 Ray pulls up in heavy snow. Lila gets in with a gallon of windshield wiper fluid. LILA We gotta get extra fluid. RAY I gotta get back before KMART closes. LILA What for? RAY I got nothing for under the tree.67 INT. WOLF MART GAS STATION RESTAURANT - NIGHT 67 Ray fills the car with gas. 55. Lila goes inside to get some Pringles. Looking into the small restaurant she sees Evelyn Littlewolf, her mother - in-law and Little Jake sitting at a table with Grand Chief Rosalie. She stops dead in her tracks at the sight. They do not see her. Slowly, she walks up to the table. Little Jake notices her first. ANGLE: Through the window Ray catches sight of Lila standing at the table perfectly still. The other women glance up at her then turn away. No one speaks. Lila walks off with Little Jake still watching her.68 EXT. FROZEN RIVER - NIGHT 68 Ray and Lila drive across the smooth river surface. Snow falls steadily. The windshield wipers SNAP back and forth. They barely avoid the oncoming headlights of another smuggler's car crossing the ice. RAY Don't you people even take Christmas Eve off? LILA Mohawks don't celebrate Christmas. RAY You could fool me the way they were all lined up at All for a Dollar today. LILA Those are Christians. The converted. RAY From what? LILA From the Longhouse ways. 56. RAY That's awful not to have Santa Claus-- for the kids, I mean.69 EXT. RAY'S TRAILER - DAY 69 T.J. dumps the contents of a box containing the pieces of an artificial Christmas tree. Branches cover the floor. The boys begin putting it together like a puzzle. The TV is on. A commercial for the HOT WHEELS TECH TRACK AIR STUNT CHALLENGE SET comes on. Ricky trains in on it, flinching and jerking his body with sound effects at the sight of the flying Hot Wheels cars and the booming voice of the announcer. RICKY Daddy is gettin' me that for Christmas. T.J. What about Santa Claus? RICKY He's bringing the new house.70 INT. ACCLAIM JIMMY'S GARAGE LOT - NIGHT 70 Ray and Lila drive up. Jimmy runs out with his jacket pulled over his head. He sees Lila and signals to the garage. Two figures start toward the car. As they get closer, Ray sees a man and a woman. Both Pakistani. RAY Wait. They're not Chinese. LILA They're "Pakis." RAY What does that mean? LILA They're from Pakistan. RAY Well where's that? 57. LILA I don't know. What difference does it make? RAY A big difference.The Pakistani couple stand outside the car, shivering andholding out the cash. The man carries a heavy duffle bag.Ray rolls down the car window. The man holds out money toRay but she doesn't take it. LILA If we wait much longer we won't be able to get back across the river. RAY Look, I'm not driving just anybody across the border. LILA Do you want the money or not? RAY I wanna know what's in the bag.Ray looks out the car window and points to the bagspeaking loudly. RAY (CONT'D) What's in there?The man looks at the woman. LILA They don't understand you. RAY Well, if they want to come over here so bad, they ought'a take the time to learn English.Lila pops open the trunk. RAY (CONT'D) Just hold on a second.Ray gets out. 58.71 EXT. ACCLAIM, JIMMY'S GARAGE LOT - NIGHT 71 The Pakistani woman crawls into the trunk and the man picks up the duffle bag to put it in but Ray takes hold of it. RAY I'll take that. Ray motions him into the trunk and shuts it. Then she opens the bag and starts to rifle through it but Lila stops her. Lila What are you doing?! Just count the money and let's go. Ray looks down at the bag. Nothing is visible but clothes. LILA If we keeps snowing like this we won't be able to get across the river. RAY I just hope these aren't the ones that blow up themselves and everybody with them. Ray zips the bag up and Lila helps her slide it in the backseat.72 INT. ACCLAIM AT JIMMY'S GARAGE LOT - NIGHT 72 Ray and Lila get back in the car. Ray starts to count the money. Lila takes it back. LILA We don't have time.73 EXT. ACCLAIM ON FROZEN RIVER - NIGHT 73 The Acclaim creeps along in heavy snow.74 INT. ACCLAIM ON FROZEN RIVER - SAME 74 Lila struggles to count the money by the light of the glove compartment. LILA Is that a two or a five? 59. RAY (glances down) A five.Ray creeps along straining to see out the windshield. Thewindshield fluid peters out. RAY (CONT'D) Shit!Lila looks up. Outside is a wall of white. LILA You gotta stop so I can fill up the wiper fluid. RAY I'm not stoppin'. LILA It's a hundred feet deep out here if we get on black iceRay sticks her head out the window but the snow and thewind are too strong. She stops.Lila gets out with the wiper fluid. Ray pops the hood.Ray looks in the backseat at the duffel bag. Shehesitates a moment then reaches into the back and opensthe back passenger door and slides the bag out of thecar.Lila gets back inside. LILA (CONT'D) What are you doing? RAY Nuclear power, poison gas,...you can't tell what they might have in there. I'm not gonna be responsible for that.Ray tries the windshield wipers. Fluid clears thewindshield.Ray dials her cell phone with one hand. RAY (CONT'D) -Hi, I'm gonna be a little late.(pause) -I have to work. Is Ricky asleep? -Put him on. (pause) -Ricky listen to me, he's not coming until you go to sleep. (pause) (MORE) 60. RAY (CONT'D) -No. Not yet. He's still flyin' over Canada okay? He's not even done with Canada yet, so he's not coming until you get to sleep. Now put your brother on. -I'll be home in a little while, okay? -No, I haven't got it,yet. What's it called again? -Hot Wheels Tech Trax Air Stunt whatever, right, right, I'll get it if I can! -I can't promise T.J. -There are more important things to get for Christmas this year. Be home in a little while. Okay, bye. RAY (CONT'D) (to Lila) You'd think a new house would be enough. Ray guns it up the boat launch to the shore.75 INT. RAY'S TRAILER - NIGHT 75 In the living room, the artificial Christmas tree is up. The TV is on and Ricky is untangling a ball of red Christmas lights. T.J. (dials the phone) -Hi, is Mitch there? (a long pause) The microwave dings. Holding the phone, T.J. takes out two Hungry Man dinners and sets them on the table. T.J. (CONT'D) -Hi Mitch. It's T.J. No, T.J. from school. Yeah, man. Right. Uh, I was wondering if you still needed those numbers we were talking about `cause I got one. -How much? -Cool, but the thing is I don't really have any wheels at the moment. -On Moira road off 37. -Yeah, but there's one more thing...(he whispers into the phone inaudibly)...no the air stunt challenge set. -Yeah, exactly. Yeah, man. Thanks a lot. Bye. He hangs up and puts the dinners on the table. 61. T.J. (CONT'D) (to Ricky) Ricky, time to eat. T.J. turns around. Ricky has wrapped himself in Christmas lights from head to toe, by slowly revolving while holding the strings. RICKY Hey T.J., watch this! He plugs in the lights and they turn on. T.J. Yeah, that's pretty cool. But it's gonna hurt when you sit down. Ricky giggles. T.J. (CONT'D) Now unwrap yourself, it's dinner time.76 EXT. BOB'S MOTEL - NIGHT 76 Ray and Lila drive to the back of Bob's. The Dealer hurries out to meet them.77 INT. ACCLAIM AT BOB'S MOTEL - NIGHT 77 He hands Ray a wad of cash. She counts it, then nods to Lila who pops the trunk.78 EXT. ACCLAIM AT BOB'S MOTEL - NIGHT 78 The Pakistani man and woman hurry out of the trunk, looking around, and rush to the passenger door of the Acclaim, speaking frantically to each other. The Dealer tries to hustle them to the garage, but they won't be moved. Ray starts to back out, but the Dealer knocks on their window. Ray rolls it down. DEALER (heavy accent) They say there's a bag. RAY It was too heavy. We had to unload it. 62. The Dealer tells the woman in Urdu. She becomes HYSTERICAL. She grabs Ray through the window and the dealer pulls her off. RAY (CONT'D) What's the matter with her!? DEALER She had something in the bag. The woman continues screaming in Urdu. RAY What is she saying!? He speaks to her in Urdu. DEALER She says her baby. Her baby was in the bag. The Dealer and the man hurry the wailing Pakistani woman into the garage.79 INT. ACCLAIM ON ROUTE 37 - NIGHT 79 Lila and Ray pull back onto Route 37 and drive along in stunned silence. RAY It didn't feel like there was anything in that bag. LILA We gotta go back. RAY I can't believe they put their baby in a duffle bag. LILA I can't believe you left it out there. RAY If you'd let me search it I would never have taken it- LILA We gotta go back. RAY I know! I know that. 63. Ray speeds along.80 INT. ROUTE 37, THE RESERVATION LINE - NIGHT 80 Partly hidden, behind a barn, Trooper Mike Napoli watches the cars pass on Route 37, leaving the Reservation. The Acclaim passes.81 INT. RAY'S TRAILER - NIGHT 81 The trailer is aglow in Christmas lights. Ricky has fallen asleep on the couch. A car horn blows outside. T.J. runs outside.82 EXT. RAY'S TRAILER - SAME 82 A beat up car is there. Inside a teenager, MITCH, a few years older than T.J., hands him out a Hot Wheels Tech Track Air Stunt Challenge Set. MITCH That's what you wanted, right? T.J. Close enough. T.J. gives Mitch a piece of paper with a list of names and credit card numbers including that of Irene ThreeRivers. MITCH Thanks Man, Have a Merry One. T.J turns to go back inside. He sees SMOKE RISING through the cracks in the siding and goes to the back. BLACK SMOKE POURS from under the trailer where old insulation is smoldering. T.J. runs to the shed, takes a fire extinguisher and sprays under the trailer. Steam rises. The fire appears to be out.83 INT. RAY'S TRAILER - NIGHT 83 T.J. comes back in. Smoke filters up though the cracks in the linoleum floor. He covers Ricky with extra blankets and opens the windows. 64.84 EXT. FROZEN RIVER - NIGHT 84 Ray and Lila drive down the boat launch to the river. The storm has stopped and the river is an endless white surface.85 INT. ACCLAIM ON FROZEN RIVER - NIGHT 85 Ray and Lila creep along. LILA Look, there. Tracks. RAY (squints) Where? LILA Up there. Ray speeds up. Faint tire tracks appear in the distance. LILA (CONT'D) Slow down, I don't want to run over it. Stop. I think it was here. Ray stops the car. Lila gets out. Ray puts her jacket over her head and follows. Ray's cell phone plays "Old MacDonald" on the seat of the Acclaim.86 INT. RAY'S TRAILER - NIGHT 86 Wearing his coat in the trailer, with the windows and door open, T.J. dials the phone. He gets Ray's cell phone. RAY'S VOICE (faintly heard though the phone) Hi, it's me. I can't take the call right now, but if it's you, Troy, please at least tell me you're alive, because the boys are worried about you. He doesn't leave a message. Ricky snores on the couch covered in a pile of blankets. 65.87 EXT. FROZEN RIVER - NIGHT 87 Lila runs ahead. Ray struggles to keep Lila in sight. Ray comes up behind Lila, rifling through THE UNZIPPED DUFFEL BAG. She suddenly jumps back at the sight of the tiny face of an infant, wrapped in blankets, eyes closed, lips blue. LILA It's dead. Ray looks at the baby. Instinctively, she swoops down and gathers it up. Ray heads for the car. RAY Come on! Lila follows her.88 INT. ACCLAIM ON FROZEN RIVER - NIGHT 88 Ray gets in the car and sets the bundle down on the seat, unwraps it from layers of swaddling and begins taking off it's clothes. It is a boy. She tries to resuscitate him, but there is no response. LILA It's dead. Ray keeps giving it air. There is no response but she keeps at it. Then, between breaths: RAY Tap the bottom of his feet. LILA Why? RAY That's what they did to get Ricky breathing when he was born. Ray puts the baby on Lila's lap. She pulls away. LILA I don't want to touch it. RAY Well, I can't hold it and drive. 66. Ray cranks the heater and aims the vents at the baby. Lila stares down at the baby in her lap, not touching it. LILA I don't think it matters. RAY At least put him next to your body. That will warm him up. LILA But it's too late. RAY Just do it! We can't give it back to her cold.89 INT. RAY'S TRAILER - NIGHT 89 T.J. closes the windows and puts a package of microwave popcorn in the microwave and turns it on. He watches it begin to smoke, then pops open the microwave and takes the smoking bag from room to room to hide the smell of burnt insulation with burnt popcorn.90 EXT. ROUTE 37, THE RESERVATION LINE - NIGHT 90 Ray pulls out onto Route 37 and passes the reservation line: "You are now leaving the land of the Mohawk" Trooper Napoli watches the Acclaim pass again. This time he pulls out behind it.91 INT. ACCLAIM ON ROUTE 37 - NIGHT 91 Ray notices the cruiser following her. RAY Shit! Lila looks back. LILA Calm down. Lila quickly pulls the baby near and wraps him inside her coat hiding him from sight. The DOME LIGHTS START FLASHING. 67. RAY Oh shit. What do I do? LILA Calm down. Just pull over. RAY What if he saw us go by before. To Bob's. LILA He's got no reason to stop us, unless you give him one, so keep your mouth shut. RAY What if he searches the car. What do we say about- LILA He won't, just remember you're white. Ray pushes the blankets onto the floor and kicks them under the seat.92 EXT. ACCLAIM ON ROUTE 37 - NIGHT 92 Ray pulls into the breakdown lane and the trooper pulls in behind her.93 INT. ACCLAIM ON ROUTE 37 - NIGHT 93 In Ray's rear view mirror, Trooper Napoli gets out of the cruiser. He puts on his hat and walks toward the car. Ray rolls down her window. TROOPER NAPOLI License and registration? Ray hands them over. He examines them, then leans down to the window. TROOPER NAPOLI (CONT'D) Could you step out of the vehicle, ma'am. RAY (fakely nice) I wasn't speeding, was I? TROOPER NAPOLI Just step out of the car. 68. RAY Did I do something? TROOPER NAPOLI (suspicious) Ma'am I'm just directing you to step out of the vehicle? RAY Okay. She gets out of the car reluctantly. He looks in at Lila, she keeps her head down. TROOPER NAPOLI Step around to the back of the vehicle. He follows Ray to the back of the Acclaim.94 EXT. ACCLAIM ON ROUTE 37, BREAKDOWN LANE - NIGHT 94 He points at the trunk. Ray stares at it, afraid to speak. TROOPER NAPOLI See that. Ray stares at the back of the car, afraid to speak. TROOPER NAPOLI (CONT'D) Your left rear parking light is not illuminated. Ray notices the light. RAY Oh, I didn't know. He takes out his pad and pen. TROOPER NAPOLI (CONT'D) I'm gonna give you a provisional citation. Get this repaired in the next 48 hours and you'll have no problem. RAY (CONT'D) Thanks. TROOPER NAPOLI (he looks into the car) Who's your friend? 69. RAY She looks after my kids when I have to work late. Ray gets back in the car. He shuts the door behind her and gives Lila a friendly nod. TROOPER NAPOLI Have an enjoyable Holiday. RAY Yeah, you, too. She rolls up her window.95 INT. ACCLAIM ON ROUTE 37, BREAKDOWN LANE - NIGHT 95 In her rear view, Ray watches him get in his vehicle, u- turn and drive out of sight in the opposite direction. LILA (nervous) What did he want? RAY Just a blown out tail light. LILA That's it? RAY Yeah.96 INT. RAY'S TRAILER - NIGHT 96 T.J. looks at the clock. It's after midnight. He leads Ricky, half asleep into his room and tucks him in bed. Then he takes out the Hot Wheels Box and puts it under the tree.97 INT./EXT. ACCLAIM AT BOB'S MOTEL - NIGHT 97 Ray and Lila pull in to the motel but there is no sign of life. Ray gathers up the blankets. Lila sits motionless. RAY We gotta take it in. Lila sits absolutely still. 70. RAY (CONT'D) What is it? LILA It's moving. RAY What? Are you sure? Lila slowly takes the baby from inside her jacket. His eyes open. He blinks. Ray and Lila stare at him. LILA Hello little baby. The baby looks back at them. RAY He was just cold. Ray and Lila wrap him up in the blankets and get out with Lila carrying the bundle and walk into the motel office.98 INT. BOB'S MOTEL - SAME 98 Ray and Lila look around the shabby motel office circa 1950s with a few threadbare chairs. No one is at the front desk. Ray ventures behind the desk and knocks on a small door. She carefully opens it to a small office with a desk, cluttered with papers and, beyond it, another door. Ray knocks and opens it to: A living room hung with heavy red Pakistani fabrics and lights. The dealer and the Pakistani man study a map of New York State spread out on the table. Behind them the Pakistani woman sits on the couch. Ray comes in, followed by Lila carrying the baby. RAY We found him. The Pakistani woman looks up, sees the bundle and hurries across the room to Lila. Lila holds out the baby with a little smile and the Pakistani woman snatches it out of her arms. The Pakistani women pulls back the blanket and sees the baby -- alive. She sinks to her knees letting out a wail. 71. Lila's eyes fill with tears. Ray chokes back her own. RAY (CONT'D) (to Lila) Come on. Let's go. Lila follows Ray out, looking over her shoulder at the baby.99 INT. ACCLAIM ON ROUTE 37 - NIGHT 99 Lila and Ray drive away. LILA He was dead. RAY He was just cold. LILA He was dead. RAY Okay, whatever, you brought him back to life. LILA That was the Great Spirit, not me. RAY All I know is Kmart is closed and I got nothing for under the tree. Lila looks at Ray. RAY (CONT'D) What? Lila says nothing. RAY (CONT'D) Look, I don't have time for that. I can't get deep about every little thing. I just have to keep on going. I only need one more run to have enough for my double.100 INT. ACCLAIM AT LILA'S CAMPER - NIGHT 100 Ray and Lila pull up in front of Lila's camper and stop. Ray divides the money. 72. RAY Here. Lila takes the money and starts to get out. RAY (CONT'D) Merry Christmas or whatever. LILA Yeah. Lila gets out and goes inside.101 EXT. RAY'S TRAILER - NIGHT 101 Ray drives up. The trailer is covered in Christmas lights.102 INT. RAY'S TRAILER, KITCHEN - NIGHT 102 Ray comes in. The box containing the Hot Wheels Tech Track Air Stunt Challenge set is under the tree. RAY What's that? T.J. Hot Wheels. She is suspicious. RAY Where'd you get it? T.J. I called a friend. RAY Mitch? Is that the friend you called? It's probably stolen, you know. T.J. No, its not. RAY Well, I don't want you hanging around him. That kid is bad news. T.J. It's not like you were gonna get it. 73. RAY Look , Mister, I got more important things to worry about than toys. I'm trying to get our doublewide. T.J. Oh, yeah. I forgot. RAY Hey, you can lose the attitude. Anyway, Kmart was closed by the time I got off work. He gives her a sideways glance. RAY (CONT'D) What's that smell? T.J. Popcorn. RAY I told you to be careful with the microwave, didn't I? T.J. Sorry.103 INT./EXT. LILA'S CAMPER - NIGHT 103 A heavy THUD as something hits the side of Lila's camper. LILA Bernie! She opens the door, but no one is there. At her feet she sees a Pringles can. In it: the cash she left at her mother-in-law's house for her son. She looks towards the woods but there is no sign of anyone. She shuts the door. Inside she digs through an old box of junk and pulls out a 2 foot long oval shaped wooden board, an infant board, and a blanket. She wraps her pillow in the blanket around the board in the Mohawk tradition and picks it up. She tries it on her back, then leans it against the wall, then hangs it on a hook on the wall. 74.104 INT. RAY'S TRAILER, KITCHEN - DAY 104 Christmas Morning. Ray stands at the stove in her bathrobe making pancakes. T.J. helps Ricky set up his new Hot Wheels Set. A Knock at the door. Another knock. RICKY Daddy? Ricky runs to the door and opens it, then backs away. Trooper Napoli is there. TROOPER NAPOLI Is there a Ray Eddy here? Ray comes to the door. RAY Yes. TROOPER NAPOLI Can I speak to you outside for a minute. RAY I haven't gotten the light fixed- TROOPER NAPOLI It's not about that. I just have a few questions. RAY Sure.105 EXT. RAY'S TRAILER YARD - DAY 105 Ray slips on her boots, grabs her jacket around her and steps outside the trailer door. TROOPER NAPOLI This is about the woman who was with you. RAY Yes. TROOPER NAPOLI How long have you known her? 75. RAY Not too long. She looks after my kids. TROOPER NAPOLI She's a smuggler. RAY Really? TROOPER NAPOLI Yes. RAY Wow. That's a shock. TROOPER NAPOLI Yes, well, there is that element on the Reservation I'm sure you know. RAY Yeah, I've heard about it but I didn't know she was involved. TROOPER NAPOLI How did you happen to meet her? RAY Uh, I think there was a sign for a baby sitter at the Wolf Mart. That's where I get my gas. TROOPER NAPOLI I just thought you should be aware of that. She's known to have smuggled illegal immigrants into the country. RAY Oh my God.He nods his head. TROOPER NAPOLI If I were you I'd find a new baby sitter. You don't want her around young kids. RAY Absolutely.He eyes the side of the trailer where smoke stainedsiding is visible. TROOPER NAPOLI Well, you have an enjoyable Holiday. 76. RAY Thanks. You, too. Ray stands and watches the trooper drive away. She feels in the pocket of her bathrobe for her cigarettes and fumbles to light one, sucking on it, unaware of the cold. When she turns around she looks at the trailer and notices the smoke-stained siding on one end of it.106 INT. RAY'S TRAILER - DAY 106 T.J. listens at the door. Ricky looks up. RICKY Why is the police man here? T.J. Shh. From outside the door: RAY (O.S.) T.J. could you come out here for a minute. T.J. goes outside.107 EXT. TRAILER YARD - DAY 107 Ray stands staring at T.J. at the trailer's burnt end. T.J. What did he want? Did something happen to Dad? RAY No. T.J. Then what did he want? She points to the blackened siding on the trailer. RAY Did you have a fire last night? T.J. The pipes froze so I fixed `um. RAY You fixed um? 77. T.J. Yeah. RAY Did you happen to use the blow torch?She walks around back and looks underneath the trailer: amass of charred and melted insulation. RAY (CONT'D) Look at this. We can't live here anymore! T.J. It's just a tin crapper. RAY No, it was our house. T.J. So, we're gettin' a new one, right? RAY Jesus, you could have killed yourself and your brother.She grabs the blowtorch and slams it to the ground, butit is indestructible. T.J. It's not yours, he gave it to me.She goes to the car, takes out her gun then puts the blowtorch on the ground and aims at it -- but T.J. grabs it. RAY Put it down. T.J. No! RAY Put it down. T.J. Are you gonna shoot me now, too? RAY Put that thing down!He ignites the blow torch to spite her. T.J. Maybe he didn't like gettin' shot in his own house. Maybe that's why he left. 78. RAY That was an accident. T.J. Some accident you shot him in the foot. RAY He spent the food money on scratch cards, T.J. T.J. So, he'd done it before.He aims it at her. She walks towards him. He increasesthe flame. RAY Gimme that thing.She tries to grab it out of his hand, but he is toostrong. RAY (CONT'D) T.J. come on now. T.J. You can't have it. It's mine.His eyes fill with tears, but his face stays tight.She grabs at it again, but he jerks it away. She pausesand stares at him. RAY He was clean for 23 months.They look at one another. RAY (CONT'D) (chokes back tears) I didn't know how else to keep us together. I mean...he's a good dad when he's not gamblin'.He cuts off the blow torch. T.J. Yeah, awesome dad. Robs us and takes off a week before Christmas.She walks up to him and wipes a tear from the side of hisface. He shakes it off. 79. They stand in the cold air for a long moment their breath visible. She touches his hair. RAY I know. CUT TO:108 EXT. BUBBLE CAMPER - NIGHT 108 Ray drives up in the Acclaim. Lila and the Horizon are gone. Ray gets out and looks around but there is no sign of her.109 EXT. PARKING LOT, MOHAWK BINGO PALACE - 109 Ray slowly cruises the lot looking for the Horizon. She spots it in the distance behind the Bingo palace next to a dumpster. Ray parks and goes inside.110 EXT. MOHAWK BINGO PALACE ENTRANCE - NIGHT 110 The short chubby toothless Mohawk ticket taker perched on a metal stool beside a velvet rope. Ray sees her and begins to dig in her jeans for a five. The ticket taker looks her up and down, expressionless. Ray hands over the money. The ticket taker just looks at her. TICKET TAKER The game's over. They're verifying the last winner. RAY That's okay. I still wanna buy a ticket. TICKET TAKER I can't sell you one. RAY I got money. 80. TICKET TAKER Sorry. RAY I just want to buy some scratch cards. TICKET TAKER Go to Wolf Mart, they sell `um there. Ray walks away. The ticket taker watches her.111 EXT. MOHAWK BINGO PALACE, PARKING LOT - DAY 111 Ray slumps down in the driver's seat of the Acclaim waiting for Lila to come out. She is parked a few cars away from the Horizon. Other bingo players come out and get in cars surrounding Ray. Mohawks employees, including Lila come out of the "Employees Entrance". She starts toward Horizon. She wears new glasses. Catching sight of Ray in the Acclaim, she abruptly turns and starts walking in the opposite direction. Ray pulls out and drives over following her in the Acclaim. LILA I quit smuggling. RAY (rolls down the window) T.J. set the trailer on fire. Lila keeps walking. Ray drives along beside her. RAY (CONT'D) He didn't mean to, but the pipes froze and he got that damn torch out -- which I told him not to do touch when I wasn't there -- and he tried to thaw them out- LILA I got glasses and now I can see up close. RAY There's a hole in my bedroom floor. We gotta move. 81.Lila keeps walking. RAY (CONT'D) I just need one more run to get the double.Lila keeps walking. RAY (CONT'D) Look you can have the Acclaim. Okay?Lila keeps walking. LILA I don't want it. RAY What is it then?!Lila keeps walking. RAY (CONT'D) Are you still mad about that baby? `Cause it wasn't all my fault, ya' know. I mean who puts their kid in a duffle bag?Lila keeps walking. Ray follows trying to figure her out. RAY (CONT'D) You're gonna need a lot of money to take care of a one year old baby. LILA I got enough. RAY Yeah, but you gotta get him first.Lila stops dead in her tracks and looks at Ray. RAY (CONT'D) I'll help you. You can even borrow my gun.Lila looks around to see if anyone is watching and getsin the Acclaim with Ray.ANGLE FROM BINGO PALACE ENTRANCE: The Ticket Takerwatches the Acclaim drive away. 82.112 EXT. ACCLAIM, VERSAILLES MOBILE HOME LOT - NIGHT 112 Ray and Lila pull up outside the model double wide home.113 INT. ACCLAIM. VERSAILLES MOBILE HOME LOT - SAME 113 Ray and Lila look at it. RAY You should see the inside. LILA How many bedrooms? RAY Three. And it's got a jacuzzi tub in the master bathroom. LILA Wall to wall carpet? RAY Oh yeah. But the best thing is the insulation. The pipes can never freeze. Ray gets out. RAY (CONT'D) I'll be back. She disappears into the Office. Lila looks at the house.114 INT. OFFICE, VERSAILLES MOBILE HOME LOT - NIGHT 114 Ray comes in on Guy Versailles giving a young couple the hard sell. VERSAILLES ...what I think you'll find with the Commodore -- and you'll be the judge -- is that the vinyl wall covering is perfect for small children. There is never a need to repaint or even touch up- RAY I wanna schedule a delivery. Versailles looks up, annoyed. He plasters on a smile. 83. VERSAILLES (to the couple) Give me just a second. He tries to take Ray aside. VERSAILLES (CONT'D) What do you want? She pulls a huge wad of cash from her jacket pocket. VERSAILLES (CONT'D) Is this all of it? RAY It's three thousand but I want it delivered tomorrow. VERSAILLES I told you all or nothing. She holds out the cash. The couple tries not to watch. RAY Take it as a deposit. All you have to do is show up. If I don't have the rest you keep it. VERSAILLES Can't argue with that. You'll have to sign something, though. He takes out a contract and writes in the deposit amount as thirteen hundred seventy two dollars owing. Ray signs the paper. CUT TO:115 INT. ACCLAIM ON FROZEN RIVER - NIGHT 115 Ray drives down the boat launch and starts across. The sky is clear and the moon shines down on the white river surface. Downstream patches of the river have thawed and water flows is visible. There is only the sound of the wheels on the smooth ice surface. CUT TO: 84.116 EXT. JIMMY'S GARAGE, RIVER'S EDGE - NIGHT 116 Jimmy's is dark. Ray and Lila sit a minute. Then: LILA Blow the horn. Ray honks the horn. A light comes on. Jimmy runs outside in a t-shirt. Lila rolls down the window. JIMMY Heat wave! LILA You got a run for us, Jimmy? JIMMY (shakes his head) It's pretty slow after Christmas. Unless you wanna to go off the Rez, there's a guy up in Montreal who's usually got heads. LILA How far? JIMMY Twenty miles or so. But...you gotta watch out for the Mounties and the Surete. and...this guy deals in ya' know girls.117 EXT./INT. ACCLAIM, QUEBEC HIGHWAY - SAME 117 Ray and Lila drive down a Quebec highway. The road signs are in French. The skyline of Montreal is an orange glow in the far distance. RAY Have you ever been there? LILA A few times. Have you? RAY No, Troy didn't like to travel. He liked to work in his shed, mostly. 85. Ray and Lila drive down a commercial strip of shopping centers, fast food joints and strip clubs, with French names. LILA Up there. That's it. RAY Can't miss that.118 EXT. LE CLUB SUPER SEXE - SAME 118 Ray pulls in at a giant neon silhouette of a naked woman. They drive around back and get out. THROBBING DISCO music is heard from inside a door marked "Prive."119 INT. CLUB SUPER SEXE - NIGHT 119 They walk in. The place is mostly empty. There is a scantily dressed BARTENDER and JACQUES BRUNO sitting at the bar. BARTENDER Oui? LILA Bruno. She points to Bruno. Lila and Ray approach him. He is on his cell phone speaking in French. He looks them over, then closes up his telephone. BRUNO (French accent) You looking for a job. LILA No, Jimmy called- BRUNO Oh yeah, Jimmy. Okay. He calls over the Bartender. She comes over. He points to Ray and Lila. She walks over to them. BARTENDER (softly) Put your hands up. 86. Ray and Lila put up their hands. The Bartender pat frisks them for body wires. When she is finished: BRUNO Okay we go. He picks up his full-length fur coat. BRUNO (CONT'D) D'is way. They follow him out the back of the club. The Bartender follows.120 EXT. PARKING LOT, CLUB SUPER SEXE - SAME 120 They wait. BRUNO D'at your car? He points to the Acclaim parked a few feet away. They nod. He walks out to a shed and unlocks the door. Two very young CHINESE GIRLS, sickly and pale, wearing jean jackets look vacantly out. Bruno signals them to get out. BRUNO (CONT'D) Open the trunk. LILA We need to get paid, first. BRUNO Oh, yes. He pulls a wad of cash from inside his coat and hands it to Lila. She counts it out. LILA You only got six hundred here. BRUNO You get the rest at drop off. LILA It's six hundred apiece. The girls stand shivering by the trunk. 87. BRUNO That's the deal I make with Jimmy, now you want to change?Lila and Ray look at each other. LILA It's twelve hundred. BRUNO You want to make a problem?Bruno glances at the Bartender watching from the backdoor of the club. BRUNO (CONT'D) (annoyed by Ray) ...because you're not making a problem for me. And you're making a problem for them. Let me show you something.He approaches the two girls.He grabs one of the girls by the hair, kicks her in theback of the knees forcing her to the ground.Lila looks at Ray. The girl tries to get on her feet, buteach time she does he kicks her in the back of the kneesagain. LILA (to Ray) Let's just go.Held up by her hair, the girl slides around helplessly.Lila winces at the sight. Ray stares at Bruno. RAY Okay. We'll take them.Lila looks at Ray.Bruno drops the girl who scrambles to her feet. LILA Let's go. RAY Just open the trunk.Lila leans into the passenger side of the Acclaim andpops the trunk. Bruno looks at Ray: 88. BRUNO You must be the brains of the operation.He motions the girls into the trunk and shuts it afterthem.Lila get in the passenger side and Bruno starts for theback door of the club.Ray pulls her gun out of her jacket and aims it at Bruno. RAY Turn around!Bruno stops and turns around. RAY (CONT'D) I want the rest.He opens his fur coat. BRUNO (cool) I don't have any more.In the shiny coat lining only the handle of a long pistolis visible. RAY (to the Bartender) Go get it.Bruno looks around and nods at the bartender. Thebartender panics not knowing what to do and beginsspeaking in French to Bruno.Ray shoots at the pavement beside Bruno. BRUNO (to the bartender) Give it to her.The Bartender disappears into the club. Ray waits withthe gun on Bruno. LILA (from inside the Acclaim) Let's get out of here. I'll give you the rest of the money. RAY No. But thanks. 89. LILA You're gonna get us all killed.A moment later the Bartender comes back, shaking andholding cash. RAY Put it there.She indicates the trunk. BRUNO (to the bartender) You aren't so smart as you look.Ray grabs the money and still pointing at Bruno, backsinto the car.Bruno reaches for his pistol and aims at them as theAcclaim squeals away.Bruno FIRES shattering the driver's side window, grazingRay's head.Ray falls back, dazed for a moment. Lila steers. Then Raytakes the wheel as they swerve out onto the main road. RAY He shot me.Ray wipes the blood from her forehead. LILA You should'a just taken the money from me? RAY (blood streams down her face) I'm tired of people stealing from me. Is it all there? LILA We gotta get outta here, first. RAY Just COUNT IT and make sure it's all there!Ray hands her the wad of money. Lila struggles to put onher glasses and counts out the money. RAY (CONT'D) Is it there? 90. LILA It's all there. RAY Good. LILA Slow down a little. We gotta keep it under the speed limit. Ray smiles and wipes away the blood. They drive a short distance. Ray checks the rear-view mirror. LILA (CONT'D) We gotta get off this road. Lila looks in the rear view. Headlights appear behing them. Ray speeds up approaching an intersection: the sign reads "ARRET" LILA (CONT'D) Slow down! RAY I can't. Lila looks back in the rear view mirror. The headlights are gaining on them. She SPEEDS through it. A local SURETE DE QUEBEC police cruiser parked out of sight TAKES OFF after her, LIGHTS FLASHING.121 INT. ACCLAIM ON QUEBEC ROADS - NIGHT 121 LILA We gotta get off this road!122 EXT. ACCLAIM ON DIRT ROAD - NIGHT 122 Ray swerves off the main road to a DIRT ROAD. The QuÈbec police follow. Ray swerves off the road and across a field into the WOODS and kills the HEADLIGHTS. The Quebec Cruiser CHASES them. 91.123 INT. ACCLAIM ON DIRT ROAD - NIGHT 123 Ray speeds down the road. RAY How much farther to the reservation? LILA Just up at the tree line. Ray speeds towards it, but the Quebec cruiser still pursues them. RAY What the hell? We're on the reservation. LILA They can't arrest us but if they catch us they'll take the money. RAY Shit! Ray bounces into the woods through the trees.124 EXT. ACCLAIM ON RIVER BANK - NIGHT 124 The Acclaim emerges from the woods at the edge of the river. The International Seaway Bridge looms above the ice surface of the river.125 INT. ACCLAIM ON RIVER BANK - NIGHT 125 Behind them the flashing lights close in. LILA That ice is black out here. RAY Will it hold us? LILA I don't know. Ray looks at her for a moment then drives toward the ice.126 EXT. RIVER BANK - NIGHT 126 Behind them, the Quebec cruiser BRAKES at the edge of the river. 92. The QuÈbec officer GETS OUT TO WATCH the Acclaim drive out across the ice. He radios to:127 EXT. INTERNATIONAL SEAWAY BRIDGE - NIGHT 127 A BORDER GUARD picks up the phone. He nods, then hangs up and makes a call to...128 INT. NEW YORK STATE CRUISER - NIGHT 128 Trooper Napoli hears the call on the police radio. DISPATCHER ...the Quebec Surete in pursuit of a vehicle with New York State plates, identified as a blue Plymouth Acclaim and the suspects are two women, suspected to be carrying illegals... He recognizes the car and u-turns.129 INT. ACCLAIM ON FROZEN RIVER - NIGHT 129 Ray and Lila hold their breath as they cross the river. They make it over the midpoint and Ray accelerates toward the shore. Two hundred feet from the bank, the BACK RIGHT TIRE HITS A CRACK in the ice. The TIRE DROPS and the UNDER BELLY of the car SCRAPES THE ICE. SPARKS FLY. The RIGHT REAR END of the car DROPS DOWN and the FRONT LEFT TIRE LIFTS off the ice. The car TEETERS BACK AND FORTH. Ray and Lila sit perfectly still. LILA We gotta crawl out the window. Lila rolls down her window. The car shifts. The wad of cash SLIDES toward the edge of the dashboard. Ray grabs it. Lila pops the trunk. The two Chinese girls scramble out. The four begin RUNNING FOR THE SHORE. ANGLE FROM THE UNDER THE BRIDGE: Trooper Napoli watches the action on the ice. 93.130 EXT. ACCLAIM ON FROZEN RIVER - NIGHT 130 The CAR SINKS DEEPER INTO THE WATER on one side.131 EXT. FROZEN RIVER - NIGHT 131 Ray, Lila and the Chinese girls keep running, slipping and sliding, falling. Lila and Ray stop and go back to help one of the Chinese girls who keeps falling. When they get to the shore, they climb up the bank and collapse on the snow, gasping. ANGLE: Trooper Napoli gets in his cruiser and heads down the bank toward the women, lights flashing.132 EXT. RIVER BANK - NIGHT 132 Two headlights are seen in the distance coming toward them. A PICKUP TRUCK approaches along the shore. Jimmy drives it. He gets out, gathers Ray, Lila and the two Chinese girls into the back of the truck and drives away. Ray looks back as the Acclaim SLIPS THROUGH THE ICE AND DISAPPEARS. Trooper Napoli reaches the scene, too late. No one is there.133 INT. VILLAGE BAKERY - NIGHT 133 A small house on the river's edge with a hand painted sign:"Bakery" Jimmy drives up. He helps Ray, Lila and the Chinese girls to the door. The Ticket Taker, "VELMA" opens the door, wearing an apron. JIMMY Hi Mom. VELMA Jimmy, I told you not to bring no more half frozen people in here off the river. JIMMY (ignores her) We just need to borrow your oven, Mom. 94. He leads them, wet and freezing, to the bakery kitchen. As they go by Velma and Ray recognize each other.134 INT. VILLAGE BAKERY, KITCHEN - NIGHT 134 An industrial oven sits beside an old couch. Lila, Ray and the teenage girls stand near it shivering. Velma looks them over, frowning and shakes her head. VELMA I don't see how I can get any baking done. I'm supposed to be baking 200 doughnuts for pee wee Lacrosse and now I have people bleeding and dripping all over my kitchen. She opens a closet filled with Indian medicine plants and takes out several kinds. VELMA (CONT'D) (to Ray) Sit down, I can't reach up that high. Ray sits down. Velma reaches up and dabs Ray's grazed and bleeding forehead. VELMA (CONT'D) (to Ray) Looks like somebody tried to blow your brains out. Ray winces in pain. VELMA (CONT'D) Get outta here, Jimmy. They gotta strip down. (to girls) Gimme those jackets. Velma motions to the Chinese girls to take off their coats. They stare at her shivering. She gently goes to one of the girls and helps her out of her jean jacket. Under it she wears a short sleeved shirt showing her bruised arms. Velma sees the bruises. VELMA (CONT'D) Somebody's been beatin' up on you. Lila and Ray see the girl's black and blue arms. 95. Velma hangs the girl's jacket on the big oven to dry and gives her an old blanket to keep warm. Then Velma turns to Lila. VELMA (CONT'D) You, too.135 INT. MOHAWK TRIBAL POLICE STATION - NIGHT 135 MOHAWK CHIEF OF POLICE, BILLY THREE RIVERS, a stressed- looking man in his 40's talks on the phone. THREE RIVERS -Good, good Mike. What can I do for you? - -You say non-native smugglers? -A white woman? On the Rez? -I'll look into it and give you a call back. Sure thing. (pause) -I'll take your request to the Tribal Council and give you a call back. -No problem, Mike. You bet.136 INT. MOHAWK TRIBAL COUNCIL - NIGHT 136 Billy Three Rivers sits down at a long conference table. A middle-aged Mohawk woman, "BARBARA" sits behind a name plate reading "CHIEF". At the end of the table Bernie sits behind another name plate: "SUB-CHIEF." Rosalie comes in wearing her coat over her bathrobe and takes her place behind the "GRAND CHIEF" name plate. THREE RIVERS Hi, Rosalie. ROSALIE (puts on her glasses) Billy. THREE RIVERS We have a situation with a couple smugglers. They got chased by the Quebec police and crossed the river but their car went in and now the troopers know they're on the Rez. ROSALIE Who is it? 96. THREE RIVERS Lila Littlewolf and some white woman. ROSALIE What do the troopers want? THREE RIVERS A surrender of the two illegals and the Non-Native smuggler. They need an example here. ROSALIE Do you know where they are? THREE RIVERS Probably over at Velma's. ROSALIE (to the other Chiefs) What do you think? BARBARA Turn them in. ROSALIE What about Lila Littlewolf? BERNIE We got our own court system. ROSALIE We don't charge people with smuggling. BARBARA Maybe we should. BERNIE If we did, we'd have to arrest half the people on the Rez.Rosalie and Barbara shoot him an ANGRY STARE. He shrugs. BARBARA We can expel her. BERNIE You can't start throwin' Mohawks off the Rez, Rosalie. There's only, what, six thousand of us as it is. ROSALIE She makes the Mohawk people look bad. 97. BERNIE But she has a Mohawk son. ROSALIE She cost us a Mohawk son. BERNIE Jake was a big boy. He knew what he was doin' ROSALIE She'll never be anything but a smuggler. BERNIE We've had smuggling on the Rez since Al Capone. ROSALIE Then we'll take a vote.137 EXT. ROUTE 37, THE RESERVATION LINE - NIGHT 137 Two New York State Cruisers block the road, lights flashing.138 INT. VILLAGE BAKERY, KITCHEN - NIGHT 138 The bell on the bakery door RINGS. Billy Three Rivers walks in looking very official. Jimmy opens the door. JIMMY Hi, Billy. He comes in and Velma walks in from the kitchen closing the door behind her. THREE RIVERS Velma, seen any smugglers tonight? Velma says nothing. JIMMY Come on, Billy, you never bothered with smugglers before. THREE RIVERS Rosalie is worried people are gonna think the Mohawks let in terrorists. Plus, I got the Troopers on my back. They want the illegals and they say there's some white lady with them too. Is that true, Jimmy? 98. Jimmy looks away. THREE RIVERS (CONT'D) You got white women doing it now? Jesus. (after a moment) Well, if you see any, let me know. Three Rivers leaves.139 INT. VILLAGE BAKERY, KITCHEN - NIGHT 139 Lila and Ray LISTEN from the kitchen. Ray eyes the back door. Ray grabs her jacket off the oven and takes half the cash out of the pocket and hands it to Lila. RAY I gotta go. Lila takes the money. The Chinese girls look on confused. One gets up and grabs her jacket, but Ray motions her back. RAY (CONT'D) No. You stay here. Ray hurries to the back door, opens it, but Bernie Littlewolf is there. At the sight of him, Ray backs up. He walks in. BERNIE Hi, Lila. LILA Hi Bernie. BERNIE You're in a lot of trouble. Lila looks at him, unfazed. BERNIE (CONT'D) The council voted to expel you. LILA Expel me? BERNIE For five years. You can appeal, but you'll never be able to change Rosalie's mind. 99. LILA They can't do that. BERNIE They'll make your life miserable if you try to stay. LILA They've already done that. BERNIE Believe me, it could get even worse. RAY I thought this was all legal on the reservation.Bernie ignores her. RAY (CONT'D) (to Lila) Look, I gotta get home.She moves for the door, but Bernie blocks her. BERNIE If she leaves, they'll turn you in Lila. The troopers want somebody. RAY But, she's a Mohawk. BERNIE The Chiefs want her out, so there's nothing standing between her and the troopers. RAY Listen, my kids got no one but me. BERNIE If you leave she won't see her son again.Ray and Bernie stare at each other. LILA Let her go. BERNIE Lila, you're giving up on him and he's only one year old. 100. LILA (to Ray) Just go. Ray goes to the door, but turns around... RAY At least you got family to take care of him, ya' know?140 EXT. RESERVATION WOODS - NIGHT 140 Ray shuts the door behind her and starts toward the river. She turns and runs along the bank...a long way...then slows down. Breathing hard, she stops. Snow melts on her face. A long moment passes. The sound of the river ice pushing against the bank releases a long, deep moan all around her.141 INT. VILLAGE BAKERY, KITCHEN -NIGHT 141 Lila and Bernie sit on the old sofa by the big oven. LILA He might be better off. BERNIE Jake wouldn't agree with that. LILA It was all for a new crib. I wanted the baby to have a pretty new crib, not some handmedown. And he wouldn't let me go alone. (laughs) I was too fat to get behind the steering wheel. BERNIE He wanted to keep you and little Jake safe. The back door opens. Ray is there. RAY It's just a few months, right? Bernie and Lila turn around. Ray walks in. RAY (CONT'D) I got baby stuff in the shed. 101. She takes the folded double-wide contract out of her pocket and holds it out to Lila. RAY (CONT'D) Get a good used single wide with insulation. Insulation is the key thing. Versailles will give you a hard time, but that will leave enough for you and the boys to live on for a couple of months. Ricky's allergic to penicillin.(a moment) And you can't feed `em Pringles all the time. Okay? Lila isn't sure. RAY (CONT'D) Okay? Lila nods her head. RAY (CONT'D) But you gotta get there quick, before the police, `cause T.J. will get scared. I don't want him to get scared, you know. Ray chokes back her own tears. LILA Okay. Lila takes the contract from Ray. RAY And don't let him jerk you around. Versailles, I mean. (to Bernie) Go with her. Okay? Bernie nods. BERNIE Sure.142 INT. RAY'S TRAILER - NIGHT 142 T.J. and Ricky eat supper to the glow of the TV in the background. RICKY Can I have more corn? T.J. dumps his own corn onto Ricky's plate. 102.143 EXT. ROUTE 37, THE RESERVATION LINE - NIGHT 143 Flashing dome lights of New York State troopers are seen just beyond the sign "YOU ARE NOW LEAVING THE LAND OF THE MOHAWK." Trooper Napoli waits in his cruiser with other vehicles. Billy drives Ray and the Chinese girls slowly toward them in the Mohawk Tribal Police Cruiser. Billy stops and the three get out of the car, handcuffed.144 EXT. HOUSE ON POINT - NIGHT 144 Bernie waits in the car. Lila walks to the front door. Thunder looks up from beside the front step. LILA (shows her empty hands) Sorry, Thunder, I got nothing for you. She knocks. Evelyn opens the door. Seeing Lila she tries to close it, but Lila WEDGES herself inside.145 INT. HOUSE ON POINT - NIGHT 145 Evelyn tires to push her out, but Lila walks in the house. EVELYN What do you want? Lila walks up to the Little Jake sitting in his high chair, his face covered in carrots. She reaches out to touch him, but Evelyn pushes her hand away. LILA I need his coat. Lila picks up the baby, and looks around. LILA (CONT'D) Where's his coat? EVELYN You can't have him. 103. She grabs Lila's arm, but Lila shakes her arm free and wraps Little Jake in her own jacket. LILA Say goodbye to your Dudah. Evelyn stands in front of the door, blocking Lila. Lila stops and they stand for a moment looking at each other. There is anger and sadness. Evelyn moves aside. Lila walks out with the baby.146 EXT. HOUSE ON POINT - NIGHT 146 Bernie stands by the car holding a CAR SEAT. BERNIE She's gonna kill me for taking this out of her car. CUT TO:147 INT. NEW YORK STATE TROOPER CRUISER - NIGHT 147 Ray sits in the backseat. The two Chinese girls beside her. RAY How long is it for me. You know if I confess? TROOPER NAPOLI As long as they're not on a watch list. Four months. He glances around at them. TROOPER NAPOLI (CONT'D) I don't think you have much to worry about judging from the look of them, probably brought here to work in the sex trade. Ray looks at the two girls. RAY Will they get sent back? TROOPER NAPOLI Not necessarily. They can apply for asylum. 104. RAY Can I have a cigarette? He lights one for her. She takes it, shaking. TROOPER NAPOLI Is there somebody I can call for you? To take care of your children. RAY I got somebody. He looks back at her. TROOPER NAPOLI A relative. RAY A friend. Trooper Napoli looks at her. RAY (CONT'D) But I need to call my kid.148 INT RAY'S TRAILER - NIGHT 148 The phone rings. T.J. picks it up. T.J. (O.S.) Hello. Hi, Mom. She hears his voice and can't speak. T.J. (CONT'D) -Mom are you there? What's wrong? -What kinda trouble? -What did you do? -A smuggler!? Holy shit! -Are you in jail? -But are you're going to jail!? There is a long silence. He wipes a tear away with his sleeve. Ricky plays with his Hot Wheels on the floor. T.J. (CONT'D) -Yeah, okay. What does that mean? But why? I can take care of him, I do it all the time. But I don't see why we need-? (MORE) 105. T.J. (CONT'D) -Who? (pause) A baby? No way. -Yeah I know where the stuff is. It's in the shed, but that's so stupid!. A KNOCK at the door. T.J. looks at it, unsure what to do. T.J. (CONT'D) (holding phone) -Yeah, I'm here. Somebody's at the door. He walks to it and opens it holding the phone. Lila is standing there holding Little Jake, wrapped in her jean jacket. T.J. and Lila look at each other. She walks in. T.J. (CONT'D) -Okay. Bye. He hangs up. Little Jake sees Ricky playing with the Hot Wheels Set and reaches to get down. Lila puts him on the floor. He crawls toward the Christmas tree and the Hot Wheels set. T.J. (CONT'D) (to Ricky ) You're gonna have to get the little pieces up high -- or he'll eat them.149 INT. NEW YORK STATE TROOPER CRUISER - NIGHT 149 Ray rides in the back of the Cruiser. They pass by trailer homes decorated for Christmas.150 EXT. ROUTE 37 - DAY 150 A Semi ROARS down the road with "WIDE LOAD" banner hauling a single wide mobile home through the bright morning light, plastic covering rippling in the wind.151 EXT. RAY'S TRAILER - DAY 151 Using the blow torch, T.J. works on the smiling duck Kiddie ride. 106. Ricky plays with Little Jake, dressed in a snow suit. Lila comes outside with a plate of peanut butter sandwiches, badly made. T.J. signals Ricky who brings Little Jake over and puts him on the Kiddie ride. Ricky holds him on the seat and T.J. flips a switch. The ride JERKS a few times then starts to move back and fourth. Little Jake smiles. Behind T.J. a Mohawk Tribal Police Cruiser drives up. Billy Two Rivers gets out and walks up to T.J. He speaks sternly to T.J., pointing at the cruiser where an elderly and frail Mohawk women in her eighties, Mrs. ThreeRivers, looks out the window. T.J. walks over to the cruiser. She rolls down the window. He says something to her, looking at the ground as he speaks. Ricky and Lila holding Little Jake look on. Billy Two Rivers drives away. SUDDENLY T.J. and Ricky LOOK UP. A RUMBLE is heard in the distance. From down the road the SEMI is seen APPROACHING... T.J. smiles and Ricky watches not sure whether to believe it or not. He takes T.J.'s hand. CUT TO:152 INT. NEW SINGLE-WIDE MOBILE HOME - NIGHT 152 Ray is asleep in her new bedroom with wall-to-wall carpet and a big window. Her cell phone RINGS. She doesn't move. RAY (O.S.) (her voice message plays) Hi, (happy) You've reached Ray. Leave me a message and I'll get back to you just as soon as I can. The tone is heard. TROY (O.S.) (sad sack voice) Ray, are you gonna pick up or not? (MORE) 107. TROY (O.S.) (CONT'D) (pause) I need you to send me some money so I can get home. I'm stuck here. I could already be back at work by now.(pause) Please Ray, I'm at the YMCA in Tampa. I love you. I miss you. Please call me here. Seriously. And tell the boys- The message cuts off with a "BEEP." ClOSE ON: the cell phone screen. "12 NEW MESSAGES" changes to "13 NEW MESSAGES."153 EXT. INTERNATIONAL SEAWAY BRIDGE - DAY 153 A sign reads "Bridge to Canada." A steep 1940's era customs bridge arches over the St. Lawrence River. Cars and trucks line up in different lanes. Customs officials man booths at the center of the bridge, inspecting and questioning impatient drivers. Beyond them, a smaller sign: "THANK YOU FOR VISITING MASSENA NEW YORK, IT WORKS, for business, for family, for you".154 EXT. BELOW THE BRIDGE - SAME 154 The river stretches miles in either direction, no longer frozen and still with trees on either side. FADE OUT \ No newline at end of file diff --git a/unformated_scripts/Script_Fruitvale Station.txt b/unformated_scripts/Script_Fruitvale Station.txt new file mode 100644 index 0000000000000000000000000000000000000000..17428b6f3beb24826c76f31258a57801f332fd51 --- /dev/null +++ b/unformated_scripts/Script_Fruitvale Station.txt @@ -0,0 +1 @@ + FRUITVALE STATION Written by Ryan Coogler Thursday, July 19th 20121 OMITTED 1 (CONTINUED) Goldenrod (7/19/2012) 2.1 CONTINUED: 1 2 INT. OSCAR'S APARTMENT- BEDROOOM- NIGHT 2 We open on an expensive looking flip cellphone sitting on a dresser. Next to it, a large zip lock bag of marijuana. We stay here. OSCAR (O.S.) What's your resolution? SOPHINA (O.S.) I'm gonna cut carbs. (CONTINUED) Green (7/5/2012) 2A.2 CONTINUED: 2 OSCAR (O.S.) You trippin. You look fine. Plus you Mexican. You cut carbs and you can't eat nothin yo grandma cooks. (CONTINUED) Goldenrod (7/19/2012) 3.2 CONTINUED: 2 SOPHINA (O.S) FUCK YOU...You just gotta help me stick to it. It only takes 30 days to form a habit. Then it becomes second nature. OSCAR (O.S.) Really? Who told you that? SOPHINA (O.S.) ... Oprah Oscar laughs hard at this. SOPHINA (CONT'D) What's yours. OSCAR I'm gonna quit selling trees. The PHONE VIBRATES and RINGS "MARCUS CALLING" shows on the outer screen. Oscar's moves towards the cellphone. SOPHINA (O.S.) Osc. Oscar stops in his tracks. SOPHINA (O.S.) (CONT'D) Don't go out there tonight, stay home. (CONTINUED) Goldenrod (7/19/2012) 4.2 CONTINUED: 2 OSCAR (O.S.) You gonna give me a reason to? Sophina doesn't answer. The phone rings again. Oscar's hand quickly picks it up and flips it open. We follow the phone to his face and we see him for the first time, a 22 year old Black man with a warm smile. OSCAR (CONT'D) (into phone) Aye bruh it's bad tonight. I gotta catch you tomorrow. He closes it before the guy on the other end can respond. He takes the phone with him as he climbs back into bed with SOPHINA MESA, a curvy 24 year old Mexican American woman. OSCAR (CONT'D) Look, I'm not going out, you happy now? Sophina nods. Oscar moves closer to her and kisses her on her neck. She kisses him back a bit, then scoots away. Oscar kisses her again. Puts his hand in her hair. SOPHINA Osc. Osc, hold up. Oscar stops. Sophina scoots away even further. (CONTINUED) Pink (6/25/2012) 5.2 CONTINUED: 2 OSCAR Man, wussup? I been home hella long... SOPHINA I don't know...Every time you touch me, I can't help to think about how you was touchin that Bitch. Oscar shakes his head at this, sighs. SOPHINA (CONT'D) You know what? You right, go. OSCAR What I gotta do? I'm here, right now. I fucked up one time, alright? SOPHINA No, you fucking got caught, one time. You gonna sit here and tell me that was the first time you kicked it with that Bitch. Never seen her before that huh? OSCAR Look I'm done with that shit. All I want is you and T, forever. Sophina looks at him, searching for the truth in his eyes. SOPHINA What you mean, forever? OSCAR Let me show you. Oscar kisses her, moves in. Sophina scoots away from him. KNOCK KNOCK KNOCK. Oscar and Sophina look over at the door. CHILD'S VOICE (O.S.) Daddy. Oscar looks at Sophina. SOPHINA What? She's askin for you. (CONTINUED) Green (7/5/2012) 6.2 CONTINUED: 2 OSCAR (to child) Hold on, T. Oscar jumps up and grabs the bag of weed off of the dresser and hides it in the closet. He rushes over and opens the door where we see TATIANA GRANT, a cute 4 year old girl, standing wearing footie pajamas. TATIANA I can't sleep... Before Tatiana can even finish, Oscar has her in his arms. He brings her over to the bed and places her next to Sophina. OSCAR You want to sleep in here with Mommy and Daddy? Tatiana nods. SOPHINA You know better than that T. (to Oscar) What time is it? Oscar picks up his phone and looks at it. OSCAR Damn, it's after midnight. He opens his phone up. Presses compose text message (as he types the message, the words appear as graphics across the screen like Sub Titles) TO MOM: HAPPY BIRTHDAY!!! LOVE YOU!!! Oscar sends the text off. He hooks his phone up to the charger and hits the light switch, leaving us in darkness. TATIANA Daddy. OSCAR Wussup, baby? TATIANA I don't want to move to Livermore. Oscar and Sophina laugh at this. (CONTINUED) Goldenrod (7/19/2012) 7.2 CONTINUED: 2 SOPHINA Hella nosy... OSCAR Don't worry T, aint nobody's moving right now. Go to sleep. 3 INT. OSCAR'S APARTMENT- BATHROOM- DAY 3 Oscar stands in the shower, letting the water run over his head. There looks to be a lot on his mind.4 INT. OSCAR'S APARTMENT- KITCHEN- DAY 4 Sophina and Oscar move around the small kitchen like a well oiled machine. Sophina, wearing a WalMart uniform, makes two lunches. Oscar wipes milk from Tatiana's face and fixes her hair. TATIANA Mommy can I have two of the fruit snacks today? SOPHINA No, T. You can take an extra apple if you want. TATIANA But mommy I- SOPHINA Don't argue T. Tatiana pouts. Sophina downs a cup full of orange juice, grabs both lunch bags, Tatiana, and heads for the door. SOPHINA (CONT'D) Com'on Osc. We gotta stop and get gas too. OSCAR We got enough to get yall there. Sophina shoots Oscar a look. OSCAR (CONT'D) Go start the car up. You got your keys? (CONTINUED) Pink (6/25/2012) 8.4 CONTINUED: 4 Sophina nods. OSCAR (CONT'D) Go. I gotta grab my beanie. Sophina and Tatiana leave. Oscar watches them go for a beat. He turns to the cabinet.5 OMITTED 56 EXT. FIRST FRUIT LEARNING CENTER- DAY 6 Oscar and Tatiana walk to the downstairs entrance of a two story house. A picture of an apple tree is painted next to the door. Oscar squats down to her level and brushes down a frizz in her hair. He looks back at the car. We see that Sophina is adjusting her make up in the fold down mirror. Oscar turns to Tatiana. He then takes her hand, and places something inside of it. Tatiana looks down into her hand and we see that it is a small bag of fruit snacks. She looks up at Oscar with a bright eyed expression. But Oscar quickly places his finger over his lips. Tatiana nods in agreement, trying to hold back a huge smile. She gives him a swift kiss on the cheek. He stands up and knocks on the front door. MRS. STACY a motherly looking Black woman in her 50's opens the door. MRS. STACY Good morning Tatiana! (CONTINUED) Green (7/5/2012) 9.6 CONTINUED: 6 TATIANA Good morning Mrs. Stacy. Tatiana heads into the house. Oscar smiles at Mrs. Stacey, and she nods back. He watches Tatiana run off into house.7 OMITTED 78 INT. SOPHINA'S CAR- WALMART PARKING LOT- DAY 8 Oscar and Sophina look on at the WAL MART Entrance. OSCAR See? Told you we'd make it. The light aint even on yet. She looks at the dashboard where there is a PICTURE of Oscar holding Tatiana tucked in the glass. The fuel gage sits almost under E, but the light still isn't on. She stares at the store entrance. SOPHINA You gonna go home and sleep, right? OSCAR Naw, Imma go up to the job. Get some stuff for tonight. SOPHINA Ugh. I'd rather die than come here on my day off. (beat) What time we supposed to be at your grandma's? OSCAR Prolly like seven. SOPHINA We gonna go to Frisco again? Catch the fireworks? Oscar nods. Sophina smiles at the idea of Frisco, for a beat. SOPHINA (CONT'D) Let me get in here. (CONTINUED) Pink (6/25/2012) 10.8 CONTINUED: 8 She quickly sits up. Oscar leans over to give her a kiss on the cheek, makes a farting sound on her neck instead. Sophina chuckles at this as she gets out of the car. SOPHINA (CONT'D) Bye. OSCAR (playfully) Love you too. SLAM! Sophina shuts the door on him. Oscar laughs. His smile fades, as he watches her go inside.9 INT. SOPHINA'S CAR- DAY 9 Oscar, now in the car by himself rides in the car listening to HIP HOP MUSIC. He comes to a red light. He looks at the car radio clock: 8:58 AM. He thinks to himself for a beat, he looks dissatisfied. He turns his music up for a beat and listens to it. He looks around, still not at ease. He turns off his music and pulls out his cellphone. He takes a quick look around to see what cars are around, before dialing numbers. CALLING MOM flashes on the screen. He holds the phone to his ear. INTERCUT WITH:10 EXT. UPS WAREHOUSE ENTRANCE- DAY 10 A beautiful Black woman in her late 40's wears a UPS manager's uniform, this is WANDA JOHNSON. She walks towards the entrance of her store, when her cellphone rings in her purse. She pulls it out, stressed. Answers it without looking. WANDA Hello? OSCAR Last shot right here, you sure you want to work on your birthday? You still got time to catch a cold... Wanda's face brightens up with a familiar looking smile. (CONTINUED) Pink (6/25/2012) 10aA.10 CONTINUED: 10 WANDA Hello Son! Thanks for the text last night. (CONTINUED) Pink (6/25/2012) 10A.10 CONTINUED: 10 OSCAR No problem. Come on, let's go celebrate right now. (CONTINUED) Pink (6/25/2012) 11.10 CONTINUED: 10 Wanda laughs at this. WANDA As tempting as that sounds... this place would be a mess without me today. (beat) We close early though... OSCAR Okay...You still want me to get a couple crabs, right? WANDA Yes, and can you pick some... are you driving? OSCAR Yeah Ma. WANDA You wearing your earpiece? Oscar hesitates for a beat. OSCAR Yeah... WANDA Don't lie to me. That's all you need is to get pulled over right now. Put your earpiece on, Oscar. Oscar sighs... this is nothing new. (CONTINUED) Pink (6/25/2012) 12.10 CONTINUED: 10 OSCAR Hold on. He pulls the car over. He looks around for his earpiece for beat- no luck. He takes his cellphone, and slides it into the elastic of his beanie- a poor man's Bluetooth. He pulls off. OSCAR (CONT'D) Hello? WANDA It's on now? OSCAR Yeah Ma. WANDA Okay pick up a couple of packets of dried shrimp too. Come by on your way, I'll give you the money. OSCAR Nah Ma, it's good. WANDA Alright I'll pay you back tonight. OSCAR Ma, don't trip off that. I got you. Wanda pauses for a beat. WANDA Okay, so you're buying this, with Farmer Joe's money... right? OSCAR Ye- WANDA Because that's the only kind of money you have right now... right? (CONTINUED) Goldenrod (7/19/2012) 13.10 CONTINUED: 10 OSCAR Yeah Ma, and I'm gonna use my discount. WANDA Okay, well let me run in here. I'll see you later tonight. OSCAR Love you. WANDA Love you too. Wanda hangs up the phone. She looks at it for a beat. Then puts it back in her purse and heads into the warehouse.A11 EXT. FARMER JOE'S PARKING LOT- DAY- MOMENTS LATER A11 We see the entrance of Farmer Joe's, and shoppers coming in and out. Oscar looks around for a beat, and takes off his hoody, and puts it into his back pocket. We follow him into-11 INT. FARMER JOE'S- DAY- MOMENTS LATER 11 It is a moderately sized grocery store, but several SHOPPERS move about the aisles. Oscar walks over to the seafood section where Cato CALDWELL, a 22 year old charismatic Black male stands behind the counter wearing a Deli apron. Cato sees Oscar and smiles brightly. He takes a pile of fish off the scale, bags it, ands it to an older BLACK WOMAN. He takes off his clear glove and slaps hands with Oscar over the counter. CATO Sup Osc, bruh? OSCAR Shit. What's good? CATO You lookin for Emi? OSCAR Yeah. He here today? CATO Hell yeah he is. He was just over here... (CONTINUED) Goldenrod (7/19/2012) 13A.11 CONTINUED: 11 Cato looks around at the surrounding aisles. No signs of him. OSCAR I came to get some crabs too. (CONTINUED) Goldenrod (7/19/2012) 14.11 CONTINUED: 11 CATO Oh yeah, tell Moms I said Happy Birthday. I had meant to call her this morning. OSCAR You should come through grandma house tonight. CATO Bruh I wish I could, but I gotta bust a couple moves tonight. What's good for the countdown though? OSCAR Frisco. Fireworks and the whole shit- Oscar sees something out of the corner of his eye. He motions his head for Cato to look. Cato turns and sees- KATIE, a White girl in her mid 20's, playing with her iPhone while waiting for help. Cato quickly makes his way over. CATO You ready? KATIE Uh, yeah... I want to get a pound of, wait... Can I see what your sole looks like? CATO Sole? Cato takes a sidestep over to his left and motions to a pile of fish. KATIE Yeah, no, wait. Your catfish. Let me see what that looks like.... Cato points to the catfish. Katie looks at it, then looks down to her phone. KATIE (CONT'D) Okay but, I want to fry it. Like a fish fry. Are these the ones you can fry? Cato gives her an "are you serious?" look. (CONTINUED) Goldenrod (7/19/2012) 14A.11 CONTINUED: 11 CATO Every fish we sell here can be fried. (CONTINUED) Goldenrod (7/19/2012) 15.11 CONTINUED: 11 Katie looks at him, still flustered. KATIE Okay, let me have a second. She looks back down at her iPhone, and takes a step back. Cato turns to Oscar. CATO What you need for moms, bruh? OSCAR Let me get three Dungeness. Cato nods and walks over to the crab. OSCAR (CONT'D) Fat ones too, bruh. CATO Bet. Oscar turns to Katie. OSCAR Your family having a fish fry for New Years or something? Katie looks up from her phone, a bit caught off guard. KATIE Ahh, yeah. Something like that. OSCAR It's cool. I work here. She looks at Oscar suspiciously. OSCAR (CONT'D) It's my day off. Katie smiles nervously. Looks at Cato who nods at Katie in approval. (CONTINUED) Green (7/5/2012) 16.11 CONTINUED: 11 KATIE Oh, okay. (beat) Well, I'm cooking dinner tonight for my friend, before we go to the city. And he really likes fried fish, like southern style. And I maybe lied a bit, and said that I know how to cook like that. Oscar laughs at this. Katie shakes her head. OSCAR Is he black? KATIE What? Who? OSCAR Your boyfriend. Katie blushes. KATIE He's white. But he knows a lot of black people... He's not my boyfriend either... Oscar chuckles at this. (CONTINUED) Pink (6/25/2012) 17.11 CONTINUED: 11 Katie looks down at her phone again. She uses her fingers to zoom in on something. KATIE (CONT'D) I'm not sure what type of fish he wants. And most of these recipes are different on this site. Oscar watches her with a look of pity. Suddenly, an idea flashes before his eyes. He pulls out his cellphone, quickly dials a number, and holds it to his ear.12 INT. GRANDMA BONNIE'S HOUSE- KITCHEN- CONTINUOUS 12 We see GRANDMA BONNIE, a black woman in her early 70's , putting flowers into a vase on her kitchen counter. A cordless phone RINGS on the counter. She looks at the phone for a beat then she cheers up. GRANDMA BONNIE (into phone) Hello? INTERCUT WITH: Pink (6/25/2012) 18.13 INT. FARMER JOE'S- SEAFOOD SECTION- CONTINUOUS 13 Oscar holds his cellphone and snaps at Katie to get her attention. OSCAR Grandma... GRANDMA BONNIE Oscar? What's going on Baby? OSCAR I'm at my job, and this girl here- GRANDMA BONNIE You say you're at work? OSCAR Well, yeah.... GRANDMA BONNIE Boy you know better than to be talking on the phone while you're at work! Bye! OSCAR Grandma, Grandma, I'm off today. I'm just shopping for the party. GRANDMA BONNIE Oh, I thought you were up there playing on the phone. OSCAR Naw grandma. But I got this girl here, she wants to fry fish for her boyfriend, but she don't know how. You think you could tell her what she needs to know and everything? (CONTINUED) Pink (6/25/2012) 19.13 CONTINUED: 13 GRANDMA BONNIE Oh no problem, baby. What kind of fish does she want to fry? OSCAR (to Katie) What type of F--, wait.. (into phone) She don't know. GRANDMA BONNIE What you mean she don't know? Put her on the phone. OSCAR (into phone) Hold on. Oscar holds out the phone for Katie. She reaches out apprehensively. He gives her a reassuring look. She takes it. KATIE (whispering) What's her name? OSCAR (whispering back) Grandma Bonnie. (CONTINUED) Goldenrod (7/19/2012) 20.13 CONTINUED: 13 KATIE (into phone) Hello, Grandma Bonnie, it's Katie, Nice to meet you. Katie smiles and blocks her other ear to hear better. CATO (O.S.) Pssst! Oscar snaps his head to Cato, who motions for Oscar to look down the aisle. Oscar looks over and sees, EMI, a thirtysomething Hispanic man wearing a white collared shirt and a name tag. He checks the shelves with a barcode scanning device. Oscar slowly heads over. OSCAR Good morning, Emi. EMI Oscar, what's going on?? OSCAR Had to grab some stuff for my Mom's birthday. EMI I hope you found everything that you need. Emi turns and starts for the next aisle. OSCAR Emi, hold up man, I wanted to talk to you. EMI It's a little nuts right now, holiday and all. But what's up? Long beat. (CONTINUED) Pink (6/25/2012) 21.13 CONTINUED: 13 OSCAR I just want... (beat) I need my job back. I need my job back. EMI Position's been filled. Take care man. Emi turns to head down the aisle, Oscar reaches out and grabs Emi by his sleeve. Emi stops and turns around. OSCAR Look, I was going through some shit, trying to get back on my feet. But I need this job man. I'll show up early every day. You can start me back off with one shift a week or whatever. I'm here. You can work me 40 hours a week and pay me for 20. I'm here. EMI Oscar, dude. I hired somebody else. For me to hire you back, that means I have to let someone else go. Someone with no felonies. Who's never showed up late once. I like you man, but I can't do that. I'm sorry. If something else opens up, maybe I'll let you know. Take care of yourself. Emi walks away. Oscar watches him. KATIE (O.S.) Hey! Oscar turns around to find Katie, holding out his phone for him to take. Oscar looks at her basket, it's now full of fish and supplies. OSCAR You sure you got enough? KATIE Oh my god, Your grandmother is so sweet! I can't believe she was kind enough to do that. OSCAR Trust me. She's happy to help. (CONTINUED) Goldenrod (7/19/2012) 22-24.13 CONTINUED: 13 KATIE Thank you so much... Katie by the way. She extends her hand to shake with Oscar. Oscar smiles, shakes it. OSCAR Oscar. KATIE Oscar... like the Grouch!! Oscar shakes his head at this. Katie starts off towards the register. KATIE (CONT'D) Take care. Oscar's nods. He walks back over to Cato, who is weighing fish for another CUSTOMER. He spots Oscar. CATO How it go? Oscar smiles wide and nods. He reaches over the counter and grabs the bag of crabs, then bumps fists with Cato. CATO (CONT'D) That's wussup bruh! Imma hit you tonight! Yall can ride with me. Oscar nods and heads towards the checkout line, his smile fading.14 INT. OSCAR'S HOUSE KITCHEN- MOMENTS LATER 14 Oscar places the bag of crabs in the refrigerator. He closes it and looks at the refrigerator for a beat. On it we see several drawings done by Tatiana held on the door by magnets. Oscar smiles at these. His phone rings: BIG SIS CALLING INTERCUT WITH Green (7/5/2012) 25.15 INT. KFC MANAGER'S OFFICE- CONTINUOUS 15 Chantay, a 25 year old Black woman, wearing a KFC employee uniform pinches a cellphone between her ear and her shoulder. She organizes papers in a folder while she talks into the phone. CHANTAY Hey, chump! What you doin? OSCAR At the house, just got back from the job. CHANTAY I thought you were off today. OSCAR I am. CHANTAY Oh... You call mom yet? OSCAR Yup. CHANTAY Oh okay. I got good news and bad news. Oscar thinks for a bit. OSCAR Bad news first. CHANTAY I need help with the rent for this month. OSCAR How much? CHANTAY Like $300. I'll get you back in a couple of weeks. OSCAR Okay. What's the good news. CHANTAY I'm working overtime tonight. (CONTINUED) Green (7/5/2012) 25A.15 CONTINUED: 15 OSCAR What? That's fucking bad news too. CHANTAY No it's not. Double time and a half. OSCAR C'mon Chantay. CHANTAY Hey, gotta do it. Moms understands. But I need you to get her a card and sign it for me. OSCAR Aight. CHANTAY And Osc, don't get me a fake ass card with white people on it. I want a black card. And not one of those joke cards either. OSCAR Aight. I got you. CHANTAY Thank you Oscar, love you. OSCAR Love you too, scrub. CHANTAY Bye. Oscar closes his phone. Thinks to himself for a beat. He opens his phone back up and punches some numbers. Calling Marcus flashes across the screen. INTERCUT WITH16 INT. BARBER SHOP- DAY 16 MARCUS, a tough looking Asian- American man about Oscar's age sits in a barber's chair, A Black BARBER cuts his hair. His phone vibrates in his pocket, and the Barber steps back to let him answer it. He pulls out an iPhone and talks into it. MARCUS Wussup wit it, Osc? (CONTINUED) Green (7/5/2012) 25B.16 CONTINUED: 16 OSCAR Wussup bruh? My bad about last night. You still tryna get that? MARCUS Yeah, but I aint out that way. Imma be in the Town all day. Oscar takes a beat. OSCAR Shit bruh I can come to you. MARCUS Okay... Meet me over there by the water bruh. Right off of 80. I'll be over there in like a hour. OSCAR Aight, bet. MARCUS Bet. Oscar hangs up his phone. Green (7/5/2012) 26.17 INT. OSCAR'S BEDROOM 17 Oscar quickly walks over to his closet and grabs the bag of weed. He neatens up the room a bit, and takes off.18 INT. HALLMARK STORE- DAY 18 The store is small and brightly lit. Oscar is reading a card from off the BIRTHDAY FOR MOTHER rack. We see that on the card is a picture of a black woman walking on the beach holding her son's hand. Inscribed over it are the words to the religious poem "Footsteps" by Anonymous. Oscar's eyes quickly scan the poem: he's read it before. Oscar opens the card, and looks inside for a beat. He looks up, moved by the words. He stares off into space.19 INT. VISITING ROOM- SAN QUENTIN CORRECTIONAL FACILITY- 19 TEN MONTHS EARLIER We look through a foggy window at Wanda sitting at one of several large wooden tables with plastic chairs placed around them. There are a few VISITORS already sitting at tables with inmates. Several Corrections Officers stand by. We see Oscar, shirtless, arms behind his head, is looking through the glass window of the search room. A Corrections Officer is conducting a search. Oscar's face is bruised under his left eye, and there is a small white bandage strip on the left side of his face. He turns around, bends over and coughs. He turns back around, and the officer hands him his Blue shirt and pants. Oscar puts them on and- BUZZ. The door opens, and Oscar walks through the large room to Wanda's table. As he approaches she stands up. OSCAR Hey Ma. Oscar gives her a hug, leaning across the table. (CONTINUED) Green (7/5/2012) 27.19 CONTINUED: 19 WANDA What happened to your face? OSCAR You look nice. Wanda shakes her head. OSCAR (CONT'D) My girls come over last night? Wanda nods. Laughs a bit. WANDA We played board games. OSCAR "Candyland"? Wanda nods. Laughing a bit more now. OSCAR (CONT'D) Yall let her win too, I bet. WANDA Of course. (CONTINUED) Blue (6/13/2012) 28.19 CONTINUED: 19 OSCAR Yall hella weak for that. She gets no easy victories with me around. Oscar smiles and notices Wanda is smiling about something on her mind. OSCAR (CONT'D) What? WANDA Do you remember that microwave popcorn you bought a while back? OSCAR Yeah, the kettle corn. Hella good. WANDA Yes, kettle corn. I popped some of that for us, and I was putting it into a bowl. Tatiana's looking up at me, like she wants something. Wanda starts to chuckle a bit again. OSCAR C'mon. What she say? WANDA She looks up at me and says,"Grandma, do we have any dark butter?" Oscar looks at Wanda with a confused look. OSCAR Dark butter? WANDA Yeah, I'm thinking she saw "Food Network" or something. So I say, "what's dark butter sweetheart?" She says, "When Daddy took me to see WALL.E he asked for light butter, so I want to try some dark butter this time." Oscar looks at Wanda with a bright eyed expression. OSCAR She is gettin way too smart. Another BUZZ from the door is heard. (CONTINUED) Green (7/5/2012) 29.19 CONTINUED: 19 As the two share a moment, DANIEL CALE, a stocky white inmate in his early 30's walks past Oscar and Wanda's table. He has a large, square bandage under his left eye. CALE (just loud enough for Oscar to hear) This moms right here? Anger flashes over Oscar's eyes. CALE (CONT'D) She a snitch to? OSCAR What? What the Fuck you say about my Mom bruh? WANDA Oscar! CALE Fuck you and that bitch. OSCAR You tough in here with these guards huh? Two Corrections Officers move quickly over to Oscar's table. Cale, continues to walk towards a the table with the Woman and the Frizzy Haired Girl. CORRECTIONS OFFICER 1 Is there a problem here? OSCAR Naw, we good. CALE That's my best friend right there. Cale flashes a mischievous smile. The Corrections Officer comes over and stands between the two. Oscar watches as Cale sits down across from the woman, who holds the baby. Cale smiles at the woman, and makes coochie coo faces at the baby. (CONTINUED) Green (7/5/2012) 30.19 CONTINUED: 19 Woman passes the child to Cale over the table. Oscar looks on with malice. WANDA Oscar, Calm down. Wanda's voice snaps the anger off of his face. He looks back to Wanda, and his anger subsides. WANDA (CONT'D) What happened to your face? OSCAR Dark butter huh? She always listening. Wanda stares at Oscar. OSCAR (CONT'D) She too smart for her own good man. The preschool said we should think about starting her in school early. Phina tell you that? Wanda doesn't respond. OSCAR (CONT'D) Yeah, we're gonna put her in private school. I was lookin at St. Bede the other day. It's this other school that starts them off learning Spanish, then it gradually gets them back going on English. It's like a new thing- WANDA I'm not coming to see you anymore. Oscar stops in his tracks. OSCAR What you mean? WANDA I'm not coming here, to these visits anymore. This is the last time. (CONTINUED) Goldenrod (7/19/2012) 31.19 CONTINUED: 19 OSCAR I know I know I know. This is my last time too. I told you that. I ain't goin down no more. WANDA You want to keep putting Sophina through this... go ahead. But Tatiana doesn't deserve this. She didn't have a choice. Oscar takes this in. OSCAR She too young to know what's going on right now. WANDA I guess that's why she asked me why you love taking your vacations more than being with her. Oscar cut his eyes from Wanda. OSCAR She aint say that. WANDA So I'm the liar now. Oscar takes a beat to think about this. OSCAR Tell her that I love her more than anything in the world. And that I- (CONTINUED) Green (7/5/2012) 32.19 CONTINUED: 19 WANDA Tell her yourself. Next time you call. Tell your daughter how much you love her over the phone. Or better yet, just let her come visit you? OSCAR I don't want her to see me like this. WANDA Like what? OSCAR In a box. WANDA But this is how you are right now. OSCAR I don't want her to be exposed to this. WANDA You've already exposed her to it! Wanda leans back in her chair- she's done. OSCAR So you really not gonna visit me no more? I got four more months!! Oscar leans in. OSCAR (CONT'D) (whispering) Ma, this shit aint like Rita. It's crazy in here. I don't know if I can make it without you seeing you that long. WANDA I love you Oscar, I'm praying for you, and I'll see you when you get home. Wanda scoots back in her chair, stands up, and heads towards the exit. (CONTINUED) Green (7/5/2012) 33.19 CONTINUED: 19 Oscar remains seated in his chair. OSCAR Ma, hold up. Let me get a hug. Wanda continues to walk. Oscar stands up, and follows behind Wanda. His feet pass a yellow line. OSCAR (CONT'D) Ma! Wanda continues on, not turning around. OSCAR (CONT'D) Ma! Hold up! The C.O. sees this. CORRECTIONS OFFICER 1 Grant, back in your assigned visiting area. Oscar ignores him, and continues to follow his Mom. The C.O. hits a button on his walkie, and motions to the other C.O.'s. They quickly move towards Oscar and attempt to grab him. OSCAR Get the fuck off me! Oscar jerks away. OSCAR (CONT'D) Ma! The C.O.'s grab Oscar and lift him up off of the ground. OSCAR (CONT'D) Get off me! Ma! Ma! Wanda continues on. (CONTINUED) Green (7/5/2012) 34.19 CONTINUED: 19 OSCAR (CONT'D) Ma. Ma! Hold up! (to C.O.'s) Let me just give her a hug right quick before she leave! We pull back with Wanda as she walks away, trying to hide her pain. Another Corrections Officer sprints past her towards Oscar, who we can still see in the distance. OSCAR (CONT'D) Ma! Ma! (to the C.O.s) Get the fuck off me! (to Wanda) Ma! Ma! Oscar looks on at Wanda as she leaves, growing small in the distance.20 INT. HALLMARK STORE- DAY- PRESENT 20 Oscar still stares off into space, moved by this memory. He snaps out of it, heads towards the register with the cards in hand.21 INT. SOPHINA'S CAR- DAY 21 Oscar starts the car up, looks at his dashboard. He sees that the fuel light is on. Pink (6/25/2012) 35-35A.22 EXT. GAS STATION- DAY 22 Oscar pumps his gas. He looks at a poster of Obama that reads CHANGE, posted on the gas pump. He looks across the lot and notices a Zales engagement ring poster. He pulls out his phone. Starts to text. TO SOPHINA: WANT ME TO COME UP THERE FOR YOUR LUNCH BREAK? He sends it off. Closes, waits for a bit. It buzzes. He opens it. FROM SOPHINA: ALREADY TOOK IT. Oscar puts his phone back into his pocket. He turns and begins to pump his gas. He sets the handle to automatically pump, and looks up and notices something. (CONTINUED) Pink (6/25/2012) 36.22 CONTINUED: 22 We see it is a gnarly- looking male PIT BULL sniffing around a few feet from Oscar's tires. It looks to be maybe 3 or 4 years old. Oscar whistles at the dog and calls him over. Oscar pets him on the head, we see its ears are a bit scarred, but it has beautiful brown eyes. He feels around the dog's neck- no collar. Oscar looks around for an owner for a beat while the dog licks his hand. CLICK- Oscar's gas tank is full. He turns away from the dog, places the pump back on the base, and screws his fuel cap back in. He looks back to where the dog was and doesn't see him. He scans the block and panic strikes his face. He takes off running towards the street. OSCAR Shit! No, No, No Stop! SCHREECH... BAM! We hear it before we see it. A sickening sound. An animal YELPS, a car SPEEDS OFF. Oscar runs into the street chasing a car going too fast for us to see. OSCAR (CONT'D) (at the car) Hey! Stop you bitch ass Muthafucka!! He stops, turns around, and runs over to something lying in the street. It's the dog, and he's in bad shape. Oscar picks the dog up out of the street, and places him on the sidewalk. OSCAR (CONT'D) (whispering) Come'on boy. Come on. The dog's breathing grows more struggled. OSCAR (CONT'D) (to himself) Shit. (shouting) Somebody help! Somebody fucking Help! (CONTINUED) Pink (6/25/2012) 37.22 CONTINUED: 22 Oscar continues to pet his head. The dog starts to violently shake... He becomes unnaturally still. Oscar stares at the Dog for a long beat, shaken up by this. He looks around, no one seems to have noticed. He bends down, closes the Dog's eyes, and heads for his car.23 EXT. POINT EMERY- PARKING LOT- DAY 23 It is an empty parking lot next to a beautiful view of the Bay. Oscar's car pulls up. After a short beat. A Lexus pulls up along side of it. Marcus hops out of the Lexus and walks over to Oscar's car.24 INT. SOPHINA'S CAR 24 Oscar leans over and opens the passenger side door for Marcus to get in. MARCUS Shit bruh I didn't think we was ever gonna link up. You been good? Oscar stares out of the window. OSCAR I got good news and bad news my nigg. MARCUS Awww naw, Osc bruh, don't tell me you aint got it. OSCAR Sold it to a white boy bruh. MARCUS Awww Osc. For how much? OSCAR Gave me a rack for it. Marcus makes a face. (CONTINUED) Green (7/5/2012) 38.24 CONTINUED: 24 MARCUS No way I was goin that high. Shit bruh. I needed that though... What's the good news? Oscar turns to Marcus hands him a brown pre- rolled joint. OSCAR For your troubles. MARCUS Right on Osc bruh. He pulls out a wad of money. OSCAR It's good bruh. Take it. MARCUS You sure? Oscar nods. MARCUS (CONT'D) Right on bruh. Marcus pulls out a lighter. MARCUS (CONT'D) Burn one with ya boy right quick. Marcus lights up the joint, takes a hit, holds it out for Oscar, but Oscar just stares out of the Window. OSCAR I'm good, that's all you bruh. Marcus puts it back into his mouth. MARCUS Right on Osc, then bruh. They slap hands, and Marcus gets out of the car. We hear him get into his car, and start his car up. Oscar waits for a beat. He then reaches under his seat and grabs something.25 EXT. POINT EMERY- SHORELINE- DAY 25 Oscar walks out onto the shoreline, looking at the water. He looks around for a beat. He walks all the way out into the water. Standing on rocks. (CONTINUED) Green (7/5/2012) 38A.25 CONTINUED: 25 He looks over both shoulders, to make sure no one is watching. He then goes into his waistband and pulls out the Ziplock bag of weed. He squats down, opens the bag, and dumps it into the water. He watches as the green buds float off.26 EXT. WALMART ENTRANCE- CONTINOUS 26 Oscar walks up to the heavily crowded store entrance. We see Sophina exiting holding a large cardboard cake box. Oscar takes it from her. (CONTINUED) Goldenrod (7/19/2012) 39.26 CONTINUED: 26 OSCAR What flavor did you get. SOPHINA Carrot cake. Oscar looks at the cake box. OSCAR Why you didn't get ice cream? SOPHINA Cause it aint your birthday nigga. SOPHINA (CONT'D) Can you take me by my grandma's house so I can get changed? JASON Yeah. You know it would be hella easier if you just had your stuff at my spot right. When you gonna move in. SOPHINA Probably when you stop having trees in the car before we pick up T. She gets into the car.27 OMITTED 2727A OMITTED 27A Pink (6/25/2012) 39A.28 EXT. FIRST FRUIT LEARNING CENTER- BACKYARD- DAY- CONTINUOUS 28 We follow Oscar as he turns the corner into a backyard full of toys and KIDS Tatiana's age. Mrs. Stacey watches them, smiling, but with vigilant eyes. Tatiana spots Oscar and runs up and gives him a hug. Oscar waves and smiles at Mrs. Stacey, who waves back. He walks over to the sign out sheet and grabs a pen. (CONTINUED) Pink (6/25/2012) 40-40A.28 CONTINUED: 28 TATIANA We played "Freeze Tag" today. OSCAR Oh yeah? TATIANA They couldn't catch me. Oscar looks up from the sign in sheet. OSCAR You think you're faster than daddy? Tatiana looks back at Oscar challengingly. Oscar looks at something behind Tatiana with concern. OSCAR (CONT'D) What's that right there? Tatiana takes the bait- the oldest trick in the book. Oscar takes off.29 EXT. FIRST FRUIT LEARNING CENTER- DAY 29 Oscar is beating Tatiana to the car by a mile. Tatiana follows him laughing loudly. TATIANA You cheated!30 INT. SOPHINA'S GRANDMOTHER'S HOUSE- KITCHEN- DAY 30 A small television sits next to the stove playing a Telenovella. Looking at the episode from the kitchen doorway is MARIANA PANGELINA, Sophina's 65 year old grandmother. SIZZLING can be heard coming from the kitchen. The front door opens, and in walks Sophina, Oscar, and Tatiana. TATIANA Bisabuella! MARIANA Hola Tatiana! Tatiana runs to Mariana and gives her a hug. Oscar gives her a kiss on the cheek. Sophina gives her a hug. The three take a seat at the kitchen table. (CONTINUED) Green (7/5/2012) 41.30 CONTINUED: 30 Mariana continues to cook. SOPHINA Grandma, can you watch T tonight? We gonna go to Frisco. Mariana shakes her head. MARIANA Ask your sister. SOPHINA But Rose got hella kids to watch. MARIANA But what's the difference between watching six kids, and watching seven? Sophina think about this. MARIANA (CONT'D) (to Tatiana) Quieres pasar la noche con sus primos? Tatiana nods. Sophina sighs, pulls out her cell phone, and heads out of the kitchen. Mariana turns to Oscar. (CONTINUED) Green (7/5/2012) 41A.30 CONTINUED: 30 MARIANA (CONT'D) (to Oscar) How's work? OSCAR You know... it's work. MARIANA Hmm. Oscar thinks on this, exits the kitchen in the direction of Sophina. Only Tatiana is left at the table. Mariana smiles. At her. She puts some pollo on a fork, and takes it over to her.31 INT. SOPHINA'S CHILDHOOD BEDROOM- MOMENTS LATER 31 As Oscar enters, we see Sophina is in her bra and panties, talking into her cellphone. She lays several different outfits out on the bed. Oscar closes the bedroom door, leans on it. SOPHINA (into phone) Alright... We'll be through there at like 10.. She hangs up her phone, and tosses it on the bed. SOPHINA (CONT'D) Rose gonna watch T. She looks through the clothes on her bed and lifts up a checkered hoodie, puts it to her chest. Looks at herself in a full body mirror, sighs at her reflection. SOPHINA (CONT'D) What you think? OSCAR (disinterested) It's cool. (CONTINUED) Green (7/5/2012) 42.31 CONTINUED: 31 Sophina turns around and looks at Oscar, senses something is eating at him. She puts the hoodie down, and walks over to him. SOPHINA You okay? You been hella weird today. OSCAR Naw, I'm smooth. Just a little tired. Sophina's not buying it. SOPHINA Osc. Wussup? Oscar looks at her for a beat. Cuts his eyes. OSCAR (to himself) Fuck it. (to Sophina) I lost my job. Sophina looks at him like he's speaking another language... for a long beat. SOPHINA What the fuck you mean? Did they lay you off? Oscar doesn't say anything. SOPHINA (CONT'D) They doing cutbacks or some shit? OSCAR I got fired. SOPHINA For what? OSCAR Showin up late. Missed a couple days when I had to get some money. SOPHINA They told you today? Oscar waits a beat. (CONTINUED) Green (7/5/2012) 43.31 CONTINUED: 31 OSCAR Keep it real, they fired me two weeks ago. Sophina's eyes get as wide as quarters. OSCAR (CONT'D) My bad- SOPHINA Don't fucking my bad me Osc! What was you doin when you was pretending to go to work? You know what? I don't even want to know. OSCAR I thought I was gonna be able to get my shit back. Sophina looks at him and shakes her head. SOPHINA (to herself) You think life a fucking joke... You think you're gonna get fired and then somebody is gona give you thier job back? What world do you live in? OSCAR Phina, SOPHINA You aint shit, you know that? You lie to me, you lie to your fucking daughter. You don't give a fuck about us. OSCAR I didn't have to tell you shit. (CONTINUED) Green (7/5/2012) 44.31 CONTINUED: 31 SOPHINA So you would have just kept faking like you were going to work? And would have just been out bustin nocks? And doing whatever else, or WHOEVER else you do while I'm at work? OSCAR I thought you wanted the truth... But you ain't trying to hear that. Sophina doesn't know what to say to this. SOPHINA I want you to be honest with me. But off top. From the fucking jump. Not after you lie for two weeks get cornered, and don't have a choice. (beat) What did you today. Hmm. I bet you sold that fucking zip. OSCAR I dumped it. I'm done with that shit. I'm tired. That's what I'm trying to tell you. Thought I could start fresh today. But that shit aint working out. A long beat. SOPHINA You threw it away? Oscar nods. (CONTINUED) Green (7/5/2012) 45.31 CONTINUED: 31 SOPHINA (CONT'D) You tossed a whole zip of weed. And you don't have a job. Oscar doesn't say anything. He smiles at this. SOPHINA (CONT'D) Oh my God I could slap you right now. Sophina hugs him, he doesn't resist this time. Hugs her back. SOPHINA (CONT'D) What are you gonna do? OSCAR I don't know? Something legal. Gonna see if my sister can hire me again, while I look. Maybe if I can just not fuck up, for 30 days.. Oprah said that's all it takes to form a habit, right? Sophina laughs, Oscar kisses her. SOPHINA Look at me. Oscar looks at her closely. SOPHINA (CONT'D) You really done with that shit? He nods. SOPHINA (CONT'D) You better be. Don't make me have to do this shit alone, again. I don't know if I can. Oscar kisses her neck. Sophina reaches back and unhooks her bra. Oscar kisses her face, picks her up. Blue (6/13/2012) 45A.32 INT. SOPHINA'S GRANDMOTHER'S HOUSE- KITCHEN- DUSK 32 Mariana and Tatiana sit side by side at the table, spellbound by the Telenovella. Pink (6/25/2012) 46-48.33 EXT. GRANDMA BONNIE'S HOUSE- PORCH- NIGHT 33 Oscar, with Tatiana sitting on his shoulders, and a bag of crabs in his hand, walks up to the porch of a modest house. Sophina stands at his side holding a cake. Oscar uses his key to open the door.34 INT. GRANDMA BONNIE'S HOUSE- ENTRANCE- NIGHT 34 The three enter the house and walk through the house into the kitchen. Wanda, wearing casual clothes now, fills up a pot with water. Grandma Bonnie washes a basin full of vegetables. OSCAR Happy Birthday! Oscar takes Tatiana off her shoulders and sits her down. Everyone greets each other. WANDA Hey baby. You guys are just in time. Oscar sits the crabs down on the counter next to the sink. He gives his mother a big bear hug. She smiles, hugs him back just as tight. Oscar lets go and moves on to his grandmother. Sophina and Tatiana come give Wanda hugs. WANDA (CONT'D) Oh my god, you guys got a cake too? Sophina blushes. Everyone laughs at this... even Ceephus. Wanda and Grandma Bonnie begin to take the groceries out of the plastic bag. Wanda pulls out two massive crabs. Looks in the bag and sees the third. WANDA (CONT'D) Osc. You know all I needed was two, you didn't have to spend so much money. OSCAR Don't trip, it wasn't that much. Oscar turns from the kitchen into the den. Pink (6/25/2012) 49.36 INT. GRANDMA BONNIE'S HOUSE- DEN- NIGHT 36 Two men in their 50's sit down on the couch across from a TV playing ESPN. These are Oscar's uncles DARYL and CEEPHUS JOHNSON. Oscar walks over to a recliner adjacent to them and pulls the Hallmark Bag out of his waistband. He sits down in the recliner and signs his Mom's card. OSCAR Who you goin for in the Super Bowl Unc? Oscar watches, and waits for them to take the bait. CEEPHUS Steelers. Daryl shakes his head at this. DARYL A Raiders fan, cheering for the Steelers. CEEPHUS Black uniforms, black players, black coach. Coach even has a black wife. I'm going with the Steelers. (CONTINUED) Pink (6/25/2012) 50.36 CONTINUED: 36 DARYL You're insane, you know that? Oscar cracks up at this.37 INT. GRANDMA BONNIE'S HOUSE- KITCHEN- NIGHT- CONTINUOUS 37 START MONTAGE Wanda and Sophina clean the crab with brushes and different utensils. Grandma Bonnie starts up a roux in a large skillet. Uncle Daryl makes a large pitcher of lemonade from concentrate. Sophina and Oscar pull out glasses, dishes, and utensils for everyone. Tatiana watches Oscar closely. (CONTINUED) Green (7/5/2012) 51.37 CONTINUED: 37 A large pot is placed atop the gas stove. The burner blazes under it, as Wanda drops the now clean crabs into the bucket. She drops in the vegetables and begins to stir. Bowls are grabbed by everyone and they are filled up by Wanda, with white rice first, and then the brown gumbo is poured over it, along with large pieces of un- cracked crab. Everyone eats their gumbo in the kitchen. Laughing talking. Wanda blows out the candles on her cake, cuts it, Hands out everyone a slice. END MONTAGE38 INT. GRANDMA BONNIE'S HOUSE- DEN- HOURS LATER 38 Everyone is finishing up their cake, it's about half gone now. Oscar sits on the couch between Wanda and Sophina. Ceephus and Daryl now sit in plush chairs with metal frames pulled up next to the coffee table. Grandma Bonnie sits in a recliner at the foot of the coffee table. GRANDMA BONNIE If somebody told me say twenty years ago, that I would live to see it happen, I'd have laughed in their face. OSCAR If somebody would have told me that two years ago I would have laughed in their face. DARYL And here we are. 2008 and its happened. (CONTINUED) Pink (6/25/2012) 52.38 CONTINUED: 38 CEEPHUS But I think it's a sign of the times. The country is in bad enough shape for them to hand it over to a black guy. Look, if Bush hadn't have messed the country up so bad. Would he have even had a shot? DARYL I think he still would have had a shot. CEEPHUS But would he have won though? WANDA Well, I'm happy the did win. If the country really is as messed up as you say, I think he's our best chance of fixing it. (CONTINUED) Pink (6/25/2012) 53.38 CONTINUED: 38 SOPHINA I keep thinking about how much it means for T. OSCAR When I was coming up, Teachers used to love to tell me, "You can be the President of the United States." WANDA You'd make a great politician. You can talk your way out of anything. Sophina and Oscar share a look. OSCAR But I'll never forget, in my fourth grade classroom we had this poster. It had all 40 some odd presidents on that thang. And I looked at all they faces. And it was all white dudes. At that point, I realized my teachers was lying to me. (beat) A part of me aint believed what no teacher has said to me since. DARYL Now there will be a black face on those posters. (CONTINUED) Pink (6/25/2012) 54.38 CONTINUED: 38 GRANDMA BONNIE Well let's let him get in there first. WANDA I know, I still feel like it's just too good to be true. CEEPHUS What's so good about it? DARYL A black man, one of us has been elected president, fair and square. Ceephus shakes his head at this. CEEPHUS But he's not one of us. He wasn't affected by slavery. Wanda has had enough of this. She stands up and starts to grab everyone's plates. She heads into the kitchen to wash. Oscar watches her for a beat, then follows after her. Goldenrod (7/19/2012) 55.39 INT. GRANDMA BONNIE'S HOUSE- KITCHEN- MOMENTS LATER 39 Wanda stands over the sink washing the dishes. Oscar stands next to her, drying them. WANDA (O.S.) Thanks for your help tonight. OSCAR Oh, Come'on Ma, don't mention it. You shouldn't even be doing this. WANDA I enjoy washing dishes. It's relaxing. (CONTINUED) Goldenrod (7/19/2012) 56.39 CONTINUED: 39 Oscar rolls his eyes at this. She hands him another dish. WANDA (CONT'D) I really enjoyed having you here. (beat) You think it's safe for me to get used to having you around? OSCAR I told you. I aint missin no more parties. She looks at Oscar for a long beat, searching for the truth in his eyes. She finds it. WANDA You guys got plans for tonight? OSCAR Yeah, nothing major. Gonna meet up with Cato, Jack, Jason and couple other cats. Head out to the City. WANDA You guys gonna go OUT OUT? OSCAR Naw. We gonna keep it low key. Probably just catch the fireworks, and then roll around after that. WANDA Roll around? OSCAR Yeah, just chill, we'll be cool. Sophina's got work in the morning too. WANDA You guys gonna be drinking? (CONTINUED) Goldenrod (7/19/2012) 57.39 CONTINUED: 39 OSCAR I'm sure they will. I'm not gonna be drinking. Wanda looks at Oscar, not buying it. Oscar laughs. WANDA Why don't you catch BART out there? That way you can drink and hang out, and not have to worry about anything. OSCAR Yeah we might catch BART. WANDA No traffic either. You know its gonna be crazy. Going and coming back. OSCAR Yeah, we might have to do it. WANDA Promise me, if you and your friends go, you'll catch the train. (beat) I'm serious. OSCAR Okay, I promise. WANDA Aight. Don't make me follow you guys to make sure... you remember Prom. Oscar laughs at this so hard he has to sit the bowl. He pulls out his phone and starts to text. TO CATO: Let's catch BART out there. Tell everybody to meet at South Hayward Station. He presses send. He picks the dish back up, and dries it. His phone buzzes. He look at it. FROM CATO: Aight bet. We'll see you there in minute. Pink (6/25/2012) 58.40 INT. GRANDMA BONNIE'S- HOUSE- DEN- 20 MINUTES LATER 40 Oscar, Sophina, and Tatiana say their good-byes to Grandma Bonnie, and Uncle Daryl and Uncle Ceephus. Oscar walks up to Wanda. OSCAR Alright we out, Birthday Girl. Love you. WANDA Love you too, son. And Happy New Year. Oscar gives her a big hug and kiss, then turns and leads his family out of the door. Wanda watches them, and shuts the door behind him.41 INT. SOPHINA'S CAR- LATER 41 Oscar drives through Hayward in silence, turning his wheels. Tatiana watches out of the backseat passenger window with a solemn expression. She looks up at a bright flash of light in the sky. We see outside her window, a group of YOUNG TEENAGERS stand on a street corner and shoot off a Roman Candle.42 OMITTED 4243 INT. SOPHINA'S CAR- CONTINUOUS 43 Oscar and Sophina sit in the front seat of the car. They both look tired. They look back at Tatiana who continues to lookout of the window. OSCAR (whispering) You don't want to just call it a night? Sophina thinks about this. Shakes her head. SOPHINA (whispering as well) I want to go to the city... It's been a minute since we been out together too. (CONTINUED) Pink (6/25/2012) 59.43 CONTINUED: 43 OSCAR Alright. They both get out of the car. Oscar grabs Tatiana and walks up to the house. He rings the doorbell.44 INT. ROSE'S HOUSE- LIVING ROOM- CONTINUOUS 44 ROSE, Sophina's 27 year old sister, sits on the couch in front of a small television. She wears sweatpants and a pink T shirt. Sprawled out a pallate of blankets and pillows on the carpet are Rose's kids, (all Hispanic) Lala (8) Issac (6) twins Eilly and Angelo (5), Alena (2). The doorbell rings, and Rose gets up off of the couch and opens up the door. Oscar bursts into the living room. OSCAR Happy New Year!!!! ARRRGHHHH!!! KIDS Uncle Oscar!!!!! Rose's kids all jump up and growl back, mobbing Oscar, all smiles, clawing at his pants. ISSAC You gonna sleep over uncle Oscar? Oscar smiles at this, and shakes his head. LALA Pleeeaaaase mommy can Uncle Oscar spend the night? Oscar struggles for a bit, laughing, Tatiana jumps into the fray, helping her cousins tackle her Dad. Oscar, gives up, laughing, and falls to the carpet. Rose and Sophina look on at this. Sophina laughs, Rose doesn't. ROSE C'mon Osc, I just got them ready for bed... (CONTINUED) Pink (6/25/2012) 59aA.44 CONTINUED: 44 OSCAR Ok, ok, ok. My bad. Stop you guys. Time out. (CONTINUED) Pink (6/25/2012) 59A.44 CONTINUED: 44 ROSE You guys let your uncle up. The kids ease up on Oscar a bit. Oscar sits up, and looks at Tatiana. (CONTINUED) Pink (6/25/2012) 60.44 CONTINUED: 44 OSCAR Let's brush those teeth. TATIANA No! She backs up smiling, and laughing. OSCAR You want your teeth to rot? And your breath to smell like gumbo? TATIANA Yes! Oscar looks at her seriously. OSCAR No you don't. Because then- THE GUMBO MONSTER WILL GET YOU!!!!! Oscar quickly moves in for the attack. Tickling Tatiana and picking her up. Rose's Kids laugh and follow Oscar towards-45 INT. ROSE'S HOUSE- BATHROOM- NIGHT 45 It is a modest bathroom. Oscar sits Tatiana on a wooden stool in front of the sink. Tatiana gets ready to place the toothbrush into her mouth but stops. She looks up at Oscar. OSCAR What? TATIANA You had gumbo, too. Oscar looks back at Tatiana guiltily. CUT TO:46 INT. ROSE'S HOUSE- BATHROOM- SECONDS LATER 46 Both Tatiana and Oscar stand side by side brushing their teeth, smiling while brushing. Oscar uses his finger. Pink (6/25/2012) 61.47 INT. ROSE'S HOUSE- BEDROOM 47 Oscar puts Tatiana into her pajamas. Sophina stands in the doorway watching them. TATIANA You guys aren't gonna sleep over too? OSCAR Me and Mommy are gonna go see some friends for a little bit. We'll be right back. TATIANA But I don't want you to go. OSCAR We'll be back, in a few hours I promise. TATIANA But you should go to bed. You already brushed your teeth. Remember? OSCAR I know, I know. But me and Mommy promised our friends we would go and visit them. We'll be back before you wake up, okay? Oscar leans over and gives Tatiana a kiss on the cheek. He gets up and gets ready to leave. TATIANA Nooo! Don't go. She grabs his arm. Tears well up in her eyes. TATIANA (CONT'D) I'm scared. OSCAR Scared of what? TATIANA I hear guns outside. OSCAR Those are just firecrakers. You'll be safe inside. (CONTINUED) Pink (6/25/2012) 62.47 CONTINUED: 47 TATIANA But what about you daddy? OSCAR I'll be just fine. I'll tell you what, tomorrow when we wake up, we'll play "Candyland". And then guess what we can do after that? TATIANA Go to the park? OSCAR Better. TATIANA "Toys R Us?" OSCAR Better than that. TATIANA What? OSCAR Chuck e Cheese's. Tatiana cracks a gigantic smile. TATIANA Really? OSCAR I promise. We'll play all the games. And daddy's gonna give you lots of tokens okay? TATIANA Okay. OSCAR And me and you are gonna eat up all the pizza okay? We're gonna even eat mommy's pizza because she can't have carbs. TATIANA What's a carb? OSCAR Don't worry about that. Oscar stands up. (CONTINUED) Pink (6/25/2012) 62A.47 CONTINUED: 47 OSCAR (CONT'D) I'm gonna head out now baby, okay? Tatiana pouts. OSCAR (CONT'D) You don't want to go in there with your cousins? (CONTINUED) Pink (6/25/2012) 63.47 CONTINUED: 47 Tatiana shakes her head, still not happy about Oscar leaving. OSCAR (CONT'D) I love you. He kisses her on the cheek. TATIANA Love you too Daddy. Oscar and Sophina leave the room. We hear them say bye to Rose.48 OMITTED 48 (CONTINUED) Goldenrod (7/19/2012) 64.48 CONTINUED: 4849 EXT. SOUTH HAYWARD BART STATION PARKING LOT- LATER 49 We follow Oscar and Sophina as they approach a tough looking group of 20 somethings. Among the group is Cato, Jason GREER, KRIS RAFFERTY, Brandon and Tim BRYSON, CARLOS REYES, and VANESSA RODRIGUEZ. Oscar approaches the group and greets everyone. OSCAR Yall ready? The group starts walking towards the BART turnstiles. Talking as they walk. Jason leans in and whispers to Cato. JASON I can't believe these niggas brought they broads. Finna be hella work in Frisco tonight. Vanessa takes a Tea Bottle from Carlos, her boyfriend. CARLOS You gonna slow down? I'm not dragging your drunk ass all over Frisco. (CONTINUED) Goldenrod (7/19/2012) 65.49 CONTINUED: 49 Brandon leans in to Kris and Tim. BRANDON Two Thousand Nine... don't even sound right bruh. But Twenty Ten? Twenty Ten is the year my nigga. We gettin it in, for Twenty Ten. See? Don't nothing even rhyme with Two Thousand Nine. Tim shakes his head. TIM What you said just rhymed, you dumb ass nigga! BRANDON Man fuck that. I'm boycottin 2009 bruh. Come twelve o' clock it's officially Twenty- Ten. We "gettin it in" in Twenty- Ten. Kris thinks about this. KRIS What about Twenty Twenty though? That shit hard as fuck. Two twenties. We "gettin' plenty" in twenty twenty. BRANDON But that's skippin too many years bruh. You can't skip a whole decade. Brandon turns to Oscar. (CONTINUED) Goldenrod (7/19/2012) 66.49 CONTINUED: 49 BRANDON (CONT'D) Osc, Osc! Take a shot with ya bruh for the New Year. Oscar smiles, takes it. Drinks a small shot, and hands it back to Brandon. Brandon lifts the bottle up at Oscar like a toast. BRANDON (CONT'D) To Twenty- Ten. He takes a quick swig. Oscar gives Brandon a "What the fuck are you talking about" look. The group laughs at this, and follow Oscar's lead towards the station entrance.50 INT. SOUTH HAYWARD BART STATION LOBBY- CONTINUOUS 50 The group enters through the turnstiles, sticking their tickets in and retrieving them as they pass through. They head up the stairs towards the platform.51 INT. SOUTH HAYWARD BART STATION PLATFORM- CONTINUOUS 51 The San Francisco bound train is docked and a few passengers are still getting on to it. BART ANNOUNCEMENT VOICE Please stand clear, doors closing. Oscar runs up and stops the doors just as they are about to close. He holds it while the rest of the group boards. Goldenrod (7/19/2012) 67.52 INT. SAN FRANCISCO BOUND TRAIN- CAR 1- CONTINUOUS 52 Oscar boards, the doors close, and the train takes off. He looks around and sees the car is packed with COMMUTERS. He moves through the crowd to the back of the car he pulls open the doors and the group enters-53 INT. SAN FRANCISCO BOUND TRAIN- CAR 2- CONTINUOUS 53 Oscar looks around and heads over to some standing room next to where DANAE a gorgeous Black woman in her late 20's sits wearing a ball gown and leather jacket. Across from her sit KAREN and DONALD, a White couple dressed in similar clothing. There is an empty seat next to Danae, but Oscar, Sophina, Tim, Kris, Vanessa, and Carlos all remain standing. Brandon, however, slides into the empty seat. He puts his arm around Danae's seat. BRANDON Make sure you keep your hands to yourself... The group laughs at this. Danae turns and looks at Brandon, who is making a funny face at her. She can't hold in her smile. Brandon takes his arm down and offers her the bottle of Hennessy- she declines. He turns to Karen and Donald, and offers it. Donald opens his jacket and pulls out a flask. He lifts it at Brandon, smiling. Brandon lifts his bottle in return. The both take a swig.54 EXT. HAYWARD STREET- NIGHT- CONTINUOUS 54 The BART train zooms by above street traffic.55 INT. SAN FRANCISCO BOUND BART- TRAIN CAR 2- CONTINUOUS 55 A few seats down from Oscar. Jason and Cato have found some company. LAUREN and ASHAE two super attractive Black girls in their 20's sit next to each other. They pass a "Black and Mild" cigar back and forth. Cato and Jason hold onto the rails standing over them. Cato takes his joint from behind his ear, lights it. CATO You know it's illegal to smoke "Blacks" on BART right? (CONTINUED) Goldenrod (7/19/2012) 68.55 CONTINUED: 55 LAUREN (laughing) Is that right officer? Cato passes the lit joint to Jason. CATO But its cool. We'll let you slide cause its New Years and all. Ashae looks up at Jason. ASHAE I like your dreads. Jason passes her the joint. She takes it, puts her to her lips. JASON I like your everything. We should work something out. Ashae smiles and shakes her head as she takes a drag in. Lauren laughs. LAUREN We gay. Cato looks at them for a beat. He puts his arm around Jason. CATO Shit, we gay too. We can do the whole gay thing together. JASON Collaboration... It'll be fun. Lauren and Ashae laugh at this. Not buying it for a second. LAUREN Yall not gay. CATO Real shit... watch... Cato turns to Oscar, who is hugged up with Sophina. CATO (CONT'D) (shouting across the car) Osc!! Osc my nigga!!! (motions to Jason) Aint we gay? (CONTINUED) Goldenrod (7/19/2012) 69.55 CONTINUED: 55 OSCAR (shouting back) Yall niggas is Gay as Fuck! Everyone on the train laughs at this. Cato turns back to the girls. CATO See? MALE BART TRAIN OPERATOR (V.O.) Now approaching... West Oakland Station. The standing passengers brace themselves, as the train slows to a stop. MALE BART TRAIN OPERATOR (V.O.) Sorry folks, there's gonnna be a slight delay while we sort out an issue with this other train. Hands open connecting car doors from the other side, revealing DARIUS, a tough looking Back teenager wearing a hoodie and a colorful backpack. He is followed by two other BLACK TEENAGERS- his friends. Darius makes eye contact with Oscar for a long beat... lifts his head. Oscar lifts his head back, and looks down at his phone: It reads 11:55pm. OSCAR We gon miss the countdown bruh. BRANDON We aint gonna miss shit, we can get it poppin right here. He presses a few buttons on his iPhone. It plays the MAC DRE song "FEELIN MYSELF" he turns it up. Oscar's friends nod their heads to the music. Darius' face brightens up and he takes off his backpack, He digs in it. DARIUS Wait, bruh. He pulls some laptop speakers out of his bag, leans over Danae, and plugs the jack into Brandon's phone. The MAC DRE now pumps through the whole car. (CONTINUED) Goldenrod (7/19/2012) 70.55 CONTINUED: 55 BRANDON Right on lil bruh! More commuters start to dance, including Darius, and his two friends, who move like professional "Turf" dancers.56 EXT. DOWNTOWN SAN FRANCISCO SKYLINE- SIMUTANEOUS 56 The Bay Bridge and skyscrapers are beautifully illuminated in the moonlight.57 EXT. EMBARCADERO ST. SAN FRANCISCO- SIMULTANEOUS 57 A group of hundreds of people are gathered on the pier overlooking the water. The group is mostly white though diverse in age: Teenagers, young families with kids in strollers, middle aged married couples, tweens. They check their wrist watches and cell phones periodically, and look to the sky with anticipation.58 INT. SAN FRANCISCO BOUND BART TRAIN- CAR 2- CONTINUOUS 58 It's a party on BART. The train starts to move, and everybody CHEERS. OSCAR Wait, how we gonna do the countdown? TIM Use your phone bruh. OSCAR My phone don't got no seconds. Oscar looks around the car, zeroes in on Donald. OSCAR (CONT'D) You bruh, you got a watch? Donald holds up his left wrist and nods his head. Oscar turns to Brandon. OSCAR (CONT'D) Turn the music off bruh!!! Brandon turns down the dial on the music. Blue (6/13/2012) 71.59 EXT. EMBARCADERO ST./ FERRY BUILDING- SIMULTANEOUS 59 We see what the crowd is staring at- A large old fashioned clock on the side of the Ferry Building reads 11:58. The minute hand ticks to 11:59pm.60 INT. SAN FRANCISCO BOUND BART TRAIN- CAR 2 60 Oscar, Sophina and the other commuters are huddled around Donald, who is now standing up, watching the second hand tick on his watch, and waving his right finger like an orchestral conductor. EVERYBODY ON CAR TEN... NINE... EIGHT...61 EXT. EMBARCADERO ST./ FERRY BUILDING- SIMULTANEOUS 61 Hundreds of faces look off into the sky with anticipation in their eyes.62 INT. SAN FRANCISCO BOUND BART TRAIN- CAR 2 62 EVERYBODY ON CAR FIVE... FOUR..63 EXT. EMBARCADERO ST./ FERRY BUILDING SAN FRANCISCO- 63 SIMULTANEOUS A CHILD, white girl about 6 years old, points to something in the sky, she smiles.64 INT. SAN FRANCISCO BOUND BART TRAIN- CAR 2- SIMULTANEOUS 64 EVERYBODY ON CAR TWO..... ONE.....65 EXT. EMBARCADERO ST./ FERRY BUILDING SAN FRANCISCO- 65 SIMULTANEOUS SLOW MOTION- CHILD'S POV A clear sky except for a small gray spec that slowly approaches the center of frame and suddenly... (CONTINUED) Blue (6/13/2012) 71A.65 CONTINUED: 65 BOOM! The spec explodes into a dazzling cluster of red and blue fireworks. BACK TO: Goldenrod (7/19/2012) 72.66 EXT. EMBARCADERO ST./ FERRY BUILDING SAN FRANCISCO- 66 SIMULTANEOUS The crowd looks on with wonder, their faces illuminated by the fireworks.67 INT. SAN FRANCISCO BOUND BART TRAIN- CAR 2- SIMULTANEOUS 67 EVERYBODY ON CAR HAPPY NEW YEAR!!!!!!!!!! It's pandemonium. Everyone on the car is going crazy. Brandon turns on the MAC DRE again. BRANDON Happy TWENTY- TEN!!! FUCK TWO THOUSAND NINE. Donald gives Karen a peck on the lips. Lauren and Ashae kiss passionately, showing off. Cato and Jason record this with their cell phones.68 EXT. EMBARCADERO ST./ FERRY BUILDING SAN FRANCISCO- 68 SIMULTANEOUS The fireworks are dazzling. Now greens, blues, purples, and whites, all beaming brilliantly. The crowd cheers in amazement. An ASIAN COUPLE kiss.69 INT. SAN FRANCISCO BOUND BART TRAIN- CAR 2- SIMULTANEOUS 69 Oscar holds Sophina close. OSCAR Happy New Year baby. SOPHINA Happy New Year, Osc. They kiss. BART ANNOUNCEMENT VOICE Now approaching Montgomery Station. Oscar and Sophina brace, as the train comes to a stop, almost loosing their balance. They laugh at this. The doors open and the group, along with the other passengers, exit the car. Goldenrod (7/19/2012) 73-74.70 INT. MONTGOMERY STATION LOBBY- MOMENTS LATER 70 The group walks through the Bart Station Lobby, ahead A MUSICIAN sits in a chair playing an ERHU, a box full of dollar bills sits in front of him. As the group passes the Musician, Cato drops a dollar in his hat. JASON Nigga, you could have gave that shit to me! CATO Learn how to play the guitar, and I got you bruh! The group steps onto an escalator, and we follow them up to-71 EXT. EMBARCADERO STREET- NIGHT- CONTINUOUS 71 The group exits the BART station and walks out onto the Downtown San Francisco street. PEDESTRIANS are everywhere. VANESSA I gotta find somewhere to pee. SOPHINA I gotta go too. We loose the group into the crowd of pedestrians.72 OMITTED 72 (CONTINUED) Goldenrod (7/19/2012) 75.72 CONTINUED: 7273 EXT. SAN FRANCISCO LIQUOR STORE- MOMENTS LATER 73 Oscar looks from closed store to closed store, the group following closely behind him. He spots Sammy, Middle Eastern, Early 50's, closing the metal gates on his store. Oscar trots up ahead of the group to Sammy. OSCAR Say bruh. SAMMY We're all closed. OSCAR I know man, but a couple young ladies with me really got to use the bathroom man. SAMMY I'm all closed up, besides, I don't even have a rest room for customers. OSCAR But you got one for employees right? Sammy ignores him. Sophina, Vanessa, and the rest of the group gather behind Oscar now. Sammy shuts the gate and pulls out the key. Oscar sees this. He turns to Sophina and Vanessa who look as if they are both about to explode. Oscar goes into his pocket. He pulls out a $10 bill. (CONTINUED) Goldenrod (7/19/2012) 76.73 CONTINUED: 73 OSCAR (CONT'D) Look bruh, I aint rich. This my last ten dollars. All I got on me. Now you can take this $10, and open the store up and let them use the bathroom. Or you could go home, and when you get here tomorrow, its gonna be a puddle of piss right there. Oscar points to the ground in front of the door. OSCAR (CONT'D) Cause they aint gonna piss on themselves bruh. Oscar holds out the money. Sammy turns and looks at him. SAMMY Just two girls? Oscar looks back to the group. Sophina and Vanessa step up meekly. OSCAR These two right here. Sammy looks them over for a beat. SAMMY Come on. He opens the gate and starts to unlock the door. SOPHINA Thank you so much. He nods and opens up the door. Oscar steps over and tries to hand him the $10 bill, but Sammy waves it off. SAMMY Its okay. Happy New Year. OSCAR Right on bruh. Happy New Year to you too. Thank you. He nods back at Oscar and walks into the store followed by the two girls. Oscar looks back at the group. (CONTINUED) Goldenrod (7/19/2012) 77.73 CONTINUED: 73 A limo, filled with girls has pulled up down the street. Brandon walks up and tries to talk his way onto it. All the boys head over and talk to the girls, leaving Oscar by himself for a beat. PETER (O.S.) Please tell me this place has a bathroom. Oscar turns around sees PETER a white thirty something guy in a North Face jacket. His wife STEPH, 30's is six months pregnant, and is doing the same potty dance we saw earlier from Vanessa. Oscar pounds on the glass door of the liquor store. Sammy walks out into view. He lifts his hands, "What?" Oscar points to Steph. Sammy opens up the door. SAMMY You gotta be kidding me. OSCAR She pregnant... Steph looks at him with puppy dog eyes. Sammy breaks down and lets her in. STEPH Thank you. Sammy turns to Oscar. SAMMY No more man. Oscar nods. PETER Thanks bro. Sammy closes the door. PETER (CONT'D) Appreciate that man. Thought she was gonna have to go in the street. OSCAR No problem. Oscar notices the ring on Peter's finger. (CONTINUED) Green (7/5/2012) 78.73 CONTINUED: 73 OSCAR (CONT'D) How long yall been married? PETE Eight years. Oscar nods at this. Pete looks at Oscar's hand for a ring, doesn't see one. PETE (CONT'D) You thinking about it? Oscar nods. PETER What's stopping you? OSCAR Money. PETER Shitty reason. When we got married, we had nothing. Lived in the back of her parent's house for the first two years. OSCAR For real? PETER Shit you not man. I wasn't working at all and she's a teacher, which might as well be the same thing as far as money goes. OSCAR How'd you get the ring? Peter looks around for a beat. PETER I stole it. Oscar looks at him like he is crazy. (CONTINUED) Pink (6/25/2012) 79.73 CONTINUED: 73 PETER (CONT'D) Yeah man, I told you, I had nothing. I used to be good with credit cards if you know what I mean. I wouldn't go that route if I were you though man. OSCAR Yeah, I'm straight off that. PETER Yeah. I ended up getting locked up for a bit. My wife had to sell the ring to bail me out. Got my business going about a year after I got out, and got her the one she wears now. OSCAR What you do? PETER I own a web design company. We do a lot of business with companies in the valley. Peter pulls out his wallet and hands Oscar a card. Oscar looks at it. OSCAR Peter? (beat) Oscar. They shake hands. PETER Hit me up if you ever need anything man. But about that ring bro, it doesn't matter. If she loves you, any ring'll do. OSCAR What about the wedding though? PETER Shit man. Find whoever's got the nicest backyard. Tell all your boys over there to each bring a dish. Oscar laughs at this. (CONTINUED) Goldenrod (7/19/2012) 80.73 CONTINUED: 73 The three girls, Sophina, Vanessa, and Steph make their way out of the Store laughing like best friends. Sammy follows them and closes the door. STEPH Okay. (to Sophina and Vanessa) It was nice meeting you guys. PETER Thanks again, and take care man. Peter and Steph head down the street. Oscar, Sophina, and Vanessa cross the street to meet the rest of the group. KRIS This was a burnt ass mission. Let's get back to the house. The group nods, and they head back across the street walking briskly.74 OMITTED 7475 INT. MONTGOMERY BART STATION PLATFORM- CONTINUOUS 75 The platforms is PACKED. The group comes off the stairs and we see a train is already there, doors open. CATO Come'on bruh, this us. Cato cuts through people to get close to the train entrance. Oscar grabs Sophina by the hand and follows closely behind Cato. (CONTINUED) Goldenrod (7/19/2012) 81.75 CONTINUED: 75 OSCAR Hold up, bruh bruh. The rest of the group passes up Oscar, following Cato. We see through the windows of the train that each car is full to the brim. Standing room only. OSCAR (CONT'D) This shit packed bruh. Let's catch the next one. SOPHINA It might not be a next one baby. CATO Come'on bruh! Cato jumps onto the train, Sophina does as well. Oscar looks around for a beat, and then steps on. We stay outside of the train as we watch the doors close behind him, and the train takes off. The cars go by, picking up speed rapidly until we are left looking at a dark empty tunnel. We hold on this.76 INT. BART TRAIN- CAR 1- MOMENTS LATER 76 It's a multi ethnic sardine can. Oscar holds on to the overhead rail, and Sophina holds on to him, her head resting on his chest. KEISHA West Oakland Station The train begins to slow down, and a LONE COMMUTER, stands up and move towards the door. Sophina sees the open seat and quickly slides into it. Oscar remains standing uncomfortably. (CONTINUED) Pink (6/25/2012) 82.76 CONTINUED: 76 SOPHINA Find a spot... I'm good. Oscar nods, and begins to looks around the car for a less dense section. He makes out a small space in the corner of the train car, and starts towards it. He passes by an OLDER COUPLE, white 40's. This is MR. and MRS. ZAFIRATOS. They stand next to their SON (9)and DAUGHTER (14). As Oscar pushes past him, Mr. Zafiratos gives Oscar an unwelcome look. He pulls his daughter away as to avoid Oscar bumping up against her. Oscar exchanges a look with him briefly, and continues to push towards the space. BART ANNOUNCEMENT VOICE Now approaching Lake Merritt Station. The Train comes to a stop, and commuters crush onto the car. We see Katie, from Farmer Joe's, standing a few people in front of Oscar wearing a jacket over the same outfit. She's hugged up with JOE, a handsome white man in his 20's wearing a CAL sweatshirt. He holds her protectively. BART ANNOUNCEMENT VOICE (CONT'D) Please stand by, doors are closing. DING. The doors close, and the train takes off. Katie closes her eyes and leans into Joe's chest for a beat, then Joe pulls her out of the way of a passenger who squeezes by. Katie opens her eyes, and sees that the passenger is Oscar. Her face lights up. (CONTINUED) Green (7/5/2012) 83.76 CONTINUED: 76 KATIE Oscar. Oscar! Oscar turns around a bit confused. KATIE (CONT'D) Right here. Its me, from Farmer Joe's. Oscar continues to look, until he hears a MAN'S VOICE from right behind him. MAN'S VOICE (O.S.) Oscar? Oscar the fucking snitch? E.C.U. OSCAR'S FACE Oscar recognizes this voice, and he doesn't like it. He whips around to find, standing a few people away--- Cale, wearing an oversized white T shirt, and a multitude of tattoos on his forearms. With him are FOUR LARGE HISPANIC MEN, and his GIRLFRIEND. CALE Wussup with that shit you was hollerin? Cale turns to one of the Men. CALE (CONT'D) This the cat from bitch ass Palma Ceia I was tellin you about. The Hispanic Man cuts a mean look at Oscar, flashes a gang sign at him. OSCAR Watch out with that shit bruh. This aint the time. I got my girl here and shit. CALE Fuck that shit, Bitch! My girl right here too. I don't give a fuck. (CONTINUED) Goldenrod (7/19/2012) 84.76 CONTINUED: 76 OSCAR I aint nobody's Bitch nigga! CALE Fuck Palma Ceia!!! Cale moves towards Oscar. Sophina sees the commotion going on and stands up and looks, sees Oscar about to be surrounded. She starts towards him. SOPHINA Osc! Osc whats going on? Oscar cuts his eyes from Cale to Sophina. OSCAR (to Sophina) Get Cato and them niggas! BOOM! Cale punches Oscar in the right side of his face-hard. Oscar rebalances himself and punches back, with three quick shots to the head and chest. He moves like an experienced fighter, but both men struggle in the crowded train. The other passengers begin to shout and try to move out of the way. Sophina sees this, and turns to their group of friends who are at the back of the train. SOPHINA Cato! They jumpin Osc! Cato, Brandon, and the rest of the group head towards the commotion and make their way through the other passengers. CATO Fuck these niggas bruh! Brandon pushes past Mr. Zafiratos who is holding his daughter. And looking on at the fight. MR. ZAFIRATOS Watch it! You're gonna get somebody hurt! Cale moves in and grabs Oscar, putting him into a headlock. Oscar grapples with him, holding his other arm to avoid being punched in the head. (CONTINUED) Goldenrod (7/19/2012) 85.76 CONTINUED: 76 Cale's friends circle Oscar and throw punches at his back. Cato and Brandon push through to be in arm's reach of the fight, and start swinging on Cale and his friends. Cato hits Cale flush in the back of the head. CATO Get off of him! Brandon punches one of the large Hispanic men hard. BRANDON Wussup now nigga? Sophina swings on Cale's girlfriend. Just misses her. Goldenrod (7/19/2012) 86.77 OMITTED 7778 INT. BART TRAIN CAR 1- CONTINUOUS 78 Oscar has breaks free of Cale's hold and is being held back and secured by Kris and Cato. Cale and his group back up off Oscar's group and begin to flee to the second car, pushing past the other passengers. CATO You alright bruh? Oscar nods and brushes his head off. SOPHINA You okay baby? OSCAR Yeah, I'm good. Fuck them bruh. (CONTINUED) Goldenrod (7/19/2012) 87-87A.78 CONTINUED: 78 BRANDON They aint even want it when they seen us, bruh! Punk ass Southside niggas... (towards Cale's group) RAN LIKE SOME LITTLE BITCHES!! KEISHA (V.O.) Fruitvale station. There's been an incident reported on the train. Everyone remain please remain calm. There will be a slight delay here. The train starts to decelerate. Oscar looks around, looks at the other passengers on the train. They look at Oscar and his friends like lepers. OSCAR We gotta get off this train bruh.79 OMITTED 79 (CONTINUED) Goldenrod (7/19/2012) 88-89.79 CONTINUED: 79 80 INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS 80 Something isn't right here, the platform is completely empty. The group exits the train, lead by Sophina, Vanessa and Kris. Oscar follows behind them apprehensively. As other commuters exit the train, Cato mixes into this group of people and breaks off to the side. As they walk Sophina notices two Cops coming up to the platform- One is an imposing white man in his 30's, tall athletic build, military haircut. This is OFFICER CARUSO. He is flanked by a short female officer who looks to be in her late 20's this is OFFICER SALAZAR. Sophina taps Oscar quickly. SOPHINA Baby, the boys already up here. Oscar stops dead in his tracks. SOPHINA (CONT'D) Just get back on the train, get back on the train, quick.. OSCAR Aight. Imma meet you at the Hayward station, Okay? Sophina nods. Oscar turns to Jason OSCAR (CONT'D) The boys, bruh. JASON Shit. OSCAR Split up! Cato blends into the crowd headed towards the far end of the platform. Jason quickly goes back to CAR 1, Oscar jumps onto the closest train, CAR 2. (CONTINUED) Goldenrod (7/19/2012) 88A.80 CONTINUED: 80 Goldenrod (7/19/2012) 90.81 OMITTED 81 82 OMITTED 8283 OMITTED 83 84 INT. BART TRAIN- CAR 2- CONTINUOUS 84 Oscar pushes his way onto the train and looks out of the door. A84 INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS A84 OSCAR'S POV FROM TRAIN Sophina, Vanessa, Kris, and Carlos, Brandon, and Tim walk towards the escalator. Kris out ahead of Sophina and Vanessa. Sophina, Vanessa, and Kris, make it past the cops, but Caruso stops Carlos, Brandon, and Tim. The officers pull out their tasers and back the three boys up against the wall. Brandon takes off his jacket and Caruso takes it, searches it and throws it. Brandon says something to Salazar, and Caruso roughly slams him against the wall. Caruso turns back towards the train, and seemingly makes direct eye contact with Oscar. 85 OMITTED 85 (CONTINUED) Goldenrod (7/19/2012) 91.85 CONTINUED: 8586 INT. BART TRAIN- CAR 2 86 Oscar turns and tries to hide in the crowd He tries not to look suspicious, but he sticks out like a sore thumb on this car. He sees Cale and his friends in the crowd And Zafiratos. CARUSO (O.S.) If you were involved in the fight get the fuck off the train right now! (beat) Don't make me come in there and pull you off. This ain't my first fucking Rodeo. Mrs. Zafiratos looks at Oscar. MRS. ZAFIRATOS Just get off the train, please. People have families on here. There is a visible commotion at the door, and passengers start to move back, we see Caruso storm through the car doors. He looks around the crowd, and makes eye contact with Mrs. Zafiratos gives a subtle look over at Oscar. Caruso sees Oscar and makes his way towards him. (CONTINUED) Goldenrod (7/19/2012) 92.86 CONTINUED: 86 CARUSO You. Get off the train. OSCAR What are you talking about? What did I do? Caruso pulls out his taser and points it at Oscar's neck. CARUSO Come on. Let's go. Oscar immediately puts his hands up. OSCAR Alright, alright, Fuck. Oscar walks towards Caruso, who quickly grabs him by the back of the shirt and walks him out of the train car. 87 OMITTED 87 Goldenrod (7/19/2012) 93.88 INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS 88 Caruso walks Oscar over to the wall. CARUSO Sit down right here. He places Oscar in between Carlos and Brandon. Oscar puts his hands up, still holding his cellphone. OSCAR What the fuck bruh, we didn't do anything. BRANDON I've been trying to tell them bruh. She don't want to listen to me, cute ass. What you doing after this baby? SALAZAR Quiet! OSCAR Hold on bruh. Are yall arresting us or what? CARUSO Where are your friends at? Huh? TIM What friends? Caruso turns and looks back at CAR 1 for a beat. CARUSO (to Salazar) I see another one of these goofballs. He starts for the train. 89 OMITTED 8990 INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS 90 Down the platform, Cato watches Pirone and his friends closely. A small crowd around him. 91 OMITTED 91 (CONTINUED) Goldenrod (7/19/2012) 94.91 CONTINUED: 9192 INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS 92 Salazar stands over Brandon holding her taser pointed towards the ground. She grabs her walkie talkie. SALAZAR (into walkie) On the platform, in need of backup, four suspects apprehended. She looks back at Brandon and Oscar. BRANDON This is some bullshit. Yall not even the real police. You way too cute to be a cop anyway... Brandon starts to stand up slowly. OSCAR Be cool bruh, chill out. Let me talk to her. SALAZAR Hey, sit back down! She points the taser at Brandon's chest. Brandon backs up against the wall, but does not sit down. BRANDON Why the fuck you keep pointing that taser at me, bitch? We didn't even do nothing wrong. (CONTINUED) Goldenrod (7/19/2012) 95.92 CONTINUED: 92 OSCAR'S POV We see Caruso pull Jason off the train and slam him to the ground, face down. He straddles him and handcuffs his wrists behind his back. He picks Jason up by the handcuffs, and drags him towards the wall. Oscar looks at this in shock. He turns his attention back to Brandon, who still is standing. Salazar pushes Brandon in his chest. SALAZAR Sit the fuck back down! BRANDON Get your hands off me. Oscar stands up. OSCAR (to Salazar) I got him. He holds his hands out puts his hands on Salazar's forearms, and brushes them away from Brandon's chest. OSCAR (CONT'D) (to Brandon) Chill out bruh, chill out. Chill out and we goin home man. Salazar pushes at Brandon again, and Oscar reaches out his hands to stop her. SALAZAR Don't touch me! Caruso hears this, and quickly lets go of Jason, who is now sitting down. He rushes over to Oscar and- BOOM! Caruso punches Oscar flush in the right side of his face, knocking Oscar's head up against the wall.93 INT. BART TRAIN- CAR 3- CONTINUOUS 93 The passengers ERUPT at the sight of this.94 OMITTED 94 Goldenrod (7/19/2012) 96.95 INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS 95 Cato sees the punch. CATO What the fuck? He walks closer to the scene. 96 OMITTED 9697 INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS 97 Oscar holds his face where he got hit and sits back down. He looks up at Caruso with confusion and puts his hands up. OSCAR What the fuck is you doing bruh? BRANDON Hey! Caruso quickly removes his Taser and points it at Brandon's face. Brandon quickly sits down, and puts his hands up. Caruso turns to Salazar. CARUSO You alright Babe? She nods. (CONTINUED) Goldenrod (7/19/2012) 97.97 CONTINUED: 97 The crowd on the train is ROARING now. Yelling various things about the police. OSCAR I'm just tryna get home. I got a daughter at home bruh. Caruso points his taser at the rest of the boys sitting down- waving it like a flashlight. CARUSO Shut up.98 INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS 98 Oscar looks down the platform and sees Cato approaching. He looks over at the train, sees nothing but cell phones and video cameras. He looks to the escalator and sees a huge, clean shaven white cop in his late 20's sprinting up to the platform: this is OFFICER INGRAM. He is followed by 3 other Cops, NEWSOME (40's) SANCHEZ (30's) and DAVIDSON (30's). CATO Hey, hey officer, this shit is brutality! What the fuck you doing to them? Cato takes out his cellphone and starts to record. CATO (CONT'D) Fuckin fake ass cops. We got you on camera! Ingram jogs over to Cato. INGRAM Hey, back up! Get back! Ingram reaches for his taser, pulls it out. Cato keeps recording, but backs up. CATO You gonna Tase me for using my cellphone? Newsome and Sanchez run over to keep Cato back. Newsome stands in the view of Cato's camera phone. Ingram turns and jogs over to help Caruso. Caruso arrives next to Ingram, who turns to him. (CONTINUED) Goldenrod (7/19/2012) 98.98 CONTINUED: 98 CARUSO (whispering) This is a shit show. Keep these assholes secured, I'm gonna check the train for witnesses. Ingram nods. He points his taser at Oscar and Brandon. Oscar takes a picture of Ingram pointing his taser at Brandon with his cellphone. His phone rings in his hand. He checks it: "Sophina Calling". He answers it. OSCAR (into the phone) Phina? INTERCUT WITH99 EXT. FRUITVALE BART STATION ENTRANCE- NIGHT- SIMULTANEOUS 99 Sophina stands on the sidewalk of the BART station entrance. Vanessa and Kris stand behind her SOPHINA Osc, where you at? Are you on the train? OSCAR Hell naw, we still up here at Fruitvale. They holding us here and beatin on us for no reason. SOPHINA Who? Who's beatin on you? OSCAR The fuckin police. I'm about to get us up out of here though. Imma hit you back. Oscar hangs up the phone. He sees Caruso walking over to him Oscar stands up against the wall. OSCAR (CONT'D) Are you in charge man? Look... CARUSO SIT THE FUCK BACK DOWN!! Caruso rushes Oscar, pushes him into a seated position, and knees him in the right side of his face. (CONTINUED) Goldenrod (7/19/2012) 99.99 CONTINUED: 99 OSCAR What the fuck, bruh? Caruso holds Oscar by his shirt. CARUSO Are you gonna fucking comply? Are you gonna comply? OSCAR I'm complying, just take your fucking hands off of me! I'm fucking complying. Caruso backs up off of Oscar. BRANDON That's brutality you fucking toy cop! Oscar holds his face. OSCAR Chill out Brandon bruh. We about to go home. They can hold us here as long as they want, but they can't arrest us bruh, we aint do shit. CARUSO What? He turns to Ingram. CARUSO (CONT'D) Cuff these two assholes. They're fucking going to jail. INGRAM Get on your knees. Brandon who lifts up onto his knees. BRANDON Fuck, bruh! OSCAR You can't arrest him. Fuck that shit. For what? We aint do noting! CARUSO Oh yeah? (CONTINUED) Goldenrod (7/19/2012) 99A.99 CONTINUED: 99 TIM Yall some fake ass cops foreal. (CONTINUED) Goldenrod (7/19/2012) 100.99 CONTINUED: 99 OSCAR (to Tim) Shut the fuck up bruh. (to Caruso) Just tell us why you're arresting us. We didn't do anything wrong. CARUSO We don't have to tell you shit. OSCAR Bruh I got a daughter at home, I'm trying to get to. I'm not trying to go to jail. CARUSO You should have thought about that before you decided to be a piece of shit. OSCAR Man you a bitch ass nigga, foreal. Caruso walks closer to Oscar. CARUSO I'm the bitch ass nigga huh? OSCAR What? What the fuck? CARUSO Bitch ass nigga huh?! Oscar stiffens up. OSCAR Don't call me a nigga bruh! CARUSO BITCH ASS NIGGA RIGHT? Oscar lifts up to his knees. OSCAR MAN FUCK YOU!!! BOOM! Ingram takes Oscar down to the ground from behind, but Oscar lands awkwardly, with his back on Carlos' legs. Ingram continues to push down on top of him. Caruso backs up, nodding his head. (CONTINUED) Green (7/5/2012) 100A.99 CONTINUED: 99 CARUSO Yeah! Yeah! (CONTINUED) Goldenrod (7/19/2012) 101.99 CONTINUED: 99 Carlos holds his hands up while Oscar squirms, now on his side. CARLOS HE'S ON MY LEG BRUH!!! HE'S ON MY FUCKING LEG! OSCAR AGGGHHH, MY BACK! GET THE FUCK OFF ME! Caruso bends down, grabs Oscar's head, and puts his knee on it, driving his weight into the Oscar's ear. Oscar writhes in pain. OSCAR (CONT'D) (CONT'D) AGHH! MY HEAD! SHIT! BRANDON WHAT THE FUCK ARE YOU DOING TO HIM, YOU'RE FUCKING HURTING HIM! CARUSO Don't worry about it. Don't worry. INGRAM ROLL OVER! ON YOUR STOMACH!! OSCAR Fuck, I can't move! Caruso stands up, pushing off Oscar's head with his hands. Ingram flips him over off of Carlos' legs and onto his stomach. Oscar squirms again, while Caruso grabs his hand trying to put it behind his back. Caruso puts his knee back down on Oscar, driving down hard, at the base of his head, pressing Oscar's face against the ground. OSCAR (CONT'D) AGHHH, AGHHH! INGRAM Fuck. I can't get his hands! Back up. Caruso lifts up off of Oscar. Ingram stands up a bit, keeping one knee in Oscar's back, reaches on the right side of his belt and pulls a black gun from the holster. He stands up, aims it at Oscar's back. BLAM!!! (CONTINUED) Goldenrod (7/19/2012) 102.99 CONTINUED: 99 Oscar's body jerks against the pavement. He lets out a sickening, hollow sound. Dead silence.100 EXT. FRUITVALE BART STATION ENTRANCE- NIGHT- SIMULTANEOUS 100 Sophina whips her head around towards the platform.101 INT. BART TRAIN CAR 1 101 Katie and Joe's jaw's drop at the sound of the shooting.102 INT. BART TRAIN CAR 3 102 We see Pete, and Steph, who have been on this train the whole time. Pete recording with his video camera, with shock on his face.103 INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS 103 Cato is frozen by shock. Caruso takes a step back, and looks at Ingram with confusion. Oscar takes a struggled breath in, coughs up some blood. He stiffly turns his body around to Ingram. OSCAR ..you shot me... you shot me. i got a daughter... Brandon, Carlos, Tim stare at Oscar is disbelief. CATO They shot Osc! They fuckin shot Osc bruh! Cato looses it, he pushes past the police officers in front of him. He throws his cellphone at Ingram, just missing his face. It hits the wall, and explodes into pieces. the Cops rush Cato, taking him to the ground. Oscar's friends go berserk they start screaming. Brandon tries to stand up, still handcuffed. BRANDON OSC! OSC! GET UP MY NIGGA!!! (to Ingram) (MORE) (CONTINUED) Green (7/5/2012) 102A.103 CONTINUED: 103 BRANDON (CONT'D) YOU SHOT MY HOMIE!!! HE WASN'T DOING NOTHING!!! (CONTINUED) Goldenrod (7/19/2012) 103.103 CONTINUED: 103 Three Cops rush over and take Brandon to the ground. Other Cops descend on the other boys. CARLOS Call the ambulance! CARUSO WHEN YOU SHUT THE FUCK UP, WE WILL! Ingram flips Oscar back over and handcuffs him, and starts to search him. TIM What the fuck you handcuffing him for? The Cops take all of the boys towards the escalators. But none of them go without a struggle. It takes four Cops to control Brandon. Caruso runs over to Tenisha who looks on from the Operator car with panic in her eyes. CARUSO Take off! (beat) Go!104 INT. BART TRAIN CAR 3 104 The Passengers are shouting and going crazy, still filming. The doors suddenly close. PETER Hey! Hey open the fucking doors! Somebody help him!!!105 INT. BART TRAIN CAR 2- CONTINUOUS 105 Mr. Zafiratos holds his daughter while looking out the windows as if he'd just seen a ghost. Cale still blends into the crowd. The doors close.106 INT. BART TRAIN CAR 1- CONTINUOUS 106 Passengers are even crazier on this car. Hanging out the doors in the front of the crowd are Katie and Joe. Katie continues to record with her iPhone- her face red with rage. (CONTINUED) Green (7/5/2012) 103A.106 CONTINUED: 106 The car doors start to close, but Katie sticks her hand out them causing them to open back up. She continues filming. Goldenrod (7/19/2012) 104.107 INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS 107 Tenisha looks down at the control board, while Caruso leans in her car window. CARUSO Go! Fucking pull off! TENISHA I can't somebody's blocking the doors.108 INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS 108 Caruso turns and looks down the platform. He sees Katie hanging out of the first car and sprints over to her. CARUSO Clear the door! KATIE NO! YOU GUYS JUST SHOT HIM! CARUSO CLEAR THE FUCKING DOOR! Caruso pushes Katie's hand back and the doors shut. The train pulls off. Caruso grabs his walkie. CARUSO (CONT'D) (into walkie) Yeah there's been a shooting. Here at the Fruitvale station-- Ingram finishes searching Oscar only finds a wallet. He's sweating bullets. Caruso runs over to Ingram. CARUSO (CONT'D) What the fuck happened? Ingram can't answer. Caruso snatches Oscar's wallet out of his hands and waves him away. He and bends down and un-cuffs Oscar. He rolls him over and we see Oscar's eyes are starting to grow distant. CARUSO (CONT'D) (whispering to Oscar) Come'on breathe, man. Caruso bends down to look at Oscar. (CONTINUED) Green (7/5/2012) 104A.108 CONTINUED: 108 We see Oscar's phone is on the ground ringing. The screen reads, "Sophina Calling". Green (7/5/2012) 105.109 EXT. FRUITVALE BART STATION ENTRANCE- CONTINUOUS 109 Sophina now frantic, stands with her cellphone to her ear. Kris and Vanessa talk to three POLICE OFFICERS who are guarding the entrance like club bouncers. Sophina hangs up the phone, then quickly dials another number. INTERCUT WITH110 INT. WANDA'S BEDROOM- NIGHT 110 Only moonlight fills the room. A cellphone RINGS. Wanda wakes up, checks it, answers the phone. WANDA Sophina? SOPHINA The police got Oscar and them and we heard something I don't know if it was a beanbag or a taser or what. WANDA Sophina, baby calm down. I can't hear you. Is Oscar there with you? SOPHINA Naw, he upstairs, with the Police and I can't see them. We downstairs- WANDA Where are you? SOPHINA We in Oakland, at Fruitvale BART. WANDA Did Oscar get arrested? SOPHINA I don't know, I think so. Wanda closes her eyes for a beat, this hurts. She gets out of bed and starts putting on her clothes. (CONTINUED) Green (7/5/2012) 105A.110 CONTINUED: 110 A SIREN is now super close. Sophina turns to see four PARAMEDICS rush through the emergency entrance turnstile rolling a large gurney with medical equipment on it. (CONTINUED) Goldenrod (7/19/2012) 106.110 CONTINUED: 110 SOPHINA (CONT'D) (into phone) Imma call you back. Sophina hangs up the phone and runs towards the paramedics. SOPHINA (CONT'D) What happened? They ignore her, and quickly get into the elevator with their gear, the doors close behind them. Sophina hears COMMOTION coming from the escalators. She looks over and sees Brandon kicking and struggling, as the Cops bring him down. Cato, Tim, Jason, and Carlos follow, all surrounded by Cops. Vanessa and Kris run over to them as the bring them out towards the parking lot, where several Police Cars are parked. VANESSA What happened? Sophina sprints over to the cars. Cato and Brandon are going so crazy that they don't even notice her. NEWSOME (to Sophina) Get back!! Sophina get's Jason's attention. SOPHINA Where Osc at? What happened? JASON THEY FUCKING SHOT HIM PHINA!!! THEY SHOT OSC IN HIS BACK FOR NO REASON!!! SOPHINA WHAT? IS HE OKAY? WHERE IS HE? The Cops stuff Jason into the back of their car before he can answer. They stuff Tim into the same car. It takes four Cops to get Brandon. Another group of Cops are having the same problem with Cato. 111 INT. FRUITVALE BART STATION PLATFORM- CONTINUOUS 111 Oscar still lies on the ground, Caruso lies over him, holding his hand. (CONTINUED) Goldenrod (7/19/2012) 107.111 CONTINUED: 111 CARUSO (whispering) Come on man keep your eyes open. Breathe, man. The elevator doors open, and the Paramedics rush towards Oscar. Caruso stands up, starts talking to PARAMEDIC 1, hands him Oscar's ID. The others immediately begin tending to Oscar. They check his vitals, and pull out a pair of large scissors and quickly cut off his shirt. They flip him over, revealing a large entry wound on his left shoulder blade. It bleeds profusely. Paramedic 1 walks over to Oscar and kneels down. PARAMEDIC 1 Oscar? Oscar can you hear me? Oscar tries to nod.112 EXT. FRUITVALE BART STATION LOBBY- DOWNSTAIRS- CONTINUOUS 112 Sophina is in tears, arguing with the Cops guarding the platform. SOPHINA Please let me through, that's my boyfriend up there. Her cellphone rings. She looks down at it and grows more frantic. She answers it.113 INT. WANDA'S BEDROOM- NIGHT- CONTINUOUS 113 WANDA Sophina baby, what's going on? SOPHINA (through the phone) The cops won't let me through, and, and Jason said that Osc... OH MY GOD! OH GOD! IS THAT OSC! NO, NO! Horror flashes over Wanda's face.114 EXT. FRUITVALE BART STATION LOBBY- DOWNSTAIRS- NIGHT- 114 CONTINUOUS Sophina is hysterical, we finally see what she sees- (CONTINUED) 108.114 CONTINUED: 114 The paramedics rushing Oscar, dressed only in his red boxers out of the elevator on a gurney, his mouth connected to a hand pumped oxygen mask. They quickly wheel him out towards the ambulance, which is parked next to the Police cars. Sophina runs after them. SOPHINA That's my fucking baby daddy right there! Is he dead? Did they fucking kill him? PARAMEDIC 1 turns to Sophina as they load Oscar in. PARAMEDIC 1 He's been shot, he's still alive but we gotta get him to Highland. He quickly boards the ambulance, they shut the door in Sophina's face. Sophina breaks down. WANDA (O.S.) (out of phone speaker) Sophina, Sophina! SOPHINA They shot him. They shot Oscar! They say he alive, but he's bleeding and his eyes was closed.115 INT. WANDA'S BEDROOM- NIGHT- CONTINUOUS 115 Wanda screams. She prays to herself and regains control a bit. WANDA Where are they taking him? SOPHINA (O.S.) (through phone) They takin him to Highland, you gotta come and get us, our car in Hayward. WANDA I'm on my way. Wanda hangs up the phone, and rushes out of the bedroom. Goldenrod (7/19/2012) 109.116 EXT. FRUITVALE BART STATION LOBBY- DOWNSTAIRS- CONTINUOUS 116 Sophina hangs up the phone and watches as the Ambulance speeds off down Fruitvale Blvd. Cato, still in the back of the police car, is kicking the window with both feet. Brandon continues to scream from his car. The police cars pull off.117 INT. HIGHLAND HOSPITAL EMERGENCY ROOM ENTRANCE- NIGHT- 117 MOMENTS LATER The doors burst open, and the Paramedics wheel Oscar into the ER Trauma room.118 INT. TRAUMA ROOM- MOMENTS LATER 118 We are close on Oscar as he lies on his back, unconscious breathing tubes are attached to his mouth. His chest rises up and down slowly, struggled. SURGEONS, and PARAMEDICS move around Oscar. The LEAD SURGEON, a tall, slim Black man in his 50's, points to an object that lies just under Oscar's right clavicle, just under his skin. LEAD SURGEON It's here, its right beneath the skin. CLOSE ON OSCAR'S CLAVICLE The surgeon takes a scalpel and cuts into Oscar's skin, just above the protruding mass. Blood runs out, he presses down and pops out the bullet, that looks like a large metal mushroom. The surgeon examines it. LEAD SURGEON (CONT'D) Jesus. It's like it hit something solid. Bone wouldn't do this. He places the bullet into an empty beaker atop a cart. He turns back to Oscar and begins to stitch up the incision. The Lead Surgeon looks at xrays of Oscar's chest on a light board. Paramedic 2 stands over his shoulder. (CONTINUED) Goldenrod (7/19/2012) 110.118 CONTINUED: 118 PARAMEDIC 1 He was lying face down on the ground. A Resident Surgeon points to a large dark cloud on the xrays. LEAD SURGEON Right here, right lung looks to be what's causing the pulse problem. CLOSE ON OSCAR'S CHEST The Surgeon sticks a tube into the right side of Oscar's chest, and blood flows out of the tube uncontrollably. Spilling onto the floor. LEAD SURGEON (CONT'D) Shit, Shit, we gotta get him upstairs! The medical staff sees this, and kicks their movements into high gear.119 INT. OPERATING ROOM- SIMULTANEOUS 119 Oscar lies on the operating table, sedated. The Surgeons talk medical speak. They move with astounding quickness and precision. Lead Surgeon takes a large scalpel, and makes a 14 inch incision under Oscar's right nipple. Blood rushes out, it's worse than they thought. It begins to hit the floor. A RESIDENT SURGEON reacts to this, and quickly grabs a large emesis basin. He puts it underneath the wound, catching the blood. Another Surgeon places a spreader into the wound, and opens it up. The Lead surgeon looks inside of the incision. He lets his head down in frustration at what he sees. LEAD SURGEON His lung's gone. We gotta prep for removal.120 INT. ICU NURSE'S STATION- NIGHT 120 A NURSE stands behind a reception desk.. Wanda, Sophina, Vanessa, and Kris storm into the room. Wanda goes up to the RECEPTIONIST, a black woman in her 20's. (CONTINUED) Goldenrod (7/19/2012) 111.120 CONTINUED: 120 WANDA My son is Oscar Julius Grant III. He's been shot, and they told me to come here- The Nurse sits at the computer. RECEPTIONIST G-R-A-N-T? Wanda nods. RECEPTIONIST (CONT'D) He's still in the operating room. Go to the ICU waiting room and someone will be out soon to let you know everything that's going on. Wanda nods and walks over towards the chairs. WANDA (under her breath) Lord please let him be okay. Please watch over him with your healing hands Lord. Keep him Safe Lord. Keep him safe so that I can hold him once again.121 INT. OPERATING ROOM- MOMENTS LATER 121 The operation is fully underway. A surgeon removes Oscar's lung from the incision. We see a NURSE change out a bag of Donor Blood on one of the many IV systems Oscar is hooked up to. She tosses into a bin, where it lands atop five other empty bags.122 OMITTED 122 (CONTINUED) Goldenrod (7/19/2012) 112.122 CONTINUED: 122123 INT. ICU WAITING ROOM- MOMENTS LATER 123 Wanda sits in the waiting room next to Sophina. The Boys storm into the room along with JACK BRYSON SR. a Hispanic looking man in his 40's. Kris greets the boys, and they head over to Wanda. He stands close to his sons Jack and Tim. The Nurse walks out from behind the back room with the Lead Surgeon, who now wears fresh scrubs. LEAD SURGEON Wanda? Wanda nods, and stands up. LEAD SURGEON (CONT'D) Oscar was shot, okay? We've stabilized him, but he's in critical condition. The bullet caused massive internal bleeding and we had to remove the right lung. WANDA His lung? How is he... How is he going to be able to breathe? LEAD SURGEON Well, his breathing isn't our concern. It's the bleeding. We're working very hard to get his blood to clot. But right now, his body isn't taking the transfusions. (CONTINUED) Goldenrod (7/19/2012) 113.123 CONTINUED: 123 WANDA But he's going to make it right? LEAD SURGEON Hard to say, but we're gonna do everything we can okay? WANDA Okay, okay. Please do whatever you can, okay? My son is a good boy. WANDA (CONT'D) Please do what you can. Please. He nods and pats Wanda on the shoulder for a beat, then turns and heads back into the ICU. Wanda walks back over to the group. She gives them the news from the doctor.124 INT. ICU RECOVERY ROOM- MORNING- FEW HOURS LATER 124 Several Nurses Operate around Oscar who still lies unconscious his breathing sounding more struggled than ever. Suddenly blood begins to run from his right nostril, then his right eyelid, and his left nostril after that. His EKG machine begins to BEEP loudly. The Nurses go into panic mode.125 INT. ICU WAITING ROOM- CONTINUOUS 125 Early morning daylight streams into the waiting area. Where Wanda, Sophina, Chantay, Ceephus, Daryl, and Oscar's friends hold hands. Wanda, leads them in prayer. (CONTINUED) Goldenrod (7/19/2012) 114.125 CONTINUED: 125 WANDA --and we ask that you may put your healing hands around your child, we ask that you may operate through these doctors, and breathe strength into their hands as they work on him. Heal him lord so that we may one day see his smile again.126 INT. ICU RECOVERY ROOM- MORNING- CONTINUOUS 126 Lines of blood trickle from Oscar's eyes, nose, and mouth. The Lead is now in the room and has taken over commands. NURSE Loosing a pulse. Oscar's body begins to violently shake. A young male RESIDENT DOCTOR, grabs the paddles, the Lead Surgeon touches Oscar's chest, we see under his skin is filled with fluid. He taps the Resident Doctor on the shoulder and shakes his head. He looks up at the clock. LEAD SURGEON Calling it. Time of Death 9:01 am. He pulls off his mask, frustrated, and walks out. Oscar's convulsions stop. A morbid, continuous beep echoes from the EKG.127 INT. ICU WAITING ROOM- DAY- MOMENTS LATER 127 The Lead Surgeon walks out, and Wanda is still in the circle praying. The Nurse goes over to her, pulls her aside. Wanda approaches the Lead Surgeon with a hopeful look in her eyes. She reads his eyes for a beat. The Lead Surgeon looks at her for a beat. And shakes his head. Wanda puts her face in her hands, her legs wobble. Sophina who was watching and listening closely sees this. She breaks down, buries her face in Oscar's hoodie. Daryl and Ceephus run over to Wanda, just as he arrives, her legs buckle a bit, he catches her. Oscar's friends begin to break down. (CONTINUED) Goldenrod (7/19/2012) 115-115A.127 CONTINUED: 127 WANDA Can I see him? The Lead Surgeon nods. LEAD SURGEON But its a homicide, so they can't let you in the room with him, ok? Wanda nods. LEAD SURGEON (CONT'D) How many of you will be coming down. WANDA Just me. CEEPHUS Wanda are you sure? Wanda nods. Nurse looks at the Surgeon. NURSE I can take her down. He heads towards the exit doors with Wanda. 128 INT. MORGUE HALLWAY- DAY- MOMENTS LATER 128 The Nurse walks Wanda through a long corridor. 128A INT. MORGUE- DAY- MOMENTS LATER 128A Wanda steps up to the glass and looks into it. WANDA'S POV The MORTICIAN pulls back a white sheet, and we see Oscar's mangled Body lying on the slab. WANDA I told him to catch the train. I told him to catch BART! I didn't know they were gonna hurt him. I didn't know. I should have just let him drive. I should have let him drive. I wanted him to be safe. Please please let me hug him. (MORE) (CONTINUED) Goldenrod (7/19/2012) 115-115AA.128A CONTINUED: 128A WANDA (CONT'D) Please let me go hug him. He didn't like to be alone!! I let my baby die alone! (MORE) (CONTINUED) Goldenrod (7/19/2012) 116.128A CONTINUED: 128A WANDA (CONT'D) 129 INT. ICU WAITING ROOM- DAY 129 Sophina sits in a chair still smelling Oscar's hoodie, her head spinning. REPORTERS are starting to show up at the hospital. We see Katie there, still wearing the same clothes, talking to Brandon's father, pointing at her cellphone. Sophina looks up at a flat screen television in the hospital, sees a report that showing Oscar's picture. She takes out her cellphone. Dials a number, puts it to her ear. SOPHINA (into phone) Rose, don't turn on the TV okay? I'm coming to get T right now. Sophina hangs up the phone and runs over to Brandon's father. SOPHINA (CONT'D) Can you to take me to my car? He nods. 130 OMITTED 130131 INT. ROSE'S HOUSE- LIVING ROOM- DEN- MORNING 131 Sophina lets herself into the house. We see Rose in the bathroom sitting on the stool, grief-stricken. Sophina turns into the den, where Tatiana and her cousins are still asleep. She steps over them to get to Tatiana. SOPHINA T, come on. Tatiana groggily wakes up. Sophina picks her up.132 INT. OSCAR'S HOUSE- DAY 132 Sophina walks in and looks around the house. Tatiana walks inside. And goes straight for Oscar and Sophina's bedroom. (CONTINUED) Goldenrod (7/19/2012) 117.132 CONTINUED: 132 TATIANA Daddy? Daddy? Time to go to "Chuck E Cheese"! Tatiana comes out of the bedroom looking confused. TATIANA (CONT'D) Where's Daddy? SOPHINA Come on T, we gotta take a shower.133 INT. OSCAR'S BATHROOM- DAY 133 The same shower from earlier. Sophina turns the water on, helps Tatiana with her clothes, and puts her in. She takes off her own clothes and steps in as well. SOPHINA Is the water okay T? TATIANA Yeah. Where's daddy? Is he on vacation again? SOPHINA No. Sophina tries to find her words. Lets the water run on her face for a bit, then rubs down the friz in Tatiana's hair. SOPHINA (CONT'D) Remember when I told you about God... and the angels? TATIANA Yeah. SOPHINA And about how when we die we go to heaven? TATIANA Yeah. SOPHINA Well, God needed another angel, so he took Daddy to come and live in heaven with him. Tatiana looks at Sophina for a long beat. (CONTINUED) 118.133 CONTINUED: 133 TATIANA But I don't want Daddy to live in heaven. I want him to be with me. SOPHINA He can't. Once you go to heaven, you can't come back. Tatiana thinks about this. TATIANA Well does he have his cellphone? Maybe if I call him and talk to him, he will come back. SOPHINA No. Daddy doesn't have his cellphone baby. You can't call him where he is. FADE OUT. \ No newline at end of file diff --git a/unformated_scripts/Script_Fugitive, The.txt b/unformated_scripts/Script_Fugitive, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..d8eacc29d5fa884ee2db3e5d8a4ae83b4a2698c1 --- /dev/null +++ b/unformated_scripts/Script_Fugitive, The.txt @@ -0,0 +1 @@ +THE FUGITIVE by Jeb Stuart and David Twohy FADE IN: EXT. CHICAGO - AERIAL - NIGHT CREDITS BEGIN OVER: Snow swirls around the tall buildings of downtown Chicago. EXT. CHICAGO HOTEL - NIGHT Cars, taxis, limos line the street. A cab pulls up and MAN in tuxedo moves into: INT. CHICAGO HOTEL - BALLROOM - NIGHT THROUGH arriving guests we PICK UP the Man climbing stairs to the ballroom. ANGLE - COAT CHECK The Man hands his coat to coat check woman and thanks her. When he turns we get our first view of DR. RICHARD KIMBLE, a tall, athletic man, with a trim beard. He moves from the outer lobby into a fabulously decorated ballroom where a fashion show is taking place as a medical fundraiser. Doctors and their spouses, hospital brass and sponsors mingle. Women sit near the runway watching the models. Men talk by the bar. The room is packed. A banner over the rostrum says: "CHILDREN'S RESEARCH AND AID FOUNDATION" Kimble is handed a glass of champagne, which he promptly sets on another waiter's passing tray. ROBERTS (V.O.) Richard... DR. ROBERTS, a large surgeon, pulls Kimble over to a group of surgeons gathered around a bar. Smoking cigars. ROBERTS Cancun. Nat just talked everybody into it... A hospital equipment rep, NAT, is buying drinks. KIMBLE So, what's the deal? If the hospital buys ten new - NAT No, no, no, no strings attached, Dr. Kimble. Industrial Hospital Supply has no ulterior motives. KIMBLE On the house, huh? (to bartender) Tonic water with lime. Everyone agrees. KIMBLE Never get me to sell my soul for one of those trips... His tone silences the group. Kimble takes his drink. KIMBLE (to Nat) ... But if you get any more Bulls tickets, Nat, give me a call. The group laughs, Kimble extracts himself and CREDITS CONTINUE OVER - CUT TO: KIMBLE Moving through the crowd. CUT TO: KIMBLE Nearly gets hit in the follow-through of an imaginary golf swing. KIMBLE You're slicing, Dave. Don't turn your hip. He keeps moving. GOLFING MAN Thanks, Richard... CUT TO: ANGLE - TOUGH-LOOKING LAB RAT KATHY WAHLUND, totally out of her element amid the formal elegance around her. She wears a leather jacket over T-shirt and stares at the action on the fashion runway. DR. WAHLUND (dripping sarcasm) I'm so glad you talked me into coming, Richard... I can pick my cruise wardrobe. RICHARD It's for a good cause, Kath... Besides you need to get out of the lab more. Your electron microscope is starting to give you a tan. She smiles. He moves on. ANGLE - PARTY Kimble continues down the bar when he spots a friend... KIMBLE Hey, Jim. DR. JAMES NICHOLS turns, smiles. Mid-40s, head of the University Hospital. He is a fit contemporary. NICHOLS Richard, I just saw someone who wanted to meet you... Just then Kimble spots an attractive WOMAN, late thirties, wearing a drop-dead, simple black gown. She's surrounded by a group of men hanging on her every word. She and Kimble catch a look and hold it. NICHOLS (V.O.) Richard Kimble... Alex Lentz. Alex is working on the RDU90 trials for Devlin-Macgregor. Kimble turns to meet DR. ALEXANDER LENTZ, late 30s, tan, smiling. Lentz extends his hand... LENTZ Dr. Kimble... Sorry, we've been trading phone calls last few days ... something about a biopsy report I returned to you? KIMBLE (suddenly attentive) Yeah... Three. Livers appeared hepatetic to me. LENTZ I'll be in my office in the morning and I'll pull up the samples. Is that a good time for you? KIMBLE Sure. LENTZ (holds Kimble's look, then to Nichols) See you, Jim. Lentz moves on. Kimble looks after him a beat, then focuses on relocating the Woman he just saw. She's gone. He and Nichols move together through the party. NICHOLS (digs in his pocket) Before I forget, I went by the garage this afternoon and picket up the Ferrari. Thanks for the loaner again. He hands Kimble a valet ticket. KIMBLE They fix it this time? NICHOLS We'll see. They reach the Woman Kimble saw, his wife, HELEN KIMBLE. Kimble kisses her. NICHOLS You look fabulous, Helen. He kisses Helen. HELEN (WOMAN) Hello, Jim. NICHOLS (to Kimble) We've got a court tomorrow at three. Nichols leaves. Kimble looks at his wife. KIMBLE Well, I've seen everyone, can we leave? HELEN That would be a little abrupt, don't you think? CUT TO: ANGLE - KIMBLE'S TABLE - NIGHT A table for ten. Kimble and Helen introduce themselves to others at table ant sit across from each other. Kimble sits between two doctors' wives. One, NOW EAU WIFE, mid-thirties, bedecked in jewels and loud dress, the other OLDER WIFE. Helen sits between their husbands who are trying to impress her with the details of their boring studies as CREDITS CONTINUE... INTERCUTTING WITH the fashion, catches of dialog and course changes, Kimble and Helen demonstrate an oft-used exchange of glances: Kimble, while gracious to his dinner partners, catches Helen's eye and makes smiling, subtle movements to his watch or a look to the door to indicate he's clearly ready to leave. On the receiving end, Helen, the gatekeeper of their social propriety, indicates with equal subtlety: "not yet." As we MOVE AROUND the table we hear: "Where's your husband on staff?" "My husband's an orthopod at Northwestern." "I'm working on a new technique..." "That's fascinating..." "That's quite a marvelous dress you're wearing." "Do you like it? My husband says it's a 'four-fracture number."' "Honey." (A look from her husband.) Kimble shares a look with Helen. He subtly motions to his watch: time go to, and mouths the word: "now." She shakes her head. NOW EAU WIFE (to table) I told my husband that he was going to kill us if he didn't stop operating. What with this AIDS thing, he's putting us all at risk. Helen and Kimble absorb this comment without reaction, share a look. Helen mouths the word: "Now." HELEN (to her dinner partners) I'm sorry, I have to get my husband home. They say their good-byes and pass Nichols' table. Nichols shakes his friend's hand in passing. From across the room we see Lentz watching. INT. KIMBLE'S MERCEDES - NIGHT Kimble and Helen driving home. She runs her fingers through his hair as he drives. HELEN You looked handsome tonight... KIMBLE Thank you... He smiles to himself, seems to enjoy the compliment too much for Helen. Her smile becomes playful, mischievous. HELEN Uh, huh... most men in a tuxedo look like waiters... KIMBLE But me? HELEN You looked more like... a band director. He stops at red light, leans over and kisses her. Light changes and neither notice. Slowly their kiss breaks. HELEN Are we home yet?... CUT TO: EXT. KIMBLE'S HOUSE - NIGHT Kimble pulls up in front of his house. Suddenly both his PAGER and CAR PHONE RING at the same time. KIMBLE (to phone) Dr. Kimble (suddenly attentive) When? Okay, tell them I'll be there in ten minutes. He hangs up. KIMBLE Tim's got a problem. Helen kisses him again, opens the door. HELEN Call me on your way home. CREDITS END as we - CUT TO: INT. UNIVERSITY HOSPITAL - HALLWAY / SCRUB ROOM - NIGHT Kimble, wearing scrubs but without head gear, moves down stairs to the OR hall. He sticks his head into the operating room. KIMBLE Cavalry's here. Two harried surgeons look up, glad to see him. SCRUB ROOM Kimble begins scrubbing as the RESIDENT comes out to bring him up to speed. RESIDENT Patient is a male, forty-three. We pulled his gall bladder and the bleeding started. KIMBLE What's his pro time? RESIDENT (concerned) He's at 36 seconds. We got a major bleeder in here. KIMBLE You talk to the family? RESIDENT None. He's off the street. CUT TO: INT. UNIVERSITY OF CHICAGO - OPERATING ROOM - NIGHT Operation in progress. Top medical facility filled with trained professionals and state of the art equipment. Kimble is assisted across the table by the chief Resident. Both working so intently they never look at each other as they talk... KIMBLE (to Anesthesiologist) Okay... I'm clamping. Can he tolerate it? ANESTHESIOLOGIST He's a very sick guy. KIMBLE Do we have a choice? ANESTHESIOLOGIST Go for it. KIMBLE Marie, give me a clamp... MARIE, the scrub nurse, passes him the instrument and Kimble and the other SURGEON continue to work with the Resident assisting. KIMBLE (never looking up) Your husband know you're here tonight, Marie?... What about this liver? RESIDENT History's sketchy. Could be an alcoholic. KIMBLE Who referred him? RESIDENT He's on a drug protocol. RDU90. Kimble looks up and shares a look with the chief Resident over their masks, then back to work. KIMBLE The wave of the future... Marie, you told Frank yet? Frank is so jealous of this late night thing we've got going here... This should hold him. Bleeding's stopped. Let's get a biopsy... (to circulating nurse) Send it downstairs and make sure you get Kath her slice. SURGEON You staying for the closing, Rich? Kimble moves away and sheds his gloves and gown. KIMBLE No. I got a date. INT. SCRUB ROOM - NIGHT Kimble throws away his hat and mask. The door opens behind him; it is the other Surgeon. SURGEON Hey, Richard... Kimble turns. SURGEON Thanks. CUT TO: INT. KIMBLE'S CAR - NIGHT Kimble driving through empty Chicago streets toward home. He is on phone, waits for answer. KIMBLE Hi. I'm five minutes away... INTERCUT WITH: INT. KIMBLE'S TOWNHOUSE - NIGHT Helen on the phone, downstairs. She is still in her gown with an afghan around her shoulders. She's been reading. HELEN I'm glad it went well. I'll see you in a minute. Helen hangs up phone, turns out the light and starts up the stairs. CUT TO: EXT. CHICAGO STREET - NIGHT Kimble driving. INT. KIMBLE-S TOWNHOUSE - DRESSING ROOM - NIGHT Helen moves down the hall toward the dressing room/closet. Opens the door to large closet dressing room and turns on the light. Nothing. She starts to leave and decides to close one of the interior closet doors. She starts to slide the door closed when - wham! A hand reaches out and clutches her by the neck. Helen claws and scratches to get free and in her struggle her string of pearls bursts... ... and a single pearl bounces out of the bedroom... rolls across the landing to the stairs, stopping three steps from the top. CUT TO: EXT. KIMBLE'S TOWNHOUSE - NIGHT Snow swirls around the street as Kimble's car pulls into the driveway. On the third floor, we see a bedroom light still on. INT. KIMBLE'S TOWNHOUSE - NIGHT A GRANDFATHER CLOCK TICKS softly. Kimble tosses his keys on the entry table, picks up a stack of mail on the table and calls up the stairs. KIMBLE I'm home. Did you hear who won the Bulls game? No answer. He steps into the: KITCHEN The wall phone shows a line in use. Kimble notices it. The WASHER BUZZES, he switches the clothes from washer to dryer, and STARTS the MACHINE. Takes a bottle of wine and two glassesand leaves the kitchen. INT. BEDROOM - CLOSE ON .38 SMITH AND WESSON - NIGHT Lies on the floor, beside Helen's legs and the receiver of phone, off the hook. A man's rubber-gloved hand picks up the gun. INTERCUT WITH: INT. DOWNSTAIRS - STAIRS - NIGHT Kimble starts up the stairs to the bedroom... INT. BEDROOM - NIGHT Helen's hand reaches out presses the cradle down, dials ON KIMBLE Climbing the stairs... suddenly stops. A small white ball on the stairs. He bends down and picks it up... a pearl. KIMBLE Helen? Silence. He can see directly into the bedroom. It's quiet. Too quiet. He notices a lampshade on the floor. UPSTAIRS HALL - NIGHT Kimble moves slowly to the opened doorway. And just before he enters he sees a large form in the crack behind the door. Adrenal surge. Kimble slams the door back on the figure knocking the gun free. Before Kimble can move to it a forearm flattens him. The attacker immediately goes for the gun. Kimble grabs a leg and twists him down, the man's fingers hit the gun, sending it skittering across the hardwood floor of the landing and over the edge - three flights to the entry hall below. SIRENS can be heard. Distant but APPROACHING. The man kicks free and tries to flee. This time Kimble catches an arm and twists it at an unnatural angle. To his shock, the limb detaches between the shoulder and elbow. Kimble looks at the arm in his hands - it's hollow. Electrodes are visible inside - then to the man's unreadable face... The SIRENS are LOUDER... Before Kimble can recover, the One-Armed Man knocks Kimble down and grabs back his arm. He runs down the stairs. Kimble pulls himself up and starts to follow but is stopped by a VOICE behind him in the bedroom... HELEN (O.S.) He's here... still in the house... INT. BEDROOM - NIGHT Lying by the bed, Helen Kimble, clutches the phone with one hand, her head with the other. 911 (V.O.) Did I hear you right? Your attacker is still in the house? Ma'am? HELEN He's trying to kill me... Kimble appears. Helen drops the phone when she sees him. 911 (V.O.) Will you repeat that please? HELEN (to Kimble) Richard... He's trying to kill me... my head. EXT. KIMBLE'S TOWNHOUSE - NIGHT Two Chicago police cars wheel to the curb, COPS move quickly to the house. INT. BEDROOM - NIGHT Kimble moves to her. Sees the necklace of bruises where she was held down and choked. And then a bullet wound in her leg. She's already going into shock. Her speech turns thick. KIMBLE Hang on, babe... going to be all right. Her fingernails dig into Kimble's arm, trying to hold on. HELEN My head. Richard my hold me. Her eyes slip away from his. He peels away the hand on her head - and sees raw pummeled brain staring back and realizes she won't be all right. CAMERA SWINGS DOWN TO the dropped phone. 911 (V.O.) ... Hello. You said his name is Richard? Ma'am, can you talk to me? Ma'am? CUT TO: INT. KIMBLE'S HOUSE - NIGHT The Cops enter the house. See the .38 lying on the floor. Covering each other, they move quickly up the stairs - guns drawn. ANGLE Third floor. The First Cop, gun drawn, turns the corner of Kimble's bedroom and finds: Kimble holding his dead wife. Blood on his hands. COP #1 Move away from her. CUT TO: INT. KIMBLE'S TOWNHOUSE - NIGHT Kimble, numbed by the event, washes the blood off his hands in the kitchen sink. A cop takes his blood-stained tux jacket, and another hands him a parka. EXT. KIMBLE'S TOWNHOUSE - NIGHT The street is filled with Chicago police cars, curious neighbors, television news vans, etc. Kimble is helped into a police car as the coroner's van arrives. He pauses a moment to watch as we hear. DETECTIVE KELLY (V.O.) Can you give us a little more to go on besides the fact that he had an artificial arm? What kind of gun was it, Doc? INT. 11TH STREET DISTRICT HOUSE - NIGHT CAMERA FINDS Kimble in an interview room. He is in "why" shock. "Why her." "Why me?" Says nothing. Two Detectives: KELLY and ROSETTI. Kelly, the questioner, is overweight, aggressive. He shifts his gun on his hip so he can sit down. KIMBLE It was .38... I think. I only saw it for a second. I knocked it out of his hand. As Kimble is questioned we INTERCUT WITH flashes of the murder scene being processed: FLASH - INT. KIMBLE'S HOUSE - NIGHT Forensics technicians photograph the .38 at the base of the stairs. DETECTIVE ROSETTI (V.O.) Do you own a gun, Dr. Kimble? KIMBLE Yes. DETECTIVE ROSETTI (V.O.) What kind of gun? KIMBLE A .38 Smith. FLASH - FORENSICS TECHNICIAN DUSTS CRYSTAL LAMP DETECTIVE KELLY Did you have your key with you tonight, Dr. Kimble? FLASH - COPS Checking doors of house for signs of forcible entry. BACK TO SCENE PHONE RINGS. Rosetti answers it. Kimble watches him write something down, he slides it to Kelly. FLASH - MEASURE "NECKLACE" OF BRUISES ON HELEN'S NECK DETECTIVE KELLY (V.O.) Your wife was loaded wasn't she? I mean, she was worth quite a bit of money. BACK TO SCENE Kimble looks up at the two cops. For the first time he seems to sense something aggressive in their questioning. They no longer seem on the same team. KIMBLE What's going on here? This guy was trying to rob us. The two cops stare at Kimble. KIMBLE You guys have got to be out of your minds. I didn't kill my wife! He gets up to go. A cop blocks his path. He turns and looks at Kelly. DETECTIVE KELLY Let's start over, Dr. Kimble. What'd you have for breakfast? CUT TO: INT. 11TH ST. POLICE STATION - NIGHT Kimble in his tuxedo shirt and black tie holds a booking number plate in front of him as a mug shot is taken... front, then side. MAN (V.O.) We're all adults here so I'll lay it out... EXT. NEWSSTAND - DAY Chicago Sun-Times has a photograph of Kimble spread across the front page. MAN (V.O.) ... If you two come up with a deal, I'll listen, but let me make one thing perfectly clear. INT. ELECTRONICS SUPERSTORE - DAY Salesmen continue to hawk sets. Kimble's photograph comes up on a hundred TV monitors across the store. NEWS REPORTER (V.O.) Police are revealing no details in the case against Chicago surgeon... INT. KIMBLE'S CELL - DAY Kimble lays on his bunk. Thinking... MAN (V.O.) ... It's an election year... INT. JUDGE'S CHAMBERS - DAY CAMERA MOVES THROUGH smoke-fillet room to find tough FEMALE PROSECUTOR, a man in late forties, WALTER GUTHERIE, and STOPS ON the source of the voice we've been hearing and the cigar: JUDGE BENNETT, late fifties. Fair but, no nonsense, political survivor. JUDGE BENNETT ... and this case is a heater. It will not end up a bench trial... INT. COOK COUNTY JAIL - CORRIDOR - DAY Richard Kimble in County lockup fatigues and a navy watch cap moves down long corridor, escorted by GUARD. GUTHERIE (V.O.) We've had private investigators interview over a hundred amputees, Richard... INT. PRISON INTERVIEW ROOM - DAY Walter Gutherie, his attorney, stands by a window looking out at the yard. Another attorney, RANDOLPH, watches Gutherie. GUTHERIE ... We can't find this guy. KIMBLE I know what I saw, Walter. GUTHERIE I put you up on the stand to say what you saw without anything that remotely smells like proof and the State's attorney is going to take this one-armed man story and run it up our ass. (he holds Kimble's look) Look, Richard, you're paying us a lot of money to defend you... A plea to second degree - KIMBLE I didn't kill my wife. INT. COOK COUNTY JAIL - DAY Kimble being escorted back to the courtroom. A guard carries his suit in a bag. He is taunted by other prisoners. GUTHERIE (V.O.) You're a successful upper middle class white man charged in a violent crime... INT. COOK COUNTY LOCKUP / CHANGE ROOM - DAY On the other side of the door is the courtroom. A sheriff's deputy hands Kimble (now wearing his suit), a small plastic bag. In it we see his wedding band. GUTHERIE (V.O.) It's a circumstantial case, but it's also a jury trial. We play 'em, they play 'em... INT. CHICAGO COURTROOM - DAY Richard Kimble sits at defense table... watches prosecutors chat with Helen's relatives. Media anchors glare at him. GUTHERIE (V.O.) ... But if we lose, we lose big. Just remember, they're lined up a block long to have your hide. HARD CUT TO: PHOTOGRAPH OF HELEN KIMBLE'S BODY A crime scene photograph. DETECTIVE KELLY On the stand. DETECTIVE KELLY No forcible entry was found. From the beginning of the investigation, it did not appear to be a break-in. Nothing was missing. FORENSICS TECHNICIAN On the stand. FORENSICS TECHNICIAN The defendant's prints were found on the neck, gun, bullets, and lamp... no other sets were fount other than the deceased. FACES OF THE JURY Impassive. Attentive. His "peers." They listen to the recording of the 911 tape. 911 (V.O.) Did I hear you right? Your attacker is still in the house? Ma'am? HELEN (V.O.) He's trving to kill me... 911 (V.O.) Will you repeat that please? HELEN (V.O.) Richard... He's trying to kill me... KIBLE'S POV - THE JURY A few members lean over to make notes. It's powerful taken out of context. NICHOLS ON THE STAND PROSECUTOR Dr. Nichols. You are aware that Richard Kimble was the only beneficiary of Helen Kimble's estate. 12 million dollars roughly. NICHOLS I was aware of that. The money meant nothing to him. PROSECUTOR Yet in your presence, Richard Kimble once said that 'if he had Helen's money he could find plenty of uses.' Did he not? NICHOLS We were talking about - PROSECUTOR Yes or no? Nichols' look tells us everything... Yes. CUT TO: CORONER On the stand. CORONER The wound to the head caused a massive hemorrhage to the brain. It took from five to seven minutes for her to die... A woman in the jury reacts. Kimble notices. KIMBLE On the stand. He finishes his moving description of the events. We see some of the jury has been moved. KIMBLE ... And I was holding her when the officers came in. Gutherie returns to his seat. The Prosecutor moves to the jury. He begins slowly but his questions pick up strength. PROSECUTOR How tall was this man, Dr. Kimble? KIMBLE I can't be sure. We were, mostly on the floor, fighting... I couldn't - PROSECUTOR Did that fight cause the scratches on your face and arms? KIMBLE No. As I explained - PROSECUTOR And how did this man enter your house? KIMBLE I don't know - PROSECUTOR And you probably don't know why your wife told the emergency operator You were her attacker? KIMBLE She didn't - PROSECUTOR Your name is Richard, isn't it? Your gun is a .38, isn't it? Your prints were on the gun, the bullets, the lamp, her neck, weren't they? KIMBLE Look... PROSECUTOR Weren't they? CUT TO: INT. COURTROOM - DAY Richard Kimble sits behind the desk, but already he's a shadow of the man we knew before, stares ahead passively as Judge Bennett delivers the sentencing to hushed courtroom. JUDGE BENNETT After careful and studied review of all evidence presented during each phase of this proceeding, and because aggravated circumstances, detailed at length, were present the night of January 20th. Kimble is silent, stunned, but all around him the sentence shockwaves through the courtroom. Reporters push out rear doors. Prosecutors share a look - with a hangman's satisfaction. Nichols, watching behind Kimble's table, lowers his head. Disbelief. ANGLE ON RICHARD KIMBLE He remains silent. Kimble is pulled gently to his feet by bailiff. Gutherie whispers an "I'm sorry." Kimble doesn't hear it. JUDGE BENNETT (V.O.) Therefore, it is the decision of this court... Looks over his shoulder to the emptying courtroom. Faces stare back. CUT TO: INT. KIT ROOM - DAY Judge Bennett's V.O. CONTINUES over: A locker opening. Inside, a profusion of chrome and nickel plating. Jailhouse jewelry. Handcuffs dragged out. Action checked. JUDGE BENNETT (V.O.) ... that you be remanded to Menard State penitentiary... CLOSE ON CUFFS Slapped down over wrists, ratcheting down tight. Ankle cuffs dragged out. Pant legs raised, canvas shoes exposed. Cuffs clamped down on ankles. CHAINS RATTLED out. Snaked across the floor. Looped around waists and locked to handcuffs to form belly chains. JUDGE BENNETT (V.O.) ... where you will serve a sentence of life imprisonment without possibility of parole. EXT . SALLY PORT (COOK COW TY JAIL) - NIGHT The chain gang exits through the sally port. Kimble and three other prisoners. Jailers escort them to... An Illinois Department of Corrections guard moves alongside, checking the undercarriage with a pole-mounted mirror. The GAVEL CRACKS as we - CUT TO: INT. BUS - CLOSE ON KEY - DAY Locking wire mesh cage inside bus. An old DIESEL COUGHS to life. EXT. COOK COUNTY JAIL - NIGHT Main gates open. The BUS GRINDS onto the streets. INT. BUS - DAY The four prisoners sit scattered, still cuffed but no longer chained together. Near the front, PRISONER #1 is eyeing... The two prison guards seated beyond the caged door. YOUNG GUARD lighting a smoke. OLD GUARD drowsing. Shotguns bouncing on their knees. Prisoner #l shifts his gaze to... The driver. Pistol on his hip. DISSOLVE TO: EXT. DESOLATE HIGHWAY - NIGHT The BUS RUMBLES north, heading towards the horizon. INT. BUS - NIGHT PRISONER #1 rises. Through caging: PRISONER #1 Hey. Illinois penal regulations require a meal for transport rides of four hours or more. Young Guard shakes his head. "Fucking jailhouse lawyers." Checks his watch: 4:00. YOUNG GUARD Jack! Feedin' time. Old Guard yawns to his feet, unhooks a key-ring from his belt. Young Guard stows his shotgun in the weapons locker. PRISONER #2 looks at Kimble. Kimble stirs awake... watches the cage door open, Young Guard moving back. And across the aisle... PRISONER #3, a big man named COPELAND, wags his head between his knees. Something slides out of his shirt and CLANKS to the dimpled steel floor. It's a razor sharp plastic shank. Heart quickening, Kimble looks forward. Young Guard is handing a petrified sandwich to Prisoner #1. Kimble snaps a look back to Copeland, who palms the shank. COPELAND Breathe, and you're first. Old Guard watches from the open cage door, shotgun carelessly ready. Young Guard reaches Kimble and extends a sandwich. Kimble doesn't respond. YOUNG GUARD Suit yourself. He offers the sandwich to Copeland. In the exchange, sandwich drops. Copeland leans down for it. Up front, Old Guard yawns again just as... KIMBLE Look out! Too late... Jackknifing up, Copeland drives the shank into Young Guard's gut. Prisoner #2 dives for Young Guard's holster. As the gun comes out, Young Guard gets a hand on it. A SHOT FIRES... Jolting Old Guard. He chambers his shotgun. Kimble hits the floor. The Old Guard jams a key into the cage door and surges inside, but... Prisoner #1 broadsides Old Guard. SHOTGUN DISCHARGES... Opening a big Gainsburger hole in the driver. He sinks under the steering wheel. A knee hits the accelerator. The CAGE DOOR SLAMS locked behind the Old Guard. EXT. DESOLATE HIGHWAY - NIGHT As the bus careens off the road, accelerating. INT. BUS - NIGHT Young Guard wrestles gun from Prisoner #2 and FIRES, killing prisoner #2. Copeland grapples with wounded Young Guard. Old Guard shotgun-butts Prisoner #1, flips the gun, PUMPS ONE ROUND into the man's chest. Dead. He turns just as... EXT. OPEN LAND - NIGHT As the driverless BUS BUCKS ant BANGS over open ground. INT. BUS - NIGHT Old Guard reloads. Copeland drops down behind a seat. Old Guard jams his SHOTGUN under the seat. But just as the Old Guard pulls the trigger the bus jerks. The SHOT goes off target as... EXT. OPEN LAND - NIGHT The BUS ROARS into a gravel embankment. ROARS up the slope and CRASHES down on its side - sliding to a stop at the bottom of a small ravine. INT. BUS - NIGHT ENGINE DIES. Dusty silence. We don't know up from down. On his knees, Old Guard makes his way to the driver. Finds him dead. Now a SOUND. Old Guard whips his shotgun around at... Kimble. Rising between the seats. A hairy beat. Old Guard might kill him just to finish things off. But a GROAN turns Old Guard's head. Young Guard, trying to hold his guts in. Old Guart turns to find Kimble. OLD GUARD (to Kimble) You. You're a doctor. C'mere. He slides to the Young Guard as the Old Guard scrounges up a medical kit, shoves Kimble down on Young Guard. OLD GUARD Do something. Kimble looks at his cuffs. "In these?" Old Guard digs out his key ring and unlocks Kimble's hands - only his hands. Kimble opens medical kit. It's been ransacked - just Band-Aids now. Kimble looks into the wound. KIMBLE He isn't going to make it unless he gets to a hospital. Fast. OLD GUARD ZL. In this delicate moment a SHIVER runs through the bus. Is it just settling? With other things to worry about, Kimble tries to stop Young Guard's bleeding. ANGLE UNDER SEAT We see Copeland, alive. The crash has ripped the bars from a back window and shattered the glass. He works to get out the opening. BACK TO KIMBLE A second SHIVER ripples through the bus, stronger. Kimble retracts his hands to touch a metal panel - and feels a growing vibration. KIMBLE Just where the hell are we? The Old Guard feels it too. He gets down on his knees and looks out one of the shattered, barred windows. OLD GUARD Oh, shit... EXT. RAILROAD TRACKS - NIGHT The bus lies across railroad tracks. A not-too-distant bend grows bright by the light of an approaching train. INT. BUS - NIGHT Kimble sees: Old Guard fights the cage door. Kimble lunges to his side. KIMBLE It's locked. Where're your keys? EXT. RAILROAD TRACKS - NIGHT Downtrack, one Cyclops light appears. INT. BUS - NIGHT Kimble spots keys. Pitches them to Old Guard. Drags Young Guard to the front for a quick exit. But Old Guard fumbles the key-ring, his hands shaking as much as the bus. The train light spider-webs across cracked windows. Kimble snatches the keys away from the Guard's trembling hands. KIMBLE Which one? This? This one?! Old Guard gulps a nod. Kimble jams a key in the lock. Throws the door open. Grabs Young Guard. KIMBLE Help me get him - But Old Guard climbs right over Kimble's back and climbs out the shattered windshield. ANGLE ON REAR OF BUS Copeland escapes through the hole in the back... EXT. BUS - NIGHT ... and hits the ground running the other way. The locomotive's headlight reveals the toppled bus. INT. BUS - NIGHT Train light grows. A nanosecond of uncertainty: Should Kimble leave the wounded man? Kimble and the Young Guard hold a look. EXT. FREIGHT TRAIN - NIGHT As the WHEELS BRAKE and LOCK. EXT. RAILROAD TRACKS - NIGHT Kimble struggles out of the bus - pulling the Young Guard behind him. He slings the man clear. SCREECHING death, the TRAIN SKIDS closer. For one heartbeat, Kimble remains perched atop the bus. The train light X-rays him. Kimble leaps. Lands. Rolls. Gains his feet. Tries to sprint away but can't: His feet are still chained. He gets off a dozen mincing steps before... IMPACT: A hundred tons of STEEL SLAMS into the bus, splitting it open. Shrapnel rips through Kimble's thigh, but he stays on his feet, still running feverish half-steps. An EXPLOSION envelops the train. Flames stream down its flanks. The train burns past the wounded Guard. Kimble looks back, expecting to see the catastrophe behind him. But he gets the shock of his life - of any man's life: Still on its wheels, the locomotive is derailing - and coming after him. It's the stuff of nightmares: One little man being chased by a fire-breathing locomotive. The train burrows to a stop. Kimble is suddenly five feet taller, standing on an upheaval of earth, staring eyeball-to-eyeball with the train that nearly devoured him. He pants. Coughs on smoke. Then notices something in his hand. It's the key-ring. EXT. WOODS - NIGHT Kimble sits and searches the key-ring for manacle key. Suddenly a hand reaches down and snatches the key-ring away. COPELAND (O.S.) Give me that. Kimble watches as Copeland quickly unlocks both sets of his own chains. COPELAND You listen to me. I don't give a damn which way you go, just don't follow me. Kimble takes the key as Copeland wraps his chains around his arm and runs. Kimble unlocks his leg irons and runs in the other direction - crossing a hilltop in the moonlight. DISSOLVE TO: EXT. CRASH SITE (SOUTHERN ILLINOIS) - NIGHT News and sheriff's department choppers circle billowing smoke. TILT DOWN to reveal the derailed train. Fire engines hose down the blackened locomotive. Rescue workers work feverishly with jaws-of-life to get into the mangled wreckage. Illuminated by spotlights, transportation investigators in blue coveralls pick through the twisted remains of the bus. State troopers restrain spectators. Two American-made rental cars pull up. Four deputy U.S. marshals emerge: BIGGS. Swaggering Midwestern carnivore. Built like a brick shithouse. RENFRO. Bantam-rooster of a man, no more than 140 pounds fully-equipped. POOLE. Black woman. Nobody minds having her around during nut-cuttin' time. NEWMAN, a scrub-faced G-5. From the second car steps GERARD. He takes in the media spectacle. GERARD Good lord... REFRO What is this... a circus? As a group they begin moving along the service road above the crash site. Derailed train cars are accortianed below them. They take in the elements of the crash and as they walk each begins to reveal their U.S. Marshal's credentials. Biggs spots something... BIGGS Point of impact. ... and branches off. GERARD Biggs, your turn to babysit Newman. BIGGS Shit. (to Newman) Come on. They drop down to the crash site. Poole ant Renfro remain with Gerard. A state TROOPER steps into their path, but falls away when he sees Gerard's Marshall star. GERARD How ya doing? Who's in charge? TROOPER Sheriff Rollins. Just follow the lights - Gerard follows his point to where TV lights illuminate the scene. He shakes his head - it doesn't please him. Renfro and Poole share a look, they seem to know what's about to happen. ANGLE - OLD GUARD Seated near a tree. A space blanket draped over his shoulders. He is surrounded by EMT personnel, and a YOUNG SHERIFF, clearly basking in the event. Television remote news crews are kept only slight back. Gerard appears in the b.g., listening. OLD GUARD ... train was bearin' down on us, fast. I don't know how - it's still kind of hazy - but I grabbed him and pushed him out of the bus. SHERIFF You coulda both been killed. OLD GUARD I know, but hell, he's my partner. Woulda done the same for me. The young Sheriff in charge nods, buying the story. Gerard eases forward, displays his badge, interrupts. GERARD Excuse me, Sheriff Rollins? Deputy U.S. Marshal Samuel Gerard. SHERIFF (annoyed) I'll be with you in a minute. The television lights widen to illuminate Gerard. He shields his eyes. The Sheriff opens a file and produces fax-photos of all four prisoners. SHERIFF (to Old Guard) For the record. These three dead. And this one... He switches to a photo of Kimble. OLD GUARD Well, everything happened so fast... (bites lip, decides) Huh-uh. Don't think he made it. Sheriff eyes the wreckage that could entomb a hundred prisoners, then files Kimble's fax-photo with the others. SHERIFF You get some rest. He pats the Guard on the shoulder and approaches Gerard. SHERIFF Looks like you came a long way for nothing. My men've already done a thorough search from point of impact and found nothing. INTERCUT WITH: ANGLE - CULVERT Biggs and Newman stop by the muddy culvert. Biggs sees something. He orders Newman into the muck after it. GERARD Aware of media, proceeds patiently with the young Sheriff. GERARD With all due respect, may I suggest check-points starting at a 15-mile radius on I-57, I-24, Route 13 east of - SHERIFF Whoa, whoa, whoa... For what? Prisoners are all dead. The only thing check-points will do is get a lot of good people out here frantic and flood my office with calls. Gerard finally touches eyeballs with the young Sheriff and we get our first taste of Gerard at close range. GERARD (beat) Well, shit, Sheriff, I'd hate for that to happen... So, I'll be taking over the investigation. SHERIFF On whose authority? GERARD By authority of the Governor of the State of Illinois and the office of the United States Marshal, 5th District Northern Illinois... Poole produces State and Federal authorization documents from one of her pockets and hands it to the young Sheriff. SHERIFF (back-down beat) Okay. You want jurisdiction over this mess, you got it. (to assistants) Shut it down. Wyatt Earp is here to mop up for us. He slaps the file of fax-photos at Gerard on his way out. Just as Biggs, spotless, eases ino the group with Kimble's manacles. Behind Biggs we see Newman, covered in mud. Seeing the leg irons, the Sheriff and his deputies pile to a stop. Now Gerard takes his run at Old Guard. GERARD Please, ladies and gentlemen, step back and give this poor man some room. Like an obedient dog the press backs off, they sense a change of story and command. Gerard kneels down with Poole and Renfro in front of the Old Guard. The Sheriff hovers near. GERARD (friendly, to Old Guard) Always an interesting thing when we find leg irons and no legs in them who held the keys, sir? OLD GUARD Uh, me. GERARD Would you be so kind as to show them to me, sir? Gerard's large hand extends palm up at the Old Guard. The Old Guard pats his pockets, comes up empty. He eyes the press hovering just out of earshot. GERARD Second chance. Poole reopens the file of photos in front of the man. The Old Guard can't take it - points to Kimble's photo. OLD GUARD (cracking) He mighta got out. GERARD Thank you. SHERIFF What the hell is this? A minute ago you tell me he's part of the wreckage, now you're - GERARD Renfro - Take that bus apart. I want an accurate body count. Poole - Set up operations right here. He stops and looks into the TV lights and starts moving downtrack. The media and State Police move with him like Israelites behind Moses. GERARD Ladies and gentlemen... our fugitive's been on the run for ninety minutes. Average foot speed over uneven ground - barring injury is approximately four miles an hour, giving us a radius of six miles. I want a hard-target search of any residence, gas station, farmhouse, henhouse, doghouse and outhouse in that area. Check-points go up at 15 miles. (to media) You got that? Good. Now, turn those damn things off and get out of our way. INT. HELICOPTER - NIGHT ROARS... just above the treetops. Helicopter speeds up a dark river. Its tracking beam illuminates the river bank. EXT. RURAL ROADS - NIGHT Flashing lights. Two highway patrol cars set up roadblocks. The SQUAWK of police RADIOS breaks the rural quiet. A moment later a HELICOPTER ROARS overhead. EXT. TRACKS - NIGHT Kimble moves down train tracks. His jumpsuit is wet with blood from the gash. He pauses and checks the wound. He's going to need stitches. Far down the tracks he sees glow of town lights. He keeps moving. EXT. TRESTLE - DAWN Kimble crosses a tressel, keeps running toward the direction of the lights. A junk yard by railroad tracks and a road. Signs along the road show we're on the edge of town. One says: Hospital-1/2 mile. ANGLE - TRACKS AND STREAM Kimble runs from a streak up to the railroad tracks. As he nears the junk yard and road he sees the hospital sign. He's close but he can't go into the hospital in his prison jumpsuit. He leans against a wrecked car and catches his breath. Just then a tow truck pulling a car on its hook, turns off the road and parks next to the tracks. Kimble ducks for cover behind the wrecked car. The driver climbs out, dumps his coveralls in the front seat and closes the door. He moves toward a house across the tracks, then forgets something and returns to the cab. He throws open the door and grabs lunch box off the seat - and we notice the coveralls missing from the seat. As the driver returns to the house we MOVE TO the opposite side of the car to find Kimble, ducked beneath the window, clutching the coveralls. EXT. CRASH SITE - DAWN A crude headquarters is set up beneath a tent, near the crash site. Maps are laid out on tables. Power and phone lines are pulled down from the lines running along the tracks. Renfro supervises the electronics. Poole handles phones, takes a report from the field and relays it to Gerard. POOLE Blood trail found. Two miles southwest. GERARD (to Biggs) Type it and match it against all four prisoners. (to Renfro) Renfro, get an I.D. fax on Kimble to every local hospital. (to Newman) Newman... Newman appears. NEWMAN Yes, sir... GERARD I need some coffee. As Newman steps off, everyone turns at sound of SHOUTING from the train crash. ANGLE - TRAIN CRASH A RESCUE WORKER shouts up to others. WORKER Hey, one's alive! EXT. RURAL HOSPITAL - LOADING DOCK - MORNING Loading dock outside the E.R. A WORKER stacks boxes of food outside kitchen entrance. Kimble, in the tow truck operator's coveralls, picks up a box and carries it inside. Once inside he branches off down a hallway. INT. RURAL HOSPITAL - HALLWAY - MORNING A door opens on a long hallway. A DOCTOR, CHILD with a bandaged hand, and a MOTHER leave a room and walk TOWARD us. Behind them, Kimble moves down the hall and stops in front of the doorway. KIMBLE'S POV - MINOR PROCEDURES ROOM CUT TO: INT. RURAL HOSPITAL - MINOR PROCEDURES ROOM - MORNING Kimble closes the door and locks it. Hanging on the back of the door we see a doctor's white coat. CUT TO: EXT. HOSPITAL - MORNING An Illinois State Trooper's car pulls up outside. CUT TO: CLOTH-COVERED INSTRUMENT TRAY On it we see: A packaged sterilized bandage, an opened antiseptic wash, an opened topical anesthetic, and an empty syringe. We PULL BACK to find: KIMBLE His wound bathed in orange antiseptic wash, three stitches already in. With pair of forceps he picks up the needle as he sutures himself. CUT TO: INT. HOSPITAL HALLWAY - LONG SHOT (MOS) - MORNING At far end of the hall we see a STATE TROPER chatting with a DUTY NURSE at a nurses' station. CUT TO: INT. PROCEDURE'S ROOM - MORNING Kimble, his bandage already in place, gives himself a shot of antibiotics. CUT TO: INT. HOSPITAL - MAN'S ROOM - DAY A man, tube in nose, on two I.V.s, lays in bed with eyes closed. Kimble comes INTO FRAME near his face. KIMBLE Can you hear me, sir? No response. The man is out of it. Kimble backtracks to the patient's closet and opens it. Hanging inside we see his clothes. He removes them and notices the man's untouched breakfast tray. CUT TO: INT. RURAL HOSPITAL - NURSES' DUTY STATION - DAY The Duty Nurse and State Trooper chat when a fax begins coming through on DESK FAX. NURSE There's your fax... CUT TO: INT. PATIENT'S BATHROOM - DAY Kimble dressing in the man's clothes. He eats a piece of toast - part of the man's breakfast - as he buttons up his shirt. ANGLE - PATIENT His arm slowly reaches out and presses his nurses call button. CUT TO: INT. NURSES' STATION - DAY A fax photograph of Richard Kimble slowly comes off the duty station FAX MACHINE. Next to the machine the patient's call light comes on. The Duty Nurse, standing with the Highway Trooper, sees the patient's light come on and starts down the hall toward the patient's room. CUT TO: INT. PATIENT'S BATHROOM - DAY Kimble shaving when we hear the DUTY NURSE ENTER the patient's room. He moves OUT OF FRAME. DUTY NURSE (O.S.) Mr. Patterson, do you need some more water? ANGLE - MAN'S EATEN BREAKFAST The Duty Nurse looks from the tray to the man, impressed. DUTY NURSE ... Oh, you did a good job on this. She takes his empty plastic pitcher and... ... pushes open the bathroom door - no sign of Kimble - and refills the pitcher from the sink. DUTY NURSE (over her shoulder, to patient) ... It does get dry in here, doesn't it? She doesn't expect an answer, turns OFF the WATER, and goes into the main room. As the door closes we see Kimble behind it. CUT TO: INT. HOSPITAL - HALLWAY - DAY Kimble, clean-shaven, and wearing the patient's glasses and a doctor's white coat, moves down the hall to the emergency room exit. Suddenly the State Trooper steps back from the E.R. admissions desk with his newly received fax, and starts down the corridor toward Kimble. The Trooper looks up as the two men pass... TROOPER 'Scuse me, Doc?... Kimble turns but continues slowly backing toward the E.R. doors behind him. TROOPER ... Don't know if you heard or not but we're looking for an escaped prisoner from that bus train wreck 'couple hours ago. Thought he might show up here if he was hurt. KIMBLE What's he look like? The Trooper looks down at his fact sheet as we see a slow trickle of blood from a shaving nick begin winding down Kimble's cheek. TROOPER (from fax sheet) Approximately six one, 180 pounds, brown hair, brown eyes and beard. At the last second Kimble feels the drop of blood and wipes it clean as the Trooper looks up. TROOPER ... Seen anyone that fits that description? KIMBLE Every time I look in the mirror ... but without the beard. They laugh. KIMBLE Excuse me... TROOPER Sure. Kimble moves through the E.R. doors as an ambulance parks outside... EXT. RURAL HOSPITAL - EMERGENCY ROOM RAMP - DAY Two PARAMEDICS try to take out a patient on a gurney. The lead wheels are stuck. KIMBLE Here... Kimble helps clear the wheels so the collapsible gurney comes free. PARAMEDIC #2 Thanks, Doc, we had to dig him out from under a train. As the gurney comes out, Kimble looks right into the face of the Young Guard. The Guard's eyes suddenly open wide. YOUNG GUARD It's him... It's - Kimble claps the portable oxygen mask back over the Young Guard's mouth and keeps his hand there. KIMBLE How is he? The Paramedics move him toward the ramp. PARAMEDIC #1 He's pretty bad off. Broken leg, ribs. Concussion. As Kimble moves away... KIMBLE Tell the E.R. doctor he's also got a perforated spleen. He's gone... The two Paramedics share a look as they whisk the Young Guard inside. PARAMEDIC #2 (impressed) Jesus, how could he tell that from looking at his face? ANGLE - AMBULANCE Kimble climbs behind the wheel. EXT. TRAIN CRASH SITE / OPERATIONS HEADQUARTERS - DAY A full communications link is in place. Deputy marshals answer phones, work faxes, add information to a situation board. Troopers bring in information. Poole calls Gerard. POOLE Background just came in from Chicago. GERARD Hit me. Renfro and Poole lay out the details. The download of information comes clear and fast. RENFRO Richard David Kimble. Vascular Surgeon. Convicted of first-degree murder in the killing of his wife. Pleaded innocent. Claimed a one-armed - GERARD Let's not retry the case. Priors and accomplices? Gerard steps up the hillside out of sight of the investigation to take a leak. Followed by Renfro and Poole. RENFRO None. No previous arrests. Poole takes up a position discreetly behind tree as Gerard unzips his fly and relieves himself. GERARD Sealed juvie record? Poole calls out from behind tree. POOLE Nothing. Total cherry. GERARD Relatives? Children? RENFRO No relatives. POOLE One child. A son. Died in drowning accident three years ago. GERARD Girl friends? Ex-wives? Friends? Combinations of the above? POOLE Lot of friends. Doctors. Hospital staff. Gerard zips up. GERARD Start there. Authorize taps. Cover his lawyer first. RENFRO Never get it. GERARD Bet me. Renfro won't take it. GERARD Have Stevens go to Judge Rubin, he'll sign 'em. ... Biggs charges up the hillside. BIGGS DeLange Hospital. Wounded guard swears to High Holy he saw Kimble right there in the hallway. Ambulance, missing too. ANGLE - SITUATION TENT Gerard moves quickly to the map. GERARD Give me a time. BIGGS O-nine-thirty. Twenty minutes ago. Gerard redraws the circle of units. No longer are we covering a fifty-mile radius. The circle is redrawn, tightened, with the hospital as its center. The triangulation is set. CUT TO: EXT. RURAL RAILROAD CROSSING - DAY The ambulance follows three cars toward a rural railroad crossing. COP (V.O.) ... We're waiting up here in Canton. Wondering if you heard anything on this Kimble chase - INT. AMBULANCE - DAY Kimble behind the wheel as he approaches the railroad crossing. The biocom monitors police chatter: DISPATCHER (V.O.) Two-twelve-A, be advised that all discussion on this matter is to be conducted on a tactical frequency - either Channel K or Z. Over. Frequency goes dead. Kimble looks THROUGH the windshield: ROAD SIGN An arrow points toward Canton, two miles. The cars in front slow as the railroad crossing signal suddenly activates and the bars begin to drop. Kimble pops the SIREN and hurriedly snakes through the crossing and heads in the opposite direction... but his maneuver gets attention. INT. TRUCK CAB - DAY Truck driver watches Kimble cut through the crossing and reaches for his C.B. radio. EXT. CRASH SITE - DAY Poole hangs up phone. POOLE Ambulance just spotted two miles west of Doverville. Heading north on State road 53. Renfro turns to the map and marks it. The circle is much smaller. RENFRO Running outta map, Sam. The crash site and hospital are already marked. Gerard is ready to move. GERARD Just the way we want it. Okay, people, let's button up. They move off to waiting State Trooper cars and helicopter. INT. AMBULANCE - DAY Kimble driving down a rural road. He flips down visor and eyeballs folded roadmap... EXT. SECONDARY ROAD (KENTUCKY) - DAY ... The ambulance crests a hill. In the distance we see the Grosvner Viaduct and the Barkley Dam. EXT. HIGHWAY (KENTUCKY) - DAY Blowing other traffic off the road, WHOOPING CRUISERS and G-cars stream south through the rugged rural terrain of Southern Illinois. Overtaking them all, a CHOPPER THUNDERS overhead. INT. HELICOPTER Heading into hilly terrain. Down below we see the ambulance. Inside the helicopter Gerard eyes the terrain. PILOT (into radio) We've got a visual... (to Gerard) He's heading toward the viaduct. GERARD Seal it up. EXT. AERIAL VIEW OF GROSVNER VIADUCT - DAY The two-lane road disappears into long tunnel. Three hundred feet below the road tumbles the Tennessee River. The Barkley Dam rises ahead. Kimble's AMBULANCE ROARS into the tunnel. ON KIMBLE Suddenly sees the helicopter setting down ahead of him at the mouth of the tunnel. Kimble slams on brakes and turns to retreat. ANGLE - FAR END OF TUNNEL (BEHIND HIM) Illinois Highway Patrol cars pull to a stop at the far entrance. Light flares. Set out road blocks. ANGLE HELICOPTER Gerard steps out followed by Renfro and Poole. KIMBLE'S AMBULANCE Comes to a stop, blocking traffic in both directions. Immediately HORNS begin BLARING. EXT. TUNNEL - NIGHT Trooper pulls up. Biggs and Newman behind Kimble blocking the other end. Troopers with guns drawn block the exits. The P.A. from a State patrol car blares: P.A. (V.O.) Please remain in your vehicles and lock your doors. Repeat, please remain in - ANGLE ON HELICOPTER Poole and Renfro materialize already decked out in Kevlar. They're jacked up and ready to rock. Renfro hands Gerard a vest. RENFRO Got him. Gerard unholsters a 40 caliber, Glock model 22. GERARD Okay, ladies and gentlemen hard part's over. He starts into the tunnel. RENFRO (to radio) We're movin' in. INT. TUNNEL - DAY Weapons drawn, but held discreetly at their sides, three silhouettes enter. Drivers who hadn't heeded the Troopers' P.A. warnings take one look at Gerard and quickly climb back inside and lock their doors. Biggs, Renfro and Poole fan out to the sides and give the middle to Gerard. The tunnel is quickly quiet. Kimble huddles at mid-tunnel. He's trapped. Drops to the ground beneath the truck. His heart pounding, brain clicking, fighting panic. Suddenly he realizes he's in water. Running water. ON MARSHALS They reach the mid-tunnel area. No Kimble. Biggs looks around, beneath vehicles. Gerard listens. Poole looks confused. POOLE Where'd he go? Gerard spots the trickle of water. He backtracks it until he finds a loose grate in the pavement. Man-size. GERARD Biggs, Renfro with me. INT. STORM DRAIN - FORKING CONDUIT - DAY Kimble splashes blindly through ankle-deep sluice. He slows at forking tunnels to catch his breath and pick a direction. A DULL ROAR comes from somewhere - from everywhere. He whips off his jacket and slings it down a tunnel, then continues straight ahead. Somewhere behind, lights probe splash-patterns on the conduit wall - telltale signs of Kimble's passing. The lights belong to... Gerard, Biggs and Renfro. They push on, soon reaching the forking tunnels. Renfro finds the jacket ant splash signs. GERARD Channel Three. They conform their radios. Splitting up, Biggs and Renfro go left. Gerard - straight ahead. INT. DOWNSLOPE CONDUIT - DAY Kimble. Bracing with all four limbs. Negotiating a mossy downslope. INT. CONDUIT - DAY Biggs and Renfro. Sweeping his light as he advances. Searching for splash-patterns. BIGGS (into shoulder-mike) Nothing yet. INT. CONDUIT - DAY Gerard. Probing a branch-off tunnel with his light. About to pass, he notices scrapings on the mossy walls of the branch-off tunnel. Hand marks? GERARD (into radio) Got a possible here. Stand by. He stows his light but hangs onto the Glock. Bracing with three limbs INT. DOWNSLOPE CONDUIT - DAY Gerard begins the tricky descent. Slips once. Recovers. Slips again... ... and tumbles out of control. GUN and RADIO CLATTER AWAY. Scrabbling for purchase, he finally snags An overhead pipe. Gerard stabilizes. Sweeps his light to locate his Glock, lying down-tunnel. He eases toward it. But another hand gets there first. It's Kimble. Face dark and desperate. Dangerous. Hand flexing on the pistol. They lock eyes for a beat. KIMBLE I didn't kill my wife. GERARD So, you didn't kill your wife. Not my problem. An adrenal beat. For a moment they hold a look. Then the silence is broken by Gerard's radio. BIGGS (V.O.) Gerard? You there? Gerard looks for his radio, then back at Kimble - he's gone. Instantly Gerard reaches for his ankle - and pulls a back-up piece. INT. CONDUIT - DAY As Renfro hears FOOTSTEPS POUNDING his way. ANOTHER ANGLE Gerard charges down the tunnel. From a side tunnel, Renfro appears, almost colliding. Biggs follows... GERARD Straight ahead! INT. CONDUIT - DAY Kimble sticks Gerard's gun into his waist band to balance in the tunnel. He spills around a corner and stops. Ahead lies an orb of light. The tunnel ends. The NOISE is incredible. Kimble moves to the end of the tunnel and stops. KIMBLE'S POV Water pours from the tunnel into the spillway of Barkley dam disappearing into a veil of mist below - a great cauldron of mists. No rocks. None visible at least. He hears the MARSHALS behind him - COMING CLOSER. ANGLE - MARSHALS Gerard and Renfro turn the corner. Renfro drops into a shooting stance. GERARD Turn around, hands over your head. And get down on the ground. For a moment Kimble eyes Gerard. GERARD Your choice, Kimble... Kimble turns his back on the Marshals, stares again at the water. Slowly he puts his hands over his head. Gerard puts up his gun and pulls his handcuffs. He moves through the water toward Kimble. GERARD Get down on your knees. Kimble bends slowly, stares down into the falls, hears the footsteps get closer, then does the unthinkable. He jumps. EXT. BARKLEY DAM - DAY Biggs moving to the top of the massive dam sees Kimble leap into the sheet of water spilling over dam and disappear into the mists below. He can't believe his eyes. INT. DRAINAGE CONDUIT - DAY Renfro lowers his gun. RENFRO (amazed) Son of a bitch... It's the most amazing thing he's ever seen... ON GERARD He stands at the mouth of the tunnel staring down. He stares down into the mists. Impressed. It has told him something invaluable about this fugitive. EXT. TOP OF DAM - DAY Gerard scrambles out of the tunnels to the top of the dam near Biggs, just as squad cars, troopers and the search helicopter converge on the site. EXT. RIVERBANK - DAY Far downriver a figure fights through a snag in the bend. The snag - a tree branch - breaks away and heads down stream. Hanging onto the branch we see Kimble. EXT. BARKLEY DAM - LOWER RESERVOIR - SUNSET Below the dam and spillway. Troopers in waders search the shallows, deputies beat bushes along the shore. Farther out we see a dredge boat slowly working the waters. FROM SHORE Gerard watches the dredge cage come up again. As if with the next pass it will prove him the victor. The HEAD ILLINOIS TROOPER CAPTAIN approaches. HEAD TROOPER Running out of daylight, Inspector. GERARD Lights and generators are coming, Captain. HEAD TROOPER Look, I don't mean to tell you your job, but maybe one person in a million could've survived that fall. The guy's fish food. Gerard turns and brings his look to bear on the Captain. GERARD Then find me the fish that ate him. He turns and heads to a waiting helicopter. EXT. WOODS - AFTERNOON Kimble runs through the woods. He staggers, his arm hooks a sapling which spins him to the ground. He lays motionless, exhausted. KIMBLE'S DREAM - INT. KIMBLE'S HOUSE - DAY ANGLE Helen in bed. Kimble's hand comes INTO FRAME and touches her shoulder. She turns toward Kimble as he moves INTO FRAME and kisses her. DISSOLVE TO: ANGLE Helen tosses her head back. She wears white silk pajamas and smiles down AT us. A hand reaches up and unbuttons the top two buttons of her top. Then Kimble moves up INTO FRAME as we - DISSOLVE TO: EXT. BEACH - DAY Helen running down beach TOWARD us. Embraces Kimble as we - DISSOLVE TO: EXT. POOL - DAY Helen's head comes up out of a pool. Hair tossed back, she smiles as we - DISSOLVE TO: INT. KIMBLE'S CAR - NIGHT Helen exiting Kimble's car the night of the murder. She looks back at Kimble, framed by the door frame, ant smiles. HELEN Good-bye. I love you. Again... Then again... then: HARD CUT TO: EXT. FOREST - MORNING Kimble comes out of his sleep with a start. Shivering. He remembers where he is. His breathing returns to normal. EXT. TRESTLE - TUNNEL - MORNING Kimble moves across a river trestle and disappears into tunnel. INT. DRUG STORE - DAY Kimble on pay phone in the rear of the store waits for party to answer. An old lady and her mother shop. Across the store a pharmacist watches Kimble. ANGLE - PHONE Kimbles watches the boys as he waits for answer. We hear RINGING, then a receptionist answers: RECEPTIONIST (V.O.) The law offices of Gutherie, Morgan and Wainwright. KIMBLE Walter Gutherie please. RECEPTIONIST (V.O.) I'm sorry, Mr. Gutherie has left for the day, would you like his voice mail? Kimble hangs up and moves down an aisle, stopping in front of the hair color. He takes a box of black hair dye off the shelf and looks at the instructions. When he looks up he sees the pharmacist looking at him. EXT. SONNY'S DINER - NIGHT A roadside diner. Kimble, his hair now black, and wearing a new pair of Wranglers, hooded sweatshirt and a duffle coat, moves down the road to the diner. INT. SONNY'S DINER - NIGHT Kimble enters. He sits at the counter and a sparky OLDER WAITRESS, late, mid-forties, with strong good looks and tough smile fills his coffee cup before he even asks. OLDER WAITRESS Need to look at the menu? KIMBLE Some soup, please. OLDER WAITRESS Good choice. She marks her pad and leaves. Sights ant sounds around Kimble begins to occupy his attention: A dishwasher buses a tub of dishes back to the kitchen. He stares at him. A farmer sitting at a table stares at Kimble, Kimble looks away. A man at the pay phone seems to be staring at him. Is he calling the police? Everyone seems to be looking at him. Someone stops in front of him. A young waitress serves him his soup. Where's the first waitress? Takes a few sips of soup. Out of the corner of his eye he sees: The Older Waitress putting on her coat to leave. Is she going to report him? He fights the paranoia. A NEWS REPORT on the TELEVISION gets his attention. ANGLE - TV A report on the escape. A television reporter describes the chase for Kimble; his jump at the dam and his presumed death from the fall. Kimble decides it's time to leave. He drops some money on the counter and exits. EXT. DINER - NIGHT Kimble moves across the parking lot trying not to run until he's out of sight of the diner. Once free of the lights of the diner he starts running and disappears into the night. EXT. ROAD - NIGHT Kimble running down the road. Fields stretch out on both sides of the highway. Open land. From behind him we suddenly hear the sound of POLICE SIRENS. For a moment Kimble moves faster, then as the SIRENS COME CLOSER, his sprint drops to a jog... to a walk, until finally he stops and waits for the inevitable... But the flashing lights suddenly rip past him chasing a speeder. They weren't after him after all. Kimble looks at himself. He's shaking. A moment later he is lit by headlights. A car pulls up next to him, passenger window rolls down... OLDER WAITRESS Need a ride? Kimble stares at her. KIMBLE Which way are you going? She smiles and points in the direction her car is traveling. They hold a look as we hear: RENFRO (V.O.) We feel confident about the I.D. CUT TO: EXT. HOUSE - DAWN A quiet house on a quiet street out from town. A homeless woman picks through garbage. A garbage truck moves slowly down the street. A plumbing truck parked along a curb. Just early morning traffic. We see Renfro and Newman watch the house from across the street, behind a deserted house. Gerard joins them. We see that Biggs is in the plumbing truck. Poole is the homeless woman picking through the garbage. Newman hands Gerard a radio. RENFRO Local officials were about to wet their pants to move in. GERARD I bet they were. (to radio) Where's the woman? INTERCUT WITH: BIGGS In the plumbing truck. He triggers his mike. RENFRO (into radio) Same room. GERARD (into radio) Okay... I'll take front. Biggs and Renfro, rear. Poole, handle support. I don't want anyone hurt. Stay outside unless called. Radios on three. The deputies prepare their weapons. Newman checks his service issue .38, stares at Gerard's Glock. NEWMAN Uh, just want me to wait here, sir? GERARD Hell, no. You're with me, Newman. Let's go. EXT. FRONT OF HOUSE - DAWN DOOR CRASHES open, splintering the deadbolt right out of the door. GERARD U.S. Marshals. Down! Down! INT. HOUSE - DAWN Textbook perfect, Gerard and Newman rush into front room. THEIR POV Down the hall a man's figure streaks across a doorway OUT OF VIEW. A woman in the rear of the house BEGINS SCREAMING. GERARD Motions Newman to the left to check the door off the living room while he moves down the main hall into the back bedroom. ANGLE - LIVING ROOM / NEWMAN Clearly unnerved by the screaming woman, Newman opens door off the living room. The door opens into a smaller bedroom. He steps into - SMALLER BEDROOM It's empty. Gerard appears at the other (hallway) door to the bedroom. HALLWAY Gerard motions Newman on to the door to the bathroom and continues down the hall into the back bedroom where the woman continues SCREAMING. He ignores her. His feet move silently, heel-to-toe. He checks the bathroom as Newman opens his connecting door - empty - then moves on toward the doorway to the kitchen. Gerard moves to the kitchen doorway. Running out of house. He braces himself swings into the kitchen - it too is empty. Suddenly Gerard gets the bad feeling he's passed his prey. CUT TO: SMALLER BEDROOM Newman looks around, suddenly scared. The only place he didn't search was behind the bedroom door. He turns just as: COPELAND Surges out, knocks Newman's gun from his hand. In a flash, Copeland yanks Newman's arm behind his back and presses a knife against the deputy's neck and moves him out of the room. We... INTERCUT WITH: GERARD He hears Copeland moving somewhere in the front of the house. COPELAND (O.S.) I got your man! Now I want outta here! Gerard moves back through the bedroom past the SCREAMING woman. He locks in on the voice and sound of the moving fugitive. ON COPELAND AND NEWMAN Copeland listens but gets no response from Gerard. He backs through the second bedroom door, pulling Newman into the - LIVING ROOM Newman's eyes are pure terror - the blade pressed against his throat. COPELAND (to Gerard) You hear me? I said, I want out or I'll cut your man's throat! GERARD Keeps moving down the hallway, through first bedroom, pauses at door to the second bedroom and chooses his course. LIVING ROOM Copeland positions himself between the bedroom door and the hallway opening. He's troubled he can't hear Gerard. Suddenly he hears a NOISE behind him at the bedroom door He whips Newman around and we see: A shoe hits the floor. Copeland realizes his mistake too late. He turns back to the hallway and there is Gerard. He never blinks. FIRES once killing Copeland instantly. The knife falls to the floor. Newman clutches his head, stunned but unhurt. Gerard now turns to the screaming woman behind him in the bedroom doorway. GERARD Shut up. She does. Immediately. EXT. HOUSE - MORNING As coroners and tactical police mop up. Gerard moves across the yard, sips coffee from Styrofoam cup. He stops at a sheriff's car, Newman sits on back seat, shaken, nearly hysterical, clutching his ear. NEWMAN My ear... I can't hear a thing out of it. I can't believe you did that! GERARD You think I should have bargained with him, don't you? NEWMAN Yes. You could've missed! You could've killed me! GERARD Yeah, you're absolutely right. I could've. They hold a look. GERARD How bad's your ear? NEWMAN Terrible. I probably have permanent hearing damage. GERARD Let me see it. Newman leans toward him. Gerard speaks into his ear. GERARD I don't bargain. Gerard leaves. Newman watches him - realizing what a truly unsettling man Gerard is. EXT. CHICAGO PAY PHONE - MORNING Kimble makes call. While he waits for phone to be answered TRAINS COME and GO in the b.g. An EL CROSSES OVERHEAD. The BELLS of Chicago River DRAWBRIDGE. KIMBLE Walter. It's Richard. INTERCUT WITH: INT. LAW OFFICES OF GUTHERIE, MORGAN AND WAINWRIGHT - DAY Walter Gutherie answers phone from his office overlooking Lake Michigan. GUTHERIE Richard... Jesus, why did you run? Running only makes you look guilty. KIMBLE I wasn't worrying about appearances, Walter. GUTHERIE Tell me where you are. I'll come meet you so you can turn yourself in . KIMBLE I'm not turning myself in. I need money. Gutherie is silent. When he speaks again his speech takes on the lawyerly tone of a man who's covering his own bases. GUTHERIE Richard. You're asking me to harbor and aid a convicted felon... I can't help you that way. My advice - both as a friend and as your legal counsel - is for you to give yourself up. Now tell me... where are you? Kimble picks up the change in his attorney's tone. KIMBLE (beat) St. Louis. GUTHERIE Give me an address. I'll be - CLICK. Gutherie hears the LINE GO DEAD. Kimble's gone. EXT. DOWNTOWN - DAY Kimble stands in the doorway with cup of coffee. He considers his next move. Then seeing bank clock flash the time: 9:30 - he knows what that move is. INT. NORTH BANK TENNIS CLUB - DAY An upscale mid-town tennis club. Behind glass windows of the entryway we see tennis courts. From the courts comes Dr. Charles Nichols still dressed in his warmups, carrying his tennis bag. A friendly DESK ATTENDANT Sharon) smiles as he goes by. DESK ATTENDANT See you tomorrow, Dr. Nichols? NICHOLS Creature of habit, Sharon. EXT. NORTH BANK CLUB - DAY Dr. Nichols leaves the club. He tosses his gym bag into the back of his car and drives off. INT. / EXT. NICHOLS'S CAR - DAY As he pulls up to the first stoplight, a homeless man moves toward the driver's side and begins washing his windshield. Nichols waves the man off. NICHOLS Not today, please. The man shuffles off. Just then a second man appears at his passenger window. He leans down to wave him away NICHOLS No. Not - ... then stops - the face at his passenger window is Richard Kimble's. NICHOLS (stunned) Oh, my God... Richard... Nichols rolls down the passenger window. KIMBLE How're you doing, Charlie? NICHOLS You're alive... KIMBLE Yeah. And I need your help. NICHOLS Anything. KIMBLE I need some money. Whatever you've got on you. NICHOLS Of course. Nichols reaches into his gym bag in the backseat and digs for his wallet... NICHOLS Tell me where you're staying. I'll get you more money. Some clothes. Just give me an address... KIMBLE I'll call you. Kimble glances around, the area is still clear. He looks back into the car and doesn't see the police car turn the corner and come up the street behind them. Nichols finds his wallet ant hands all the cash he's got to Kimble, who quickly pockets it. NICHOLS I know why you came back - to find him. If I can help, call me... Call me. They hold a look. The stoplight changes to green but they don't see it. KIMBLE Thanks, Charlie... NICHOLS Here, Richard, take my coat... He reaches into the back for his coat, suddenly police car behind him POPS its SIREN. Nichols looks into his rearview mirror. Sees a COP lean out his window. COP (to Nichols) Hey, buddy - green light. Let's go. Nichols looks back at Kimble. He's gone. INT. U.S. MARSHAL'S OFFICES (CHICAGO) - CLOSE ON AUDIO TAPE - DAY REWINDING. The media room - just what it sounds like - banks of audio/video equipment and a sound board. Renfro rewinds the tape. Gerard, Biggs, Poole and Newman. POOLE We've alerted St. Louis P.D GERARD Call them back. Tell them you've made a mistake. POOLE What? GERARD (to Renfro) Stop it there. Renfro hits play. Kimble's VOICE is heard again: GERARD Drop the voices. Renfro removes the two voices. What comes up are the BACKGROUND SOUNDS. EXTERIOR NOISES (BELLS RINGING, TRAFFIC, MECHANICAL... TRAINS). Everyone becomes focused to the sounds now. GERARD (he's heard something) Listen. BIGGS Trains? Traffic? GERARD More... there's a voice in the background. At first the sound is unrecognizable. A BELL. GRINDING MECHANICAL. Then a P.A. VOICE on the tape: "Next stop Merchandise Mart." RENFRO That's an El announcement. GERARD And there's no E1 in St. Louis. Ladies and gentlemen, Richard Kimble is in Chicago. Poole, get his artwork out to local police and have C.P.D. check the shelters... Biggs, bring in the detectives that handled his case. Instantly the room is in movement. STEVENS I'll prepare the press release. GERARD No. Stevens stops. GERARD They don't know he's alive and as far as Kimble knows we don't either. I want to keep it that way as long as we can. Are we clear? The whole group sense Gerard's intensity in regard to Kimble. RENFRO (for the group) Perfectly. Gerard reflects on a moment of personal satisfaction. GERARD Noah... go to my office and let's officially take Dr. Kimble out of purgatory. CUT TO: INT. 11TH STREET STATION - DAY Morning roll call. Kimble's photo distributed to cops by Detectives Kelly and Rosetti. KELLY (V.O.) As of this morning Chicago P.D. was alerted to the reappearance of Richard Kimble. INT. TRAIN STATION - DAY Newman and Poole check train station. Looking for Kimble. They show his photo to homeless people. No help. EXT. FRONT OF COOK COW TY HOSPITAL - DAY Holding a handkerchief to his face, Kimble moves through arriving patients and enters Cook County Hospital. INT. HOMELESS SHELTER - DAY Renfro and Biggs check shelters for Kimble. They show his I.D. to administrator. Look around. INT. GERARD'S OFFICE - DAY The place is humming now. Detectives Kelly and Rosetti sit in front of Gerard. Gerard studies Kimble's file. Renfro sits in. KELLY Police units have also increased patrols around homeless shelters and mass transit stations in the city. EXT. LOOP EL STATION - DAY Police patrol the platform looking for Kimble. INT. FRONT OF COOK COUNTY HOSPITAL - CORRIDOR - DAY Kimble moves past security, then pockets the handkerchief and turns up a hallway, blending in with the indigents and poor. CUT TO: INT. UPSCALE DOCTOR'S OFFICE - DAY NURSE FLYNN, a woman about 45, attractive, smart, loyal. Poole and Gerard talk to her in an examination room. FLYNN I ran his office for twelve years. Yes, we were very close. But he wouldn't come to me for help. INT. COOK COUNTY HOSPITAL - HALLWAY - DAY Busy with doctors, orderlies and street people. Kimble moves down hallway and enters. INT. PROSTHETIC CLINIC - WAITING ROOM - DAY He moves into the room and takes a new patient form, looks around. SEE BACK INTO the office area of the clinic. It could be any hospital clinic from this view. But as Kimble turns to leave we see a PATIENT waiting to be called. On his lap we see a prosthetic arm. Kimble looks up from the arm to the man. PATIENT Good morning. KIMBLE Good morning. As he turns to leave we hear: ROBERTS (V.O.) Don't underestimate this guy... CUT TO: INT. UNIVERSITY MEDICAL CENTER - SURGEONS' LOCKER ROOM - DAY Dr. Roberts from the party, talks to Biggs and Gerard as he takes off scrubs to get into shower. ROBERTS R.K.'s one smart, cold sonofabitch... He did her, no question. CUT TO: INT. COOK COUNTY HOSPITAL - BASEMENT - DAY Kimble moves down the hallway containing the janitor's locker room. Janitors move in and out the door. INT. KIMBLE'S OLD HOUSE - DAY Gerard walks through Kimble's house. The art and most of the furniture is gone. Books are in boxes and shopping bags around the room. Plastic covers the remaining pieces of furniture. Gerard stares at the empty walls. Shadows on the walls show where the art once hung. Gerard pauses, tries to absorb the place. He takes a book from one of the bags and looks at it. INT. COOK COUNTY HOSPITAL - JANITOR'S ROOM - DAY Kimble moves past the lockers, racks and boxes of cleaning supplies, stops at a board listing work schedules, vacation leaves, locker numbers. Behind him a LOCKER SLAMS. As a janitor moves off to the showers we see his locker did not close but remains slightly ajar from the impact. INT. JANITOR'S LOCKER ROOM - CLOSE ON LOCKER - DAY Door opens revealing the janitor's clip on I.D. hanging from a green shirt. Kimble steals it. INT. GERARD'S OFFICE - DAY Gerard looks at the two detectives. GERARD Gentlemen, I appreciate the cooperation of the Chicago police... He moves toward them. CUT TO: INT. CLOTHING STORE - DAY A SALESMAN stands on ladder looking through pants sizes. SALESMAN Did you say, 38/34? KIMBLE No. 34/34. ANGLE ON SALES COUNTER WHAP. A folded pair of green janitor's pants drops onto the counter in front of Kimble. He already has the green shirt to the uniform. INT. SELF-SERVE PHOTO BOOTH - CLOSE ON RICHARD KIMBLE - DAY Photographed. ANGLE - SIDE OF THE BOOTH Kimble takes the finished photos from the delivery tray. CUT TO: INT. U.S. MARSHAL'S OFFICE - DAY RENFRO Was there anything in your initial investigation that would make you think Kimble would come back to Chicago. ROSSETTI The man definitely has friends here. GERARD What about lady friends? KELLY Not that we found. CUT TO: INT. SALVATION ARMY STORE - CLOSE ON APARTMENT NOTICE - DAY A card on a community bulletin board advertises a basement apartment for rent. BIGGS (V.O.) What about the man he claimed attacked his wife? Kimble pulls the notice from the board as we - CUT TO: INT. U.S. MARSHALS' OFFICE - DAY Kelly and Rossetti share a look, a smile. KELLY Right... You ever been downwind of a stockyard when the breeze is blowing? That's where we were sitting when Richard Kimble told that one... CUT TO: EXT. POLISH LADY'S APARTMENT - DAY Kimble knocks at door. It is opened to reveal a PUNK KID, 18-20. He calls to someone O.S. CUT TO: INT. POLISH WOMAN'S BASEMENT - DAY A light comes on and an OLD POLISH WOMAN, her stockings rolled down her shins, leads the way down the basement stairs. The Punk Kid stands at the top of the stairs, watches Kimble. ROSETTI (V.O.) We found nothing. The Polish woman shows him a spare but sufficient bed and nightstand set up. She points to door leading up to the street. CUT TO: INT. POLICE WOMAN'S BASEMENT - AFTERNOON Kimble also at work at the bedside table. He carefully cuts out his do-it-yourself photograph and places it over the existing photograph on the hospital I.D. The name on the I.D. says: Desmondo Jose Ruiz. Then he places a thin piece of lamination plastic and trims the edges. Kimble defaces the plastic to give it rough look, then examines the finished product not bad. INT. MARSHALS' OFFICE - DAY KELLY (O.S.) If this guy existed believe me someone would've found him. ON GERARD He raises an eyebrow. CUT TO: INT. DR. NICHOLS' OFFICE - CLOSE ON FRAMED PHOTOGRAPH - DAY Of medical residents. Two photographs next to each other. A young Richard Kimble and Charles Nichols. NICHOLS (O.S.) Richard Kimble... I saw him two days ago. WE PULL BACK to see: Gerard studying the photos. Renfro looks up like someone's bitten him. He, Biggs and Gerard are in Nichols' administrative office. Gleaming. Filled with awards and photos of Nichols and influential people. Nichols hangs up his lab coat and slips back into his suitcoat. He shows no sign of nervousness. NICHOLS He stopped me in my car. I gave him some money. GERARD Where was this? NICHOLS Outside our tennis - (correcting himself) - my tennis club. Gerard moves around Nichols' office taking in the details. GERARD Did he ask you for help? NICHOLS I volunteered. He wouldn't accept it. GERARD Why do you think he came back to Chicago? NICHOLS He didn't tell me. GERARD I didn't ask you that, sir. I'm sure he was trying to protect you from having to lie for him. Gerard continues to move around the room, study prints, books, drawings, awards and photos. GERARD If you're really his friend, you'll help us bring him in unharmed. NICHOLS Why, so he can go back to prison? If you want help, gentlemen, you've come to the wrong man. Gerard finds a photo of Nichols and a gleaming Ferrari. GERARD Dr. Nichols, last year the U.S. Marshals' office closed out 11,003 warrants... 10,975 of those were captured. The twenty-eight others thought they were smarter than us... Now they're dead. (re: the photo) Nice car. Gerard puts the photo down. EXT. NICHOLS' OFFICE - DAY Gerard and his deputies leave Nichols' outer office. Gerard clearly feels he's come to the right man. GERARD Stay on him. INT. HOSPITAL HALLWAY - NIGHT Kimble mopping the trauma room hallway. The hallway elbows around a corner and Kimble stands less than ten feet from a door that is marked: "PROSTHETIC CLINIC" He watches a technician leave the clinic and mops closer to the doorway, and fails to see an attractive WOMAN DOCTOR with white coat and stethoscope draped around her neck turn the corner behind him ant step on the freshly mopped section. Head down, she is completely absorbed in a file and doesn't see the wet floor until she slips slightly, looks up but keeps walking. WOMAN DOCTOR Where's Rudy? KIMBLE They said he's sick. WOMAN DOCTOR Didn't they tell you to put up the sign? KIMBLE Uhhh. No they didn't. WOMAN DOCTOR Put up the 'wet floor' sign before someone gets hurt. She keeps going. KIMBLE (mumbles) Asshole. She looks back at Kimble. WOMAN DOCTOR What did you say? KIMBLE Nothing. Anne keeps moving off toward trauma hall. He watches her turn the corner to the trauma hallway. INT. PROSTHETIC CLINIC - NIGHT Kimble enters the dimly lit prosthetics lab. He moves silently among the casts and prosthetics of arms, hands, legs hanging from the ceiling. Cables and electronic equipment are on the counters. He leaves the lab and moves into the office section of the Prosthetic Clinic. He passes a computer room and finally reaches the office. He is about to enter when a woman's voice stops him. WOMAN (O.S.) Hey, Ricky... Weren't you just in here? Kimble turns to see a PROSTHETIC TECHNICIAN. A large woman with glasses. She stands with a partially finished prosthetic arm. MEMORY HIT - INT. KIMBLE'S OLD HOUSE - NIGHT The one-armed man's arm coming off in the fight. INT. PROSTHETIC CLINIC (BACK TO PRESENT) TECHNICIAN Sorry, I thought you were Ricky. KIMBLE (stumbling) No... I've got to clean the blinds in the office. Want me to wait till you're finished? TECHNICIAN Naw... I'm going to be here all night. You won't bother me. She slips on a pair of headphones and goes back to work. CUT TO: INT. PROSTHETIC CLINIC OFFICE - LATER Kimble cleaning the blinds, keeps an eye on the Technician who is listening to music on her Walkman. She is carefully painting a section of the arm. Not watching Kimble. CUT TO: CLOSE ON FILE DRAWER Opened. BACK TO SCENE Nimble looks over his shoulder. The Technician doesn't see him. A Prosthetic Clinic Operations Manual is removed from shelf. Photographs of prosthetic arms. Kimble shifts the materials into his clothes, closes his coat and suddenly he stops. CUT TO: INT. HALLWAY - ANGLE ON ELEVATOR - NIGHT Kimble waits for the elevator. The folders in his uniform shift and he tries to rearrange them. When he turns back we see Anne Eastman beside him. Her I.D. says: "ANNE EASTMAN". She sees him doing the rearranging. The elevator arrives. They step into: INT. ELEVATOR - NIGHT Anne moves to the back. Kimble on the other side. ANNE (WOMAN DOCTOR) Hey, how're you doing? KIMBLE Fine. ANNE You find that sign? KIMBLE Yes, I did. ANNE You called me an asshole. KIMBLE Excuse me. I was having a bad shift. They laugh. They reach ground level and step out together. ANNE You worked at other hospitals? KIMBLE Lots of them over the years. Here, long ago. Hasn't changed much. ANNE I bet it hasn't. See you. They part ways. Kimble continues out the door. Anne stops and watches him leave. INT. EL TRAIN - NIGHT Kimble sits on the night train going home. He begins looking at his information. INT. KIMBLE'S BASEMENT ROOM - DAY Afternoon light comes in Kimble's basement windows. Sheets of Prosthetic Clinic patient material are spread over Kimble's bed, floor. Kimble searches through the documents, making notes. He studies photos of attachments. Cable attachments. Joints. Electronics. Pins. straps... looking for a key to the identity of the one-armed man. Finally he stops. He finds the flyer in his pocket, puts it on the bedside table and moves to sink. He wets a towel and covers his face. Draws a cool damp breath. Lays back on bed amid the Prosthetic Clinic material. FLASHBACK - FIGHT Kimble pulls the arm. It separates in the one-armed man's sleeve. Wrenches. Dis-articulates. FLASHBACK - ONE-ARMED MAN Reacts in pain. Again. (NOTE: We sense Kimble's mind returning to something. Getting closer to the key...) FLASHBACK - ONE-ARMED MAN Escaping the bedroom. We hear his FOOTSTEPS DOWN the STAIRS... a DOOR SLAM. FOOTSTEPS again. Another DOOR SLAMS, but this time the sound is distinctly different... a CAR DOOR. INT. KIMBLE'S BASEMENT ROOM (BACK TO PRESENT) Kimble yanks the wet rag from his face, his senses alert. Listening, he hears: FOOTSTEPS are real, just outside and MOVING TOWARD him. HARD CUT TO: EXT. APARTMENT HOUSE - DAY A car door slams. We see unmarked police cars pulling up in front of the apartment. Cops are moving toward the house. INT. BASEMENT - DAY Kimble turns off his light, moves from the bed to the window. Carefully looks out: KIMBLE'S POV Unmarked police cars in front of the house, looking, moving his way. BACK TO SCENE Kimble moves instinctively to the back door. He starts to open it but through the dirty window, he sees the back courtyard covered by more cops. Kimble moves back toward the front. Unsure of his next move, he's sweating, preparing for the worst. He watches the TAC team charge the house but instead of charging through the basement door they move up the front steps and into the house overhead. Overhead he hears the SCREAMING from the arresting cops. KIMBLE'S POV - BACK STEPS Kimble SEES the Punk Kid try to escape out the back. He runs, sees cops and runs toward Kimble's basement door, actually reaching it before he is caught by the cops and pulled away. KIMBLE Moves toward the front window and watches cops lead the Punk Kid out to the car. POLICE RADIOS call the other cops to stand down. Kimble moves slowly to his front door. Looks out. KIMBLE'S POV Cops put the young man into an unmarked police car. His grandmother, the Polish woman, follows them, crying. BACK TO SCENE Kimble leans against the wall, exhausted. INT. COOK COUNTY HOSPITAL - TRAUMA HALLWAY - NIGHT Kimble carries his cleaning tray down busy hallway just outside of the Prosthetic Clinic and stops. KIMBLE'S POV Two cops talk outside the Prosthetic Clinic. BACK TO SCENE Kimble backs to a safe place in the trauma hallway to wait for them to leave. CUT TO: INT. 11TH STREET POLICE DISTRICT HOUSE - DETECTIVES ROOM - NIGHT The Punk Kid is handcuffed to a bench as a cop works on a report. Suddenly the Kid notices something that gets his attention. KID'S POV A wanted poster of Kimble over the cop's head. BACK TO SCENE The Kid sees - Wanted for Murder - realizes who it is. PUNK KID (to cop) Hey. Hey! I know that guy! The cop looks up, sees Kimble's poster and then back at the Kid. CUT TO: INT. TRAUMA HALLWAY - NIGHT Kimble moves toward prosthetic clinic. In passing through the trauma hallway he becomes aware of a crisis developing. A major accident has happened, victims are being brought in. The P.A. CALLS for doctors. STATIC. ANGLE ON FAR END OF TRAUMA HALLWAY Elevator doors open as orderlies bring in new patients. Some walk, some are helped by family and police. Nurses direct traffic. Orders fly. Medicines are called. Family members yell for doctors. Ask for the injured. Anne picks up the pace with an ORDERLY wheeling a gurney carrying a young patient, a BOY. ANNE What happened? ORDERLY A bus flipped off the overpass. Got at least twenty more coming in. ANNE What about this one here? ORDERLY Fractured sternum. X-ray's coming up. Anne checks the boy's chart. ANNE Okay, we've got to get some room in this hallway, people. Orderlies quickly move the non-life-threatening patients out of the hall. Still more help is needed. Anne spots Kimble. ANNE Hey, take this one up the hall to Critical Care. Kimble nods. Anne moves to another patient. Kimble grabs the kid's gurney and begins wheeling it up the hall. As he pushes he looks at the kid's X-rays. Anne looks up, barks another order, then suddenly sees Kimble pushing the gurney and looking at the film. ANNE Tries to negotiate through the incoming patients to get a better look, but Kimble is gone. She goes back to work. ON KIMBLE He wheels the Boy's gurney into an elevator. The doors close. INT. HOSPITAL - O.R. CORRIDOR - NIGHT Kimble wheels the gurney down the hall and stops the Boy on the scrub threshold to the O.R. and stops a SURGEON. KIMBLE Hey. Hey! A Surgeon pauses and eyes Kimble's janitor suit and the gurney. KIMBLE They just sent this one up. He takes a look at the Boy's chart and grabs the X-rays and yells to O.R. nurse. SURGEON Bob! Get this one into room four, stat. He looks up, Kimble is gone. INT. PROSTHETIC CLINIC - COMPUTER ROOM - NIGHT Kimble enters the Prosthetic Clinic computer room. The Technician from the day before is listening to her Walkman, sees Kimble and waves. Kimble waves back and turns into the glass-walled computer room and closes the door. He closes the blinds and turns on the computer. CUT TO: INT. CRITICAL CARE UNIT - NIGHT The crisis has wound down. Anne moves into the room and begins checking patients. She stops a unit nurse, GLADYS. ANNE Gladys, where's the boy I sent down with the janitor? GLADYS What boy? ANNE The one with the fractured sternum. GLADYS He never came in here. INT. PROSTHETIC CLINIC - COMPUTER ROOM - NIGHT Kimble scans DOS files, each an eight-letter enigma. Finds one with promise and loads it up. KIMBLE Wrong... He backs up and tries another file. "CLIENT DEMOGRAPHIC ORGANIZER SEARCH BY: AGE, SEX, RACE, LIMB, OR OTHER?" Kimble knows he's got it. INT. PROSTHETIC CLINIC - COMPUTER ROOM - CLOSE ON SCREEN - NIGHT Kimble keys in these responses: "SEX: MALE" AGE: 35-50 RACE: CAUCASIAN LIMB: RIGHT ARM OTHER: POINT OF REPLACEMENT: MID HUMERUS" INT. OPERATING ROOM WING - NIGHT Anne comes out of the stairwell and stops the Surgeon we saw with Kimble. ANNE Dave, did you see a janitor come up here earlier? SURGEON Yeah, he brought a kid up. (handing her the chart) Anne, did you write the orders? I couldn't make out the signature... ANNE I saw - SURGEON (in a hurry now) Whoever did knew what the hell he was doing. Kid's a hair away from a ruptured aorta. He heads to the operating room, leaving her stunned. She stares at the scrawled orders. CUT TO: INT. PROSTHETIC CLINIC - COMPUTER ROOM - CLOSE ON SCREEN - NIGHT A "PLEASE WAIT" message appears on the screen. We hear the COMPUTER PROCESSING, searching, narrowing. The screen flashes: "NUMBER OF POSSIBLE CANDIDATES: 75 DO YOU WISH TO SUBDIVIDE?" KIMBLE Seventy-five. Hell, yes. Kimble types in another defining characteristic... Residence: Illinois. Again he waits. Rattles the blinds to make it seem like he's cleaning. The list shortens. "NUMBER OF POSSIBLE CANDIDATES: 21" KIMBLE What else? MEMORY HIT - INT. CHICAGO COURTROOM - DAY Prosecutor stands before the jury. PROSECUTOR ... murdering Helen Wills Kimble the night of January 20... INT. PROSTHETIC CLINIC - COMPUTER ROOM - CLOSE ON SCREEN - NIGHT Kimble types in: "Candidates having adjustment appointments between January 21, and February 1, 1993." Kimble waits. Sixty-five names come up. Again too many. Kimble's reached a dead end. Kimble thinks. MEMORY HIT - INT. KIMBLE'S BEDROOM - NIGHT The fight with the One-Armed Man. INT. PROSTHETIC CLINIC - BACK TO SCENE ON KIMBLE Something has clicked in his memory. CUT TO: INT. PROSTHETIC CLINIC - PROSTHETIC STORAGE ROOM - NIGHT Kimble stands beneath the hanging artificial limbs. He takes down an arm, works the joint. MEMORY HIT - INT. KIMBLE'S BEDROOM - NIGHT Kimble fights the One-Armed Man. He wrenches the man's prosthetic arm. INT. PROSTHETIC CLINIC - PROSTHETIC STORAGE ROOM - CLOSER ON ARM He moves it again. Harder, at an awkward angle. MEMORY HIT - INT. KIMBLE'S BEDROOM - TIGHTER ON ONE-ARMED MAN'S ARM - NIGHT Kimble wrenches the arm... INT. PROSTHETIC STORAGE ROOM - CLOSE ON ARM The joint strains. MEMORY HIT - INT. KIMBLE'S BEDROOM - CLOSE ON ONE-ARMED MAN'S ARM Kimble wrenches it and it BREAKS. CUT TO: INT. PROSTHETIC OFFICE - CLOSE ON PROSTHETIC MANUAL - NIGHT A detailed diagram of arm construction. ANOTHER ANGLE Kimble makes notes. CUT TO: INT. HOSPITAL ELEVATOR - NIGHT Anne rides the elevator back to trauma. She's thinking. CUT TO: INT. PROSTHETIC CLINIC - CLOSE ON COMPUTER SCREEN - NIGHT Joint repair list between January 21-April 21... Five names come up with Greater Chicago addresses. Kimble hits print. The MACHINE begins PRINTING. Kimble looks up at the Prosthetic Clinic Technician - she is listening to her headphones, can't hear the printer. He continues to shake the blinds. EXT. PROSTHETIC CLINIC/TRAUMA HALLWAY - NIGHT Kimble leaves Prosthetic Clinic and starts down the hall for the exit when a voice stops him. ANNE (O.S.) Do you have a particular interest in our patients' x-rays? Kimble turns to see Anne coming toward him. KIMBLE What do you mean? ANNE I saw you looking at that boy's chest film. She moves in on him. He eyes the exit. KIMBLE It's a hobby of mine - ANNE What other hobbies do you have? Brain surgery? KIMBLE What do you want? She reaches him. ANNE I want to know how that kid ended up in surgery. KIMBLE I'm a janitor. I did what I was told. ANNE Bullshit. Who changed those orders? They hold a look. She knows. He takes a step back and she pulls his I.D. ANNE You stand right here. I'm calling security. Kimble runs. Anne turns to call security but doesn't. She stares after Kimble. CUT TO: INT. POLISH WOMAN'S BASEMENT - NIGHT Kimble's room being searched by the marshals. Gerard finds the flyer Kimble was handed on his way out the door. On it we see: COOK COUNTY HOSPITAL. CUT TO: INT. COOK COUNTY HOSPITAL - CLOSE ON KIMBLE'S I.D. - DAY Anne and Gerard stand in the hallway. Gerard studies the I.D. GERARD A man posing as a janitor orders an emergency operation and all you do is pull his I.D.? ANNE (firmly) A little boy's alive today because he did something. Gerard watches her eyes carefully. GERARD So, you weren't aware that when he escaped he was being transported to Menard State Prison to begin a term of life imprisonment. ANNE For what? GERARD For murdering his wife. Clearly this is news to Anne. Gerard almost smiles at her surprise. GERARD Thank you for your help, Doctor. He moves to the position Anne saw Kimble with the kid's gurney. Trying to imagine what Kimble was doing at that place. Renfro and the other deputies converge. RENFRO What I can't figure is, if you were Kimble, why'd you take a major league chance of hanging around a trauma ward? Gerard considers this as a Man passes him. Gerard notices something. RENFRO The place would be crawling with cops. Slowly Gerard separates from the group of deputies and follows the Man down the hall. The Man Gerard is following turns the corner to the Prosthetic hallway and realizing Gerard is following him, holds the hallway door open for Gerard. MAN Can I help you find something? GERARD Thank you, sir, I think you already have. We see the Man has a prosthetic arm and that they are outside the door marked: "PROSTHETIC CLINIC" INT. PHONE BOOTH - MORNING Restaurant deserted at this hour. Kimble makes calls. KIMBLE Yes... This is Dr. Elway at Cook County. I'm doing follow-up work for the Prosthetic Clinic on Matthew Zelick... (beat) He did... I'm terribly sorry. No, I'll correct our files. Thank you. He scratches through another name. Three left. He dials another number. INT. PROSTHETIC CLINIC - MORNING Gerard and his deputies inside the Prosthetic Clinic. Artificial limbs are being tested, fitted. A technician fits a demonstration model on Biggs while Gerard and Poole work with the director of the institute and a data operator at the computer. GERARD The onearmed man. Missing the right or left hand? POOLE Right. The operator enters that information. Dropping the number to 250... as Poole continues. POOLE ... age 35-45... INTERCUT WITH: INT. PHONE BOOTH - DAY Kimble on phone. He hangs up and scratches through another name. Two left. He dials another number. INT. PROSTHETIC CLINIC - DAY Poole looks up from her file to the computer screen. The number drops to 117... GERARD Location of the attachment. POOLE (from the report) Mid-humerus. INT. PHONE BOOTH - CLOSE ON KIMBLE'S LIST - DAY The next name is "Clive Driscoll." Kimble on phone, waits for answer. KIMBLE (O.S.) Hello... looking for your brother, Clive. This is Ted Riley with the high school reunion committee. Believe it or not, 25 years is just around the corner, and Clive's on our list of lost souls. Information gave me a number, but when I tried it... WIDER to reveal Kimble on the pay phone. The scrap of paper is his list-of-five. KIMBLE No kidding?... Armed robbery. (forced laughter) He's where? CUT TO: INT. COMPUTER ROOM - DAY Gerard looks at the screen. The number drops to 20. RENFRO It could take us a week to track down every one of those names. Gerard picks up phone and dials a number. GERARD (into phone) Stevens... I've got a list of names I want searched for criminal history. CUT TO: EXT. FEDERAL LOCKUP - DAY Kimble stands on a sidewalk, staring at the imposing edifice across the street. After a here-we-go breath, he starts through traffic. INT. FEDERAL LOCKUP - LOBBY - DAY Kimble waits for an elevator. It opens to reveal a pack of staring COPS. ELEVATOR COP (catching door) Comin' or not? Forcing his feet to move, Kimble boards... INT. FEDERAL LOCKUP - ELEVATOR - DAY ... and pivots quickly. Elevator rises. Floor-indicator moves deathly slow. Kimble feels the breath of a dozen COPS on his neck. And just when his floor is mercifully about to arrive... Overhead lights flicker, and the elevator jars to a stop between floors. COPS Aw, shit... Not now... Anybody bring a deck of cards? Abruptly they're moving again. Kimble's heart restarts with the elevator. INT. FEDERAL LOCKUP - VISITATION AREA - DAY CLEARING OFFICER (to visitor) Booth Three. No hands on the glass. Five minutes maximum. Be advised that under a Federal court ruling your conversation can be recorded. Next. "Next" is Kimble. He steps to the counter. CLEARING OFFICER Name of inmate? KIMBLE Clive Driscoll. The Clearing Officer spins his clipboard around. CLEARING OFFICER Sign here, print your name, address, and relationship to inmate below. (into mike) Two-zero-ten. Driscoll, Clive R. (to Kimble) Be about five minutes. You can wait in the hall. INT. FEDERAL LOCKUP - MAIN LOBBY - DAY Gerard and Biggs cross the lobby and stop in front of the desk; flash their U.S. Marshal's ID. GERARD (to clerk) We need to see a prisoner. DESK CLERK Fifth floor. Gerard and Biggs head for the bank of elevators. BIGGS It's hinky. Man risks everything to find a man his own investigators say doesn't exist. Something's really hinky about this thing. Gerard looks at Biggs as they reach the elevators. GERARD I hate that word. He hits the up button. CUT TO: INT. FEDERAL LOCKUP - VISITATION AREA - DAY Clearing Officer looks down the hall. CLEARING OFFICER Visitor for Driscoll...? Kimble is on his feet. CLEARING OFFICER Booth seven. No hands on the glass. Be advised... The Clearing Officer, head down, drones on - doesn't notice Kimble is already gone. Kimble strides down the row of chairs, rounds the last partition to reach booth seven - and to stare at the one-armed man, DRISCOLL, who waits there. DRISCOLL So who are you? CUT TO: MEMORY HIT - FACE OF HELEN'S KILLER CUT TO: BACK TO SCENE Driscoll's face is different. Driscoll is a black man. KIMBLE Sorry. I made a mistake. DRISCOLL Shit, that's okay. Stick around a few minutes, talk about whatever you want... But Kimble is gone. Driscoll calls after him. DRISCOLL ... They're not exactly wired for cable downstairs, y'know? INT. FEDERAL LOCKUP - CORRIDOR - DAY Kimble exits the visitor's area. He sees another crowd of COPS around the elevator again, opts for the door marked: "STAIRS" INT. FEDERAL LOCKUP - LOBBY - DAY Biggs and Gerard wait for the elevator. Finally Gerard's had enough. GERARD Where're the damn stairs? BIGGS It's five flights! GERARD Then you wait. He finds the door and starts up. INT. FEDERAL LOCKUP - STAIRWELL - DAY Kimble descending. Doors open and close throughout the stairwell but the traffic is light... INTERCUT WITH: GERARD Climbing the stairs. He reaches a landing - and skims shoulders with Kimble, who pivots past on his way down. Amazingly, neither man reacts. Not yet. One flight above, Gerard's subconscious taps him on the shoulder and brings him to a dead stop. He leans over the stairwell railing to spy... Kimble spiraling downward. From this vantage, it could be any dark-haired man. But still... GERARD (a quick probe) Kimble. Others look up out of curiosity... but not Kimble. Two landings below, he falters a step, then tries to regain his step, keeps moving. But Gerard is pulling his Glock: The hitch in Kimble's stride told him everything. GERARD Kimble! Kimble blitzes down the stairs. Gerard moves after him. INT. FEDERAL LOCKUP - LOBBY - DAY Kimble throws open a fire door and starts across the lobby. Sees two cops, quickly approaches. KIMBLE Officers - there's a man in the stairwell waving a gun and screaming. The two cops rush to stairs and Kimble immediately moves toward the doors, fast but not running. Hoping to cloak himself in civilians. ANGLE ON ELEVATORS Biggs' elevator has finally arrived and emptied. He lets a woman on in front of him, oblivious to... Kimble moving... The revolving exit doors loom nearer ant nearer. INT. STAIRWELL - DAY The two cops see Gerard. Gerard holds up his badge. GERARD U.S. Marshal! Get on the phone, call your commander, tell him there's a top-fifteen warrant in the building. Go. He shoves the cops out of the way and pounds downstairs. INT. LOBBY - DAY Kimble closing in on the door when suddenly a KLAXON HORN sounds. People stop in confusion. Automatically, the exit doors begin closing. Biggs pushes his way off the elevator. Kimble breaks into a sprint for the door. GERARD Bursts out the stairwell door after Kimble. GERARD Kimble. Stop! But there's only one way of stopping Kimble. KIMBLE Enters the revolving doors as a big man enters from the outside. The big man sizes up the situation, realizes Kimble is fleeing and just before Kimble exits - yanks on the door - trapping him partially inside the revolving door. Other doors seal electronically. Biggs charges back, sees Gerard. Kimble fights the heavy glass door. The big man resists - but slowly the crack widens. Gerard bulls through the crowd, shoves a man out of his line of fire. GERARD Down. down. everybody down! With adrenal effort, Kimble wrings his body through the opening... EXT. FEDERAL LOCKUP - DAY ... and makes it outside - except for his foot - caught like in a bear trap, as the door locks down. Harrowed, Kimble looks back over his shoulder at... Gerard. Charging the glass doors. Civilians suck marble and clear out of Gerard's line of fire on Kimble. Gerard takes aim. GERARD Kimble. Stop! It's Kimble's nightmare coming true. If he could chew off his leg right now, he would. He pulls at his foot just as INT. FEDERAL LOCKUP - DAY Gerard FIRES seven times in two seconds. Kimble goes down. SHOTS and SCREAMS ECHO around the lobby. A long beat, then Gerard rises. THROUGH GLASS studded with bullet holes, he sees... Kimble rising... staring back. Equally astounded that he's alive. He runs free. GERARD Open the doors! Gerard pounds against the doors. Sees cratering in the glass - and then sees flattened slugs all over the floor. It's bullet-proof glass. THROUGH the glass he sees Kimble rush across the street and disappear into the parade. Doors open and Gerard and his men follow. But Kimble has disappeared into the parade celebrations outside. Blending in with the marchers. CUT TO: EXT. HOTEL - MORNING Kimble leaves a cheap hotel early the next morning. He wears a new set of clothes - jeans, sport coat and tie - than the day before, and the black hair coloring has been rinsed from his hair. He moves down the street. INT. BAR - MORNING Kimble uses a pay phone and stares through the window. KIMBLE'S POV - APARTMENT HOUSE Across the street. INT. SYKES' APARTMENT - MORNING Inside the apartment the PHONE RINGS. No one is home. INT. BAR - MORNING The PHONE RINGS nine, ten times. As Kimble waits he looks down at his list of five. The only name remaining is Fredrick Sykes. He looks down the street - it seems clear - then his focus shifts to a man carrying two coffees. He approaches a car parked along the curb. The passenger - a woman - leans across the seat and opens the door for him. He hands her a cup of coffee and as he starts to climb in, he shifts something on his hip - we see the butt of a handgun. Kimble hangs up and leaves through the back door. EXT. REAR OF SYKES' APARTMENT - MORNING Kimble moves across the roof and drops to fire escape behind Sykes' apartment. He looks in the window, steps back to see if anyone is looking, then pulls his fist back into his sleeve and with one swift pop, BREAKS the GLASS. INT. SYKES' APARTMENT - KITCHEN - MORNING No sound. Slowly he moves into... HALLWAY Moving first toward the living room. The apartment is modest. He stops by a photograph of a teenage girl. Another is a boy in football uniform. The next one is a man in a police uniform. Kimble freezes. MEMORY HIT - INT. KIMBLE'S BEDROOM - NIGHT OF MURDER Kimble struggles with the one-armed man. INT. SYKES' APARTMENT - MORNING (PRESENT) Kimble struggles to recall the man's face. It could be him. CUT TO: INT. APARTMENT - MORNING Kimble searching for clues to Sykes' identity. He opens closets, wardrobe, bureau... reopens a drawer. There, in the bottom he finds an old prosthetic arm. CUT TO: ANGLE - DESK Kimble looking through Sykes' desk drawers finds a package of photographs. He opens them and quickly flips through. INSERT - PHOTOGRAPHS A group of men on a business/vacation junket stand around a large sportfish hung from the dock. Kimble keeps flipping through, suddenly stops and backs up and we see what stopped him: The smiling face of Dr. Alexander Lentz. MEMORY HIT - INT. HOTEL BALLROOM - NIGHT OF MURDER Nichols introduces Kimble to Lentz. NICHOLS Richard... Alex Lentz. CLOSE ON PHOTOGRAPHS - MORNING (PRESENT) There are three photos of Lentz. Kimble slowly pulls one out of the pack. As he slides it out we see a fish and on the other side we see... Sykes, wearing a prosthetic arm. MEMORY HIT - INT. KIMBLE'S BEDROOM - NIGHT OF MURDER Kimble struggles with intruder. This time we see his face clearly. It is Sykes. INSERT - PHOTOGRAPHS (PRESENT) Kimble flips back to the earlier group photos and we see a Devlin-MacGregor banner over the group shot. KIMBLE Looks up. He's found the man he's looking for but also a new possibility - that the murder wasn't just a random act of violence. Kimble digs through Sykes' top desk drawer. His mind reeling. He stops: CLOSE ON PAYCHECK STUBS The Devlin-MacGregor Pharmaceutical logo in the top right corner. Payroll level four: Security. CUT TO: INT. U.S. MARSHAL'S OFFICE - MORNING PHONE RINGS. SECRETARY answers it. SECRETARY U.S. Marshal's office... Her expression changes to shock. CUT TO: INT. MARSHAL'S OFFICE HALLWAY - MORNING Gerard is moving down the hall with a cup of coffee when the Secretary appears at a door. SECRETARY It' 9 Kimble on line three. Gerard moves quickly down the hall, mobilizing his troops as he runs... GERARD Renfro, Biggs... They follow him into... INT. MEDIA ROOM - MORNING Gerard moves to phone as TECHNICIAN gives him nod he's ready. Gerard answers the phone and the trace begins. Renfro supervises. GERARD This is Gerard. KIMBLE (V.O.) (beat) Do you remember what I told you in the tunnel? GERARD You told me, you didn't kill your wife. INTERCUT WITH: INT. SYKES' APARTMENT - CLOSE ON KIMBLE - MORNING KIMBLE Remember what you said to me? INT. MEDIA ROOM - MORNING Gerard is calm. GERARD I remember you were pointing my gun at me. KIMBLE (V.O.) You said, 'I don't care.' ON TRACING EQUIPMENT The numbers rush down. Technician reads the first set to Renfro. TECHNICIAN (a whisper) He's on the southside. ON GERARD GERARD That's right, Kimble... I'm not trying to solve a puzzle here. I'm just the poor working man that's paid to hunt you down. The room is filling up with deputies. Poole, Biggs, Stevens, Newman. Gerard watches the numbers as the second digit locks in. RENFRO (low) He's in Pullman area... Fifteen seconds for location. INT. SYKES' APARTMENT - CLOSE ON KIMBLE - MORNING KIMBLE Well, I am trying to solve the puzzle, Gerard and I just found a piece. Kimble takes the phone and bangs it down onto a table and we realize he is in Sykes' kitchen. INT. MEDIA ROOM - MORNING The sound startles Gerard. TECHNICIAN Three seconds. INT. SYKES' APARTMENT - MORNING GERARD (V.O.) Kimble? Kimble leaves the phone on the table and walks out. INT. MEDIA ROOM - MORNING GERARD (into phone) You can't control this thing, Kimble... Kimble? He thinks he hears FOOTSTEPS over the phone, realizes Kimble has not hung up. What's Kimble doing? GERARD (to Renfro) Where is he? Renfro looks up from the address to Gerard, stunned. RENFRO (incredulous) Holy shit. We've got a car there right now. He picks up a phone. EXT. SYKES' APARTMENT - ANGLE - POLICE CAR - MORNING The two cops receive a radio report about Kimble and quickly exit their car. They rush toward Sykes' building. ANGLE - BACK ALLEY While they move into the apartment, we see Kimble, fully aware of them, slip away down the alley. INT. EL TRAIN - MORNING CLOSE ON LIST: Sykes. Lentz. Devlin-MacGregor. R.D.U.90. Lines draw connections. MEMORY HIT - INT. OPERATING ROOM - NIGHT OF MURDER Kimble and Chief Resident work feverishly to save patient. KIMBLE This an R.D.U.90 patient? Kimble looks up at the Resident as we... CUT TO: INT. SYKES' APARTMENT - DAY CLOSE ON TELEPHONE RECEIVER. It BUZZES off the hook. POOLE (V.O.) Name is Fredrick Sykes. 45. Ex cop . A hand comes INTO FRAME ant replaces the receiver on the cradle. We WIDEN to find: Gerard. We see technicians dusting room for prints. A FORENSIC TECH approaches Gerard. FORENSIC TECH Inspector, we're ready for you to look at this. The Forensic Tech sits at desk. FORENSIC TECH Kimble's prints are all over the apartment, but the concentration is here. The Tech takes out the check stubs, some papers; the pack of photos. INSERT - PHOTOS The Tech flips through the pack, stops on the Lentz/Sykes photos. FORENSIC TECH He flips through the pack but paused here. He hands the Lentz/Sykes photo. GERARD Let me see the negatives. The Tech hands him the strip of negative film. Gerard holds it up to the light. GERARD One's missing. Gerard stares at the photo as his RADIO SQUAWKS. BIGGS (V.O.) (on radio) Here he comes... CUT TO: EXT. SYKES' APARTMENT - SIDEWALK - DAY Fredrick Sykes, the one-armed man, comes down the side walk. He passes a car and hears the door open behind him. Biggs climbs out of the car and falls into step behind him. Sykes hears the footsteps but moves on up the stoop and starts to enter his apartment, notices the front door already open. Cops and Marshals in his house. Processing a crime scene. SYKES What the hell's going on here? Who are you people? He steps... INT. SYKES' APARTMENT - DAY ... sees Gerard in the kitchen. Gerard stares at Sykes. GERARD You had a break-in, Mr. Sykes. SYKES You a cop? GERARD My name is Gerard. U.S. Marshal's Office. Sykes is caught off guard. GERARD This morning a fugitive named Richard Kimble made a call from your apartment. Sykes is dumbfounded. SYKES Richard Kimble... I don't know a Richard Kim - Poole produces a photo of Kimble. SYKES Wait a minute... This is the doctor who killed his wife... He claimed the killer had a prosthetic limb. You telling me he's coming after me? GERARD Would he have a reason to? SYKES What the hell's that supposed to mean? Because I have this? He lifts his prosthetic arm and stares at Gerard. Gerard holds his look. SYKES Look, a year ago some people came to see me. They asked me questions about the night of the murder and I'll tell you the same thing I told them. I wasn't even in town then. I was on a business trip. Gerard continues moving around the apartment. GERARD What kind of business are you in, Mr. Sykes? SYKES Security. GERARD Independent? SYKES No, I work for a pharmaceutical company. I handle security for its top executives. Gerard holds up one of the fishing photographs with Lentz. GERARD Any idea why Kimble would be interested in these? SYKES No. Just some doctors on a company junket. Gerard puts the photos down with the one of Lentz on top. Sykes eyes it. SYKES (annoyed) Look, you mind if I talk to the cops to see if anything's missing? GERARD By all means. Sykes moves off and Gerard pockets the Lentz/Sykes photo. CUT TO: EXT. SYKES'S APARTMENT - DAY Gerard crosses the street with Renfro and Biggs. RENFRO He's pulling our chain, Sam. If this was the guy Kimble was looking for, why call us? GERARD Kimble said he's putting together a puzzle. We don't need to put it together too, we just need to be there when he gets to the next piece. Gerard stops and looks back at Sykes' apartment. GERARD Keep somebody on him. If he moves I want to know. CUT TO: INT. MEDICAL LIBRARY - DAY Kimble moves through large medical library and turns into area marked: PHARMACOLOGY. CUT TO: CLOSE ON PHARMACEUTICAL JOURNAL Pages turn as we get CLOSER on headings: "DRUGS PENDING FDA APPROVAL..." Experimental and commercial names MOVE PAST us... and at the end of the list we find: "PROVASIC (RDU90) Developed by Devlin-MacGregor Pharmaceuticals". SECOND PERIODICAL - BUSINESS PHARMACEUTICAL JOURNAL Kimble opens to article entitled: "DEVLIN-MACGREGOR EXPECTS PAYDIRT WITH PROVASIC." "Pharmaceutical company plans to go public on introduction of new drug, Provasic (R.D.U.90)." Kimble looks up. Now he knows why someone tried to kill him. He gathers more Devlin-Macgregor information including a prospectus, and leaves. CUT TO: INT. DOCTOR'S PHONE SERVICE - DAY An OPERATOR answers a call. OPERATOR (into phone) I'm sorry sir, Dr. Nichols is at a medical conference at the Hilton. INTERCUT WITH: INT. CHICAGO MEMORIAL HOSPITAL LIBRARY - PAY PHONE - DAY KIMBLE It's very important I reach him. INT. HILTON HOTEL HOSPITALITY SUITE - DAY A meeting is underway around a board room table. An ASSISTANT moves around the table and gives Nichols a message with a number and "URGENT" written on it. ASSISTANT I'm sorry, sir, they said it was an emergency. Nichols excuses himself from the table. EXT. MEDICAL LIBRARY PAY PHONE - DAY Kimble answers a pay PHONE when it RINGS. KIMBLE (urgent) Can you talk? INTERCUT WITH: INT. HILTON HOTEL HOSPITALITY SUITE - DAY Nichols on phone at the other end of the suite. The meeting continues behind him. As soon as he hears Kimble's voice, Nichols reacts. NICHOLS (low) Richard. Yes... I'm on a hotel phone. What's going on? He eyes the group in the other room, moves around the corner for more privacy. As he does we notice several of the men watching. They exchange glances. KIMBLE I found him, Charlie. I found the guy that killed Helen. NICHOLS (shocked) What? KIMBLE It's all about a drug, Charlie. They tried to kill me because of a drug. NICHOLS Who? KIMBLE Devlin-MacGregor and Lentz. Lentz was supervising the R.D.U.90 protocol. He knew I'd found out the drug had problems. It's Lentz. NICHOLS Richard, Lentz is dead. He died in an auto accident last summer. Kimble is stunned. NICHOLS Can you prove this about the drug? KIMBLE I need your help. Call Mr. Roosevelt and tell him I'm coming in. CUT TO: INT. GERARD'S OFFICE - DAY The group of deputies and Gerard assemble around Gerard's information board. They've come armed with facts and theories. Gerard orchestrates the information. RENFRO If you were Richard Kimble... Why would you hunt for a one-armed man you think killed your wife; find hint then leave him and call us? POOLE To throw us off his trail. RENFRO Unless... What if you were a well respected surgeon and wanted to kill your wife? How would you do it? BIGGS I'd hire a pro. Sight unseen. POOLE Set it up to look like a robbery gone bad. RENFRO How would you find him? Look in the phone book? RENFRO Through a connection. POOLE Maybe through a company you did some business with. BIGGS Like a pharmaceutical company. Someone in security. NEWMAN On the night of his wife's murder, Kimble attended a hospital benefit sponsored by Devlin-Macgregor Pharmaceutical - Sykes' company. Gerard places a Devlin-Macgregor card onto his board. BIGGS But Sykes claims he was out of town. POOLE And company records support that he was on a business trip. RENFRO That's an easy fix. So let's say he was in town. Did the job. Everything goes as planned with one problem. NEWMAN Instead of looking like a robbery gone bad, Kimble ends up being the one accused... BIGGS ... tried, convicted... POOLE ... and the hit man gets away clean. RENFRO So Kimble returns to hunt for and find the hit man. NEWMAN Why? To share the blame? He'd still go to prison. Gerard moves to the board. He takes down a card. RENFRO You're underestimating the power of the good doctor. It would be his word against... Sykes'. Who would you believe? BIGGS So what does Kimble do next? RENFRO Get help. Gerard pins the card to the board and looks at Renfro. It says: "NICHOLS" GERARD Stevens, check phone records for Sykes and Kimble. Gerard moves to the door and Renfro follows. As he's leaving he hands the photo of Lentz and Sykes to Biggs. GERARD Find out who this guy is. He leaves. Biggs hands the photo to Newman. NEWMAN (deadpan) Why do I get all the great jobs? EXT. CHICAGO MEMORIAL HOSPITAL - LOADING DOCK - DAY Kimble enters the hospital through the loading dock. INT. CHICAGO MEMORIAL - MORGUE - DAY MR. ROOSEVELT, an ancient research assistant, opens the door to Kimble. ROOSEVELT It sure is good to see you again, Dr. Kimble. KIMBLE You too, Roosevelt... Been a long time. Roosevelt closes the door behind them. INT. TISSUE STORAGE - DAY Roosevelt brings Kimble a file marked: "R.D.U.90" ROOSEVELT This is the R.D.U.90 file and samples. Dr. Nichols said you needed. KIMBLE Thanks, Roosevelt. CUT TO: INT. UNMARKED POLICE CAR - DAY A cop stares up at Sykes' house from across the street. INT. SYKES' APARTMENT - DAY Sykes watches the cops in the car outside. He moves to the phone and dials number. EMERGENCY OPERATOR (V.O.) Emergency operator. SYKES I want to report a fire; No, it's not my place, it's a couple doors down. CUT TO: INT. CMH HALLWAY/DR. WAHLUND'S LAB - DAY Kimble moves down hall and quietly enters a small research lab in the university. Dr. Wahlund sits behind her microscope and doesn't see him until he touches her on the shoulder. WAHLUND (startled) Oh, my God... Richard. KIMBLE I loaned you something once, Kath, and I need them back. CUT TO: INT. SYKES' APARTMENT - DAY Sykes, dressed in coat and tie, prepares to leave apartment. Somewhere in the distance we hear: FIRE ENGINE SIRENS. EXT. SYKES' APARTMENT - DAY The cop stares at Sykes' window when suddenly we hear FIRE SIRENS, and a pair of fire trucks turn onto the street and pull up across the street from the unmarked car -blocking the view of Sykes' house. Firemen climb down and move to a nearby building. The street begins to fill up with people. The cop stares at the commotion directly behind him. He becomes so engrossed in the action like everyone else that he fails to see Sykes, using the distraction, exit his apartment and walk calmly away from the scene. INT. U.S. MARSHAL'S OFFICE - DAY Newman studies the photograph of Lentz and Sykes under a magnifying glass. INSERT - CLOSE ON PHOTO OF LENTZ We see the logo on Lentz' shirt says: "C M H" EXT. EL STATION - PHONE BOOTH - DAY Sykes stands at a phone booth, finishes a call, then moves up the stairs to board an el train. INT. HILTON HOTEL - DAY A conference breaks up and Nichols moves down hallway. He slows when he sees Gerard and Renfro waiting for him. NICHOLS Mr. Gerard. GERARD Doctor. Could I have a minute? He opens the door to an empty meeting room. INT. MEETING ROOM - DAY Gerard, Nichols and Renfro. Nichols stares at a photo copy of the Sykes and Lentz fishing photo. RENFRO He's a security specialist at Devlin-Macgregor Pharmaceuticals. Kimble broke into his apartment. NICHOLS I don't know him. You're getting pretty desperate aren't you, Mr. Gerard. I told you, you wouldn't find Richard. GERARD (beat) Dr. Kimble hasn't come back to you for help, has he? NICHOLS No. And it seems like we've been over this ground before. Now if you'll excuse me. Nichols moves to the door. Gerard looks again at the photo, then stops him. GERARD Dr. Nichols. Do you know the other man in the photograph? Nichols stops, looks at Lentz and lies. NICHOLS I never saw him before. He leaves. Gerard watches him. Renfro looks down and sees flyer which says Nichols is slated to talk that evening in the grand ballroom. RENFRO (reads) "Advances in Nuclear Tissue and Pathology Research," by Dr. Charles Nichols. (to Gerard) I bet they line up to hear that one. CUT TO: EXT. CHICAGO MEMORIAL HOSPITAL - AFTERNOON Newman and Biggs enter the hospital. INT. CHICAGO MEMORIAL HOSPITAL - DR. WAHLUND'S LAB - AFTERNOON MICROSCOPIC POV: Cell structure. ON WAHLUND She works the fluorescent stains. Makes notes. Kimble helps load the next sample. KIMBLE Half the people in the study were indigents. No follow-up, no baseline on them. Who could say they didn't come into the study with bad livers? WAHLUND The one on the right is one of the samples you sent me. It shows a lot of perriportal inflammation loaded with eosinophils. When you see that with the accumulation of bile it's a classic for - KIMBLE - drug induced hepatitis. WAHLUND I'm impressed. Now look at this. She positions a second slide. WAHLUND According to the study, this is a slice from the same liver. Kimble studies the slide. The tissue difference is markedly different, clearer. KIMBLE Cold normal. WAHLUND Clearly not from the same tissue. In fact. She yields the microscope to Kimble. WAHLUND See this small area of bile duct proliferation? Von Meyenberg's Complex. Occurs in only 2% of the population. But it's in every one of your five samples. Kimble looks up. KIMBLE That's statistically impossible. WAHLUND That's because they're all from the same liver. She smiles at Kimble. CUT TO: INT. CHICAGO MEMORIAL HOSPITAL - ADMINISTRATIVE OFFICE Newman shows the photo to a 40s clerk, BETTY. She looks at the photo. BETTY His name's Lentz. A pathologist. I only remember him because he died last summer. Biggs and Newman exchange a look. NEWMAN Anybody down in pathology who might know something about the guy? Betty looks at the clock, it's after 6 p.m. Dicey. BETTY It's kinda late to catch anyone, but you might go by the morgue. There's an old guy down there who's been around forever. CUT TO: INT. CHICAGO MEMORIAL HOSPITAL - AFTERNOON Sykes steps off an elevator at Chicago Memorial Hospital. And starts down a hall. CUT TO: INT. CHICAGO MEMORIAL MORGUE HALLWAY - DAY Newman and Biggs move down the empty hallway... this long shot has never felt longer. They find the morgue. BIGGS Just what I want to do before dinner. INT. CHICAGO MEMORIAL MORGUE - DAY Roosevelt working near the autopsy tables when the two marshals enter. NEWMAN Are you Mr. Roosevelt? ROOSEVELT Yes. BIGGS We're United States Marshals. We're trying to find out some information about a pathologist, named Lentz. He used to be on staff here. Roosevelt suddenly goes on the defensive. ROOSEVELT He's dead. NEWMAN Yeah, we heard. We wanted to know if he knew or had any contact with Dr. Richard Kimble? On the mention of Kimble, Roosevelt becomes visibly nervous. ROOSEVELT I... I haven't seen Dr. Kimble. Biggs and Newman exchange a look. NEWMAN (a probe) That's not what I asked, sir. I just wanted to know if Dr. Kimble and Dr. Lentz knew each other? ROOSEVELT I... I don't know. Excuse me, I got to go. He moves away from the autopsy table. Biggs stops him. BIGGS I think you're lying to us. Roosevelt looks from one marshal to the other as we: CUT TO: INT. CHICAGO MEMORIAL - DR. WAHLUND'S LAB - AFTERNOON As Kathy packs up evidence, Kimble looks through the reports. KIMBLE They'd be home free if I hadn't been leaning on them to account for the livers I was seeing. And I wouldn't have seen the livers if I hadn't told the guys on my service to call me when they had cases that were bleeding excessively in surgery. WAHLUND Big bucks. One schmuck standing in the way. Easy, get rid of him and his wife. But why Lentz? KIMBLE Why not? He's one of the original patent holders. Toss the samples I sent, replace them with healthy samples, issue the path report on the healthy stuff-piece of cake. Kimble notices something in the report. KIMBLE When did Lentz die? WAHLUND Oh, last summer sometime. August... Why? Kimble looks up from the protocol report. KIMBLE Because a good third of the samples Lentz approved were signed after he died. Kathy comes to look at the report. Lentz's signature is on reports dated October, November, December. KIMBLE Someone else used Lentz's name. WAHLUND A pathologist at Devlin-Macgregor? KIMBLE They wouldn't have had the access. They would have needed someone at the hospital. Kimble opens the Devlin-Macgregor prospectus he took from the medical library and opens it to the beginning. A photo gets his attention. He takes the bag and starts for the door. WAHLUND Where are you going? KIMBLE To see an old friend. CUT TO: INT. GERARD'S OFFICE - NIGHT Gerard at his board. The cards form a triangle: Sykes Devlin-Macgregor - Lentz with Kimble at the apex. He stares at the board. Poole comes to the door. POOLE It's Newman. Line two. INT. CHICAGO MEMORIAL HOSPITAL - HALLWAY - NIGHT Kimble slips down corridor. We see someone following him. It is Sykes. INT. CHICAGO MEMORIAL HOSPITAL HALLWAY - NIGHT Newman on portable phone. Behind him Biggs questions Mr. Roosevelt. NEWMAN The old guy didn't know where he was going. But he picked up some tissue samples. GERARD Tissue samples? Gerard goes to his board. Renfro listens on the speakerphone. NEWMAN ... From a drug study. And signed for by Dr. Charles Nichols. Renfro and Gerard exchange a look. NEWMAN Nichols also knew Lentz. He was a pathologist. RENFRO He was covering for Kimble. GERARD (to Renfro) Get CPD to bring in Sykes. Gerard stares at the board. CUT TO: INT. HOSPITAL TUNNEL - NIGHT Kimble moves through steam tunnel beneath the hospital. It is lined with old furniture and supplies. A few moments later we see Sykes following. CUT TO: INT. HILTON HOTEL GRAND BALLROOM - NIGHT A cordial HOST steps up to the microphone. The room is filled with doctors seated at tables around the room. It is the end of a dinner symposium. HOST Tonight to close our conference, we're honored to hear a report from one of the most respected men in his field... CUT TO: EXT. CHICAGO MEMORIAL HOSPITAL - NIGHT Kimble exits the hospital and moves toward Hospital E1 Station. INT. BALLROOM - NIGHT As the Host continues his introduction of the keynote speaker we PAN the DAIS of distinguished medical men and women... HOST ... He is the A. Jude Robinson Fellow and Administrative Chief of Pathology at Chicago Memorial Hospital... and just recently has been appointed member of the board of directors for Devlin-Macgregor Pharmaceuticals. Please welcome... ... and STOP ON Charles Nichols. HOST ... Dr. Charles Nichols. Nichols rises to applause and moves to the podium. EXT. CHICAGO MEMORIAL HOSPITAL EL STATION - NIGHT Kimble starts up the stairs to the station just as a train is coming in. Kimble moves down the platform and boards the downtown train. Just before the doors close Sykes steps onto the last car. The train moves out. CUT TO: INT. GERARD'S OFFICE - NIGHT Gerard stares at his board. Stevens comes to the door. STEVENS I checked Sykes' calls for the last two years against Kimble's like you asked and found nothing. GERARD All right. It was a thought. He goes back to the board but Stevens isn't finished. STEVENS But when I cross-checked Kimble's phone records... one came up. Gerard looks up. GERARD Kimble called Sykes. (calling) Renfro! Get C.P.D. to bring in Sykes! STEVENS Night of his wife's murder - seven-thirty in the evening from his car. Gerard stares at the deputy, thinking - something doesn't click. Stevens sees the empty stare, then Gerard looks back at his board. STEVENS I have the phone record right here. GERARD (calling) Poole! Bring me Kimble's arrest report, now. (to Stevens) No, Stevens... I believe you. Poole enters with Kimble's arrest transcript. Gerard takes the transcript as Renfro appears at the door. POOLE Sam, C.P.D. just checked Sykes' apartment. He's not there. As Gerard looks up, we - CUT TO: INT. DOWNTOWN EL TRAIN - ON KIMBLE - NIGHT Sits in the front car. There are very few other riders. A man with newspaper sits across the car reading. The headlines facing Kimble say: "KIMBLE IN CHICAGO". Kimble's booking photo stares back at him. Kimble reacts to the headline, looks away as the man turns the pages. The man looks over the newspaper at Kimble, then goes back to reading. A moment later he folds the paper back to the front page. The man looks up from the paper and looks at Kimble again, then down. Coolly the man folds the paper, tucks it under his arm, stands, looks through the car, then moves into one of the rear cars. Kimble looks out the window - hoping desperately for his car to reach the station. He keeps his head turned until the man is gone. ANGLE - THROUGH CENTER OF TRAIN - NIGHT From the center of Kimble's car we see the man with the newspaper move up to a TRANSIT COP. They begin talking. Kimble stands, coming INTO the SHOT. We see him watching the discussion. Suddenly a man, sitting in the rear of the car, stands and blocks Kimble's view of the Cop. It's Sykes. His gun is drawn. SYKES Back up. Move to the door, Doc. CUT TO: INT. TRAIN - TRANSIT COP'S CAR - NIGHT Transit Cop moves past the man with the newspaper toward Kimble's car. TRANSIT COP (to radio) This is transit unit, 23. I have a possible sighting of Richard Kimble. Northbound coming into the Balbo station. Request immediate back-up at the station. He moves toward the connecting door to Kimble's car. CUT TO: INT. KIMBLE'S CAR - NIGHT The train is not yet to the station. He has no escape. Sykes moves toward him. SYKES This is my stop, Doc. Kimble stares hard at Sykes. He steps toward the side exit. KIMBLE Good, it's my stop, too. Suddenly the door behind Sykes opens and the Transit Cop enters. TRANSIT COP Kimble. (to Sykes) Sir, move away from him. Sykes - the gun tucked next to his side - turns. The Cop sees Sykes' gun, reacts... But Sykes FIRES first, shoots the cop FOUR TIMES. As the Cop falls, Sykes turns quickly to finish Kimble. But Kimble pulls the emergency brake over the door. EXT. TRAIN - NIGHT The brakes lock. The TRAIN SCREECHES. INT. REAR CARS - NIGHT Passengers are thrown off their feet. Bags and briefcases go flying. INT. KIMBLE'S CAR - NIGHT Sykes is thrown forward toward Kimble who holds onto a bar for balance. EXT. TRAIN - NIGHT The train stops just short of the station. Only the first two windows of the front car are over the platform. INT. KIMBLE'S CAR - NIGHT Sykes is thrown to the floor - the gun slips from his grasp. Kimble moves for the gun as Sykes comes up, catches Kimble in the stomach, knocks him back. The fight carries on throughout the car. Kimble reaches the gun first, lifts it in his left hand and aims at Sykes. Sykes sees the gun in Kimble's hand and almost smiles. SYKES Go ahead. You don't have it in you . For a moment Kimble almost fires, but instead he takes the gun in his right hand and whips it across Sykes' face. Then hits Sykes again and again with the butt of the gun, driving him down the length of the car, knocking him almost unconscious. Kimble tucks the gun in his belt and moves to the Transit Cop. He checks for a pulse - there is none. The Cop is dead. Kimble takes the handcuffs and keys from the case on the Cop's belt. He reaches for Sykes' wrist, drags him to the Cop and cuffs Sykes to the dead Cop. He pockets the keys and grabs Sykes' hair, pulls his face off the floor. KIMBLE Not as easy as Helen, was it? (slams Sykes' head down, leaves) You missed your stop. He moves to the front of the car with Sykes' and the Transit Cop's guns out. People back out of his way. He moves to where the first two windows extend over the platform, kicks out the front window and... EXT. TRAIN STATION - PLATFORM - NIGHT ... drops to the station platform. Kimble lowers his head and moves down the uncrowded platform to the station. INT. GERARD'S OFFICE - NIGHT The report comes off the scanner. DISPATCHER (V.O.) ... units in the vicinity of Balbo Street station. Be alert to possible sighting of Richard Kimble... Gerard, Renfro and Poole trade looks. Gerard moves toward the door. RENFRO Balbo station. That's - GERARD (cutting him off) Poole, get Biggs and Newman. They're gone as we - CUT TO: EXT. TRAIN STATION - NIGHT Police cruisers pull outside the station. INT. TRAIN STATION - NIGHT As transit police move up the escalator to the platform, Kimble moves unnoticed through the underground mall beneath the hotel. Deposits the guns into a mail box and keeps moving. INT. GERARD'S CAR - NIGHT Renfro driving, Gerard and Pool in car. Report comes over the radio. POLICE DISPATCHER (V.O.) ... all units in vicinity of Balbo E1. Officer down. Repeat, officer down. Man leaving scene with two guns matches description of Richard Kimble... Gerard looks out the window, he knows what this means. GERARD (quietly to himself) Damn... INT. HOTEL - MALL LEVEL / LOBBY - NIGHT Kimble moves up escalators from the underground station into the Hilton. INT. HOTEL LOBBY - NIGHT Disheveled and driven, he moves from the escalators to the lobby - checks the list of hospitality suites and sees board which indicates Nichols speech in the rooftop ballroom. He moves on to the main elevators. CUT TO: INT. BALLROOM - NIGHT Nichols speaking. As he talks we MOVE TO... ANGLE ON TABLE OF MEN Listening - the same men we saw in the hospitality suite when Nichols talked to Kimble. As we MOVE TIGHTER ON one of the men, we notice his name tag says: Board of Directors... Devlin-MacGregor Pharmaceuticals. INT. HILTON ROOFTOP ELEVATORS - NIGHT Kimble rides alone to the rooftop ballroom. CUT TO: EXT. HILTON HOTEL - NIGHT Gerard's car pulls up in front of the hotel. Police are controlling pedestrians. Newman and Biggs, already decked out in Kevlar, meet him. NEWMAN C.P.D. just reported - GERARD I heard. Was it Kimble? BIGGS Conflicting reports, but the cops are considering him a shooter. Heavily-armed CPD units pull up. Gerard stares at the police presence. He starts toward the hotel where Kelly is conferring with Kevlar-decked police captain. POLICE CAPTAIN Witnesses say he entered hotel from the subway. KELLY Okay. I want it locked down. Start on the lower levels. The captain moves off. Gerard intercepts the cop. GERARD That's my man in there, Kelly. KELLY Not since he took down one of ours, Gerard. This is a police matter, now. Stay, the hell, out of it. Kelly moves off. Gerard watches him a moment then he looks up to the roof. Newman hands Gerard his belt with his backup piece. GERARD C'mon, I know where he's going. He moves into the hotel with his deputies. INTERCUT WITH: LOCKDOWN MONTAGE - EXT. / INT. HOTEL - NIGHT A) C.P.D. cruisers arriving. Cops deploying to points of entry. Security guards keying shut parking garage and blocking stairwells. B) Helicopter with police sharpshooters takes off from Meigs Field downtown and heads for the hotel. CUT TO: INT. ROOFTOP ELEVATORS/PENTHOUSE HALLWAY - NIGHT Kimble exits the elevators and moves down the corridor to the ballroom. A man tries to stop him at the doors, Kimble simply moves him out of the way and opens the doors to: CUT TO: INT. BALLROOM - NIGHT Nichols moves to the last of his speech as Kimble enters at the rear NICHOLS ... And I especially would like to thank my researchers who helped me... Nichols stops his speech - stunned to see Kimble. NICHOLS Richard... KIMBLE What's wrong, Charlie? Surprised? Kimble begins moving down the aisle past the tables of doctors toward the podium. We see the faces of Kimble's colleagues and friends from the ballroom sequence earlier. At first no one notices Kimble but as he makes his way toward the dais, the applause fades and then room quiets. Whispers of: CROWD It's Richard. It's Kimble. Stunned expressions. Kimble continues to the front, talking to Nichols as if the room were empty. KIMBLE After Lentz died, you were the only one that had access to the pathology reports. Nichols remains calm. NICHOLS Reports? What are you? KIMBLE You switched the samples and falsified the reports so R.D.U.90 could get approval. NICHOLS Richard, I don't know what you're talking about?... KIMBLE I have a set of the original samples. Nichols stares at Kimble and for the first time we see a flicker of concern. KIMBLE You almost pulled it off, Charlie. But I know all about it now, and I can prove it. Nichols and Kimble hold a look. Nichols turns to the audience. KIMBLE Ladies and gentlemen. My friend, as you can see, is obviously not well. Richard, if you want to talk - KIMBLE I didn't come here to talk Nichols leaves the dais and heads toward the exit. Kimble tracks along with him - moving through the tables - passing the table with the Devlin-MacGregor board of directors. They are disturbed by this situation. ON NICHOLS Moves through a door and exits into... HALLWAY Kimble follows moving through the tables and people to reach the door. As soon as he's gone there are calls for "security." Doctors move for the exits. CUT TO: INT. HOTEL LOBBY - NIGHT Gerard, Renfro, Newman, Biggs and Poole move into the lobby. Police move to cover the lower floors. BIGGS C.P.D. has the perimeter, hotel security has the parking structure. GERARD Let them keep busy down below. Newman, get with security. See if you can locate Kimble from the monitors. Keep in radio contact. Newman branches off to Hotel Security. The rest follow Gerard to the rooftop elevators. EXT. HELICOPTER - NIGHT ROARING over Chicago skyline. The bright red sign of the Hilton Hotel looms ahead. CUT TO: INT. HALLWAY / HOSPITALITY SUITE - NIGHT Nichols moves down hallway and turns into a hospitality suite. A moment later Kimble follow and enters the... HOSPITALITY SUITE ... and is immediately smashed with a chair by Nichols. Kimble goes flying, stunned. Nichols locks the door. NICHOLS Your best quality, Richard, is that you don't give up - Nichols pulls Kimble to his feet. NICHOLS ... even when it's clearly in your best interest to... He hits him again, drives him back into the library. Kimble tries to recover as Nichols relentlessly stays on him. He pulls him up, slams him against the fire escape doors. NICHOLS I always knew that I'd have to kill you. He drives a blow into Kimble's stomach. NICHOLS Now, I must thank you for giving me 200 witnesses tonight who will support me... when I tell them it was self-defense... He shoves Kimble through the door out into... EXT. FIRE ESCAPE BALCONY - NIGHT ... and almost over the railing. Kimble grabs the rail to keep from dropping to the street. Nichols closes on him, but Kimble rolls away at the last minute and knocks Nichols back against the other side of fire escape. KIMBLE You missed your chance, Charlie... Nichols charges Kimble, but Kimble drives him back with two crushing blows that send Nichols down the stairs. Kimble moves down the stairs after him - passing under a security camera. CUT TO: INT. SECURITY ROOM - NIGHT A room lined with security monitors. Two security personnel sit in front of their console. Newman stands behind them. On screen: We see Kimble moving down the stairs toward Nichols, who pulls himself to his feet. Newman stands in front of the screen, talks to his radio. NEWMAN (to radio) I've got Kimble on the roof with Nichols. Southeast exit. INTERCUT WITH: INT. HOTEL ELEVATOR - NIGHT Gerard and deputies Poole, Biggs, and Renfro around him. BIGGS (to radio) Keep and eye on him. Biggs has roof plans. BIGGS There are four exits to the roof. GERARD I want them covered. EXT. HOTEL ROOFTOP FIRE ESCAPE - NIGHT Nichols rises to his feet, swings, but Kimble blocks the blow and lands another that sends Nichols down another set of stairs to the roof. KIMBLE You took everything away from me... for money. INT. BALLROOM ELEVATORS - NIGHT Gerard and the marshals reach the ballroom floor. The elevator doors open to a flood of confused and disoriented doctors trying to escape. The marshals wade through, meet up with two hotel security guards. GERARD This way. EXT. ROOFTOP - NIGHT Kimble pulls Nichols to his feet. They are silhouetted by the lights of the city skyline. KIMBLE I want to know, Charlie... was it worth it...? NICHOLS This thing is bigger than even you think, Richard. You can't stop it. He hits Nichols again with tremendous force, knocking him against the parapet. Nichols stares over the edge - the street appears far below. INT. BALLROOM - NIGHT Gerard and his deputies work their way into the ballroom. The deputies move to separate areas. Several doctors point them in the direction Kimble and Nichols fled. INTERCUT WITH: INT. HOTEL SECURITY - NIGHT Newman stands in front the security monitors and watches Kimble and Nichols on the roof. EXT. ROOFTOP - NIGHT Kimble reaches Nichols and draws to hit him again as the HELICOPTER suddenly ROARS over the rooftop. Its beam hits the two men and a VOICE booms from the helicopter: VOICE FROM HELICOPTER (V.O.) Chicago police. Freeze. In the instant of shock, Nichols knees Kimble and bolts. INTERCUT: INT. HALLWAY / HOSPITALITY SUITE - NIGHT Gerard moves down connecting hallway where a couple of concerned doctors are trying to open the door to the hospitality suite. GERARD (to doctors) Clear the hallway. (to security) Get that door open. The door opens and Gerard moves quickly through the hospitality suite for the rooftop. GERARD (to security) Stay at this door. He moves through the door to the roof alone. INT. HOTEL SECURITY - NIGHT Newman watching the security monitors sees Kimble and Nichols. On another monitor we see Gerard exit the suite. EXT. ROOF - NIGHT Nichols runs. Kimble recovers, sees Gerard moving down the fire escape toward him, and Nichols escaping. He goes after Nichols. The helicopter circles back over the roof, illuminating the rooftop in its million-candle-power beam. HELICOPTER PILOT (V.O.) I've got a visual on Kimble. He's running. INTERCUT WITH: EXT. STREET - NIGHT Kelly listens on his ratio. KELLY Bring him down. EXT. ROOFTOP - NIGHT Kimble chases Nichols down the roof as BULLETS from the helicopter rip into the air conditioning duct next to Kimble. The helicopter swings out to keep Kimble in sight. ON GERARD Gerard hits the bottom of the fire escape and follows. GERARD (to radio) This is a United States Marshal. Get that helicopter out of here! ANGLE - NICHOLS He moves away among the duct work. Kimble follows. Gerard continues after Kimble. The helicopter circles and follows from above. INT. PENTHOUSE / DOOR TO ROOF - NIGHT Renfro triggers his radio. RENFRO There is a U.S. Marshal out there. Hold your fire! HELICOPTER'S POV FOLLOWING Kimble. Its beam tracking Kimble across the rooftop. He moves through the blowers and duct work. Kimble is gaining ground on Nichols. ON SHARPSHOOTER He is about to fire when he hears through his radio. RADIO (V.O.) Hold your fire. The shooter pulls back. INTERCUT WITH: EXT. ROOFTOP - NIGHT Gerard rushes across the roof toward Kimble. ANGLE - NICHOLS He is almost to the end of the roof when Kimble tackles him. The two men crash against sloped glass roof of an elevator housing. INT. ELEVATOR SHAFT - NIGHT Inside the shaft - an elevator moves toward the roof. It stops on the floor ten feet below the roof. THROUGH the glass roof we see the doors open. CUT TO: EXT. ROOFTOP - GERARD - NIGHT Charges toward - KIMBLE Who slams Nichols hard against the glass. The WIRED GLASS CRACKS and bellies with the form of their bodies. Nichols' head rocks from the impact. The GLASS GROANS. The wire stresses. The caulking begins to drop. Nichols struggles but Kimble has him in control. Slams him down hard again. HELICOPTER Circles, illuminates the struggle in its spotlight and Gerard closing. INT. ELEVATOR SHAFT - NIGHT The elevator doors close and the car beneath the skylight begins to descend. GERARD Pulls up. GERARD Kimble! Kimble slams Nichols one more time against the glass and the wire holding the glass gives way, sending Kimble and Nichols into... INT. ELEVATOR SHAFT - NIGHT Kimble and Nichols, locked together, fall down the shaft and crash onto the roof of the descending elevator car. Nichols crashes through the ceiling into the car. Kimble hits and slides across the roof to the edge, stopping himself, just before he falls into the shaft. An elevator car rushes toward him out of the blackness. EXT. HOTEL ROOFTOP - NIGHT Gerard reaches the elevator housing, looks down into the shaft. GERARD'S POV Kimble's car disappears into the darkness. CUT TO: INT. ELEVATOR CAR - NIGHT Nichols pulls himself to his feet. Hits the emergency stop and the doors open. He disappears into... INT. HILTON LAUNDRY - NIGHT ... a huge industrial laundry room. Steam rises from the giant machines. INT. ELEVATOR CAR/LAUNDRY - NIGHT Kimble drops from the ceiling into the car and moves carefully into the laundry. ... like an industrial jungle. Dimly lit, filled with DEAFENING MACHINERY. Five hundred pound bags of laundry move from a network of ceiling tracks to a pair of heavyduty conveyor belts and two thirty-foot long washers. ... At the other end of the washers, hydraulic presses stamp out three-foot diameter "cakes" which are moved by conveyor and dollies to automated dryers. The NOISE is DEAFENING. INT. STAIRWELL - NIGHT Gerard comes down back stairwell. Followed by Renfro. GERARD (to radio) Where did the elevator stop? INTERCUT WITH: NEWMAN IN SECURITY Newman checks the computer board for the elevator position. NEWMAN (to radio) Level five. INT. LAUNDRY - NIGHT Nichols pushes through the hanging laundry bags toward an exit, tries the door. It is secured with a collapsible grating with a padlock. He looks up, keeps moving. KIMBLE Notices the swinging bags, follows Nichols' trail. He stops to get his bearings, sees shadow at the far end of the room between the two washers. Kimble closes in, moving between the large conveyors. ANGLE - SORTING ROOM Gerard enters sorting room with Renfro. He sees two sorters standing by a small conveyor as he enters. GERARD Get out of here. He and Renfro move around the corner where a laundry worker is hooking a 500 lb bag of lines onto the overhead rail. A hydraulic lift, operated by a hanging on/off switch raises the bag on a yellow steel I-beam. The worker takes one look at Gerard and abandons his station. Gerard, Biggs and Renfro move to the closed doors of the main room. GERARD (to Renfro) We're going in. Give me five minutes. Keep C.P.D. out. He draws his Glock, opens the door and enters the main room. INT. LAUNDRY - ON KIMBLE - NIGHT He moves to end of washers, using the machines as cover. He sees the shadow again takes a pole leaning against the dryer as a weapon, turns the corner and is about to belt him when he realizes it's not Nichols, but a laundry worker. Kimble moves away from the terrified man, when he hears a voice from the other end of the laundry. GERARD (V.O.) (above the din) Kimble! Kimble reacts to Gerard's voice, moves away. ON NICHOLS Moving behind machinery, sees light at far end of the room where Gerard enters. ON GERARD The door closes automatically behind Gerard and Renfro. They enter the noisy main room and separate. Renfro moves up the far side of the room, Gerard up the center. Both move slowly through the maze of bags, carts, automated equipment. GERARD ... There is no way out of here. The building is locked down. CUT TO: KIMBLE Moves instinctively back into the machinery and carts near the conveyor belts. GERARD (O.S.) Kimble... I know about Nichols. I know about Sykes. Kimble stops. ON GERARD GERARD ... Nichols borrowed your car the night of the murder and called Sykes from it. RENFRO Separated from Gerard. He hears a NOISE behind him - a bag comes down the track at break-neck speed, Renfro spins, dodges it, gets his bearings and continues. KIMBLE Listening. He watches the movement of bags as he did with Nichols. GERARD Moving through the forest of massive bags. GERARD ... That's why there was no forced entry at your house. He'd used your keys. KIMBLE Realizing what Gerard knows. Considering his next move. NICHOLS Also listening. He realizes Gerard now knows he's the killer. He moves behind the water softener tanks and chemicals - and spots Renfro - and something else -the hanging control for the I-beam. GERARD Moves carefully. Another bag comes down the track. He dodges it and steps into an open track. From here he can see straight back toward the washers. GERARD Kimble... Come meet me out here. ON RENFRO He steps out and then back as a bag shoots by. He ducks under the bag - into the next track and suddenly hears a WHIRRING sound behind him. Renfro turns as an I-beam comes rushing down the open track and knocks him to the floor, opening a gash across the side of his head. He lays still. NICHOLS Steps out of the shadows, turns him over exposing his empty shoulder harness and takes the gun from Renfro's hand. Nichols moves toward Gerard with the gun. GERARD Oblivious to this action, moves on, passes the conveyor belts. He makes one last appeal. GERARD It's time to quit running... if you don't, you know I'll stop you. He listens, there is no answer. KIMBLE Starts to move out to meet Gerard, sees Renfro down. His shoulder harness is empty. He knows Nichols is armed. GERARD Moves into the alley between the two giant washers. He pauses, looks back, then continues, when he turns his back on us... NICHOLS Steps INTO FRAME behind him and slowly takes aim. Just before he fires however he hears... KIMBLE (O.S.) Hey, Chuckles... Nichols turns toward the voice as Kimble swings the stick and clocks him - sending the gun skittering on the floor behind Gerard. GERARD Turns on the sound and finds his gun trained on Kimble with Nichols at his feet, unconscious. He realizes instantly that Kimble saved his life and lowers his gun. Kimble, exhausted, leans against the washer. They hold a look as deputies and police flood into the room surrounding Kimble and handcuffing him. INT. / EXT. HILTON HOTEL - NIGHT (LATER) Chicago Police hold back crowds of onlookers on Michigan Avenue. Police cars and vans, television news trucks vie for space in front of the Hilton Towers. Dr. Charles Nichols, on a stretcher, loaded into an ambulance. The doors close. REPORTERS and television cameramen line the sidewalk giving reports and interviewing doctors from the ballroom. We PICK UP pieces of their reports as we MOVE PAST them TOWARD the entrance. T.V. NEWS REPORTER ... As we reported a few minutes ago, the saga of once-prominent Chicago surgeon, Dr. Richard Kimble, who escaped from an Illinois Corrections bus, took a strange twist this evening when Dr. Kimble was captured at the Chicago Hilton... ANOTHER REPORTER continues: ANOTHER REPORTER ... there are unconfirmed reports from police of new evidence which may exonerate Kimble while implicating some of the biggest names in medicine... The doors to the police van close amid a flurry of photographs. A third reporter interviews a STUNNED DOCTOR from the ballroom: STUNNED DOCTOR He just walked in... We didn't know what he was going to do. My wife was very frightened... The next thing I knew cops were charging in and... CUT TO: INT. HOTEL - NIGHT Kimble, in handcuffs, is escorted by Biggs, Newman, Poole and Gerard, out of the hotel into the waiting chaos. Renfro, his head bandaged, is helped by paramedics. EXT. HOTEL / INT. CAR - NIGHT As soon as the group exits the hotel. Television lights flood the scene. Kimble lowers his head. Reporters crowd forward, yelling questions. REPORTER Dr. Kimble, is it true you can prove your innocence! Gerard wants the crowd controlled. GERARD (to police) Get them back. The marshals ant cops clear a line for Kimble to get into a waiting car away from the media. Biggs opens the back door and helps Kimble inside. BIGGS Watch your head, Dr. Kimble. Newman climbs in behind the wheel. Gerard in the back next to Kimble. He leans out the window and motions to Poole. GERARD (to Poole) Poole, you got that thing? (to Kimble) Give me your hands. Kimble pauses, then holds up his wrists and Gerard unlocks Kimble's handcuffs. Poole hands an ice-pack over the seat. Gerard places the pack on Kimble' 9 bruised and battered hands. GERARD Take care of those hands, Doc, you're going to need them again soon. KIMBLE I thought you told me 'you didn't care.' GERARD Yeah, well, don't spread it around. They share a look of mutual respect as the car pulls away. HELICOPTER POV The car carrying Kimble pulls onto Michigan Avenue heading back downtown. As we PULL BACK we see Kimble's car - at first alone on the great avenue - then gradually joined by other cars until finally becoming integrated in the traffic, movement and lights of the city. FADE OUT THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Funny People.txt b/unformated_scripts/Script_Funny People.txt new file mode 100644 index 0000000000000000000000000000000000000000..51f79de5a8c18e483624a33339ee31b878b76b8e --- /dev/null +++ b/unformated_scripts/Script_Funny People.txt @@ -0,0 +1 @@ + FUNNY PEOPLE Written by Judd Apatow April 29, 2008 INT. BEL AIR HOME - NIGHT GEORGE SIMMONS, 42, sits in a giant living room watching bad television on a 70-inch flat screen TV. He looks bored and empty. After a few beats he pauses the TV, and picks up the phone. GEORGE (on the phone) Hey, it's George Simmons, I'm coming in. INT. NIGHTCLUB - NIGHT Shots of George doing stand up on stage at a comedy club. The place adores him. We see quick images of him after the show interacting with people. He is clearly a very famous comedian. INT. BEDROOM - NIGHT George has sex with a girl in her early twenties. INT. BEL AIR HOME - NIGHT George sits back down, the thrill of his performance is gone, he is bored and alone again. He hits play on his TV and begins watching his show from the same spot it was at before. MUSIC UP:"WITH A LITTLE LUCK" - PAUL MCCARTNEY BEGIN CREDIT SEQUENCE INT. BEL AIR HOME - BEDROOM - DAY GEORGE wakes up in a large, clean, modern house. He is all alone. We get the feeling that he hired someone to decorate his house. It is very nice, but doesn't seem personal to him at all. It feels new, with all the gadgets, but a little cold. On the kitchen table is a stack of scripts he is supposed to read. EXT. GEORGE'S HOME - MORNING George hits balls in his home batting cage. Then we see him driving golf balls inside there. In the background we see his modern, space ship looking house. It is enormous. 2. INT. BATHROOM - LATER George walks into a fancy, steam-filled shower. EXT. CITY STREET - DAY George drives his large black Mercedes. EXT. MEDICAL TOWER - DAY George gets out of his car and walks towards the tower. Two COLLEGE STUDENTS walk over. COLLEGE STUDENT Hey George, can I get a picture with you? GEORGE Sure buddy. Let's do it. One of the college students put his arm around George while the other takes the picture. COLLEGE STUDENT #2 Can I get one? GEORGE Yeah bud. They take the picture. COLLEGE STUDENT You're the man. We love all your movies, even the last one. GEORGE Thanks. Tell your friends. INT. DOCTOR'S OFFICE - DAY George sits in the doctor's office staring at the photos of the doctor with his beautiful young children. DOCTOR STEVENS enters and sits down. He takes a deep breath. GEORGE I like those lunestas. They really put me to sleep without giving me the sleeping pill hangover I get from the restorils. (MORE) 3. GEORGE (COIN ' D ) (BEAT) I try not to take them too often. Just when I know I have to get up early. DOCTOR STEVENS George there are some irregularities in your blood work... George's face turns white. He knows what this means. The doctor keeps talking but the sound keeps coming in and out-- it is now all a jumble of words. ANGLE ON GEORGE'S POV We see photos of the doctor's family, his graduation certificates, files of other cases, odd doctor's office art, a picture of him skiing with his family. He keeps talking, but now we hear nothing. MUSIC UP - "MY SHIT's FUCKED UP" BY WARREN ZEVON EXT. MEDICAL TOWER - MOMENTS LATER George walks down the stairs towards the parking lot in a daze. An ASIAN GIRL and her MOTHER and BROTHER see him and start screaming. GIRL Oh my God. Can you take a picture with me? GEORGE Yeah, sure. She puts her arm around him. Her little brother jumps in too. GIRL Thanks. You are the funniest. GEORGE Thanks, pal. !NT. CAR - DAY George drives home. We hear the voice of his doctor in his head. 4. DOCTOR STEVENS (V.0.) It's a rare blood disorder. In the family of Hodgkins disease. We really don't have a treatment for it. There are things we can try. They're all very experimental in nature. GEORGE (V.0.) I don't understand what this means. DOCTOR STEVENS (V.0.) I think you need to hope for the best and prepare for the worst. Is there someone who can help you get your affairs in order? INT. RALPH'S SUPERMARKET - DAY IRA, a 25-year-old, works at the deli counter, along with CHUCK, a large, sweet-looking 45-year-old deli counter lifer, and GAIL, a very skinny, very old, straight-talking, humorless woman in her fifties. Ira is in the middle of a very long conversation with a middle-aged WOMAN. WOMAN Is the turkey organic? IRA Yes, ma'am. WOMAN Well what does organic mean? IRA It means there's no additives or preservatives and it's hormone free. WOMAN Are there additives or preservatives in the food they feed the turkey? IRA I don't know ma'am. 5. WOMAN I heard that because turkeys are fatty birds, mercury gets stuck in their fat. My daughter-in-law, she ate turkey and then she had a miscarriage. IRA I haven't heard about that. But I may not be informed enough to comment. WOMAN Well, you're not a doctor, so you shouldn't comment. IRA You are correct, I am not a doctor. INT. DELI COUNTER - LATER Ira and Chuck are preparing trays of food. IRA You should come see me do stand-up tonight at the Comedy and Magic Club. CHUCK I can't go through that again, man, that was painful. IRA That was five months ago. I've gotten a lot better. CHUCK They pay you yet? IRA Nah, not there. I just hang out and hope somebody doesn't show. CHUCK Wow, is there anyway for you to.be lower in show business? I don't know if you could even say you're in show business. Why don't you just fucking settle down and enjoy this gig? This is a sweet situation. The money's good, you've got health insurance. 6. IRA Dude, I know you like it here but if I have to work here another year I would kill myself. CHUCK Really? In that case, when we bury you does it have to be in some kind of Jew cemetery? Next to Al Jolson or some shit? IRA Just come. I need the support. CHUCK No way. I'm funnier than you. And I'm not even that funny. I would go if I was paying to see me. IRA I'll pay your cover charge. CHUCK Okay, well you better be good, because I'm bringing a date. IRA Laughter's the ultimate lubricant. INT. BEL AIR HOME - DUSK An Otis Redding song is playing as George walks around his house in a daze, not sure how to process this. He doesn't call anybody. There's nobody in sight. We see images of him thinking about the unthinkable and the life he's lead. He sits in his office, surrounded by photos of himself at difference ages. It builds to a sequence of him going through stacks of old photos and watching videos of himself, reviewing his life, trying to make sense of what it all meant. We see clips of his good movies and his last bad movie. On the wall is a poster of a buddy film which shows him and another famous comedian. ON-SCREEN -- home video of George at college. George is hanging out with his friends. They are acting goofy, having the time of their lives. George looks very young, skinny, and carefree. Life has never been better. They play a ridiculous drinking game and laugh uproariously. 7. ANOTHER IMAGE - We see a very young George performing stand- up on Late Night with David Letterman. He's so young and naive, he seems like a completely different person. ANGLE ON George watching silently. He has no idea what to make of this journey of his. END CREDIT SEQUENCE INT. IRA'S BEDROOM - DAY Ira sits with one of his roommates, LEO, who is also an aspiring comedian. They sit across from each other, kicking around joke ideas they have, trying to write new ones. We see an entire pitch session play out. Ira's joke pitches are all over the place. He clearly hasn't figured out what his stage persona is yet. IRA I was thinking about doing something about how I'm not good looking and I'm not bad looking. I'm just good looking enough that if I had a good personality, it could put me over the top. If that was the case. LEO Yeah, something about how the uglier you are, the better the personality you need. And the hotter you are, the stupider you can be. IRA I had a joke once about how you never see incredibly hot, blonde, homeless women. Because someone will always take care of that kind of woman. That woman could be the dumbest person on earth and she will survive in this world. LEO Maybe something like... you can be hot and stupid and survive in the world. And you can be smart and ugly and survive in the world. The people who have trouble are the stupid, ugly people. 8. IRA That could work. LEO Let me keep that one, because I thought of most of it. IRA That's not cool. I came up with the concept! What do you got? Let's work on what you have. LEO I've got nothing in the notebook. I got drunk last night. But I need material, because I just got spots at the Improv. Budd saw me and approved me. I'm in. IRA How could they make you a regular? I got turned down twice. LEO Sorry, man. They're only going to let in one chubby, caustic Jew, so I think you're fucked. Their other roommate, MARK, walks in, waves a check at them. MARK Hey, dudes. You see this check that I got from my TV show for 25,000 an episode? There was another one of these on the kitchen counter. Did you see it? IRA No we didn't see it. Just don't leave those things laying around. MARK I wouldn't leave it around if they didn't give me so many. They give it to me every episode. LEO Don't throw it in our face that you're on a shitty show. 9. MARK I wouldn't, if it was a shitty show and not what Time magazine called "insightful and delightful." IRA I thought you were moving out. MARK I decided I like it here. Living with you guys keeps me grounded. I don't want to be the guy living in the house on the hill. Even though I could afford it. Hey, I saw that girl comic you like who lives upstairs. I invited her in. She's here. IRA She's in our apartment? I've never even talked to her. I just gave her quarters at the washing machine. MARK You were right, she is pretty mousy and sexy. You gotta talk to her. IRA I need time. I have a three-month plan. MARK I'll give you ten days for your three-month plan, then I am going to fuck her. You can't just leave that laying around. Starting right now. INT. LIVING ROOM - MOMENTS LATER Mark is talking to DAISY, an alternative-feeling, dark-haired girl in her early twenties. His television show is on the TV. MARK The thing about working on a sitcom is it's 22 weeks a year, so I can do stand-up the rest of the year. (MORE) 10. MARK (CONT'D) But now people want to see me because they see me on a TV show, so I am kind of a draw. Have you seen the show? DAISY I don't own a TV. MARK Well I think you can download it to an iPod. Ira walks in. MARK (CONT'D) Hey Ira, this is Daisy. DAISY how's it going? IRA Nice to meet you. I think I gave you quarters once. Ira walks over to the kitchen area, takes out a paper cup. He pours some orange juice without looking and the paper cup falls over and spills all over the counter. Mark looks horrified. IRA (CONT'D) (nervously joking) Don't worry, I'll just lick it off the counter. Nobody laughs. Ira starts wiping up the OJ with a rag. INT. COMEDY AND MAGIC CLUB - NIGHT Leo is on stage, performing his act, doing well. ANGLE ON Ira watching, both amused and jealous. A MAGICIAN and the EMCEE walks over to him. EMCEE Schneider didn't show up so, you can do ten minutes after Leo. MAGICIAN Don't go long because I have to load pigeons into my suit. I have to let them out or they'll die. I'm not fucking around. (MORE) 11. MAGICIAN (CONT'D) So when you get the light, don't go long. You've got one minute. ANGLE ON Leo on stage, doing a few more jokes. A MANAGER walks over to Ira. MANAGER Hey man. George Simmons just got here, he wants to go up. You're bumped. We'll put you on after George. IRA Well how long is he going to do? MANAGER I don't know. Last night he did five minutes. Last week he did an hour. fie'il do what he wants to do. IRA Well what about the magician? He just loaded his pigeons. He said I have to get off in ten minutes. MANAGER I'll have him unload the pigeons. Just be ready. Leo finishes his set to huge applause then comes off stage. LEO That was good, right? Some of the new stuff worked. IRA I just got bumped by George Simmons. LEO Are you serious? Shit - I've got a spot at the Improv, I cant hang out, damn. ANGLE ON THE STAGE EMCEE A lot of times you hear about going to a comedy club and someone exciting shows up. I won't lie to you, that usually never happens. But tonight it is happening. (MORE) 12. EMCEE (CONT'D) Ladies and gentleman, you know him from [movie credits to go here] George Simmons? George walks on stage. The place goes crazy. He does some of his normal routine and the audience laughs and is very appreciative. As George continues his act, it starts getting darker and darker until he is talking about death and the lack of meaning in it all. GEORGE Ah life. What does it mean? sometimes life makes perfect sense. And then you `come'. ON IRA IRA He's killing the crowd. Jesus, I can't follow this shit. After completely losing the crowd, and some minor confrontations with audience members, he exits the stage. GEORGE Life isn't all about laughs. Crazy shit happens. You've got to be nice to each other. You never know what's going to happen. Ira passes George as he heads onto the stage. GEORGE (CONT'D) Sorry I sucked it up out there. At least they are well rested for you. Ira, takes the stage. He starts trying to do his act, but he is unsure of himself and unable to figure out how to take the weird energy of the room and spin it to his advantage. He basically bombs. We reveal Chuck and his date watching, looking miserable. IRA I'm not good looking. I'm not bad looking. I'm just in the middle. And if I had a personality that was Jut good enough, it would put me over the edge. The joke fails. We reveal George also watching him bomb, amused by his struggle. He sees something he likes in Ira. 13. EXT. PARKING LOT Ira walks to his car. In the spot next to him is an enormous Suburban SUV parked in a spot meant for compact cars. It is so close to Ira's car that it isn't possible to open the door. He hears some banging and odd wails from in the car. Ira knocks on the window. We see that George is sitting in his car in a world of pain. He's clearly been crying. The knock startles him. He turns to Ira. IRA Sorry, man. I didn't mean to disturb you. I just can't open my door. There's no room. GEORGE Oh I'm sorry. Let me pull out. George pulls the car back ten feet. GEORGE (CONT'D) (calling to Ira) Hey man, you had some funny shit tonight. IRA Thanks! GEORGE Man, that audience hated you. They really did not like you. They liked your buddy, who looked exactly like you but was funnier. Man, that's going to haunt you. You're going to wake up in six months and think about this night. IRA Well, I'll probably bomb worse tomorrow and forget about this one. GEORGE I'm just fucking with you. You had some funny jokes in there. Good writing. IRA Well, obviously, I'm a... you know...I grew up on your shit, man. George just stares at him. 14. GEORGE Alright, pal. Don't worry. Only two hundred people saw that tonight. I'll see you later. George pulls out, turns the car around, and as he passes by Ira, he steers his car as if he's going to run him down, and starts screaming... GEORGE (CONT'D) You're gonna die!!! I'm gonna kill you! Then he smiles at Ira and drives off. Ira smiles. This is the greatest thing that's ever happened to him. INT. IRA'S APARTMENT - NEXT DAY FULL SCREEN COMPUTER: We see a comedy short made by Leo. It's very funny. IRA Holy shit, you got seven hundred thousand hits in four days. LEO They put it on the main page at YouTube and it exploded. Which would be awesome if someone would pay me. The phone rings. IRA Hello? GEORGE (V.0.) Hey, is this Ira? IRA Yeah. Who is this? GEORGE It's George. IRA Oh my gosh. Hey, how is it going? 15. GEORGE I thought you and Leo were pretty funny last night and I have to do this corporate gig for Apple computers in a couple of days and I thought you guys could write me some jokes. IRA Definitely. What kind of jokes? Leo passes by in the background. We see Ira decide not to include him in this job offer. GEORGE I don't know, about computers and shit. I could mainly do my act but they like it if you talk about them a little. IRA No problem. Where do you want me to send em? GEORGE What is your email? I will send you my fax and email and all that. IRA It's a...irasexira®gmail.com. GEORGE (long silence) I almost just changed my mind. You got to change that. IRA Ok. GEORGE Today. Seriously. Ok. Later. Ira hangs up and turns to his friends. IRA That was George Simmons. He wants me to write jokes for him. LEO Holy shit. That is awesome. You are so lucky. 16. MARK Are you gonna get to meet him? IRA I don't know, but he is gonna send me his email address. LEO We are gonna have his email address? I have to send him the link to my short. IRA Easy. Let me get in there a little more. CUT TO: INT. IRA'S ROOM - NIGHT Ira is writing jokes. The camera follows the letters being typed on the computer screen as he types. "Always erase your web history. I had a girlfriend hit history and see eleven hundred porn sites that I visited in an hour." Jonah sticks his head in. LEO I got one, but you have to tell him its mine. The best thing about Leopard is it lets you watch a porno, write a porno, shoot a porno, and order a porno all at the same time. And you guys made that possible. We see QUICK IMAGES of him typing and printing. He is writing an enormous amount of jokes. Way more than George will ever need. Writing, typing, re-writing in pen, then re- typing, etc. Ira hesitates, then hits send. INT. IRA'S BEDROOM Ira is asleep. The clock says noon. The phone rings. He answers it, groggy. 17. GEORGE There's some funny shit in here. Not a bad ratio of good jokes to shit. IRA Thanks man. I just want to give you a lot of choices. GEORGE Too many choices. I don't like reading that much. I need like ten good jokes. I'm a little mad you made me read that many to get to ten. But thanks for doing it. IRA Oh, it was fun to try to write in your voice. I spent the whole night pretending I was you. GEORGE So you cried yourself to sleep? (ALT) So you whacked off three times last night? Don't worry, I'll get you some money. Is five hundred good? IRA Yeah! That'll work. GEORGE I'm leaving at four tomorrow to go to the gig. You want to come check it out, see if your shit works? INT. IRA'S APARTMENT CLOSE-UP on their curtains, as they wait for George to pull up. LEO Can we go outside and meet him? IRA No you can't. Because then we look like fans. MARK Maybe he's seen my show. 18. IRA He doesn't watch your show. You're show is for eight-year-olds. It's a family show, he doesn't watch that shit. LEO I'll just go outside and pretend I'-,n washing my car. The Limo pulls up outside. LEO (CONT'D) Holy shit. I feel like my little girl is going to the prom. INT./EXT. LIMO - MOMENTS LATER The door opens, Ira gets in. GEORGE How you doing, you ready for this? IRA Yeah, this'll be fun. GEORGE I think I'm going to have you go on before me to warn them up. IRA You don't have to do that. What if I bomb? GEORGE Hey, if you bomb, they'll just be more excited to see me. They'll be so glad your not on stage any more. Then if you do well, they'll be ready for me. Either way, you're helpful. I/E PRIVATE JET - LATER The limo pulls up to a private jet. Ira is shocked. A moment later they're picking up speed to take off. George seems really relaxed. Nothing registers that the jet is going faster and faster and taking off. 19. As they're having a conversation, Ira seems really freaked out. Ira pretends he isn't. GEORGE I like this joke about watching porn and making porn all at the same time. That was a good one. IRA (turning white from TAKEOFF) Oh good. Yeah, I thought you'd like that one. I was really happy with that one. GEORGE You want something to eat? I had them bring Chinese on the plane. Ira's eyes widen. He likes this way of life. INT. BALLROOM - LATER DAVE from Apple is walking George and Ira into the room. It's a giant room that holds a thousand people at banquet tables. ON STAGE - Sting is finishing up a set. This is a huge corporate event. DAVE Okay, what do you want them to say when he introduces you? Do you have any credits he should mention? IRA (long beat) Uh...credits? I don't really have any credits. Maybe you could just say I've been working on Apples for so long, my first one weighed more than I did. Nobody laughs. GEORGE And just say he's a friend of mine, and I think he's funny. 20. INT. STAGE - LATER Ira's on stage doing his act. He tells two jokes that don't do very well. And then he panics and does the joke about jerking off and shooting a movie all at the same time. ANGLE ON George, shaking his head, amused that he panicked and did one of the jokes he sold to him. CUT TO the wings of the stage. Ira's walking off stage. GEORGE What the fuck is that? You did three of the jokes that you wrote for me. IRA I panicked. They just wanted jokes about computers. GEORGE That's why I hired you, to write jokes about computers. Ira takes out the long list of jokes he's written. IRA But there's a lot more. The first three on this page. You didn't think they would work, but I think they will. You should just try them. GEORGE They better kill, I'm getting paid a hundred thousand dollars for this. IRA Are you serious? ANGLE ON DAVE on stage. DAVE Ladies and gentleman, George Simmons. George does a few Apple jokes that do kill, and then he segues into his normal act. When he wants to be, he is a great performer. 21. INT. PLANE - LATER George and Ira sit on the plane, on the way back. GEORGE We'll be on the ground in a half hour. Want to go to a bar? Do something fun? IRA Sure. I like fun. GEORGE Here's a grand for the jokes and the gig. Even though you should be paying me after that. Ira's eyes widen. GEORGE (CONT'D) Good job. IRA That's the most money I've ever made doing anything in comedy. GEORGE Then this is an exciting moment. IRA Well, I didn't make a hundred grand like you. GEORGE I feel nothing. I remember when a grand was the most exciting thing in the world. I'd go to Red Lobster and go nuts. Now it's just numbers in a bank account. Enjoy tonight. You made a thousand bucks. MUSIC UP INT. BAR - NIGHT George and Ira enter. People are very excited to see George. They give him a nice table. -- George and Ira talk to two women, MANDY and DAWN. They both seem really into George. Ira feels kind of left out. 22. -- George focuses on Mandy, flirting and preparing her to go home with him. -- The other girl is now talking to a very uncomfortable Ira. She is not into it. GEORGE Hey, let's all go back to my house. MANDY Great! IRA (HOPEFUL) Yeah, that sounds like a... nice idea. INT. LIVING ROOM Music is playing. Everybody is drinking. Mandy is doing some weird sort of sexy dance for George. MANDY This house is so big. It's bigger than the college I went to. GEORGE Oh there's a whole other wing that you wouldn't even know existed unless you went through this door. MANDY I want to see, I want to see. George and Mandy disappear. Ira and Dawn are left alone. IRA You are very pretty. DAWN I have a boyfriend. Nothing is going to happen. IRA I didn't say anything was going to happen. I just said you were pretty. How do you even know I wanted something to happen? DAWN I hope she doesn't take a long time. 23. INT. GEORGE'S BEDROOM - NIGHT George is having sex with Mandy. MANDY I can't believe I'm having sex with Davey! GEORGE He can't believe he's having sex with you. INT. LIVING ROOM -- NIGHT Ira and Dawn are watching one of George's films. Neither looks very happy or comfortable. George enters. GEORGE Hey, Mandy thought you left, so she left. DAWN Really? GEORGE Sorry, that kind of stuff happens when you have a big house. DAWN Oh, well then I guess I better get going? GEORGE You don't have to go. I'm just saying that she left. I think she left her purse in the other wing. Come with me, let's go get it. Ira watches this, astonished. GEORGE (CONT' D ) Did Ira tell you I have a room with all the classic pinball machines and video games? DAWN That sounds awesome. GEORGE Yeah, I got Galaga. Let's go check it out. 24. George looks over his shoulder at Ira, as if to say, "A man's gotta do what a man's gotta do." GEORGE (CONT'D) (to Ira) Hey don't go, I'll be back in a second. INT. LIVING ROOM - LATER Ira is now watching the end of the movie by himself. George sticks his head in. GEORGE That girl left. You want to talk to me while I try to go to sleep. Ira doesn't know what to make of this. IRA I guess so. INT. BEDROOM - LATER George is in bed under the covers, comfortably laying on his pillow. Ira sits in an easy chair located right next to the bed. IRA Did you have sex with both of those girls? GEORGE I'm afraid I did. I'm sorry. It was just so clear that you were not going to get it done. I figured you wouldn't mind. IRA That is crazy. That is super crazy. GEORGE It was great. It was crazy great. IRA How can that even happen? I guess I understand the first one, but why would the second one do it? You probably stink of the first girl. 25. GEORGE Well, we took a steam shower together. IRA What? GEORGE she had never seen a steam shower before, I told her she should enjoy it. IRA She wouldn't fool around with me because she said she had a boyfriend. GEORGE She told me that too, but she says I was on her and her boyfriend's list of people she was allowed to screw. You'd be surprised how many women have me on that list. IRA I should get going. GEORGE Just talk to me before I fall asleep. I'm weird. I don't like being alone. You should crash in one of the rooms. You're too drunk to drive home. I won't try to fuck you, I just fucked two women and I'm kind of done. IRA I may have to whack it in your guest room. GEORGE Whack away, I don't give a shit. (BEAT) Hey, you were funny tonight. I could see how you could get good. IRA Thanks. That was fun. It was rare that I get to play to more than twenty-five people. I've never played for a thousand. (MORE) 26. IRA (CONT'D) it, s kind of easier, because even if two hundred like me, it sounds like a lot. GEORGE I do feel bad for you, because no matter how hard you try, you'll never be as funny as me. IRA Why would you say that? GEORGE Did your dad crack you on the head when you were a kid? IRA No. GEORGE That's why. My dad always seemed annoyed with me. He'd always crack me on the head. You would not see it coming. I spent my whole childhood trying to make my dad laugh so he wouldn't smack me. But he was an awesome guy. He was the coolest. He just got annoyed with me. Do you like your parents? They can't be that bad, because you're not that funny. IRA They're bananas. And always broke. They got divorced ten years ago, but they both act like it just happened last week. They hate each other. They always put me in the middle of it. I always wanted them to say, "We don't want you to suffer through this, so we're just going to handle it ourselves." They never would do it. They would always make me feel their pain all the time. I would never do that for my kids. Because it's like they._`.re kids. And no matter how many times I tell them to leave me out of it, they never do. Ira notices that George is very close to falling asleep. IRA (CONT'D) I'll let you crash. 27. GEORGE No, keep going. It's interesting. Tell me about your day job? IRA Alright. So... (knows he's a sleeping pill at this point) I work at a supermarket at the deli counter. I hate it, but the money's actually pretty good. Better than you'd think. But I'd rather do comedy full-time if I could. The camera pulls back as Ira continues to talk, and we begin to HEAR George snoring, as Ira continues to talk anyway. INT. GEORGE'S HOUSE - MORNING George walks into the guest room, where Ira is sleeping. GEORGE Hey man, you want to make me breakfast? IRA okay. GEORGE Do you know how to cook anything? IRA Eggs. GEORGE Okay, let's have some eggs. While Ira is cooking, George takes a lot of pills. IRA What are you doing, man? Are those vitamins? GEORGE No. Medicine. I'm sick. IRA What do you got? 28. GEORGE I've got some crazy blood disease. They think I'm going to die in six months to a year. Some weird thing, almost nobody has it. All these are experimental. IRA Are you fucking with me? That's not funny, man. GEORGE No, I'm telling you the truth. IRA I never heard that before. That would be a big deal. GEORGE I haven't told anybody yet. I don't think I'm going to. IRA You're not going to tell anybody? You told me. GEORGE Well it's easier with you because I don't know you. I don't feel weird around you. I don't want to be treated like a guy who's going to die. IRA I don't know, man. I don't think you want to go through this alone. I think you've got to tell people. Your family. Your friends. GEORGE Actually, the reason why I only told you is I need you to do me a favor. IRA What? Anything, man. GEORGE I can't imagine suffering through the final stages of this. So...I was going to ask you if you would be willing...to euthanize me. 29. IRA What does that mean? GEORGE Kill me. I figured if I found someone that nobody knew that was a stranger, they could get away with it, and I wouldn't have to suffer. I got a gun that is untraceable. And a silencer. And I thought maybe tonight, I would take a bunch of sleeping pills, and when I slept you would put a bullet in my head. IRA I can't do that! GEORGE I'll give you fifty thousand dollars in cash. You'd be doing me a favor. It would be the kindest thing you could ever do for somebody. IRA Fifty thousand dollars? Can I at least take a little time to think about it? GEORGE Holy shit, you would do it. You were literally thinking about doing it! IRA You're an asshole. GEORGE I'm an asshole, you were about to kill me. For fifty grand! That's not even a lot of money. IPA I just got nervous so I was delaying saying no. GEORGE You basically just told me that you were willing to be a murderer. While you're cooking me eggs. 30. IRA That's not cool, man. You told me you're going to die and you want me to euthanize you. I almost had a heart attack. GEORGE Well, I actually am sick. And I'm not going to survive. IRA Don't do this. My friends do this all the time. They trick me, and then they trick me again. I'm very gullible. Don't do it. GEORGE I'm not putting you on, man. Just don't tell anyone. I mean that. I don't want people to know about this. I don't want to feel weird. Ira nods okay. IRA Are you religious? Does that give you any comfort? GEORGE Do you really think I'm going to sit here and have a theological conversation with you? IRA No. GEORGE Maybe later, Father Mulcahy. INT. LIVING ROOM - LATER The three friends - Mark, Ira, Leo - smoke pot and have what they think is a deep conversation. MARK That's so sad. LEO If it was me, I would tell everyone. Then everyone would kiss my ass. And take care of me. Tell me how much they love me. (MORE) 31. LEO (CONT`D) Wipe my ass when I had to go to the bathroom. They'd be crying and sad, and that would make me feel really good. IRA He doesn't want to be that guy. He picked up two girls at a bar. Then he had sex with his. And then he came out and had sex with mine. MARK In front of you? IRA No. MARK So being terminally ill makes you a cock-blacker? IRA No, what I'm saying is...He's so lost right now that he's hiding from the world. And he's trying to distract himself by doing stand-up and having sex with a lot of women. And he doesn't want anyone to know but me. MARK Why you? IRA Because he doesn't know me. So he doesn't give a shit. LEO That's kind of insulting. IRA No, I think we had kind of an instant connection. The other roommate, JAY, walks by. JAY You fucked him? IRA Shut up, Jay. Jay keeps walking. 32. IRA (CONT'D) I feel like he's crying out for help, and I can help him. He's made us so happy in our lives, this is our chance to do something from him during this time. There's a lot of wisdom we can take from this. What he's going through. We can apply it to our lives. LEO Like how to bang two chicks in the same night, even though you have a terminal disease? IRA No, what is life all about? What is important? How should we decide to live this precious life? REVEAL that Mark is crying. MARK Don't talk about this shit when we're high. It really freaks me out and it makes me sad and it scares me. I don't want to talk about this shit. IRA That's why we should talk about it! You can't run from it, man. This could make us into better people. This is an opportunity. LEO I don't want to talk about this shit until I'm 80. I'm 24 years old. IRA Well I'm going to fucking learn something. Mark cries even more. MARK When my grandfather died, we were in a room with no windows. And they said he was dead. And there was a candle. And it started flickering like he was blowing it out. But there were no windows. (MORE) 33 MARK (CONT'D) We all thought that was him going to heaven. LEO You have to go through fire to get to heaven? That wasn't him going to heaven, that was him going to hell. MARK Fuck you guys. I was trying to open up. I'll never do it again. You're just being mean because I'm making twenty-five thousand dollars an episode. INT. GEORGE'S LIVING ROOM - DAY George is bored, playing guitar. He picks up the phone, dials. INTERCUT WITH: INT. IRA'S APARTMENT Ira answers the phone. IRA Hello. GEORGE Hey. You want to see if we can get on-stage somewhere? IRA Sure. MUSIC UP INT. THE IMPROV - NIGHT See quick moments of Ira on stage at the Improv doing a set. Then George does a set, tears down the house. INT. GEORGE'S JAM ROOM George and a few of his friends are playing a famous rock song for fun. But they are very good. The music continues through the following sequence. 34. INT. THE IMPROV - DINING ROOM George and Ira are eating with several famous comedians, shooting the shit, having a good time. EXT. IMPROV -- NIGHT George and Ira are waiting at the parking valet. The car pulls up. As they get in: GEORGE I was thinking about it. I could throw you some money every week for coming up with new jokes for me. Maybe you can organize them in the computer, keep track of what I'm doing. IRA Absolutely. What do you want to pay me? They close the doors, drive off. GEORGE I'll throw you $1500 a week. IRA Okay, that could work. We can tell that this amount of money could change Ira's life. INT. GEORGE'S LIVING ROOM George and Ira are writing jokes. Ira keeps pitching premises/rough joke ideas that George instantly makes ten times better off the top of his head. (We shoot this process for real with multiple cameras and try to catch lightning in a bottle.) IRA I was thinking maybe you should do some material about what you're going through, being sick. There could be something really powerful, and it would mean a lot to people, that you would share that with them. 35. GEORGE I'm just doing stand-up to have fun, forget about it on stage. There's nothing funny about that. IRA It could be classic stuff. For the ages. GEORGE Fuck classic stuff. Idon't give a shit what people think of my shit when I'm dead. Why don't you wait till you're about to die and then you do a bit about it? I'll bet you're about-to-die shit will be funnier than my about-to-die shit. INT. COMEDY CLUB George and Ira are doing sets again. INT. GEORGE'S BEDROOM - NIGHT George is making a phoney phone call on a speaker phone. Ira listens. GEORGE (Grandmother voice) I ordered your Roast Beef. And normally it's delicious. But this time I paid a price! DELI MANAGER I'm very sorry ma'am. What if you come in and I give you a free sandwich? GEORGE (Grandmother voice) Well that's very nice of you. But I have one question for you. Can I get two sandwiches? George motions for Ira to do something. IRA Grandma! Get off the fucking phone. Don't run up my fucking bill. 36. Ira starts slapping his hands together. George screams in pain. DELI MANAGER Ma'am! Are you okay? GEORGE (Grandmother voice) This is a family matter! He can hit me if he wants. He's my grandson, and I love him! Now may I give you my name, so you have it on file so I can get my free sandwich? K-A-C-A-H-A-K-R-E-K-K-U- C-T-A-R-S-U-T-A-R-G-M-S. Did you get that? Can you say it back to me? INT. GEORGE'S HOUSE - AFTERNOON Ira enters. IRA George? George? He walks through the house, finds George in bed. For the first time he seems sick. IRA (CONT'D) Are you all right? GEORGE No, I had a bad night last night. I was sweating though the sheets, couldn't stop. So I got up, watched half of a season of The Wire and then I slept till...what time is it now? IRA It's three in the afternoon. GEORGE I wanted to get up and do something. But I don't think I have it in me. I may just go back to bed. IRA Well do you need anything? 37. GEORGE Yeah, I need all sorts of things. But nothing you can get me. You should go up anyway. You were in a groove the other night, you don't want to get rusty. IRA I. .I. .can't anyway. I'm doing the late shift at the deli counter. GEORGE Really? How long you gonna keep that job for? I'm paying you good money. What if someone you perform in front of goes into Ralph's and sees you cutting turkey? IRA I know, I just want to be safe, make sure I can pay my bills. I don't like to be nervous about that shit. GEORGE I wasn't like you. I had a different theory. You've got to spend money to make money. Nothing makes you work harder than being in debt. Maybe we should go buy a Corvette. That'll make you try to be funnier. INT. RALPH'S SUPERMARKET CHUCK so how much notice are you giving me? IRA Notice? I'm not giving you any notice. I'm just quitting. CHUCK You're supposed to give notice. That's what people do. IRA Why would I give you notice? I'm not trying to stay in Ralph's good graces. I'm not trying to preserve my good standing at Ralph's. (MORE) 38. IRA (CONT'D) I'm just quitting. You don't quit and then keep working for two weeks. CHUCK Well I don't have enough people to cover all your shifts, now I gotta cover them. IRA I wish I could help you, but I'll kill myself if I keep working here. It's not what I want to do. Maybe Gail can cover my shifts. CHUCK Gail can't work weekends, and my kid's birthday is this weekend. What am I supposed to do? IRA I don't know. Get someone to cover from a different Ralph's. There are thousands of them in Southern California. No one else can scoop macaroni into a bowl? I'm not the linchpin that keeps Ralph's from falling into chaos. CHUCK You're an asshole. You always thought you were slumming it here. Go tell your tucking fart jokes., Get the fuck out of here before I kick the shit out of you. IRA You know what? I'm glad you said that, because I was about to tell you I could work this weekend. What's your problem? I didn't say anything bad about you, I just said I didn't want to work for Ralph's anymore. Chuck takes a step to Ira like he's going to hit him. Ira steps back a few feet. IRA (CONT'D) I'll tell Dave. I'll tell Dave. I tried to do this politely. The thanks I get. 39. Ira walks out the store. As he walks out, he turns to a lady (in her 40s) at the register. IRA (CONT'D) See you, Phyllis. You're nice. EXT. APARTMENT COMPLEX - DAY Ira sees Daisy walking out as he's walking into the apartment complex. He takes a deep breath, then: IRA Hey, Daisy. DAISY Hey -- IRA Ira. DAISY (she doesn't) I know. IRA I was gonna try to hunt down tickets to see Wilco at the Greek Theatre. You want to come? Are you into them at all? DAISY I would love to come. That would be amazing. IRA Okay. I'll call you with the details. Hopefully I'll be able to get seats which will not require high-powered binoculars. DAISY I don't care where the seats are. I just like to close my eyes and listen to the music at concerts, IRA Perfect. Then I can play you their live album in my car and trick you into thinking we have front row seats. (laughing uncomfortably) That won't work. (MORE) 40. IRA (CONT'D) That wasn't funny at all. I'm gonna leave while I'm ahead right now. She smiles. He walks away. INT. GEORGE'S HOUSE Ira walks into George's house. IRA George? Ira walks into George's bedroom. He hears something, pokes his head in. In the dark, he can barely see George making phoney calls by himself. Ira listens for awhile, not sure what to make of this. George doesn't see him. GEORGE (speaking like an old WOMAN) I was robbed! One second you're walking down the street with your Visa card, having a grand old time, and then you've got a fucking gun in your mouth! VISA LADY What's the number of the card, Ma'am? GEORGE I don't know! The thief has the card, why don't you ask the thief the number of the card! George hangs up the phone. He starts dialing. GEORGE (CONT'D) (as a Texan) Ah yes, I came into your comedy club tonight and I was very offended by the performer. I did not pay good money to have the so- called "comedian" shake my wife's hand, then smell it and say, "Did you have fish for dinner?" That is not my idea of entertainment. Ira leaves the room, feeling like he's intruded on a private moment. 41. INT. RED LOBSTER RESTAURANT George and Ira are eating. IRA I was thinking you need to tell someone about your situation... your condition. GEORGE No, no. I• don't want to do that. IRA I feel like maybe you're holding everything in and I can understand why you don't want to deal with it because why would anyone want to deal with it. But I bet you have a lot of unfinished business with your friends. Wouldn't it make you feel a lot better to get your affairs in order? What do people do at this moment Don't they have to do stuff? GEORGE I don't want to do anything. I just want to be in the moment and live every day the best I can. As soon as I confront it with everybody, everything's changed and I can't get back. IRA Everything has changed. At some point you're going to get really sick and you need your friends and family around you. I'm sure there's a lot of business, estate issues, I don't know. Maybe you'll feel better than if you just deal with everything. Where are your parents? GEORGE P4y parents would drop dead if I told them what was happening. They're in their 80s. They don't have to go through this. I'll make sure they find out at the last possible second. 42. IRA Friends? GEORGE I don't think I do. I thought I did. I got a lot of people I know, shoot the shit with, fuck around with. But I realized when this happened I'm not close to anyone. I had no one to call. My friendships are Hollywood friendships. When I was lying in bed I couldn't think of one person I wanted to share this with. Maybe it's me, maybe I never got close to anybody. IRA I think if you talk to people you'd find out a lot of people care about you. You're kind of old already, I mean, compared to me. I'm sure you touched a lot of people's lives. You can't spend the rest of your days making phoney phone calls alone in your room. GEORGE The only reason I did that was because I couldn't sleep. And I had no one to call. IRA Well maybe that's the problem. Maybe if you told more people you'd have more people to call. You can't just talk to me about it, I don't know what the fuck I'm talking about. You're the first person I've known who's sick. I'm not good at it. (eyes beginning to well UP) You've given me diarrhea, I'm nervous about you and I'm in over my head. GEORGE (his eyes begin to well UP) Don't cry in front of me, man. I can't start that. 43. IRA I'm sorry. GEORGE Seriously. I can't...I can't have you do that. George really begins to cry. GEORGE (CONT'D) Please don't do that. IRA (tears streaming down his FACE) I won't do it, I promise, man. Ira wipes the tears from his face. New tears immediately come out. IRA (CONT'D) That was first and last time. I'm not even crying anymore. GEORGE (CRYING) You're still crying. IRA (tears coming down) I don't think I am. I think I'm not anymore. I'm not sure what you're talking about. GEORGE Okay, as long as we got that straight. George takes a napkin and puts it over his face. IRA I'm sorry, George. I really don't know what to do, I don't know how to help you. GEORGE (his face still in the NAPKIN) No, you're right. I really should tell some people. It just sucks, man. It just sucks. And they're going to feel so bad, I don't even want to look at them and tell them. (MORE) 44. GEORGE (CONT'D) I'd rather drop dead. of a heart attack and have someone else make the calls. I have to make those calls? This is a nightmare. This is a total nightmare. IRA Do you want me to call them, and tell them what's going on? GEORGE Yeah. IRA Fuck. I was hoping you were gonna say no. INT. IRA'S BEDROOM Ira is on the phone. There is a paper with a bunch of numbers in front of him. IRA (into the phone) Hi, this is Ira, I'm a friend of George's. He asked me to call you. His roommates are making a commotion outside. Ira covers the receiver. IRA (CONT'D) Will you guys shut the fuck up? Shut the fuck up! Ira slam the door. IRA (CONT'D) (into phone) I'm sorry. I have some news about George. TELLING FRIENDS SEQUENCE INT. LIVING ROOM George sits with THREE COMEDIANS. They are all laughing and telling old sex stories from george's younger days. Ira sits with them and listens and laughs along. 45. GEORGE So I left the phone off the hook so he could hear me doing it. COMEDIAN #1 That's very gay. COMEDIAN#2 No, it was a buddy thing. It was very heterosexual. GEORGE Admit it, you were masturbating. COMEDIAN#2 Of course I was whacking it. What else am I gonna do, not whack it? GEORGE And I kept making her talk and say crazy shit just to make him laugh. COMEDIAN #2 I think at one point you said, "Say my hog is the biggest you've ever seen." And then there is this long pause. COMEDIAN#3 That's a bad sign. If it was big at all she wouldn't have paused. COMEDIAN #1 Remember you used to have that joke about how you used to only date midgets because your dick looked bigger in their little hands. They all laugh. COMEDIAN #2 Yeah, you used to get all the girls, man. Suddenly the air is out of the room, and it is awkward and sad. INT. LIVING ROOM George is talking to an EX-MANAGER and his WIFE. 46. EX-MANAGER And I feel horrible about it, but the truth is, I was having some issues with gambling, and you were doing so well-and so I took a million dollar check you got in from the studio and I used it to clear up some debts. And I did it with the intention of paying you right back before you noticed. But you never noticed, and I just never got around to paying you back. INT. LIVING ROOM Allen Covert yells at George for abandoning him. COVERT You fucking blew us off. You cocksucker. INT. LIVING ROOM George is talking to his sister, LISA. LISA You have to tell mom and dad. GEORGE I will tell them, but right at the end. I don't want them to go through all this. I can't put them through this. LISA I wish I wasn't so mad at you. I want to be there for you, but I am so mad at you. GEORGE I wish I was a better brother. LISA You weren't even a brother. You just left when I was a little kid. You left me there all alone, and you never treated me like a sister again. 47. GEORGE You live so far away. I visited you in Kansas a few years ago. LISA That was six years ago, and you were only there because you had a concert. My five-year-old has never even met you. George does not know what to say. LISA (CONT'D) And I wanted to bring her, but then I thought she would just fall in love with you and get attached, and then what? I didn't want to do that to her. INT. KITCHEN George and Ira talk in the kitchen while making beverages. GEORGE Thanks a lot, pal. This is everything I didn't want to happen. It's like being at my own funeral. IRA Afterwards you'll be happy you did it. GEORGE No, I won't. INT. LIVING ROOM George talks to a FRIEND who rambles on and on talking about his own problems, ignoring George's. FRIEND It is such a tucked up situation. Life is fucked. It makes no sense. GEORGE Well, I really appreciate you coming by. FRIEND This is why I can't be close with people. What is the point? 48. GEORGE Exactly. Well, I really need to rest... FRIEND The worst part is at night, when the TV gets turned off, and it is quiet... GEORGE It was so good to see you. George stands up and exits the room. Ira walks over. IRA I think George is going to take a nap now. FRIEND Oh, okay. INT. LIVING ROOM A different FRIEND is talking about their own health issues. He goes on and on about his surgeries and treatments. George doesn't say a word. INT. LIVING ROOM George is talking to BRUCE SPRINGSTEEN. BRUCE SPRINGSTEEN You're about to merge with the eternal. We're all going to die. No one gets out of here alive, right? George nods. BRUCE SPRINGSTEEN (CONT'D) You lived five lives, fucker. You're 200 years old in my book. The fun you've had, the money, the adventures, the women you've known. Who wouldn't want to change places with you right new? GEORGE I guess so, but... 49. BRUCE SPRINGSTEEN You know what? There is no tomorrow, no yesterday. Only right now, and it's fucking beautiful. GEORGE (BEAT) You need to shut the fuck up right now. Have you been browsing the self-help section at Barnes and Noble? Is this what you say in between songs these days? I'm going to go right now and delete all your songs off my iPod. BRUCE SPRINGSTEEN I'm sorry. I didn't know what to say. I just got nervous. INT. GEORGE'S BEDROOM Ira is talking George to sleep. He's gotten good at it. Warren Zevon's "Don't Let Us Get Sick" plays in the background. GEORGE This is awful. Awful. I hate you for having me do this. IRA You have to, you have no choice. You're doing good. And you're almost done, don't worry. GEORGE Well what are we going to do when it's over, when we're done tomorrow? Because then I'm not talking to anyone. IRA I was thinking we should go skiing somewhere. You're still physically doing well, and that's not going to last forever. You should do something active. Go to Colorado, or Tahoe, or something. Or do something crazy. Go to Switzerland, or Sweden, or wherever they have mountains. (MORE) 50. IRA (CONT'D) I don't know, I don't even ski, but you do. Maybe you should do something like that. Ira notices George is falling asleep, so he talks more quietly. He's gotten good at this. IRA (CONT'D) If it's too hard, we can just ski for an hour or two a day, and then get drunk at the bar. You can hit on hot ski instructors, and then I can masturbate in the room thinking about you fucking hot ski instructors. He thinks George is asleep, so he walks out as he speaks. IRA (CONT'D) Whatever. It'll be fun to be in the mountain air, fun to look at the mountains. Maybe you shouldn't even be here. We can hang out there as long as you want, I got nothing to do. Ira closes the door. INT. LIVING ROOM - DAY George is talking to LAURA, a very pretty woman in her late thirties. Laura is showing George a photo of her two daughters. GEORGE Thanks for coming down. You didn't have to do that, i appreciate it. LAURA I wanted to, I wanted to see you. GEORGE I'm so sorry. I'm sorry for everything I did to you. LAURA You don't have to be sorry, that was like 12 years ago. Everything worked out for the best. We see this hurts George. 51. GEORGE I screwed everything up. I could have been married to you now. LAURA Don't do this. GEORGE We could've had a family . I don't have a family, I'm all alone here. LAURA (tearing up) I'm so sorry. I'm so sorry for what's happening to you. GEORGE You know, maybe I deserve it. I screwed up the only good thing that ever happened in my life. I cheated on you. For no reason at all. Just young and stupid. And selfish. I'm sorry. LAURA Maybe I over reacted. I didn't have to leave you. GEORGE Yes you did. ANGLE ON: Ira sneaking a peak from the kitchen as he makes coffee. LAURA And the funny thing is...my husband, he is on the road a lot for business. He did the same thing last year. GEORGE Did you leave him? LAURA No. I have kids now. GEORGE See, that was my mistake. I should have had some kids with you before I cheated. she laughs. 52. LAURA You were the one and only magic relationship in. my life. She starts to cry. He does too. They embrace. GEORGE Me too. They cry, forehead to forehead. LAURA There's never been anything like you before or since. I love Chris, but it's not the same. It's fine, maybe it isn't even fine, but we had something special. GEORGE I'm so sorry. I really loved you. And I do love you. LAURA I love you too George. I wish there was something I could do. GEORGE Don't set me up for jokes like that. You're ruining the moment. She smiles. They hug. INT. IRA'S HOUSE - NIGHT Ira comes home, deep in the evening. He's eating some food. Daisy walks out of Mark's bedroom, dressed in Mark's long- sleeve t-shirt. She's clearly just had sex. IRA Hey. How's it going? DAISY Good. Mark walks out in a bathrobe. MARK Oh, I'm sorry. I thought you were sleeping at your boyfriend's again tonight. 53. IRA I guess it's been more than ten days. MARK It's been 21 days. I gave you an extra 11. DAISY What are you guys talking about? IRA Don't worry about it, it doesn't matter, I don't give a shit. Leo walks in the front door. LEO I just fucking killed at the Improv. Bud Freidman fucking loves me. Leo realizes he's walked into the middle of an awkward moment. LEO (CONT' D ) (HALF-HEARTEDLY) They said they're gonna start giving me good spots on the weekends. IRA I've been getting good weekend spots. LEO Well, that's because they think if they book you, George will show up. IRA What's with you guys? You both want to fuck my mother too? What more do you want to do to me tonight? Ira walks away. LEO I really did kill. (a beat) Did you guys just bone, or something? (MORE) 54. LEO (CONT'D) I'm getting a little vibe here. It's getting me excited. EXT. APARTMENT COMPLEX - MOMENTS LATER Ira and Daisy are having a heated conversation outside. IRA So now you're with Mark? You're his girl? DAISY I just went out with him one night. IRA You got a lot accomplished in one night. How did this happen? DAISY He invited me to a taping of his show and we hit it off. IRA Must have been a great episode. I should get a job on a shitty show so I can use it as foreplay. DAISY What are you talking about? Don't treat me like that. IRA I am not treating you like anything. Do what you want. I don't give a shit. I'll go to Wilco alone. DAISY What planet are you from? The one where everyone is perfect like you, you judgemental fuck? IRA How could you do that? I thought we were going out on a date. DAISY We are going on a date. I didn't plan it. Am I not allowed to do stuff because we're going out on a .date? What the fuck's the matter with you? 55. IRA I bought tickets to Wilco and I worked all week to get a reservation at a place that doesn't normally let people like me eat there. I just didn't see this coming. Yes, you're right. You can do anything you want. I'm glad this fucking happened, before I wasted the night with you. I didn't think you were that kind of person. That you would sleep with a guy like that. DAISY He's your roommate. You don't like him? IRA No, I think he's a pussyhound. DAISY Well, I didn't know that. Thanks for the info. I wasn't trying to hurt you. It just happened. IRA You got excited because he's the star of the show. You literally star-fucked. DAISY Yes, you're right. I'm awful. (CRYING) Give me a break. I don't even know you. INT. APARTMENT - MOMENTS LATER Ira goes into the house. Mark is there. MARK I told you I was going to give you 10 days. That was three weeks ago. IRA I thought you were joking. MARK I didn't know she actually mattered to you. We talk about girls we want to fuck all the time. 56. IRA I just bought these two Wilco tickets. Wanna go? MARK I would, but I'm going with Tobey Maguire. He wants me to play his younger brother in some movie. EXT. SKI SLOPE - DAY George and Ira are skiing. There is no music, no noise. It is very peaceful. George stops in a spot where he is surrounded in all directions by gorgeous, majestic mountains. He looks around, taking it all in. INT. SKI LODGE HOTEL ROOM - NIGHT George and Ira are watching videotapes of George doing stand- up when he was much younger. He's really, really funny. And very skinny, with a much more pronounced New York accent. GEORGE You know, I never got married. I never had kids. I didn't get to do a lot of things I thought I would do. But I was pretty fucking funny, right? IRA Come on, are you kidding me? We all want to be you. Most of my comic friends are just doing a bad impression of you. People love your shit. GEORGE Well, I made a lot of people laugh. I guess that's something. IRA It's a lot. GEORGE Yeah. I guess so. They watch some more and we see a really happy, young George getting big laughs with something really silly. GEORGE (CONT'D) Look at that crazy motherfucker. 57. George and Ira start watching the act and laughing along, like any audience member. INT. JAM ROOM - DAY George is singing a happy song with a bunch of musician friends, like a Lou Reed/Velvet Underground (or Ramones/New York Dolls/Clash/Warren Zevon/Paul McCartney) song. This music plays over the following montage. MONTAGE EXT. GEORGE'S HOUSE - DAY George walks around his grounds, slowly. And one gets the sense he's never looked around and seen where he lives before. He likes it. INT. IMPROV - NIGHT George performs at the Improv. We see him gesture to a woman that she can come up on stage and she hugs him. The crowd erupts. She runs back to her seat. George continues with his act. EXT. SANTA MONICA MOUNTAINS - DAY George and Ira hike up a hill. GEORGE I never understood why people hiked before. I think I get it now. IRA (SWEATING) I don't. INT. RESTAURTANT - DAY George and Ira have an uncomfortable dinner with George's angry sister, Lisa. INT. BEDROOM -- NIGHT George is in bed, sleeping. Ira starts sneaking out. George wakes up, calls Ira back to keep talking to him. 58. EXT. BACKYARD - NIGHT George is walking around his yard at night. He's clearly never walked the grounds at night. He seems at peace. INT. GEORGE'S LIVING ROOM - DAY Lisa and her husband are now over, and George is talking to them and playing with her two-year-old boy. EXT. GEORGE'S HOUSE George is sitting with his parents. It is clear he recently told them about his situation, and although there is sadness in the air, they look happy to be close for the first time in a long time. George says something that makes his DAD laugh. INT. GEORGE'S LIVING ROOM Ira is asleep on the couch. George walks over with a bowl of ice cream. He whacks Ira a few times trying to wake him up, but Ira keeps snoring. George sits down next to the sleeping Ira and watches TV while eating his ice cream. EXT. BASKETBALL COURT - DAY George and Ira play basketball. Ira is awful. INT. KITCHEN - MORNING Ira is making breakfast. George is all dressed for the day. IRA What are you doing? GEORGE I'm feeling good, so I'm going to the doctor. IRA You're not feeling good? GEORGE No, I'm feeling good. It's kind of weirding me out. (MORE) 59. GEORGE (CONT-D) I don't feel sick at all, and it's scaring me. I feel like I'm just going to drop dead. Am I not going to feel bad at all, and then one day wake up dead? It's disconcerting. INT. DOCTOR'S OFFICE DOCTOR STEVENS I don't want to get your hopes up. We put you on this experimental medication without much optimism, but as of right now I don't see any traces of the disease in your blood work. I don't want to speak too soon, but we may have beaten this thing. GEORGE Well what the fuck do I do now? INT. LIVING ROOM Ira's eyes are wide with shock. IRA Oh my god, oh my god! Ira goes to hug George, but it's a very awkward moment. Ira really wants a happy hug, but George is instantly uncomfortable. TNT. OFFICE George is sitting at his computer. Ira is also seated. GEORGE I really want to thank you for your help through this time. IRA I was happy to help. GEORGE Well, you didn't have to, and you were really there for me. I was thinking, maybe we should write a movie together. 60. IRA Uh-huh. GEORGE I feel like I've learned a lot, and I wanna use this good place I'm in right now to do something really creative. I would pay you, certainly. I make, you know, about a million dollars to write a script. I can't give you half, but maybe one hundred, two hundred grand, but we'll figure it out. IRA (what?) Yeah, we'll figure it out. GEORGE I thought a lot about my work when I was sick and I'm in sort of a strange place career-wise, because I'm normally the goofy, funny guy and I don't know if people are expecting a change from me. And I think people are expecting me to evolve, and it's important to evolve before they make a point of asking me why I'm not evolving. IRA It's always good to keep breaking new ground. GEORGE Is that something they taught you at the deli. I'm not asking you for your advice, I just though we could start trying to come up with an idea. IRA Well, I'm gonna start thinking. And...I'm really happy for you. Are you freaking out right now? GEORGE It's very strange. It's gonna take me a few days to process it, but it's a gift and I'm going to treat it that way. (MORE) 61. GEORGE (CONT'D) I learned a lot from being sick and it's gonna help me make some good choices, and be a good person from now on. INT. IRA'S PARENT'S DINING ROOM Ira is eating with his fairly young MOM and his step-father BOB. IRA And he thanked me for helping him, and I really think I was a help during this time. I'm not saying that's why he got better, but he definitely had good energy and I hear that helps your immune system. MOM He's going to pay you two hundred thousand dollars to write a movie script? IRA I don't know, he said one or two hundred thousand. BOB One or two hundred thousand? That's pretty vague. That's a wide range. I'd push him toward two hundred thousand if I were you. IRA Thank you for the advice, Bob. That's very helpful. MOM This is good because now you can help with your sister's college tuition. IRA What are you talking about? MOM Your younger sister got accepted to Boston University but, as you know, your father and I aren't in the position to pay for it. 62. IRA So I have to? I just stopped working at a supermarket two weeks ago. I'm trying to create some financial stability for myself. The first time I make any real money, I can't just give it to her. BOB Well that's very selfish. IRA Well you guys went on a cruise to Greece last year. Maybe you shouldn't have gone, and saved for her college education. MOM Oh, so after all we've done for you, we can't have any fun? We should never take a vacation? IRA I had to drop out of college after two years because you couldn't pay for it. Now I have to pay for hers? Let her figure it out. Let her get a job. BOB I didn't realize I raised such a selfish boy. When I was young I would have done anything for my family. IRA Then sell your house. Move into a smaller house. Use the extra money to pay for her college. Or tell her to work for a year or two, make some money, then she can pay for her own college. No one helped me out, I'm just digging out from under now. BOB Don't get so high up on your horse with all your Hollywood friends. I don't like what you're turning into. 63. IRA One good thing happens to me in my entire life, and you have to try and take it away and ruin it. MOM I don't even know where you came from. BOB Don't bother showing up for Thanksgiving. Thanksgiving is just for families. INT. IRA'S BEDROOM - DAY Ira is on his computer. Leo and Mark are watching. IRA (typing as he talks) Hey George, we're doing an Orphan's Thanksgiving tomorrow night, want to come? It's just for us losers who don't have any family to eat with. LEO He's not gonna email back. MARK He's never gonna want to eat Thanksgiving with us. The computer BINGS. The guys scream in delight. IRA (reading email) Sure. What time? Do you need me to bring anything? (types back) 3 O'clock at my apartment. Bring wine that we can't afford. The computer bings. IRA (CONT'D) (reading email) That's pretty much all wine on earth. See you then. 64. MARK (EXCITED) Email back and say: (trying to make a joke) If you can, bring that hot chick from your last movie. We definitely have room for her. (ALT) Well, then maybe just bring grain alcohol then. They all start laughing. The computer BINGS again. IRA (reading it) Hey Faggots, I know what you're doing. Stop emailing me. It's not amusing anymore. They all start high--fiving. LEO He called us faggots! INT. IRA'S APARTMENT - DAY Mark and Leo are doing the cooking. There a few other comedians (male and female) floating around the apartment. Ira watches the parade on TV. Daisy walks up, site down next to Ira. DAISY What have you been up to? I haven't seen you at the Improv. IRA I've just been busy. Will you excuse me? Ira gets up, walks out of the room. EXT./INT. APARTMENT - DAY George walks up, rings the bell. Inside the apartment he hears a bit of a scuffle, as if the friends are fighting over who can open the door. Leo opens the door, sweaty, with a welt on his face. 65. LEO Hey, George. How are you? Come on in. Then Mark appears from the side, also sweaty, with a welt on his neck. MARK Happy Thanksgiving? Come on in. INT. IRA'S HOUSE - DINING AREA - LATER Everyone is seated around the table. It's very awkward due to George's presence. It seems to suck the air out of the room. LEO We're really glad you could come have Thanksgiving with us. It's a big thrill. GEORGE It's weird, I feel like the old guy in the room. When I started out I was always the young guy. It's strange how fast you become the old guy. And I feel exactly the same. MARK Well, you don't know us, but you're with friends and admirers. GEORGE I know you, I've watched your show. "'Nuff Said." It's a good show. IRA You don't have to lie to him. He knows it's not good. GEORGE No, it's good, it's cute. I like it. MARK (BASHFUL) I know it's not that funny, but they do slip in some funny shit in there every now and again. 66. GEORGE Don't be ashamed, it's good. But what about that girl on the show? How old is she? Tell me she's 25. MARK No, she's 15. GEORGE Holy shit! I feel bad. I don't want to tell you what I did watching that show. Are you serious? She's 15? MARK No, she's actually 20. GEORGE Okay, good. Now I don't feel so bad. Their weird friend, FUTORAN, pipes up. FUTORAN I heard you were sick and now you're better. Is that like, really... what's that like? GEORGE It's kinda like 9/11. You know after 9/11 you kind of liked everybody? But then it went away. It's like that. LEO Did you think you were gonna go to heaven? Did you count up your sins? GEORGE I don't believe in any of that stuff, but I was hoping I was headed somewhere. I felt like I was. FUTORAN I think you just wind up in the dirt. Worm food. IRA Come on, Futoran, we're about to eat. 67. GEORGE Well, it's easy to think that way until you're headed for the dirt. Then your mind opens up a little bit, you know? Maybe it's desperation, or maybe you just start to see more of the big plan. Luckily I got a little more time before I find out. Daisy pops her head into the room. DAISY Food's ready. GEORGE May I say the prayer? Everyone nods yes. GEORGE (CONT'D) Everyone hold hands. Thank you for the gifts this year. Thank you for (this.) And thank you for (that.) And hopefully next year I'll get to screw that girl on Mark's show. All our dreams will come true. You guys will get an apartment with less pubic hair on the toilet seat, you'll be able to afford a maid. Maybe next year you guys can get a better celebrity than me. Maybe Wolf Blitzer will come. I also pray that no one put their balls on this turkey, I'm kind of scared you guys are about to give me salmonella poisoning. I know this Orphan's Thanksgiving it's just a normal Thanksgiving for you guys, but it's a very special one for me. I'm very glad to be here. I'm not that glad to be here with you, but I thank you for having me. I'm sure it will be very memorable for you. Now let's find out what Leo's balls taste like. INT. LIVING ROOM - LATER Everyone's sitting down watching the football game. George motions to Ira, and then looks at Daisy as if to say, "Is that the girl you used to like?" 68. GEORGE (points at Ira) This guy wrote me some funny jokes for that Mac gig. I asked for some jokes and he sent me about a hundred. Seriously. (points at Leo) This guy sent me jack shit. If you want to succeed you need a work ethic like Ira over here. LEO Why wouldn't I have sent you jokes? You didn't ask me for jokes. GEORGE Sure I did. I asked you and Ira to write me jokes and you flaked. Leo's eyes widen with anger. GEORGE (CONT'D) (to Daisy) Ira wrote this joke about Leopard, it was really funny. Do the joke, Ira. IRA I don't want to right now. GEORGE It was like, what's great about. Leopard is you can watch a porno, write a porno, shoot a porno, and order a porno all at the same time. This guy's fucking funny. Leo jumps up suddenly and walks out of the room without saying anything. Ira watches him go, concerned. GEORGE (CONT'D) (to Daisy and Ira) You guys look like a cute couple, you should go out. DAISY well, the truth is we had a date, but I went out with Mark first and he broke it off. 69. IRA I didn't expect you to blurt it out like that. That was very honest of you. GEORGE If I didn't go out with every girl one of my friends slept with... let me put it another way. If none of my friends went out with girls I went out with, none of them would have gotten laid. (THEN) So, are you guys dating now? DAISY No. IRA This is making me uncomfortable. The whole thing, it makes me uncomfortable. GEORGE You guys are young, why are you taking everything so seriously? As someone who's been through a lot recently, let me tell you something. The worst thing you can do is hold grudges and be judgmental. Everyone's making mistakes, everyone's screwing up. You guys are cute together. George points at Mark. GEORGE (CONT'D) I know that Mark's not good in bed. Don't tell me he was a good lay. He can't have a big dick. Look at Ira. He's thick. He's gotta have a thick dick. DAISY Actually, I have a really skinny vagina, so I'm not really into thick. GEORGE See? She's funny. She can take a joke, she's not sensitive. I think I'm falling in love with both of you. 70. George stands. GEORGE (CONT'D) I'm gonna walk away now, causing an awkward moment, that will be followed by a true moment, filled with chemistry. I'm walking away now. Let the awkwardness begin. George walks out of the room. DAISY My brother's going to freak out that I met Davey. (to Ira) Did you go to the Wilco show? IRA I actually scalped them and made a hundred bucks. DAISY Well at last you didn't lose any money on the deal. IRA I'm sorry I got so upset with you, because it shows you how much I like you, which is weird because we've hardly spoken. I understand all of that. DAISY Well, attraction is all about smells, pheromones. IRA Well, you smell right to me. Daisy smiles at Ira, just as Leo stomps back into the room. He charges right up to Ira, pissed off. LEO You're a fucking prick, You're a piece of shit thief motherfucker. You stole a job from me, you stole my joke. DAISY You stole his joke? 7l. The moment is ruined. Ira doesn't know what to say. CUT TO: INT. KITCHEN - MOMENTS LATER Leo pulls Ira into the other room and goes off on him. LEO He asked for me to write jokes too and you didn't tell me! IRA Uh...yes. LEO You .fucker! IRA I didn't think you would want to. LEO Why wouldn't I want to? What, I don't like money? I don't like private jets? IRA I'm sorry, it's just, I needed the gig. And you are doing so much better than me. I guess I just wanted this for myself. LEO It wasn't yours to keep for yourself. You lied to me. IRA I did. And it was fucked up. And I am sorry. I don't know what to say. LEO Don't say anything. Just get your shit, and get out of the apartment. IRA Are you serious? LEO You don't get let off the hook for going into faggy apology mode. That is a terrible strategy. (MORE) 72. LEO (CONT'D) I don't know what the fuck has happened to you--but my name is on the lease, and I don't want to live with it. INT. CAR - MOMENTS LATER Ira is mad at George for bringing up the jokes. IRA I never told Leo because I wanted the gig? GEORGE I didn't know you were fucking over your friend. Don't yell at me. IRA Well I fucking live with you now because he told me to leave. GEORGE He kicked you out for that. IRA He said friends don't lie and I'm fucking with his career. GEORGE Well in a way that's a compliment to me because he's so mad he can't hang out with me that's he mad at you. That's kind of cool. I got you kicked out. IRA Fuck off. INT. GEORGE'S HOUSE - BEDROOM - NIGHT Ira is unpacking a dufflebag of clothes he grabbed from his apartment when he was kicked out. George pops his head in. GEORGE This should be comfortable in here. This room is almost as big as your old apartment. IRA (through gritted teeth) Thank you for letting me stay here. 7 3 . GEORGE No problem. Hey, you want to come talk to me while I crash? IRA No. You want to come talk to me while I crash? CUT TO: INT. GEORGE'S BEDROOM - NIGHT George is under the covers. He turns on the TV and he changes channels until he finds "Charlie Rose." They're interviewing a reporter from the New York Times about America's policy towards Pakistan. GEORGE All right, Charlie. Talk to me. George closes his eyes. INT. MANAGEMENT COMPANY - DAY George stands in the reception area. RECEPTIONIST Terry's ready for you. INT. TERRY DOWD'S OFFICE - MOMENTS LATER GEORGE I was thinking that now might be a good time for me to make that script "Making Amends." TERRY Do you really think people want to see you make a movie about a guy who goes to AA but isn't really an alcoholic? He just needs the companionship? That's a pretty big left turn. GEORGE I got money. I want to challenge myself. You said you liked it. 74. TERRY You know, I read it four years ago. I need to read it again. I don't remember not liking it. I just can't tell you the studio will make it. Your last few movies didn't do so well. GEORGE I thought they did well overseas. TERRY You always do well in Australia, but that's about it. GEORGE What if I do it for no money, just with back-end? TERRY I don't know if that's going to cut it either. The head of the studio does a lot of drinking, I don't think he finds that whole area funny. Maybe if you commit to do another one of the Davey movies, I could tie it to that, so they have to do both. GEORGE I'vedone four Davey movies.They wantme to do another sequelto that?We don't even have ascript. TERRY Wellthere's this great script goingaround town, Happy Holidays. Whichis about an immature 40 year old man who acts like a kid. In it he comes home for the holiday season for the first time in ten years. And havoc ensues. You get to make fun of Thanksgiving, and Hanukkah and Christmas and New Years. They say they can turn it into a Davey movie. GEORGE Could I at least shoot the Making Amends movie first? TERRY No. 75. GEORGE Maybe I'll just write something myself. TERRY I wish you would. You've never been able to do it in the past. You always talk a big game about writing your own shit. But I've yet to see a script land on my desk. INT. GEORGE'S HOUSE - DUSK George and Ira are sitting at a large kitchen table. There is a computer on the table and index cards. On the floor is a corkboard. IRA See, the thing I was thinking, was...you always play an immature guy. What if the joke of the movie is you're incredibly smart, intellectual and well-mannered. You just go the opposite way with it. GEORGE There's nothing funny about being smart. All comedy comes from immaturity. Buster Keaton, Jerry Lewis, the Marx Brothers, WC Fields, Bill Murray, Steve Martin, Charlie Chaplin. They were all immature. They were all knuckleheads. Who wants to see a smart guy live his life normally? What's funny about that? What else you got? IRA I. .I gotta go through my notes. GEORGE I'm thinking about taking a gig, and having a solid hit before getting into breaking new ground. IRA Well we'll still write the script, right? 76, GEORGE Yeah, if we can come up with an idea. IRA Let's just keep banging at it. GEORGE I can't. I've got a date. IRA You have a date? Who do you have a date with? GEORGE This woman my agent set me up with. She raises money for this environmental group. I guess she's like a normal person. I can't live here alone in this house forever. I need something of significance in my life. So I'm gonna go out on some dates. No pressure. IRA You know what you should do, just as an experiment? You should try and not fuck her? GEORGE Why would you say that? IRA Because you're always saying you don't know if women like you for who you are. You don't know if they like you because you have money or you're famous. Why not take some time and get to know them before ass-raping them. In a romantic way. GEORGE That's insulting. Don't take out your frustrations on me because you can't get laid by acting like I'm some sort of deviant. I'm an adult. I have adult sexual relationships. No one does what they don't want to do. Sex is how people decide if they like each other. I'm testing my compatibility by ass-raping them. 77. IRA See, you can't do it. You can't even entertain the idea of getting to know somebody for a month before sleeping with them. GEORGE That's not true. I'm bored of sex, anyway. There is literally no body- part/orifice combination I haven't experimented with. There is nothing left to do. There is no nationalities I haven't.slept with, no age groups I haven't slept with. I'm fully ready for normal. IRA What nationalities have you slept with? GEORGE US. Canada. Mexico. England. France. Spain. North Korea. Burma. Rwanda. Kenya. Tibet. Serbia. Chechnya. Iran. The Green Zone. Darfur. The Killing Fields of Cambodia. Mongolia. What about you? IRA New Jersey. Do handjobs count? Because then also California. INT. RESTAURTANT - NIGHT George is talking with RACHEL WARWICK. GEORGE You know, I haven't been out on a blind date, ever. This may be the first one. RACHEL Oh I go out on them all the time. I've been on a bunch of J Dates. GEORGE What's J Date? RACHEL It's a website where Jewish people find each other. 78. GEORGE So it's just a list of all the Jewish people? I thought we didn't liked to be tracked and monitored like that. She looks at him, doesn't get the joke. GEORGE (CONT'D) You know, because of the... holocaust. RACHEL (not understanding) It's just a great way for like- minded people to meet. GEORGE What if you don't like Jews? She just stares at him. GEORGE (CONT'D) I'm joking. (a beat) So, uh, I hear you raise uh money for an environmental group. That must be very satisfying. RACHEL It is, because, fixing the environment is really about having enough of a war chest to sue local government and corporations so they're forced to observe the environmental statutes that are already on the books. We also try to put pressure on the government to put pressure on other countries to clean up their environmental act. You know, one dilapidated factory in China can produce more pollution than every car in America puts out in one year. GEORGE See? That's why I still drive a big truck. I stop driving that truck and that factory shuts down. "79 RACHEL (not smiling) I know you're joking, but it's a very serious situation. People like you do a lot of damage to the environment. Whether it's taking a private jet by yourself, or getting driven around town limos around town or living in your gas-guzzling houses. Your carbon footprint is huge. GEORGE You know what they say about people with a big carbon footprint? Big dick. INT. IRA'S BEDROOM - MORNING George comes in and wakes Ira up. GEORGE Come on. We're gonna go do a gig tonight. Up north. And you're gonna open up for me. IRA How big a theater? GEORGE I think two thousand. IRA You should have told me so I could have prepared. I've never played a place that big. How long do you want me to do? GEORGE Twenty minutes. Thirty, if you can get there. IRA Shit. GEORGE Dress nice. Tickets are expensive. IRA I don't own anything nice. 80. INT. CAR - DAY THE Ira is driving George's Mercedes. George sits in player. backseat watching "Cloverfield" on a built-in DVD We see images of different parts of California. IRA How fucking up north is this? GEORGE Its near San Francisco. IRA So we have like five more hours to drive? GEORGE It's not that far. It's like two more movies. IRA I don't like how you made me your limo driver. It's weird you're in the back and I'm up here. GEORGE I'd sit up front but the DVD player is back here. IRA I can't even listen to the radio because you're watching the movie. Can I sit back there and you drive? GEORGE No. I'm near-sighted. I'll miss the exit. We Lear an EXPLOSION from the movie. GEORGE (CONT'D) Holy shit! IRA What happened? GEORGE The monster showed himself. 81. IRA (SARCASTIC) Great. EXT. THEATER - DUSK The car pulls up to the theater. INT. THEATER - MOMENTS LATER One of the MANAGERS walks George and Ira through the back of the theater toward the dressing room. They walk across the stage and we see the empty 2,000 seat theater. Ira is freaked out. INT. DRESSING ROOM George and Ira are sitting in the dressing room, nibbling from the fruit tray. There's a knock at the door. A Security Person escorts Laura into the dressing room. Ira is thrown. GEORGE Hey, you made it. LAURA I wouldn't have missed it for the world, thanks for inviting me. GEORGE You remember Ira. LAURA Hi Ira. Are you performing tonight? IRA I'm afraid so. I've been told if I'm good it warms the crowd, and if I'm bad it makes them want George more, so... LAURA You look great. How are you feeling? GEORGE I'm hanging in there. 82. LAURA I thought a lot about you after I left. GEORGE Me too. LAURA Well the show is going to start in a minute, I better get to my seat. I just wanted to say hi. Don't be too dirty tonight, you know that makes me uncomfortable. GEORGE Now I have no jokes. Ira, you have to do an hour and half. She laughs. GEORGE (CONT'D) Come by after and give me the review. LAURA Okay. Break a leg. She exits. IRA You didn't tell her that you're not sick anymore? Why wouldn't you tell her? GEORGE I need you to do something for me. After your set I gave you a seat right next to her. During the intermission I want yQ.u to tell her I'm not sick anymore. IRA Me? Why do you want me to tell her? GEORGE Because it's weird, and emotional. I think she'll handle it better if it comes from somebody else. And then I can talk to her about it afterwards. 83. IRA That's weird. GEORGE She'll be happy. It's not weird. You're the bearer of good news. IRA You had to do this to me right before my set. Like I'm not nervous enough. CUT TO: INT. THEATER Ira is performing on stage, doing his set. He's doing really well. This theater crowd is very enthusiastic about being there and gives him the benefit of the doubt on most of his jokes. As he continues his set, he gets more confident and, for the first time in the film, we think he has the potential to be a strong comic. INT. THEATER - INTERMISSION Laura is sitting in her seat by herself. Ira makes his way across the aisle and sits down next to her. LAURA Ira. Oh my gosh. You were so good. IRA You seem surprised. LAURA I don't know, you seemed so nervous. But you were really solid all the way though, and your ending hunk really murdered. IRA Thank you. Hopefully George won't be mad if I tired the audience out. LAURA I don't think he has anything to worry about. They always go crazy for him. Before he got famous, he used to bomb all the time. (MORE) 84. LAURA (CONT'D) And that's when I think he was the funniest. And now that everyone knows him, it's a little too easy for him, I think. No one was funnier when the audience hated him than George. He loved it. IRA So you guys were dating right when he started doing well? LAURA Yeah. But you always knew he was gonna do well. He had so much charisma. He would walk into a room and in ten minutes that whole room would be about him. Even before anyone knew who he was. IRA Where did you meet him? LAURA I was the hat-check girl at the Improv. And I was acting. I used to do guest spots on all those shows, like Melrose Place, Beverly Hills 90210. I always played the bitch. I don't know why, but I was on the top of the bitch list. IRA You don't seem like a bitch. LAURA That's because I was acting. IRA Sounds like fun days. LAURA It was, for awhile. Reveal George in the wings trying to get a look at them from a distance. IRA I don't know if you've heard, but it looks like George's medicine is working. LAURA What do you mean? 85. IPA When George got sick they didn't think they had any medicine that would help, so they put him on experimental medicine. And the last time he went to the doctor they couldn't detect his blood disease. They think it might be gone. A moment as Laura takes this in. LAURA Why didn't George tell me? IRA He just found out. He doesn't want to jinx it. He doesn't want people to get excited, and then have it come back again. The lights go down. ANNOUNCER (O.S.) Ladies and Gentlemen. Here's the man you came to see. George Simmons. The place EXPLODES. IRA (JOKING) I thought everyone came to see me. George begins his act. He could not kill harder. Or look more healthy and charismatic. We can tell it is all a show for Laura. Laura is completely thrown by this turn of events. The content of George's act is meant to portray him in a more positive, sympathetic light to Laura. He talks about being sick and the lessons he learned in a very dark, hilarious, and also uplifting way. All of it is intended to make him look like he has grown up and become wiser, and someone you could trust and spend your life with. INT. DRESSING ROOM - AFTER THE SHOW Laura is talking to George and Ira. 86. LAURA I really don't know what to say. It's not like you weren't good before, but your act is so much more sophisticated, but just as funny. I've never seen you speak so honestly on stage before. You used to say these goofy jokes. It was really something, you know, and you should be really proud of yourself. GEORGE Thanks. A lot has happened. And at least I got some good jokes out of it. LAURA Well, thanks for inviting me. I'm really glad I came. GEORGE Ira and I are driving out of town tomorrow, I thought maybe we could stop by your place on our way out. I want to see what the ranch looks like, and meet your husband. LAURA My husband is actually in China for another week, or so. He spends a lot of time there helping American businesses break into that market. So you won't meet him this time, but it would be great if you came by. That would be fun. I'll give you the tour. GEORGE Okay. We'll come by in the morning. LAURA Okay. An awkward beat. Laura gives Ira a hug goodbye, then hugs George goodbye, trying to make it appear as if they have equal weight. LAURA (CONT'D) Bye. I'll see you then. She looks at Ira. As she exits-- 87. LAURA (CONT'D) You were good too. IRA Why do we have to stop by there tomorrow? The drive is long enough as it is. George opens up his wallet, gives Ira a thousand dollars. GEORGE Here's your money for tonight. Good job. IRA I'm excited to see her ranch. I hear it's delightful. INT. HOTEL ROOM - NIGHT Ira and George are in a room that has two queen-sized beds. They each lay on their bed in the dark. IRA Why couldn't we have gotten two different rooms? GEORGE What's the fun in that? You can go pay for your own room, I don't care. IRA So, what happened with you and Laura? You seem to get along so well. Why did you cheat on her? GEORGE I was young, stupid... and I liked fucking girls. Why do you think I cheated? You would do it too if anyone would fuck you. IRA How many times did you cheat on her? GEORGE Two or three times ...a week ...for a couple of years. 88. IRA Jesus. GEORGE It was awful. There was even marriage talk. My parents didn't want me to do it because she wasn't Jewish. She was taking classes to convert, even. I mean, how cool is that? She was changing religions to be with me. She knew more about being a Jew than I did from those classes. She was so cute when she spoke Hebrew, it sounded so wrong. George says the Jewish grand prayer with a waspy accent. GEORGE (CONT'D) And then one day, somebody told her, I don't know who. And that was that. IRA Why do you want to go see her tomorrow? We could do something productive like get some writing done. GEORGE I like her. I love her. I miss her. I just want to spend a little time with her. I know nothing will come of it. I just miss being around her. A beat. George starts clicking through Video On--Demand adult movies. GEORGE (CONT'D) Anything looking good to you? IRA I don't want to watch adult movies with you. GEORGE okay. You want to watch Juno? IRA Okay. 89. Juno begins playing. CUT TO: EXT. LAURA'S RANCH - DAY George and Ira drive up to the house. It's a large one-story house that is part of a ranch with a lot of land and a horse stable. They walk to the front door, ring the doorbell. George seems; a little nervous. IRA You okay, buddy? GEORGE Yeah, of course I am. Laura opens the door. LAURA Hi? We've been waiting for you. Come on in. INT. LAURA'S RANCH - CONTINUOUS GEORGE This place is beautiful. LAURA Thanks. We've been here for five years. I think I just finished decorating it. She leads them through the living room into a huge open kitchen. On the island, there is freshly squeezed lemonade, chips and dip. She has over-prepared for their arrival. IRA Can I live here? LAURA of course, you can clean the stables. GEORGE You have horses? 90. LAURA Yes. Clarke, my husband, was a real city boy. But for some reason he loves horses. Of course I'm lef t to take care of them. But yes, we have three horses. IRA That's crazy, owning a horse. I can't even keep a goldfish alive. GEORGE All right, well, we're ready for the big tour. I want to see how you live. Suddenly, Laura's five-year-old daughter INGRID runs into the room and she's pissed. INGRID Mom! You said you were coming back! We're playing American Idol, you're ruining the game! Ira is shocked to see that Laura has a child. This complicates a situation he already thought was getting too complicated. LAURA I'll come right up. This is my friend, George. And Ira. INGRID It's my turn to sing and you're supposed to be the judge and you're not in there and I'm very angry! IRA How old are you? INGRID Five. But I turn six very soon. IRA Really? Because I thought you were like nine, about to turn ten. GEORGE She's very pretty. (to Ingrid) I like your hair. INGRID I'm so sick of people telling me they like my hair. George is clearly not that good with kids. GEORGE Okay. I do not like your hair. INGRID Don't make fun of me. LAURA He's just joking Ingrid. IRA My hair. I have curly hair too. Curly hair is the best. INGRID Last week my mom straightened it and it almost went to the floor. IRA If you straighten my hair, I look crazy. I look like the killer from No Country for Old Men. Have you seen that movie? MABLE, Laura's ten-year-old daughter storms into the room. MABLE You guys left me all alone in the playroom! If you're gonna leave I'm just gonna go talk on the webcam with Caroline. LAURA Don't be rude. This is Ira and George. MABLE Oh, I know you. My mom watches your movies all the time. But most of them I'm not allowed to see. George smiles at Ira--Laura's a little busted. GEORGE Oh, really? Do you like them? Which one's your favorite? 92. MABLE I don't know. I don't really like the ones I'm allowed to see, but I think I would like the ones I'm not allowed to see. But she says I cant' see them till I'm sixteen. GEORGE Sixteen? Just fast-forward past the bad parts. LAURA The whole thing is a bad part. George LAUGHS in a slightly flirty fashion with Laura. Ira is getting uncomfortable with the subtext. LAURA (CONT' D ) C'mon, let's finish the game. INT. PLAYROOM George, Ira, Laura, and Mable are sitting on the floor. Ingrid stands on a make-shift stage singing a Miley Cyrus song while wearing a feather boa and sunglasses and a red wig. INGRID (SINGS) You've got the best of both worlds. Rock it out take it slow. And then you rock out the show! Everyone applauds for her. LAURA Okay. Now it's time to see what the judges say. I thought you had a lot of energy, you're clearly gonna make it to the final four, and I love your outfit. What do you think, Randy? IRA Yo, dawg. That was the bomb. It was a little pitchy in places, but I dug it. I really dug it. MABLE .I'm Simon, and I thought it was horrible. I don't how you made it this far in the competition. (MORE) 9 1 MABLE (CONT'D) I think Paula is drunk. You will never be American Idol. LAURA Mable, stop it. Stop being mean to your sister. Say something nice. MABLE (ANNOYED) You were good. LAURA Okay, you're not Simon anymore. (to George) Simon, what did you think? GEORGE I can't believe I'm saying this, but I agree with Paula. I think you're the one to beat. They all applaud. Ira notices Laura looking at George with admiring eyes that reek of more than friendship. LAURA Okay Mable, you're up. Mable instantly starts gyrating in a manner that is not appropriate for a ten-year-old and singing the Fergie song "London Bridge." MABLE (SINGING) I want to go down like London, London. LAURA I told you not to do that. Simon, what do you think? INGRID She was horrible! She's a terrible singer! She's inappropriate! LAURA Okay, who's next? Randy? IRA I don't know, Dawg. It was a bad song choice. I'm not feeling it. GEORGE My turn. Get ready to be blown away. 94. George gets up on stage. GEORGE (CONT'D) (SINGING) Take me down to the paradise city. Where the grass is green and the girls are pretty. Oh, won't you please take me home. (FASTER) Just an urchin livin' under the street, I'm a hard case that's tough to beat. I'm your charity case so buy me somethin' to eat. I'll pay you at another time! Take it to the end of the line! MABLE Boo! INGRID Boo! GEORGE What? It's Paradise City, by Guns and Roses. INGRID You sound like a girl! MABLE Vote him off! EXT. RANCH - DAY Laura sits on a ATV. George sits behind her. Ira is on another ATV with Ingrid sitting in front of him, as he steers. Mable rides a very small dirt bike. LAURA All right! Here we go. They start driving down a path that goes around the edge of the ranch. George has his hands around Laura's waist as they drive. Ira looks over, concerned. INT. BARN - DAY Laura shows them their horses, chickens, goats and ducks. 95. EXT. RANCH - DAY Laura points out a small pond and a fenced-in riding area. Laura slows down and allows Ira, Mable and Ingrid to get ahead and turn a corner. Then she stops the ATV and turns around and kisses George. George looks surprised, but happy. Laura just stares at him, trying to decide what she makes of him now. Then we hear O.S. MABLE (O.S.) Mom! Mom! Laura hits the gas and they continue the tour. INT. LAURA'S RANCH - LATER The kids are playing in the background as George, Laura and Ira talk. GEORGE Ira, Laura invited us to stay over for dinner. IRA But it's like a seven, eight hour drive home. If we stay for dinner, we're not going to get home till like four in the morning. George stares at Ira for a beat, then -- GEORGE Don't worry, we'll figure it out. You have something to do in the morning? IRA No. GEORGE Then everything will be fine. LAURA Me and George are gonna go to the supermarket and buy some food so I can cook dinner. You think you'll be okay watching the kids? It'll only take forty-five minutes. 96. IRA Sure. I'm great with kids. I was a camp counselor for five years. Camp Winadu. Kids love me. I'm like a human teddy bear. CUT TO: INT. LAURA'S SUV - DAY Laura is driving through town. George sits in the passenger seat. GEORGE This town is so small and adorable. It's like out of a Demi Moore movie. LAURA Clarke's company is about forty- five minutes from here. This town seemed so perfect when we were looking for a house. There's no traffic, there's one coffee house, one bookstore, one market. No crime. But after you've lived her a few years you hunger for another coffee shop, a bigger bookstore, and a little crime. It gets so boring. And it's such a small town, God forbid you miss one of you kid's soccer games, they put the scarlet letter on you. GEORGE it can't be that bad. You live on a pretty little ranch. You have horses, a duck. It must be a nice life. LAURA We used to have so much fun. I don't think I have that much fun anymore. I don't like who I'm turning into. Is the fun over? I have to get up every morning at six, drive my kids to school and then I have 6 hours before I have to pick them up. I have to yell at them to do their homework, be a taskmaster, then I make them dinner. (MORE) 97. LAURA (CONT'D) It takes an hour to shower them and put them to bed. And then it's 8:30 and I pass out. And it's great, but tuck. And when both kids are done with high school I'll be 49 years old, and then I'll have probably 6 very healthy years, then I'll kind of slow down and then I'll be an old woman. And that was it. And it's great, but fuck. GEORGE I couldn't believe you moved out of LA. You were getting some good jobs as an actress. You got to play the bitch on Melrose Place for awhile and make out with Andrew Shue. That was pretty good. Do you miss it? LAURA Yes. Being a mom is very fulfilling, but there are other parts of me and every once in awhile I go a little crazy. GEORGE How do you go crazy? LAURA I just get bored and depressed. And you know how my PMS is kind of out of control. This little boy hit Ingrid in school, and his mom acted like she didn't care at all, so I told her to fuck off. They both laugh. GEORGE Oh, that must have gotten ugly. How long did that stay awkward for? LAURA (JOKING) Always. That woman hates me. And I hate her. And now our kids really like each other, so it's really fucked up. GEORGE Maybe you weren't acting on Melrose Place. 98. She laughs. LAURA Screw you. INT. LAURA'S RANCH - DAY Ira, Mable and Ingrid are making elaborate paper mache heads. As they do it, Ira is leading them in the type of song you would sing at camp. INT. LAURA'S SUV - DAY LAURA And my husband cheated on me, said he did it once but I know because I learned from you, they do it once, they do it all the time. You either cheat or you don't. GEORGE well I don't anymore. I haven't cheated on anybody since you. I haven't even been in a committed relationship since you, so it's impossible for me to have cheated. LAURA That's both flattering and deeply disturbing. GEORGE I thought a lot about you when I was sick, and I would do anything for another chance. I know it creates a mess, but I think it would be worth it. I think we both know it's what we should be doing. He kisses her. LAURA We can't go the supermarket. GEORGE Why? LAURA Because people will see us. 99. GEORGE So? What's wrong with that? LAURA Well it'll be weird because we're about to do something we shouldn't do. EXT. LAURA'S RANCH - DAY Ira, Mable and Ingrid are outside at a table building houses out of Popsicle sticks. IRA If you had an Exacto knife we could cut these sticks in half and make a chimney. MABLE (SADLY) When is George gonna die? INGRID George is gonna die? IRA Why would you say that? MABLE I heard my mom talking to her friend about it on the phone and crying. INGRID I don't want George to die. MABLE What do you care? You just met him. IRA George is gonna be fine. MABLE They told me my grandfather wouldn't die, but he did. IRA Here's the truth. George was really sick. (MORE) 100. IRA (CONT'D) But he went to the doctor and they found the right medicine and now he's better. And he's gonna live a long time. The kids buy it, and Ira seems relieved. MABLE I think my mom's in love with him. Ira looks doubly disturbed. He quickly goes back to his popsicle sticks. EXT. LAURA'S RANCH - GUEST HOUSE George and Laura park in the driveway, then sneak around to a back guest house. INT. GUEST HOUSE - DAY George and Laura enter the guest house, which has been turned into her husband's office/playroom/sports-viewing room. On the wall are six enormous flatscreen TVs. The room is also filled with sports memorabilia in Lucite cases and expensive looking sports photography. GEORGE Does somebody in your family like sports? They start passionately making out, slamming into the flatscreens. LAURA I really never thought I was going to see you again. I grieved for you like you were dead. They continue to kiss. Suddenly she stops. LAURA (CONT'D) I can't do this. GEORGE Then let's not do it. She stares at him, trying to figure out what he's become-- is he a good guy or a bad guy? LAURA I gotta get back to the kids. 101. INT. LAtJRA'S RANCH - ENTRYWAY - DAY Laura and George are walking into the house. They are not holding any bags. They walk into the living room where Ira is making a Spongebob SquarePants puzzle on the floor with Mable and Ingrid. IRA You're back. That was quick. GEORGE The town is beautiful. IRA Where are the groceries? LAURA We decided ordering in might be a little more fun. INT. LIVING ROOM - A LITTLE LATER Everyone is sitting on the couch watching Ratatouille on the television. They see car lights in the driveway. LAURA Food's here! All right, everybody. Let's sit down at the kitchen table. Everyone gets up and heads toward the kitchen. Laura opens the front door, George is a few steps behind her. A handsome man of forty appears. This is not the pizza guy. It's CLARKS, Laura's husband. LAURA (CONT'D) Clarke, oh my gosh. What are you doing home? CLARKE The man I was supposed to have a meeting with had a heart attack, if you can believe that. So I decided to try and sneak home for a few days before my next set of meetings. George appears behind Laura, not knowing what he's getting himself into. 102. GEORGE Oh. Hello. CLARKE Hello. LAURA Oh, Clarke. George had a performance last night in town, which I went to, and him and his opening act, Ira, came by to say hello on their way out of town. There is an awkward moment, then Clarke smiles and gives George a compassionate look, the type of look you give a man you think is dying. CLARKE It is really nice to meet you, George. Laura talks about you all the time, and we're obviously big fans of your movies. GEORGE Well, thank you. You've got a great family and a great home. LAURA I'm so glad you're home, honey. Laura gives Clarke a hug and a peck. Then Ira walks over. IRA What's taking so long with the pizza? Before anyone can say anything the PIZZA DELIVERY GUY appears in the doorway. PIZZA DELIVERY GUY Hi. That'll be twenty-eight forty- seven, please. INT. KITCHEN - EARLY EVENING Everyone is seated for dinner, including the kids. IRA (NERVOUSLY) This is really great pizza. Thank you very much. (MORE) 103. IRA (CCNT'D) It tastes just like New York pizza, which is so surprising because you can't get good pizza in Los Angeles, so you wouldn't think you could get it in Northern California. But this really tastes like New York pizza. A long pause. GEORGE Sounds like your business is going very well. CLARKE People never thought China would do this much business with us, you know, but it didn't seem like a risky proposition for me. They've got a billion people, we make all kinds of cool shit in America, they start finding out about it on the internet and what-not. Sooner or later they're gonna find a way to get our shit. LAURA He speaks Chinese. For real. Ingrid yells at something in Chinese. CLARKE You don't think they want new mobile phones? A new X-box? I'm trying to get access into North Korea, no shit. That situation could chance overnight. That is a huge market waiting to be tapped. It's already starting in Cuba. IRA My friend backpacked across China and he caught some sort of virus or something from what he ate. He was sickforweeks. He still has it. It'sthekind of thing you can't getridof, you have it for the restofyour life, but it stays dormant. CLARKE So, George. How are you holding up? 104. GEORGE Uh...I'm hanging in there. CLARKE How are you feeling? LAURA He's doing really well. He's been very strong. CLARKE It's a terrible situation. I'm so sorry. GEORGE I appreciate that. LAURA He's been fighting the good fight. His doctors are taking very good care of him. Ira can believe this conversation is happening. CLARKE You're a tougher man than me. I don't know how I could go about my day with that hanging over my head. GEORGE It just makes you appreciate every moment. It brings things into focus, you suddenly realize what's important in life. LAURA Does anybody want seconds? Or should I bring out the desert? IRA I'd love desert. What do you have? Do you have any ice cream or cake, or anything like that? I have a real big sweet tooth right now. Why don't we go into the kitchen and do an ice cream bar with kids right now? I've got a better idea, I make a really good milkshake. We should all go make milkshakes with the kids right now in the kitchen. 105. TNT. LIVING ROOM Empty milkshakes litter the coffee table. CLARKE Do you know who might be able to help you? A Chinese doctor. Have you explored Eastern medicine at all? LAURA Now's not the time to talk about this. CLARKE I'm trying to help the man. GEORGE No, I haven't. CLARKE Hey. I'm the last guy who would buy into that shit, but it works. LAURA He really is the last guy who would buy into that shit. CLARKE Our country's only two hundred years old. The Chinese have been around for thousand of years figuring this shit out. How I got into it, I had acid ref lux and nothing was working and then this guy at work turned me onto a Chinese doctor and he gave me some herbs that tasted like dogshit, but they worked. LAURA (NERVOUSLY) I take herbs for my PMS. They really helped. MABLE Daddy, you've been cursing a lot. You owe me a dollar for every curse. I think you owe me fifty dollars. 106. INGRID This conversation is scaring me. I don't want George to die. CLARKE You girls can go play in the other room. The Chinese have a completely different way of looking at health. They don't think doctors should attack the diseases in the body, they're all about trying to support the body and make it stronger, so the body can fight off the disease. It works. I've seen it. I wish I could find a way to mass-market Chinese medicine in this country. Someone's gonna do it and make a fuck-load of money. Because these people get old, really old. You can't kill these people. IRA Either that or they're all young and they just look like shit. Clarke laughs. CLARKE This guy's funny. You should be opening up for this guy. Hey, who wants a drink? EXT. RANCH - NIGHT Everyone is taking a walk around the ranch. It is very pretty outside. CLARKE I'm going to retire in seven years. I'm done. I'm playing golf for the next fifty years. Work hard now, then get out. That's my plan. I'm putting in the time. Then I'm getting the fuck out. I don't like working. I will do it. I like what it gets me. But I don't like it. GEORGE You ever see Laura act? She was quite an actress in her day. 107. LAURA George, stop. CLARKE That's what I hear. Can't say I watched that much 'Melrose Place' back in the day. She keeps telling me to watch the videos but, you know, I was never a big 'Party of Five' fan. LAURA Well, I also ran a theatre company. And it was down to me and Cameron Diaz for 'The Mask.' I sacrificed a lot for our family. CLARKE Okay, if you say so. (a beat) The Mask was a funny fucking movie. You know what other movie Cameron Diaz was great in? 'There's Something About Mary.' Laura looks livid at her husband's insensitivity and disrespect. They keep walking. CLARKE (CONT'D) I love walking it off after a big meal. GEORGE It's beautiful here at night. LAURA There's no pollution here like in LA so you can actually see the stars. IRA They are beautiful, but we have to get going. We have a really long drive to get back to Los Angeles. CLARKE You can't leave now, you won't get back until daylight. You should crash in the guest house. I'm sure it not as fancy pants as where you live, George, but it's better than driving all night or crashing at a hotel. (MORE) 108. CLARKE (CONT'D) And if you want to hang out tomorrow I just installed six flatscreens, we can watch all the football games we want. And dog- racing from Florida. There's a big game tomorrow. Ira, you must have played some ball in your day. IRA No, I'm just big-boned. GEORGE We probably should get some rest before the drive. All right, show us to our quarters, sir. INT. GUEST BEDROOM - MIDDLE OF THE NIGHT George sleeps on the bed. Ira sleeps on a couch across the room. The door slowly opens, Laura enters wearing a bathrobe. She walks to the bed and quietly slips under the covers, removing her bathrobe in the process. Without ever speaking, she pulls the covers over both of them and begins to make love to him. George is surprised but not completely shocked and goes along happily with it. ANGLE ON: Ira, he never wakes up. INT. KITCHEN - MORNING CLARKE You sure you can't stay? IRA We really do need to get back. I have to visit my mom. I can't miss it. It's her birthday. Everyone in my family is coming in from across the country for it. She's turning 65. It's very important we get back for it. LAURA That's too bad, I wish you could stay. CLARKE (very serious) I wish I could say I was gonna see you again, but I can't say that. His eyes start to mist up. 109. LAURA Clarke, don't. You don't need to do that. CLARKE You know what? I think I do need to do that. One thing I learned in China from some Buddhist friends of mine is it's important to have an open heart, to live in the moment, and to speak the truth to each other. So I'd like to say to you, George, that it was a great pleasure to meet someone who had such a big impact on my wife's life. I really like you. And wish we had more time to get to know each other. And I wish you a peaceful end to your journey. And another great journey on the other side of it. Clarke hugs George. GEORGE I really don't know what to say. I re- ally don't know what to say. LAURA That was beautiful, honey. Well let me walk them to the car. Ingrid walks over. INGRID Don't be sad. Ira told us that his medicine is working and he's not sick anymore. MABLE I think that was a secret. I don't think you were supposed to say that. CLARKE Mable, take Ingrid into the house. MABLE Can we watch another SpongeBob movie? Atlantis.Squarepantis? 110. CLARKE Yes. Go into the house and watch a movie now! Mable and Ingrid walk back to the house. CLARKE (CONT'D) What the fuck is going on around here? (to Laura) Is that true? LAURA I never said that he was still sick. He just took some medicine and it's looking better. You can't detect it in his blood, but it could come back. CLARKE Is it looking better? Or is he better? (to Ira) Is he sick anymore? IRA Well ...I don't how you define these things-I'm not... sure. CLARKE is something going on here? Are you getting your revenge on me while I'm away? I came clean with you, you can't come clean with me. LAURA You know what? I don't know what I want now. IRA Oh shit. It's ON. CLARKE So this is what you want? Was he ever sick in the first place? IRA He was sick. He was very sick. CLARKE Because if this is what you want, I'll leave right now. I'm not going to play these games. I'm happy to leave. I'm not gonnna have you put me on the cross because I made some mistakes. You guys enjoy each other. I could give a fuck. If you need me, I'll be at my apartment in China. Clarke leaves. INT. CHILDREN'S BEDROOM - NIGHT Mable and Ingrid are asleep. INT. MASTER BEDROOM - NIGHT Laura is alone in her room, crying. (she might be on the phone, talking honestly with a friend.) INT. GUEST ROOM - NIGHT George lays on the bed. Ira is pacing around the room. IRA What the fuck is going on? Did you guys do something? GEORGE We had sex in Clarke's office. IRA Why? GEORGE Because I love her. She's the best thing that's ever happened to me. IRA But she has two kids, she's married. GEORGE She's miserable. He cheated on her. IRA You cheated on her. 112. GEORGE Yeah, but that was a long time ago. I've changed. You saw that douche bag. You don't think he's fucking geishas on every business trip? IRA He was trying to cure you with herbs. He seems like a great guy. GEORGE This is none of your fucking business. Just stay out of it. IRA I can't stay out of it. We took your car here. I have no way of leaving. GEORGE This shit is deeper than you understand. People get divorced. People make mistakes and then they fix them. That's how life works. It's not a big deal. I know you're still sad because your parents got divorced. Well get the fuck over it. Call a fucking cab and go home. IRA So what are we gonna do? GEORGE You're gonna sleep in Clarke's office. I'm gonna go talk to Laura. INT. LAURA'S STUDY - LATER George walks into the room, discovers Laura on the computer, going through papers. She is smoking a joint. GEORGE On, there you are. I've been looking for you. LAURA I've been going through all the bank statements, trying to figure out which are in his name and which are in mine. (MORE) 113 LAURA (CONT-C) Almost all the accounts are in his name. I wonder if he did that on purpose. GEORGE Are you smoking a joint? LAURA Yeah. My best friend Nancy grows this stuff on a hill by her house. You want some? GEORGE No, that stuff makes me paranoid. LAURA Not me. It makes me feel sharper, Some people get tired, I get more energy, more clear. GEORGE What's happening? LAURA What's happening? Whatever we want to happen is gonna happen now. I'm free. I'm fucking free. Laura gets up, kisses him. LAURA (CONT'D) We're free. GEORGE (NERVOUSLY) Yeah, we're free. They start kissing again. She starts to moan loudly. GEORGE (CONT'D) Not so loud, your kids are sleeping. LAURA A tank could roll through this place, it wouldn't wake them up. They kiss some more. She moans louder. INT. LAURA'S RANCH - GUEST ROOM Ira calls Daisy on the phone, in a panic about what is happening. 114. DAISY (V.0.) Hello? IRA (on phone) Hey, Daisy. It's Ira. DAISY (V.0.) Oh. Ira. What's going on? IRA I just wanted to talk to you because I'm in the middle of a terrible situation and I don't have anyone I can talk about it with. My friends are all mad at me and George is kind of losing his mind. DAISY (V.0.) You can tell me, what is it? IRA Look, I know you think I have the moral code of some guy from the 50s like Dwight Eisenhower, but I'm with George and he's hitting on his ex-girlfriend who's married now and has kids and I don't know what to do. I'm kind of freaking out. I think I'm having a panic attack. DAISY (V.0.) Well don't have a panic attack, that's not going to help anything. IRA Well telling me to not have a panic attack is not going to stop it. DAISY (V.0.) (screaming at the top of her lungs) DON'T HAVE A PANIC ATTACK!!! IRA Haha, very funny. DAISY (V.0.) Seriously, what's going on? IRA Well I guess they dated like ten years ago... 115. Ira and Daisy begin to have a bonding conversation. MUSIC UP - MUSIC THAT MAKES IT FEEL LIKE A NEW DAY, THE BEGINNING OF A NEW ERA. INT. KITCHEN - MORNING Laura, George, Ira, Mable and Ingrid are happily cooking and eating breakfast. They look like a happy, strange kid of family. EXT. RANCH - DAY Numerous images of them horse-back riding. Ira looks terrified. EXT. POND - DAY They are all fishing, feeding ducks. INT. GROVE - DAY They pick lemons out of a tree. EXT. WOODS - DAY They are riding ATVs while their dogs chase them. EXT. WOODS - DAY The kids are climbing a tree. Laura is spotting them. George pulls Ira aside. GEORGE (EXHAUSTED) Jesus Christ, what time is it already? IRA It's 10:15 in the morning. GEORGE Oh my god. Really? I mean, this is fun, but I don't know how much I can take. Hopefully they'll take a nap at some point. I want to take a nap. 116. IRA They don't look that tired. The kids are yelling and screaming and clearly have eight more hours in them. INT. RESTAURTANT - DAY George, Laura, Ira, and the kids are seated at a table. The kids are coloring with crayons. MABLE Look what I did. I want this hung up on the wall. She shows them the picture, which is clearly not appropriate for the wall: a picture of herself choking and dying. MABLE (CONT'D) The food here made me sick. INGRID Mama, I have to go to the bathroom. Come wipe my butt. LAURA I have to talk to them for a minute. Mable, go wipe your sister's butt. MABLE She can do it. She's almost six. That's weird. Ingrid and Mable walk off together. IRA I wet the bed til I was eleven. It wasn't even a mental thing. I just got relaxed when I was asleep. LAURA I spoke to Clarke. He's going to fly back to China tonight. I was thinking about driving to the airport and meeting him there and telling him that when he comes back, he should find another place to live. 117. GEORGE That's great. Are you okay doing that? LAURA Yes. It's what I want. I just need to figure out when we would move down to LA. It might be better to let the kids finish out the school year because I have to apply to the private schools in LA, and I don't know if I missed the deadline. Then I'd have to look into the charter schools. Sometimes these private schools, if you give them a donation, they let your kids in. Maybe you can stay up here for part of the year if I can't make it happen. GEORGE Sure. If I'm not shooting a movie, or on tour or something, that would be great. Laura leans in and kisses George. George is not big on public displays of affection. He kisses back, but you can tell that he's very uncomfortable. They hear the kids headed back to the table and quickly separate. MABLE I made her wipe her own butt. INGRID I did it, but I don't know if I did a good job. (to George) Look at what I drew. I drew a picture of you. Look? Show Mama. George holds it up. It is a picture of several people. INGRID (CONT'D) That's you. That's George. That's Mommy. And Daddy. And me. And Mable. That's all of us. We see the picture, and it is everybody holding hands. 118. INT. BOOKSTORE - DAY George and Ira are walking around a very small bookstore. GEORGE This is a small bookstore. They've only got one Philip Roth book. Didn't he write like fifty books? IRA So when are we going to go home? You're not talking at all about when we're going to go home. GEORGE She's going to talk to Clarke tonight, and then she's going to make a plan. We've got to get over that hurdle. IRA Are you okay with everything? This is happening pretty fast. GEORGE This is exactly what I wanted. IRA Okay. GEORGE I mean, she's cool, right? IRA She's nice. I don't really know her very well. GEORGE She was kind of cooler when I knew her back in the day. She's still hot, but she was crazy hot back then. Her attitude has changed a bit. With the kids and all. Back then she was really sexy, and all about fucking. I know she's busy with her life now, but it is a little different. IRA Yeah, well when you have two kids and a husband, and horses and ducks, it's not all about fucking. (MORE) 119, IRA (CONT'D) That's just the hormones of youth. I'm all about fucking. But I don't expect to be when I get older. I'll be occasionally about fucking, which is normal. The fact that you're all about fucking now is the weird thing. GEORGE Well hopefully everything will work out. If it doesn't, it just wasn't meant to be. IRA What does that mean? GEORGE It means I'm going to give it a shot. I'm excited, but I'm not going to really know if it works until we're in it. I hope I'm just not in love with the person she used to be. IRA She's about to leave her husband for good. She has two kids. You're not sure this is going to work? GEORGE There's no way to ever be sure that anything's going to work! I couldn't live up here. She wants me to live up here. I don't think I can do it. Maybe a couple of weeks a year. IRA Well, she'll live with you. GEORGE Do you think she means that she's going to bring the kids too? IRA Of course. What else would she do? GEORGE I don't know, don't some men get custody of the kids? Or they split the custody? I like the kids, but I've never lived with kids before. (MORE) 120. GEORGE (CONT'D) The young one's kind of cute, but I don't think I can stand the old one full time. There's too much going on there. But I could definitely tolerate the young one. She's cute. Maybe they can split kids. Maybe Clarke will take the annoying one. Ira just stares at him, not sure what to do. EXT. LAURA'S RANCH - NIGHT George kisses Laura, and then she gets in her car. LAURA I'll be back in an hour and a half, tops. And then it all begins. GEORGE Okay, call me if you need any backup. LAURA I love you. GEORGE (really uncomfortable) I.. . love you. The car drives off. INT. LAURA'S RANCH - NIGHT Ira is on the floor with the kids. He watches the headlights of Laura's car disappear down the driveway. George walks back into the room. GEORGE Okay, I'm going to go into the other room and watch some TV. IRA You don't want to hang with the kids? GEORGE Nah, I was going to watch four hockey games at once. I've never done that. 121. IRA okay, but I've got to run out and grab some cigarettes. GEORGE But you don't smoke. IRA I never smoked in front of you because you were sick. But I do. INT./EXT. GEORGE'S CAR - NIGHT Ira drives in a panic. IRA Holy shit, holy shit. Where's the fucking airport around here? Ira tries to figure out how to work the navigation system in a panic. He can't make it work. INT. LAURA'S RANCH - NIGHT George is watching the kids. He is not good with them, so it is very weird. INGRID (O.S.) George! Help! George jumps up and runs to her. She is in the bathroom sitting on the toilet. INGRID (CONT'D) Can you wipe my butt? GEORGE Don't you know how to do it? INGRID I don't do it good. GEORGE (RELUCTANTLY) Okay. INT./EXT. GEORGE'S CAR - NIGHT Ira is still messing with the navigation system. He finally gets frustrated and punches it. 12-) . Ira yells to someone on the street. IRA How do you get to the fucking airport?! INT. LAURA'S RANCH - NIGHT George calls Ira, gets voice mail. GEORGE Where are you, where are you? You have to come back here. I need your help. I don't know how to do this. He walks back to where the kids are. They are watching tv. All around the room are family pictures. He is beginning to feel bad about what is happening. INT./EXT. AIRPORT - NIGHT Laura gets to check-in, looks around. She does not see Clarke. INT. LAURA'S HOUSE - NIGHT George is sitting at the kitchen table. Mable walks over. MABLE I think my mom and dad are getting a divorce. I don't want my parents to get divorced. All my friends' parents are divorced, and they're not happy. GEORGE Why would you say that? MABLE I heard my mom talking to her friend. I listened through the wall. She was looking for a lawyer. He cheated on her. What does cheating mean? That he's going to marry someone else? Why don't they just try harder? 123. INT. AIRPORT - NIGHT Laura looks for Clarke at the news stand. INT. LAURA'S RANCH - NIGHT George is on the phone. GEORGE Laura, it's George. Come back to the house. Maybe you shouldn't do it. Maybe it's too early for this. Call the house. INT. AIRPORT - NIGHT Laura walks into the airport lounge. She sees Clarke. She looks at him for a moment, then heads over to him with determination. EXT./INT. AIRPORT - NIGHT Ira parks in the no-standing zone. He gets out and starts walking into the airport. His phone rings, he answers. It's George. GEORGE (V.0.) Where are you? IRA I'm getting cigarettes. GEORGE (V.0.) You've been gone for forty minutes. IRA I got lost. I don't know this town. GEORGE (V.O.) Well come back. I don't know how to take care of these kids, I'm not a camp counselor like you. These kids are on to me. The older one's too intense. She's troubled. She's like Damien, from the Omen. I need help. 124. IRA Ok, I'll hurry back. INT. AIRPORT - NIGHT Ira runs around the airport, looking for Laura and Clarke. INT. AIRPORT - FIRST CLASS LOUNGE - NIGHT Laura is talking to Clarke, emotional. Clarke is crying. CLARKS I'm so sorry. This only happened because of me. It's all my fault. I made you feel terrible. I made you feel unsafe in our relationship. I'm so sorry. Please forgive me. Ira stands there, staring at them. LAURA I'm sorry too. I love you so much. It was just a flirtation. It never went anywhere. It's just after you cheated on me, I felt so alone. And you were gone so often that I felt like our life doesn't work. CLARKE Then I have to make a change. I'll stop most of the traveling. There's nothing more important than you and the kids. Ira starts to turn to sneak away. Clarke sees him. CLARKE (CONT'D) Ira! What's going on? What are you doing here? IRA Oh, I'm just headed back to Los Angeles. I've got some spots at the Improv I've got to do this weekend. LAURA (under her breath) Oh, fuck. 12-5. CLARKE You're headed back to Los Angeles? Then why are you at the International terminal? IRA This is the International terminal? I'm so confused, I've never been to this airport before. CLARKE Yeah, this is the Air China First Class Lounge. REVEAL that everyone else in the lounge is Chinese. CLARKE (COIN' D ) What the fuck is going on? What the fuck is going on, Laura? LAURA I don't know what to say. CLARKE Tel- me the truth ! Just tell me the tri.t_h.;_ LAURA I came here to tell you that I wanted you to move out when you came home. But I realized this was a mistake, so I didn't say it. Please don't hold that against me. We've worked everything out. Everything is fine. CLARKE Who's watching the kids? Who's watching the fucking kids? IRA An adult is watching them. CLARKE Is George watching our fucking kids? I will kill him. Clarke runs off. IRA What the hell happened? 12 6 LAURA Who the fuck are you? Get the fuck out of my life! You and George have to get the fuck out of my life. You are ruining everything! IRA Uh oh. Ira runs out of the lounge. Laura runs out also. INT. LAURA'S HOUSE - NIGHT George with the kids. Oblivious to what is happening. EXT. AIRPORT - MOMENTS LATER Ira comes back out, his car is about to be towed. IRA No, no, no! I'm here. I'm here. INT./EXT. CLARKE'S CAR Clarke drives home, pissed off. INT./EXT. LAURA'S SUV Laura drives home, quickly. INT. IRA'S CAR Ira drives, in a panic, on his cell phone. The phone goes through to George's voice mail. IRA George! Clarke is coming back to the house. He knows everything! I'm coming to get you. Be at the end of the driveway. No! Be at the next driveway over! To the north! EXT./INT. LAURA'S RANCH - NIGHT Clarke arrives at the house. He sees George sitting with the kids. CLARKE (angry-to Mable and INGRID) Can you take it into the family fun room? MABLE Are you two going to fight? CLARKE Ye s. EXT. LAURA'S HOUSE - NIGHT George and Clarke walk outside. Clarke puts up his fists, ready to fight. GEORGE She's not happy. Clarke punches George in the face then kicks him martial arts style. CLARKE No one who's married is fucking happy. Leave us alone! You fucked up. You fucked it up with her a long time ago. Let it go or I will kill you. I will literally kill you till you're fucking dead. That disease didn't kill you. But I will kill you. GEORGE You shouldn't joke about my disease. That was very serious. Very scary. Clarke punches him several times, but they are more like martial arts hits. GEORGE (CONT'D) What the hell is that? Ira arrives. George starts yelling at Ira. GEORGE (CONT'D) Don't jump in. Whatever you do, don't jump in. I don't want your help! 128. IRA Okay. GEORGE You said you were getting cigarettes then you ran to the airport to stop her. What kind of friend are you? IRA I am a good friend because this entire situation is crazy. You are out of control. GEORGE I didn't deserve what you did to me. You betrayed me ! IRA When I got there, she was already kissing him. I never even had a chance to stop it. I didn't get to do anything! CLARKE Don't pretend you're fucking mad at each other, just to distract me so I won't beat your ass. Clarke pushes George. CLARKE (CONT'D) You're gonna come to my house? You're gonna come to my fucking house? You have to get your own life. Leave us the fuck alone. GEORGE Don't hit me! I've been sick! They don't know. The medicine is working now, but I'm still sick. Clarke punches George. GEORGE (CONT'D) (to Ira) What are you doing? I said to jump in! IRA You told me not to jump in. 129. GEORGE That's what "don't jump in" means. It means "jump in." Help me! Ira steps in. Clarke hits him hard, then kicks him. GEORGE (CONT'D) You're a terrible fighter. IRA I know, that's why I became a comedian, because everyone used to beat me up! George runs at Clarke who cracks him in the head hard, sending him to the floor. Then Ira takes a run at him and Clarke kicks Ira in the face twice, with both feet. Laura runs into the middle of the scene. GEORGE Laura, tell Clarke to stop! LAURA Clarke, please don't do this. CLARKE Don't tell me what I can and can not do. GEORGE Laura, tell him. Tell him you want to be with me now. Laura doesn't answer. GEORGE (CONT'D) Laura? LAURA Why did you have to come here and confuse me? Everything was fine before you came here. Now everything is all screwed up. GEORGE Laura, what's it going to be? Are you going with him, or are you going with me? Laura looks at Clarke. 130. LAURA With him. GEORGE Don't do this. LAURA You fucked up my life. And now I fucked up yours. But just a little. Probably just for a day. She walks back into the house. CLARKE Hit the road before I put you through another round. GEORGE You cheated on her too! CLARKE Yeah, but we're married. We're going to work through this shit. You should have waited until you were married to cheat. It buys you another chance. Clarke punches George. Ira is on the ground. He doesn't get up. GEORGE She told me I was the love of her life. And she loves me more than she loves you! CLARKE When she said that, did she think you were dying? GEORGE Yeah! CLARKE Too bad you had to 'Live and find out it wasn't true. Leave my fucking family alone! Clarke punches him. George gets a punch in but it doesn't hurt Clarke. Clarke punches him again. CLARKE (CONT'D) I can do this all night. 131. Clarke hits George again. Ira leaps on Clarke and now all three are on the ground rolling around, arms flailing. GEORGE (to Ira) Stop Ira, you're hitting me too. Mable and Ingrid appear outside. MABLE What are you guys doing? INGRID What's happening? The three look at the kids and instantly feel awful. IRA We're just playing that's all. GEORGE We're wrestling. It's fun. CLARKS Boys like to wrestle just like girls. They all start wrestling some more, but this time it is fake playful. They give each other noogies, and tickle each other so the kids won't be scared. A little blood runs off of George's face. INGRID Are you bleeding? GEORGE No. We were just painting. I got some paint on my cheek. CLARKE Come on girls. Let's go inside. Mable and Ingrid run inside. Clarke turns to George. CLARKE (CONT'D) You know what sucks about this? I like your movies and now I can't watch them anymore. Clarke walks away, then walks back. 132. CLARKE (CONT'D) I'm sorry. That was mean. Through ail of this, I want you to know something. I'm glad that you're not sick, and I understand. And I forgive you. Clarke goes inside. IRA That was meaner than him punching you. That is a demented motherfucker. George punches Ira in the face. Ira fires back two punches at George's face and he stumbles back. GEORGE None of you fuckers can hurt me. George pauses, then leaps onto Ira and they roll on the ground for a moment. Ira makes his-way free and gets up. IRA Get the hell off of me you psycho. GEORGE Drive me home. IRA No. GEORGE How are you gonna get home then? IRA Fine. INT. CAR - NIGHT They drive in silence for a moment. IRA You are the most self involved person I have ever met. GEORGE Oh yeah? 133. IRA No matter what the situation, no matter how many laughs or how many women you get you will never be happy. You're always going to be miserable. You are a bottomless pit. A bottomless wound. GEORGE What about you? You are just a lackey. Who are you to judge me? You tried to screw me over, after all I. have done for you. IRA I am not responsible for you. You wanted me to sit back and destroy this woman's life? Help you cheat on her? You put me in a terrible position. I don't give a fuck, go fuck yourself. GEORGE Lacky. IRA You made me the tacky? I'm not a lacky, it's a job. GEORGE It's not a job, you're a tacky. You're not even that fucking funny. This gets Ira very mad. IRA Who cares? If being funny means being like you, I rather be a little less funny. GEORGE Mission accomplished. IRA You're the only person I know who learned nothing from a near-death experience! You actually went backwards. All it did was it brought out what a prick you are, brought everything bad to the surface. I liked you better when I was sure you were gonna die. 134. GEORGE I'm not going anywhere! IRA Everything is about you. You don't even know where I live. You've never asked me one question about my life. How much can one person talk about himself ? You never ask me shit about anything! GEORGE Who are you to fucking judge anyone? You're not my friend, you just want my money. You just want to get your foot in the door. IRA Fuck your money. Fuck you. This has all been a huge mistake. GEORGE Wake me when we get home. George climbs in the back seat and tries to go to bed. INT./EXT. GEORGE'S CAR - NIGHT Music up: Ted Hawkins' song "Strange Conversation." Ira drives George home in the dark. Neither one speaks. We see images of different cities going by the window. Ira thinks about all he's been through and the challenges ahead, EXT. GUYS' APARTMENT Ira pulls up to his apartment. IRA okay, I'm getting out. You have to drive yourself home. I'm getting out here. GEORGE Why didn't you drive me to my house? IRA Because then I'd still have your car. 135. GEORGE You'll drop it off later. IRA There is no later! I'm not going to ever talk to you again. So I don't want your car. GEORGE So that's how it's going to be. INT. GEORGE'S HOUSE George enters. There is an enormous pile of stuff to do on his dining room table. Several stacks of scripts. One pile has a big post-it note that says: "READ THESE!" INT. GEORGE'S HOUSE George lies alone in bed, alone. Eyes wide open. It's really bright in his room. George hits a button. The shades automatically close. The room goes dark. Now he's in the dark with his eyes open. He turns on the TV to go to sleep. It's the Today show. It's really happy and morning-themed. The piece on the Today show is very suburban. "How to Clean Up Clutter." ANCHORWOMAN (ON TV) You know, when you've got a big family, and you've got a lot of clutter... INT. GUYS' APARTMENT - LIVING ROOM - DAY Ira is talking to Leo. LEO We rented out your room to Jay. But you can crash on the couch if you want. IRA Oh man, you got jerked off on that couch. 136. JONAH I fucking didn't cum on the couch. Just sleep on it for a month, and then we'll find some excuse to boot Jay out. IRA Thanks. I'm sorry, I lost my way for a while. INT. GEORGE'S HOUSE George reads one from a large pack of scripts. A few pages in, he clearly doesn't like it. He puts it down, picks up another one. The large stack is clearly the ones he doesn't like. INT. COFFEE SHOP - DAY Ira writes at a table. EXT. STORE - DAY George walks out of a store. A beautiful woman tries to chat him up, but he lets her know he i.s"busy and has to go. He walks off. She looks disappointed. INT. BAR - NIGHT Ira talks to Daisy. They seem to be getting along well. INT. IMPROVISATION - DAY Daisy is performing on stage. She gets off and heads over to Ira. I HA That was great. She kisses him. DAISY Thanks. The MANAGER walks over. 13,. MANAGER Hey Ira, Federman got in a car accident. Do you want to take his spot? George walks over with a young comedian of about Ira's age. This young man has clearly taken his place. GEORGE Hey, how's it going? IRA Hey George. GEORGE This is Randy. He's funny, you'd like his stuff. It's smart. IRA I'm sure I would. I look forward to seeing it. Are you going on tonight? RANDY I hope so. MANAGER (to George) Do you want to go up? Ira was gonna take Federman's spot, but we can get you up if you want to? GEORGE No, that's ok. I don't want to take Ira's spot. I'm just gonna hang out tonight. INT. IMPROVISATION - MOMENTS LATER Ira is introduced. He walks onto the stage. We see George walk to the very back corner of the club and sit down at a table by himself. On stage Ira does his act. He is much more comfortable than we have ever seen him on stage before. He is no longer searching for his comic identity. He has found a way to be himself on stage, and tells jokes which are more personal than we have seen before. Not everything kills, but when something eats it he does not seem thrown. Sometimes he seems amused. 138. ANGLE ON GEORGE He watches from the back of the room. At first he does not laugh, but then slowly starts laughing--but more at the things Ira does in between jokes. We can tell that he is proud of Ira and misses him. INT. SUPERMARKET -- DAY Ira is back behind the counter, working at the Deli with Chuck and Gail. He doesn't look too unhappy to be there. FEMALE CUSTOMER Is the potato salad fresh? IRA I made it myself this morning. FEMALE CUSTOMER Is it good? IRA I stake my reputation on it. FEMALE CUSTOMER Okay. Give me a quart. IRA Mrs. Gail, this fine woman would like a quarf'of potato salad. The woman moves to the other side of the counter. We reveal George standing there, holding his ticket. GEORGE Do you have any turkey that's hormone-free? IRA Yes we do. GEORGE So this is where you work. IRA Back in the saddle. GEORGE I thought we were writing a screenplay. 139. IRA Well, you're not a very good writing partner. GEORGE Or any kind of partner. You want to make me a turkey sandwich and talk to me? They give you breaks around here? INT. SUPERMARKET - MOMENTS LATER There is a small seating area in the supermarket where people eat food at the deli counter. George and Ira sit across from each other. GEORGE In my travels, I have learned a lot about Asia and Buddhism. And I would like to be in the moment now with you, and to tell you how sorry I am, and how much I have appreciated your friendship. And even if we are not friends in the future, I wish you well on your journey. Ira laughs. IRA That guy was a douche-bag. GEORGE But also kind of cool. It's a very weird combination. IRA He was going to heal you with those herbs, man. You get sick again, you should call that guy. GEORGE I think most of what you said to me was true. And I really am sorry. I think I'm still not very healthy...in my brain. IRA It's all right, man. You've been through a lot. 14 0 . GEORGE Well, I appreciate you trying to help me. Even though it was kind of an impossible task. IRA Is everything going okay? How are you doing? GEORGE I am not doing well, but things have certainly been worse. So, I will be fine. (THEN) You were good the other night. I hear you're getting regular spots now. IRA I'm actually going up tonight. GEORGE Really? Any new jokes you're working on? IRA Yeah, I've been trying to get off my ass and do some writing. GEORGE What do you got? Ira is surprised to hear him ask this, since he has never asked this before. IRA I was thinking about doing a bit about how I'm not very good looking, but I'm not bad looking, but I'm just good-looking enough that if I had a good personality, it might put me over the top. GEORGE You should do something about how, when you date a girl, and you feel really good and she likes you, and then you see pictures of all her ex- boyfriends, and they're all really goofy-looking guys, and it's not that you're good looking, it's just that in this psychotic girl's eyes, you're good looking? 141, IRA And how all of her boyfriends look like Lou Costello. GEORGE Why don't you say Dom Deluise? it's a more current reference. IRA More current? What year was Cannonball Run, 1978? GEORGE Okay, okay. What else you got? IRA I was going to talk about how I haven't had sex in so long, that I can't even remember my previous sexual experiences so I can masturbate to them. GEORGE You should say, now when I masturbate, I have to think about the last time I masturbated. IRA That's a good one. You can write. GEORGE You know, I always wanted to be part of the comedy field. As the camera pulls back, George continues to pitch Ira jokes for his act, the first selfless act we've seen him commit in the entire film. As their friendship rekindles, we... THE END \ No newline at end of file diff --git a/unformated_scripts/Script_G.I. Jane.txt b/unformated_scripts/Script_G.I. Jane.txt new file mode 100644 index 0000000000000000000000000000000000000000..3fba868d4cce445778d15ee3301d1fad07c11a96 --- /dev/null +++ b/unformated_scripts/Script_G.I. Jane.txt @@ -0,0 +1 @@ + G.I. JANE by David Twohy FIRST DRAFT August 6, 1995FADE IN:INT. SENATE HEARING ROOM - CAPITOL BLDG. - DAYBlinding in their white uniforms, naval flag officers sitin the audience, showing their support for THEODORE HAYES,a 50-year-old civilian. This is his confirmation hearing.Reading from prepared material: HAYES ... last few years have brought many advances in the interests of women in naval service, particularly in the land-based maritime specialties. What's more, the Navy has instituted special sensitivity courses with an eye on -- DEHAVEN Whoa, whoa, whoa. "Land-based maritime specialties." Gimme a second here to de-euphemize that...At the center of a dais, LILLIAN DEHAVEN leans back toponder the ceiling of the hearing room. Her plaque cardreads "CHAIRPERSON -- SENATE ARMS COMMITTEE." DeHaven is atough-hided old Southern belle, Scarlett O'Hara at 60.In her arsenal she carries conversational hand-grenades --and she's apt to pull a pin at the slightest whim. DEHAVEN Would that be anything like "typing"? "Restocking the cupboards"? That sort of thing, Mr. Hayes?CHUCKLES from the packed gallery. The flag officers gostone-faced. Hayes forces a smile. HAYES Hardly the case, Senator. DEHAVEN Well, I'm just an old dame without much time left, so you'll pardon me if I jump right in here before they discontinue my blood-type. I am deeply concerned over the Navy's seemingly incontrovertible attitude toward women in the military. Case in point...On cue, aides begin distributing reports to other membersof the dais. Hayes gets a copy, too. And it jars him. DEHAVEN "The Lark Report." HAYES Madam Senator... this is an internal document of the U.S. Navy. I must seriously question whether -- DEHAVEN (to others on panel) The Navy's conclusion regarding the crash of an F-14 aboard an aircraft carrier. Female aviator, it just so happens. (to Hayes) You're familiar with this report and its conclusion, am I right? HAYES I was one member of the investigating commission. DEHAVEN Yes, I see your signature right here -- twice the size of everyone else's. And your conclusion was "pilot error," hmm? HAYES I'm really not prepared for any kind of in-depth review of -- DEHAVEN I'd like to think our next Secretary of the Navy would be prepared for anything, Mr. Hayes.A humorless smile. She's roasting his nuts over an openfire, and everyone knows it. HAYES The commission concluded that the aviator in question failed to execute a proper approach to the carrier. DEHAVEN That aside for the moment, I'm struck by the tenor, the ill-spirit of your report... the degrading remarks by other aviators... innuendo about her performance in unrelated situations... even a reference to her sexual activity the weekend prior. (closing report) In my seven years on this committee, I've never seen a downed aviator treated like this. Never. I'm deeply disturbed by this report, Mr. Hayes. Not just what it bodes for women in the military -- but for your own confirmation as well.INT. CORRIDOR - CAPITOL BLDG. - DAYHeading for her office, DeHaven is escorted by a smallPRESS RETINUE. DEHAVEN ... a full 35 percent of all jobs in the U.S. military are still, to this day, off-limits to women. And that's simply gotta change. PRESS #1 What about those who say women aren't suited for all jobs? That they're physically weaker... they have less stamina... DEHAVEN Sure. And we're gonna hog the bathroom, too.DEHAVEN'S AIDE catches up, pulls her aside. DEHAVEN'S AIDE White House boys want a private meeting. DEHAVEN I'll act surprised.INT. DEHAVEN'S OFFICE - CAPITOL BLDG. - DAYShoes dumped on her desk, DeHaven changes out knee-highstockings while devoting one ear to... WHITE HOUSE #1 ... to reassure you that he has every faith in the ability of Mr. Hayes to guide the Navy into the next century. The task, as the Administration sees it, is to acknowledge changing realities without losing traditional values.A beat. DeHaven looks between the two WHITE HOUSE boys --#1 young and eager, #2 older and cagier. DEHAVEN 'Zat it? Ten minutes, nothin' on the table? Sweetcakes, you best go back to the President and tell him to open up the phone book and start lookin' for his next nominee.White House #1 looks spanked. Taking over, #2 pops abriefcase. An inch-think report appears before DeHaven. WHITE HOUSE #2 Administration's plan for 100 percent integration. If female candidates measure up in a series of test cases, the President will support full integration within three years' time.Surprised -- maybe even startled -- DeHaven flips throughthe report, absorbing by osmosis. WHITE HOUSE #2 It's your gender-blind Navy, Senator. Surely you're not going to balk now. DEHAVEN Well, it's just that askin' you all to integrate the Navy is like sending a man to do a woman's job. (a beat) How do you propose to handle the Combat Exclusion Laws? WHITE HOUSE #2 Keep narrowing the definitions. Keep redefining. WHITE HOUSE #1 We got around it in Saudi Arabia. DEHAVEN By calling women "Honorary Men." Ingenious. WHITE HOUSE #2 C'mon, Senator, President's pitchin' right down the center of your plate. If women measure up to men, they've got the job. You going to take a swing? Or step out of the box?DeHaven riffles the edges of the report, thinking it over.Thinking light years ahead.EXT. CAPITOL BLDG. - DAYButtoning up topcoats, the White House boys move downmarble steps to reach a pair of limousines. Hayes and twoFLAG OFFICERS wait. HAYES Well? WHITE HOUSE #2 (shaking hand) Congratulations, Mr. Secretary.INT. HAYES' LIMOUSINE - DAYInside the moving car: HAYES So she picks the women, we pick the programs. Seals? FLAG OFFICER #1 I'd go Special Reconnaissance. Every bit as tough -- and we have a 60 percent drop-out rate among the men. HAYES Then I suggest we start there. FLAG OFFICER #1 Doesn't matter who she picks. No woman is going to last one week in a commando training course. And I don't care who it is.EXT. POTOMAC RIVER - WASHINGTON D.C. - DAYWinterscape: Dotted with ice floes, the Potomac wendsthrough the capitol city, banks iridescent with snow,morning water calm. There's an almost hallowed beauty toit all. Soon we pick out...A spot of day-glo. Coming out of the mouth of morning.Overtaking the floes.CLOSER on JORDAN O'NEIL. She pushes her flat-water kayakdownriver, paddling hard and clean, making good time.Gliding through the graceful arches of the Arlingtonbridge, she passes...Cars overhead. Grid-locked by snow conditions.In seconds Jordan paddles clear, leaving the trafficbehind as she heads toward the Washington Monument.Something BURRS from a life-vest pocket. She rips throughvelcro to free a cell phone. JORDAN Lieutenant O'Neil. ROYCE (V.O.) Gotta situation here. Where are you? Stuck in traffic? JORDAN (checking dive watch) Not due in for 22 minutes, sir. Watcha got?INT. SITUATION ROOM - N.I.C. - DAY ROYCE All right, stand by, we're going to switch over to COMSAT...A TACTICAL OFFICER reroutes the call via defensesatellite, cryptography flashing on terminals. LieutenantCommander ROBERT ROYCE joins other Intel officers at aconference table. They're pouring over weather charts,navigation logs, high-altitude NRO video. TACTICAL OFFICER Voice-system now secure... ROYCE (into speaker) Okay, fresh stuff: Lost a NATO plane over the Sea of Japan. ELB signals leads us to believe the pilot is alive and has made his way to the North Korean shore, near a fishing village, "Tamyung." JORDAN (V.O.) Do we know it's him using the beacon? Not a decoy? ROYCE Signals received only sparingly, in such a pattern that leads us to conclude it is a downed aviator trying to conserve his batteries. JORDAN (V.O.) Chances of recovery? ROYCE You're the analyst for East China, O'Neil. Analyze.EXT. POTOMAC RIVER - WASHINGTON D.C. - DAYRiding the current, Jordan blows a troubled sigh as sheaccesses the file of her brain. Drifting past theJefferson Memorial: JORDAN North Korean beaches are the best protected, most heavily monitored in the world. The civilian population is so propagandized that it acts as an Early Warning system. Extraction team has to be small and silent -- I'd go with Seals over Delta Force. Problem is, don't want to hold a conventional sub off-shore for target practice. Where's The Polk?INTERCUTTING: ROYCE Halfway 'round the world. So that's the problem -- we can get the team in, just not out. JORDAN (an inspired beat) Unless you Whiskey Run. ROYCE Blank faces here, O'Neil. JORDAN Quick-hit technique used by Capone. Rigged a getaway car with running boards and handles. All his guys had to do was jump on and take a ride. Check the files -- DPRK-57 -- I doped it out as a contingency plan: Seal Team infiltrates, picks up the package, links up with recovery sub. But don't waste time opening and closing hatches. They just grab the periscope and hang on for neutral waters.A dubious beat. ROYCE You expect the extraction team to ride the sub bare-back? Is that correct, O'Neil? JORDAN Only four minutes to neutral waters, sir. Why not?Silence on the radio: They're discussing her scenarioprivately. During, Jordan's kayak reaches the junction ofthe Potomac and the Anacostia rivers. On the far banklies...Naval Intel Center (N.I.C.), bristling with communicationantennae.Jordan stares at the complex, waiting for a response. ROYCE All right, sending the recommendation across the river. Royce out.The phone goes dead. JORDAN No, thank you, sir.EXT. SECURITY STATION - N.I.C. - DAYBundled in topcoat and scarves, military and civilianemployees transit a security station on their way inside.Presently Jordan appears -- wearing a wetsuit andbalancing a collapsed kayak on her head. She flashes aphoto-badge and double-times inside.INT. CORRIDOR - N.I.C. - DAYJordan exits a locker room. Smoothing out her Khakiuniform, she heads down a broad corridor with cipher-lockdoors. Falling in step: ROYCE That was good headwork, lieutenant. JORDAN Thank you, sir. We hear back from the Pentagon? ROYCE (scoffing) Probably hear back from CNN first. JORDAN Hate this part. Just sweating it out on the sidelines. ROYCE Intel has its own glory, lieutenant -- no matter how subtle.Now they reach...INT. BULLPEN - N.I.C. - DAYA circular chamber. Dominating the ground floor is thebullpen, a hive of cubicles an computer stations. On thesecond floor are executive offices, ringing the bullpen. ROYCE By the way, I'll need that option paper by 11-hundred today so I can review it with Admiral Hanover. And do we have any of that breakfast tea around here? JORDAN (with a look) Is this my glory, sir?On the upper walkway, a frazzled N.I.C. SECRETARYappears. She spots Royce and Jordan below. N.I.C. SECRETARY Excuse me, but I have Senator DeHaven on the line for you. ROYCE Jesus God, what now?He bounds up the stairs toward his office. N.I.C. SECRETARY I'm sorry, sir no -- she asked to speak with Lieutenant O'Neil.Royce turns back and gives Jordan a hall-of-fame look."Oh, really?"INT. DEHAVEN'S OFFICE - CAPITOL BLDG. - DAY DEHAVEN (into phone) So everyone I talk to says you're top drawer with silk stockings inside. JORDAN (V.O.) Thank you, ma'am. Um, may I ask what this is regarding? DEHAVEN (reading file) High-school pentathlete... ROTC scholarship, graduated with honors... top marks in Basic Training... and, as it just so happens, a constituent of my home state of Virginia. Oh, the things I'll do for one extra vote.INT. BULLPEN - N.I.C. - DAYOn the phone, Jordan glances around. Co-workers mullwithin earshot. Those out of earshot post E-mail memos onJordan's computer: "Moving up in life." "I want a fullreport." "Don't tell her who you really voted for." DEHAVEN Lieutenant O'Neil, I am prepared to nominate you for the Navy's Special Reconnaissance program. Should you accept, you'll ship out to Coronado next week and join in the big testosterone festival. Complete the course, and you'll have a fast ticket to any assignment you want. That's my personal promise to you.A beat as Jordan's mind catches up to her ears. NowINTERRCUTTING the two: JORDAN "Coronado." DEHAVEN California. JORDAN I know that, sir. Ma'am. It's just that... Beggin' your pardon, Senator, but... do you understand that this involves combat training? DEHAVEN This is just a test case, O'Neil. But if it works out -- if you work out -- it could well change the Navy's official policy on women in combat. Or, actually, its official non-policy. Now who's your immediate superior there? JORDAN Captain Dwyer. Technically. DEHAVEN My office will fill him in and help expedite. Look forward to meeting you at the proper time. Jumping off now... JORDAN Uh, question, ma'am. DEHAVEN Yes, dear. JORDAN Would I be the only one? The only woman? DEHAVEN There'll be more to follow -- but yes, dear, right now you're the pick of a very large litter. And your success would mean a lot. Jumping, now...The line goes dead. Jordan hangs up catatonically. JORDAN Well, shit-a-doodle-do...EXT. GUNKHOLE HARBOR - POTOMAC - NIGHTA small gunkhole harbor up the Potomac. Snow falls thickand silent on overturned canoes, stored for the winter.Beyond stands a clapboard rental house.INT. JORDAN'S HOUSE - NIGHTIt's not so much furnished as equipped -- scuba gear andwetsuits in the mud room, life vests on coat racks, atraining bag and boxing gloves hanging in the living room.In the kitchen we find...A naked man. He's steeping tea. JORDAN (O.S.) ... well, I survived Basic Training and three brothers -- so I know how to fight. What scares me are the sexual politics. I don't want to be turned into some poster girl for women's rights.CAMERA FOLLOWS as the naked man carries a steaming mugthrough the house...INT. BATHROOM - JORDAN'S HOUSE - NIGHT... and sets it down beside Jordan, languishing in a tub.Snow builds on a window sill. Facing Jordan, the manslides into the tub. ROYCE So why're you even considering it? Are you? JORDAN Just like you would be. ROYCE Spec-Recon. Those guys are world- class warriors. And they will not want you there, Jordan. JORDAN I take it you don't either. Feet.Dutifully, Royce massages her feet. ROYCE Well, you're doin' shit-hot at Intel. JORDAN Royce. We're the same age, we started the same time -- and now you're sitting in the upperdecks while I'm still down in the bullpen. What does that tell you about the Navy? ROYCE (shaking head) She's haze grey and underway... JORDAN You need operational duty to really advance... you need combat training to go operational... yet combat training is off-limits to people with tits. I'm topped out at Intel. Forget the glass ceiling -- I'm beating my head on a big brass ceiling. ROYCE So dump on me. JORDAN This has nothing to do with you. ROYCE (getting out) Well, guess I don't even need to be here... JORDAN Get your dick back here. It has everything to do with you. ROYCE You're such a ball-breaker sometimes. Especially at night. JORDAN Sorry. But after our days... (a thoughtful sip) So if I try this thing... if I ship out to Coronado... what happens here? ROYCE I'll try to keep the door open. If you wash out, I make it so that -- JORDAN Wai', wait. What happens if it works? Four months of training, three years of operational duty. What then? ROYCE (blowing a sigh) I don't feel like doing an option paper on the rest of my life, Jordan. Maybe we should just let it happen. JORDAN Which is guy-speak for... ROYCE (conceding) Sounded lame as soon as it came out of my mouth. But I'm trying to be honest, okay? Three years is a long time. Don't ask me to predict how I'll feel then, Jordan, because I don't know. And either do you. JORDAN You know, right up until you said that -- I thought I did know.Wounded, she gets out. ROYCE Jordan... JORDAN Thank you, Royce. It was shaping up like such a tough call -- and then you go and make it so goddamn easy. Really, thank you so much.She punches into a robe and leaves. Royce considersdrowning himself in the tub.EXT. CORONADO BRIDGE - SAN DIEGO - DAYJordan drives a top-down Mustang across the sweepingCoronado Bridge, cityscape behind her, naval base ahead.A flock of pelicans pace Jordan alongside the bridge.Suddenly two NAVY HELOS BLAST overhead, scattering thepelicans.EXT. THE GRINDER - CORONADO NAVAL BASE - DAYOn base, Jordan carries a gunnysack across an asphaltcourtyard. The is "the grinder," reminiscent of agladiator's arena. She notices at one end...A silver ship's bell. Hung prominently.INT. ADMINISTRATION - CORONADO NAVAL BASE - DAY JORDAN Excuse me, lieutenant. I was told this is where I check in.A DUTY OFFICER looks up to find Jordan across a counter.In no particular hurry, the duty officer makes his wayover to check Jordan's orders. DUTY OFFICER (looking up) So you're the one.Hearing, other workers look up. Among them is a femaleensign, KATHY BLONDELL -- no makeup, no nail polish, noconcession to her sex. Throughout, she'll watch Jordanwith more than passing interest. JORDAN Still don't have my bearings yet. Direct me to the officer's quarters?The duty officer stamps her paperwork, returns it withroom assignment and keys. DUTY OFFICER You'll proceed directly to the infirmary for eye tests, blood tests, urinalysis, pregnancy test. Uniform issue adjacent. Then you're to report to the Base Commander. He'd like a word with you. JORDAN Fine. And the officer's quarters? DUTY OFFICER C.O.'s office can supply you with directions. Enjoy your visit, lieutenant.It's a nasty little barb -- one that Jordan decides to letslide. Jordan turns for the door. Blondell catches upwith a base map. BLONDELL B.O.Q., south side. Take a starboard tack out the door. JORDAN Thank you, ensign. BLONDELL No problem, lieutenant.INT. C.O.'S OFFICE - CORONADO NAVAL BASE - DAYA soft KNOCKING. C.O. Come.A YEOMAN opens the door. Behind him is Jordan. YEOMAN Lieutenant j.g. O'Neil reporting, sir.For a beat, COMMANDING OFFICER (C.O.) TURRENTINE takesstock of the female in his doorway, sizing her up like afighter across the ring. Then he stubs out a perfectlygood cigar, rises with an amiable face, and touches theback of a chair -- stopping just short of pulling it outfor her. C.O. Yes, of course. Please, have a seat, lieutenant... JORDAN Thank you, sir. C.O. Would you care for a beverage? Tea? JORDAN I'm fine, sir. C.O. So. We're still coming to terms with the exact protocol for this -- for integrating the Spec-Recon training. It may not always be smooth, but we're trying to make it as painless as possible for you. JORDAN Thank you, sir. But I expect a certain amount of pain.More stock-taking. Is he looking at her hair? JORDAN Barber was my next stop, sir. Would've had it regulation sooner, only -- C.O. Don't worry about it. If it's off your collar and out of your eyes, that's all I'm going to ask. JORDAN Really, I have no problem with -- C.O. I'm not out to change your sex, lieutenant. You'll have separate beds, separate heads. If you have specific medical needs, inform the infirmary. If a classmate or superior acts in an harassing or otherwise unbecoming manner, please inform me immediately so I can deal with it immediately. Questions? JORDAN None at this time, sir. C.O. Then that's all I have to say. Dismissed.Another smile, another phantom gesture on the back of herchair. If Jordan was expecting a fight, the bell neversounded. She rises, salutes -- then turns back at thedoor. JORDAN Sir, I just want you to know... I'm not here to make a statement. I don't want to make men look foolish. All I care about is completing the training and getting operational experience -- just like everyone else, I suspect. C.O. If you were like everyone else, lieutenant, I suspect we wouldn't be making statements about not making statements, would we? (a beat) Take your leave.EXT. B.O.Q. - CORONADO NAVAL BASE - DAYThe Spec-Recon TRAINEES loiter outside their open rooms,pumping weights, hosing down dive gear, trading Walkmantapes. This is the last day of liberty they'll have for along time. MILLER What am I scannin' here?Other eyes quickly lock in on...Jordan. Across a grass courtyard, she walks the groundfloor of an identical building, trying to match key numberto room number. Every door is open, every room empty.Soon she feels the presence of...The men. They're disgorging from their rooms -- ten,twenty, thirty of them -- all buffed and cut. These guysare what Hitler saw in his dreams.Jordan picks up her pace. Where the hell is her room?On all three levels of their building, the men shadowJordan en masse. Not hooting. Not leering. Justassessing.Jordan finds her room at the far corner of the building:She's got the entire floor to herself. With a last lookover her shoulder, Jordan vanishes inside.EXT. THE GRINDER - CORONADO NAVAL BASE - DAY C.O. Special Reconnaissance. Here you will be trained to infiltrate hostile territory... to be the real- time eyes on the ground... to recover assigned targets and, if need be, to fight your way out under adverse conditions.CAMERA SURVEYS faces of the trainees: MILLER, MCCOOL,SLUTNIK, CORTEZ, FLEA, STAMM, ENGLAND, NEWBERRY, WICKWIRE.We'll get to know them later. Dressed in Navy greens,they stand in formation -- ten rows, ten deep, helmets inhand. Pacing before them: C.O. That is all that will be said about the special nature of this class -- by us or by you. Many of you have waited years for admission to this program. Opportunities like this are rare -- and those who seize upon them are rarer still.He approaches Jordan. We can tell what she's thinking."Just keep moving. Don't single me out." C.O. Other than that, there is little to be said but "Good luck, gentleman." (correcting) "Gentlepersons."Jordan flinches. C.O. Now I turn you over to the chief training officer. He has earned six naval commendations, the purple heart, and the Navy Cross for heroism and valor. I give you Master Chief John James Urgayle.Taking over, THE CHIEF stands before the class a moment,sizing them up while giving them -- get an eyeload of him,too: His body is 30 years old, his face 40, his eyes 50.An ageless warrior. Somewhere, the blood of Ulysses runsin this guy's veins.The Chief lifts a bullhorn to deliver his opening salvo --and it's anything but the kick-ass rant the class isexpecting: THE CHIEF The sun and moon... the ebb and flow of the Pacific tides... global warming... the very angle of the Earth upon its axis... these are just some of the things I control in my world.Trainees swap private looks. MCCOOL We're fucked. SLUTNIK Darth Vader reads poetry... MCCOOL We are so fucked.EXT. BEACH - CORONADO NAVAL STATION - DAYSTART on boots, crashing through shallow surf, sprayingwater. We assume this is a routine beach run -- untilVIEW RISES to reveal...Telephone poles on their shoulder. Working in groups of10, trainees labor under 300-pound poles. Jordan, sixinches shorter than most, looks like Atlas carrying theweight of the world. But she's doing it. INSTRUCTOR Count down... one, two... count down... three, four... CLASS CADENCE One, two, three, four... One, two, three, four...An ambulance shadows the class. Perched on the frontbumper like an hood-ornament, the Chief keeps working hisbullhorn: THE CHIEF You may think that you are the brightest, the best, the strongest. I assure you, that is a total delusion on your part. It is my job to show you just how weak human beings can truly be. 60 percent of you will not finish this course. How do I know? Because that is an historical fact.It's also intimidating shit. THE CHIEF Poles down.The earth literally shakes as the phone poles hit the dampsand. Approaching on foot, the Chief loads freshbatteries into his bullhorn. He does it like a manthumbing rounds into a shotgun. THE CHIEF Now for the bad new: I always like to get one quitter on the first day. And until I do, the first day does not end. So look around right now -- go on, do it. I wonder who it's gonna be...He passes right by Jordan, never meeting her eyes.INSTRUCTOR PYRO steps up. He's the Chief's bulldog. INSTRUCTOR PYRO Down to BVDs!The guys strip down to boxers. Jordan settles for boxersand jog bra. INSTRUCTOR PYRO Now face the Pacific... link arms... and take a stroll!The class wades in. The first wave takes Jordan's breathaway: It's February, and the water is cold. When theymove out of instructors' earshot: STAMM What is it with the damn phone poles? We sign up for Spec-Recon or GTE? WICKWIRE Just trying to thin the herd. That's all they want to do right now.Some of the guys are glancing Jordan's way, cashing in ona cheap wet T-shirt contest. Jordan covers herselfinstinctively -- and hates the instinct. Modesty isn'tgoing to get her through this. SLUTNIK Man. Doesn't she know it's rude to point? NEWBERRY Wow. You see that girl? WICKWIRE I got eyes, Newberry. SLUTNIK One night. Just one night in my room, she'd forget all about playin' commando. ENGLAND Tone that shit down, Slutnik. You heard with they said. INSTRUCTOR PYRO Out of the water!The class breaks for the beach. THE CHIEF Now make like sugar cookies and roll in the sand for me.The trainees hit their bellies and roll. Indeed, theylook like sugar cookies. THE CHIEF Collect those poles, gentlemen. Still a lotta beachfront you haven't seen...Groaning, the trainees grab poles. Jordan's pole, wetslips from their collective grasp...And bangs Stamm's ankle. He HOWLS through his teeth. ENGLAND How bad? Stamm? JORDAN We better get a medic over -- STAMM No, goddamnit. No. INSTRUCTOR Up! Up! Up! Up!Stamm swallows the pain. Poles go back on shoulders.Looking like drunk centipedes, the class staggers off downthe beach.EXT. MUD PIT - CORONADO NAVAL BASE - DAYWallowing in mud, the class does belly-busters, atomicsit-ups -- and the sadistic reverse push-up, wheretrainees lie of their backs, place hands under shoulderblades and push their crotches skyward. THE CHIEF Pain is your friend. You ally. It will keep you awake in times of emergency... it will tell you when you are seriously injured... it will keep you angry and remind you to finish the job and get the hell home. But you know the best thing about pain? CLASS No, sir! THE CHIEF It lets you know that you aren't dead yet.Instructors roam, RASPING ORDERS, kicking students intoproper position. Jordan struggles with the reverses. INSTRUCTOR PYRO Go regulation if you can't do the reverses, O'Neil.She looks around. A lot of the guys are having troublewith the reverses, not just her. JORDAN Thank you, sir. But I like these just fine. INSTRUCTOR PYRO Not doin' them very fine, O'Neil. JORDAN I'll try anyway, sir. INSTRUCTOR PYRO You'll try what we tell you to try, O'Neil. Go regulation.She switches to standard push-ups, her face disappearinginto the ooze with every downstroke. Soon the Chief'sboots slosh into FRAME. He's still looking for his humansacrifice. THE CHIEF Who's it gonna be. I just wonder, who is it gonna be...EXT. BEACH - CORONADO NAVAL STATION - SUNSET INSTRUCTOR JOHNS On your belly... on your back... on your feet... on your belly... on your back... on your feet...Whistle-drills. Silhouetted against a lowering sun, thestudents flop around like docked fish.INT. ADMINISTRATION - CORONADO NAVAL BASE - NIGHTBlondell is ending her shift. She shoulders a purse andpauses at a window, seeing...The trainees shuffling into formation like the livingdead. Jordan is still among them.EXT. THE GRINDER - CORONADO NAVAL BASE - NIGHT THE CHIEF You have noticed a ship's bell hanging at the west side of this courtyard. If, at any time, you feel you cannot continue with your training -- that bell is your salvation. Strike it three times, and the ordeal is over.Nervous eyes flick to the bell. THE CHIEF Yes, it is a long walk. So I'll make it as easy as I can.He turns his back to the class. THE CHIEF Now you don't have to watch me watching you break rank. Because I know someone here wants to do it.CAMERA SEARCHES their faces. There isn't one trainee herewho hasn't thought about it. Including Jordan. THE CHIEF Now I know what you're thinking... SLUTNIK (low) I'm thinkin' we could jump him right now... THE CHIEF "Can I really take 15 weeks of this bubonic asshole?" If you don't know the answer to that question, the answer is "No, you cannot." And that is another historical fact. So do it. Admit you don't have what it takes... admit you are out of your depth -- or we're all heading back to the beach right now. (waiting a beat) Instructors! Time hack!Following the Chief's lead, Instructors lift their divewatches. THE CHIEF Six... five... four... three... two... one... HACK! (to class) The time is now 12-hundred. The sun is shining brightly. Plenty of daylight left for another phone-pole run...GROANS behind him. The groans give way to the SOUND OFBOOTS breaking rank.INT. ADMINISTRATION - CORONADO NAVAL BASE - NIGHTBLONDELL'S POV: Of a lone figure crossing to the bell.EXT. GRINDER - CORONADO NAVAL BASE - NIGHTQUICK CLOSEUPS of Miller, Slutnik, Wickwire, turning towatch someone cross the grinder. At least we know who itisn't.CLOSE on the Chief as the BELL RINGS THREE TIMES. Heturns around to find...Stamm at the bell.For the first time, the Chief looks dead-bang at Jordan.Was he expecting her? THE CHIEF Leave your helmet there, Stamm. Back to the barracks.Stamm drops his helmet and limps away. THE CHIEF The rest of you should remember one thing. The only easy day was today. Lieutenant Wickwire? Turning it over to you. WICKWIRE Cuh-lass, face right!They march off.INT. MESS HALL - CORONADO NAVAL BASE - NIGHTDead-ass tired, Jordan slides her tray down the line,piling on food that means nothing more than raw calories.She heads for...A table of trainees, one spot open. Seeing her coming,the guys shift position. Suddenly the table is full. ENGLAND Better look elsewhere, O'Neil.Jordan glares. None of them meet her eyes. She wheelsaround -- and now all eyes are on her, watching her asswalk away. FEATURE Slutnik, the walking sperm bank. SLUTNIK Half a night, Lord, just gimme half a night to set her straight...Jordan tries another table. This one, too, becomesabruptly full. As Jordan leaves, HOLD on Miller. He's ahuman eclipse -- six-three, 220, the perfect commandophysique. Instructors wish they could clone him. MILLER Average woman is 25 percent body fat. That's one-quarter fat, man. Think about that. MCCOOL Nice distribution, though. MILLER No way does she makes this program. No way.After wandering the mess hall like a homeless person,Jordan finds refuge at a table with female mess stewards.They look at her with blank faces. No understanding. Nocompassion.EXT. B.O.Q. - CORONADO NAVAL BASE - NIGHTJordan walks in a bathrobe, toweling her hair dry. Shefishes for keys at her door. VOICE It's not so much that they hate you...Jordan looks. Someone is sitting on an outdoor table,smoking. He leans into the light so she can see his face.It's Wickwire, the mid-30s lieutenant who doubles as classofficer. He's dangerously handsome. WICKWIRE They're more afraid of you. JORDAN Well, now I feel so much better. WICKWIRE It was made clear before you came -- harassment equals career suicide. Can't say anything good, so they don't say much at all. To your face, anyway. JORDAN Whose orders were those? WICKWIRE It was made clear. (getting up) Anyway, stay ballsy. First week's hell, then it levels out. Until S.E.R.E. training, anyway. That's hell-and-a-half. JORDAN And how do you know that? WICKWIRE Made it to Week 10 last time. JORDAN I didn't know they let you try again. Especially at your age. WICKWIRE You're kind of a surprise yourself.A faint grin from Wickwire before he shadows back acrossthe courtyard that separates the two B.O.Q. buildings.Back across no-man's land.INT. JORDAN'S B.O.Q. - CORONADO NAVAL BASE - NIGHTTwo beds. Matching lockers. A desk, a chair, a mirror.All overwhelmingly dull.Jordan drops the robe off her shoulders to take inventoryof her body. Both sides of her neck are bruised from thephone-pole run. Her back and thighs are sand-burned.Mirror cuts abound. She's already a mess.Jordan uncaps some cologne. It's a vestige of her oldlife she's not going to surrender. She sniffs. Savors.Dabs. Looks back in the mirror...And breaks out laughing. It's like dropping a rose in acesspool.EXT. SILVER STRAND HIGHWAY - CORONADO - DAYA PHOTOGRAPHER stands near a car parked just outside thebase. He's peering through a 600mm lens.PHOTOGRAPHER'S POV: FOCUSING through cyclone fencing...PANNING past the sand dunes... and finding green-cladtrainees gathered at an obstacle course.EXT. OBSTACLE COURSE - CORONADO NAVAL BASE - DAYAn explosion of sand: England and Wickwire belly-flopinto a sand pit and speed-crawl under barbed wire. Clear,they gain their feet and blitz toward...The rolling logs. They balance-beam their way to...The rope climb. Racing to the top, they reach a platformand fling themselves down onto...The high poles. They land awkwardly, losing their windand their grip, tumbling into the sand pit below before...Racing for the finish. The Chief thumbs a stopwatch. THE CHIEF England, 88 seconds. You're good to go for the slide-for-life. Wickwire, roll back till you get south of 90. WICKWIRE Fuck. Yes sir. INSTRUCTOR PYRO Who'd you kiss to get back in here, anyway?Wickwire dusts off and starts back for...The starting line. Stepping up next is Cortez, the humanfighting cock. Jordan lines up beside him and psyches upfor the first obstacle -- and eight-foot sheer wall. INSTRUCTOR JOHNS Hang on, here...He grabs something off a truck and positions it at thebase of the wall. It's a little two-step platform.SNICKERS, MOANS from the guys. Cortez can barely containhis disgust. CORTEZ Aw, what is this... JORDAN (mortified) Sir... INSTRUCTOR JOHNS Don't have to use it, O'Neil, but it's gotta go out. (calling out) Five... four... three... JORDAN I can make this wall without -- INSTRUCTOR JOHNS ... two... one... MARK!Cortez blurs away. Jordan starts a step late.Cortez takes the wall clean. Eschewing the two-step,Jordan jumps right over it -- but jumps too far outbecause of it. She takes the wall awkwardly.INTERCUT the others as they break rank to follow, eager tosee Cortez blow her off the course. CLASS Lesgo, Cortez, LESGO, GO, GO!Cortez belly-flops into the sand pit -- and snags goingunder the barbed wire. CORTEZ Shit of a saint...Catching up, Jordan clears the wire without a hitch andleads going into...The rolling logs. They both tight-rope across nimbly andbound on toward...Rope climb. Jordan starts up at a decent clip -- butCortez comes from behind like a chimp on white sugar,doubling her speed. CLASS Take her, take her here, Cortez... lookit that monkey-man go... hoo- yah, hoo-yah...Cortez reaches the top platform. Now he's faced with...The high poles. He's seen others land sideways and paythe price. Trying another way, Cortez takes a flyingleap...And WHUMPS down with legs astraddle. He tried to cushionthe landing with his hands -- and failed magnificently.His balls took the brunt.Jordan WHUMPS down beside him with legs astraddle -- andshoots Cortez a "Hey, no problem" look. She rolls off thepoles...And drops to the pit below. Cortez lands right behind.Now it's a flat-out sprint for...The finish line. He takes her at the tape. THE CHIEF Cortez, 93 seconds. O'Neil, 94. Cortez, do a little rescue-recovery on your gonads and line up again. O'Neil... move ahead.Heading back to the starting line, Jordan wheels around. JORDAN Say again, sir? THE CHIEF You heard me. Move on. CORTEZ Aw, this is such bullshit...Others GRUMBLE in commiseration. Jordan flushes withanger. JORDAN Chief, sir, I don't understand why -- THE CHIEF Educate her, Pyro. INSTRUCTOR PYRO Automatic five-second deduction, which slips you under the wire. It's called "gender-norming," O'Neil -- standard procedure for all females in physical training courses. Where you been the last few years? JORDAN What "all females"? If I'm the only -- THE CHIEF Twice now, I have said the words "move on."He turns his back, leaving no possibility of discussion.Jordan stares after. SLUTNIK Can't live with them, can't kill them. What's the point? MCCOOL Somebody throw a tent over this circus. WICKWIRE (low to Jordan) Just let it go. If it's in your favor, just shut the hell up and take it.EXT. B.O.Q. - CORONADO NAVAL BASE - NIGHTDressed in bathrobe, Jordan reaches her door. She pausesto check...The outdoor table. No visitors tonight.INT. JORDAN'S B.O.Q. - CORONADO NAVAL BASE - NIGHTJordan pushes inside -- and stops when she sees the littletwo-step platform. That awful crutch. Someone has put itbeside her bed.Jordan wheels around to check...EXT. B.O.Q. - CORONADO NAVAL BASE - NIGHTThe men' building. Slutnik and a few others loiter on abalcony, mirroring her stare.EXT. CORONADO NAVAL BASE - NIGHTHastily dressed, Jordan marches across the base. Hermarch turns into an angry run as she cuts through parkinglots... jumps hedges... and finally reaches...EXT. C.O.'S HOUSE - CORONADO NAVAL BASE - NIGHTAn on-base bungalow. Jordan bangs on the front door untilthe C.O.'S scowling face appears. JORDAN Pardon the hour, sir. But you told me to come to you immediately if I felt I was being mistreated in any way. C.O. Didn't take long.He waves her inside.INT. C.O.'S HOUSE - CORONADO NAVAL BASE - NIGHT C.O. All right, lieutenant, give me a name and specifics, I'll have the X.O. file an action first thing in the morning. (waits) A name? JORDAN It's you, sir. And it started the day I came here. C.O. (jolted) Oh, really. JORDAN It's this double-standard, the separate quarters, the deferential treatment. It's how you pulled out my chair and nearly served high tea the first time we met. C.O. Because I was civil, now you're complaining. JORDAN I can't afford civility, sir. How am I supposed to fit in with these guys when you've got me set up as an outsider? Even if I make it under these rules, I still lose, because there'll always be a flag in my file -- "Yeah, she made it, but..." I mean, really -- why didn't you just issue me a goddamn petticoat to wear around the base? C.O. Did you just have a brain-fart? JORDAN Pardon? C.O. Did you just barge in here and curse at your base commander? If so, I regard that as a bonafide brain- fart, and I resent it when people fart inside my home. JORDAN I think you've resented me from the start, sir.Now, finally, her opponent steps into the ring. And he'sa bare-knuckle brawler. C.O. (building) What I resent, lieutenant, is some politician using my base as a test tube for her grand social experiment. What I resent is the sensitivity training that is now mandatory for my men... the day-care center I have to build where an officer's lounge used to be... and the OB/GYN I have to keep on staff just so someone can keep track of your personal pap smears. (drawing close) But most of all, lieutenant, I resent your perfume, however subtle it may be, competing with the aroma of my fine three-dollar-and-fifty- nine cent cigar, which I will happily put out this very instant if the phallic nature of it happens to offend your goddamn fragile sensibilities. DOES IT? JORDAN No, sir. C.O. No, sir, WHAT? JORDAN The shape doesn't bother me. It's just that goddamn rotten stench.A dangerous beat -- before the C.O. disengages. C.O. Well. 'Least now we're talking the same language. (a beat) So one standard. Is that what you're after? JORDAN Same rules for everyone, sir. C.O. Straight up? JORDAN Across the board, sir. C.O. And if you just happen to wash out, I won't have to contend with you bitchin' to some hairy-chested female Senator? And please note I did not identify any one in particular. JORDAN Wouldn't dream of it, sir.A deciding beat. C.O. Then good night. JORDAN So I'll get a fair shot? C.O. You'll get everything you want, O'Neil. Let's see if you want what you're gonna get.INT. BARBER SHOP - CORONADO NAVAL BASE - DAYJordan gets her hair cut to regulation length. It's overin seconds.INT. ADMINISTRATION - CORONADO NAVAL BASE - DAYJordan slaps down old room keys and new orders. Blondellscans the paperwork with deepening concern. BLONDELL This some kind of joke?INT. JORDAN'S B.O.Q. - CORONADO NAVAL BASE - DAYJordan tosses her belongings into a laundry bag. Sheslings the bag over her shoulder, boots aside the hatedtwo-step on her way out...EXT. B.O.Q. BUILDING - CORONADO NAVAL BASE - DAY... marches across the no-man's land...INT. B.O.Q. ROOM - CORONADO NAVAL BASE - DAY... and bangs open a door. Slutnik sits up on his bed. SLUTNIK Well, who the shit you think you are? Comin' in here like that? JORDAN Your new roommate.Slutnik's face curdles. Jordan dumps her bag on an openbunk and starts unpacking. JORDAN Anybody usin' these drawers here? SLUTNIK Hey, hey, HEY. No possibility. You can't stay in here. You can't sleep right next to me. JORDAN Funny, the C.O. says I can.She slaps orders on his chest, continues to unpack. SLUTNIK Aw, lookit this, lookit this -- she's bringin' Tampax in here. C'mon, you got nothin' but rooms over there. JORDAN That your desk? I'll take this one. SLUTNIK WOULD YOU JUST GET OUTTA HERE? JORDAN (whirling on him) Listen, Sex Ape. I'm here to stay. And if you don't want me for a roommate or classmate, you got two options -- move out or ring out. End of file.Slutnik stalks out. Jordan fires a look at the innocentbystander here, McCool. He was studying at his desk whenthe fireworks began. JORDAN What about you, McCool? Any problem with the room assignment?McCool -- an imperturbable black lieutenant -- just goesback to his manuals. MCCOOL "It's not a job -- it's an adventure."EXT. OCEAN - CORONADO NAVAL BASE - NIGHTSTART on flares igniting overhead. FOLLOW the flares asthey parachute down into the surf to illuminate...The class, standing in one long line, arms linked. Asblack waves knock out their legs, we're reminded of showgirls kicking their way through some macabre review.EXT. BEACH - CORONADO NAVAL BASE - NIGHTFiring flare guns and working their bullhorns: INSTRUCTOR PYRO 58 degrees this morning! That's not a bad water temp, really -- if you're standing where we are! INSTRUCTOR JOHNS Slurred speech, lack of proper motor control, short-term amnesia -- all early signs of hypothermia! Advanced hypothermia is easy to detect in a classmate! He'll look like he's dead! THE CHIEF Body heat. In situations of extreme cold, you can always count on body heat to keep you alive -- and I do not mean your own. We will break you of the cultural barriers that dictate you should not invade another man's space. Are any of you in a situation of extreme cold right now?INTERCUTTING trainees and instructors: CLASS Yes, sir! THE CHIEF Then why aren't you all over the man next to you?The class pivots 90 degrees and starts to close rank.Behind Jordan, Montgomery (a.k.a. "Flea") hesitates:He's a bantam-weight from Georgia, his manners bred intothe bone. He just can't find a delicate way to grabJordan without mounting her. JORDAN Just do it, okay? INSTRUCTOR JOHNS If you can't feel the other guy's pecker, you ain't in tight enough! I want nuts to butts! JORDAN Come on, Montgomery... INSTRUCTOR JOHNS Flea! O'Neil! Why is there a break in that line?Finally Jordan grabs Flea by the neck, pushes him aheadand mounts him. The class closes down into a long humansnake. JORDAN (in his ear) Montgomery, why do they call you "Flea"? FLEA It's really "F. Lee Montgomery" -- but that gets whittled down to just "Flea." For short, ma'am. JORDAN So it really has nothing to do with actual brain size? FLEA No, ma'am. JORDAN Well, Flea, I appreciate the respect you just showed me. But I don't need it and don't want it -- not that kind of respect, anyway. It's just gonna hurt us both, okay? FLEA I'll work on it, ma'am. JORDAN Do that. INSTRUCTOR PYRO (to the Chief) Time. THE CHIEF Check your watch, Pyro. Seems fast.CAMERA POLLS the grim, blue-lipped faces in the water.Jordan feels Flea starting to shake. Badly. JORDAN Hey. You okay, Flea? FLEA 'Snot me. It's him.Two bodies ahead, it's the big bruiser, Miller, who'sshuddering. Jordan feels him shaking through Flea. MILLER Jesus, my hands... they aren't workin' right... NEWBERRY How long i'zis for? WICKWIRE 'Sposed to be 20-minute intervals, no more. NEWBERRY Swear each time's gettin' longer. MCCOOL This where you bailed last time, Wick? WICKWIRE Huh-uh -- but wasn't middla February last time, either. FLEA How you doin', Miller? Miller?No answer. Bad sign. On shore: INSTRUCTOR PYRO 22 minutes...Ignoring, the Chief lifts his bullhorn: THE CHIEF Remember, all this is completely voluntary. For any of you who don't want to continue, Instructor Johns is now serving coffee and danish at the ambulance.A portable light comes on. Indeed, an instructor issetting up coffee service. THE CHIEF Any takers? SLUTNIK He's the fuckin' Antichrist. MCCOOL Wick! They really got donuts over there? Or just some'a last night's dinner rolls? FLEA Look like donuts to me... JORDAN (in disbelief) What're you guys doing? Huh? MCCOOL Just askin' JORDAN What, you gonna give it all up for a maple twist? How dumb you gotta be? That's exactly what they --Suddenly the line rips apart. It's Miller, breaking forshore. CLASS NO!Soon the dyke is bursting everywhere: Four others breakrank, following Miller's lead.The deserters stagger onto the beach. MEDICS close inquick, draping them with blankets, shining flashlights intheir faces, asking brain-check question. MEDICS Tell me what day this is... look at me now... what city are you from, sailor... here, look right here...A medic nods to the Chief. No hypothermia. Not yet. THE CHIEF You want another minute to think about this? Huh? (no response; to Miller directly) Do any of you want to reconsider?Avoiding his eyes, Miller wags his head. THE CHIEF Johnson. Get 'em out of my scan.It's a death sentence. As the quitters slouch for thecoffee truck... INSTRUCTOR PYRO By my watch... which, of course appears to be broken... they've been in 27 minutes without the benefit of protective gear.TIGHT on the Chief. Scanning the remaining trainees.Thinking about holding out out for one more.TIGHT on Jordan. Knowing who he's waiting for. Wonderingif she can outlast him. THE CHIEF (into bullhorn) Everybody out.With a SHIVERING CHEER, the trainees stampede ashore,grabbing blankets, trading body-bumps and high-fives.Jordan gets swept up in the esprit: They've conquered acommon enemy. But when she tries to get high-fived...The guys turn their backs. It's a cold rebuff, worse thenany water.HOLD TIGHT on Jordan. Shivering. Watching the guys driftaway. Hating them. WICKWIRE Hey. Way to gut it out. JORDAN Thanks, Wick.INT. INSTRUCTOR'S OFFICE - CORONADO NAVAL BASE - DAYThe instructors are shuffling muster lists, reorganizingthe class. B.G., the BELL TOLLS again and again. INSTRUCTOR PYRO (shaking head) Miller. Thought the guy was made of depleted uranium. Really didn't expect to lose him. THE CHIEF Every class has its surprises, Pyro. This one'll be no different.EXT. GRINDER - CORONADO NAVAL BASE - DAYBlondell crosses the grinder with another female ensign,tall and striking. Passing the bell, Blondell checkson...The helmets lined up beneath. A dozen already.An O.S. CADENCE CALL -- then, led by Wickwire, traineesdouble-time into the grinder, uniforms drenched from abeach run. Among them, still, is Jordan. It brings aMona Lisa smile to Blondell's face. INSTRUCTOR PYRO Change those clothes, be back here in six minutes! And I am timing you!The class scatters. Slutnik hits the brakes when he seesBlondell and her friend. SLUTNIK Jesus Christ. And I only got three minutes apiece... ENGLAND (jerking him away) Barkin' up the wrong dress, Slutnik. You ain't their type.Overhearing, Jordan snaps a look at Blondell, only nowrealizing. Their eyes meet. INSTRUCTOR PYRO O'Neil! What're you gawking at?INT. C.O.'S OFFICE - CORONADO NAVAL BASE - DAY P.R. FLAK (reading newspaper) "... last week at Coronado. The woman, identity unknown, is believed to be the first female candidate for the elite Special Reconnaissance program. Her presence could signal a shift in the Navy's long-standing policy that excludes women from combat positions."The P.R. FLAK drops the newspaper on the C.O.'s desk.It's the San Diego Tribune. Under the headline "G.I.JANE," a photo shows a chesty sailor running the obstaclecourse. C.O. (calling O.S.) I'm asking again. Where is she? YEOMAN Inbound now, sir. Had to pull her out of the dive bell. P.R. FLAK I have interview requests from two local TV stations. And a sociologist from U.C. San Diego called, wanted to know if she could examine the interaction between "G.I. Jane" and the men. C.O. "A sociol..." Kill the interviews. I don't need civilians nosin' around in matters that are supposed to be covert in nature. Just kill 'em before this whole thing gets outta con -- YEOMAN Senator DeHaven calling, sir.The C.O. gets an instant headache.INT. SENATE BARBER SHOP - CAPITOL BLDG. - DAY C.O. (V.O.) Base Commander Turrentine speaking.In the Senate barber shop, DeHaven is having her haircolored. She holds a fax of the Tribune article in onehand, a cell phone in the other. DEHAVEN (hitting like a Scud) Commander, are you of the habit of letting photographers traipse around your base snappin' their fill? These were supposed to have been discreet test cases --INTERRCUTTING: C.O. Senator, they stand out on the public highway with telephoto lenses -- DEHAVEN -- and now I got reporters from Toadsquat, Iowa, calling my office and askin' what I know about this "G.I. Jane" thing. C.O. -- nothing I can do about it unless you're suggesting I infringe on their civil liberties -- which I'd happily do if you'll just trim a little fat off the Constitution. DEHAVEN Are you truly mouthin' off to a senior member of the Senate Arms Committee? I mean, I'll give you points for style -- just nothin' for smarts.INT. C.O.'S OFFICE - CORONADO NAVAL BASE - DAYThe C.O. double-takes as Jordan enters: She's sun-burned,wind-burned, sand-burned, chapped and chaffed, bloody andsoggy. Her dive suit leaks onto the floor. JORDAN See me, sir? C.O. You makin' friends with the press, lieutenant?He tosses her the paper. Jordan scans the article asDeHaven continues over speakerphone: DEHAVEN Well, seein's how this thing is out, you let me handle the r.p.m. From this point forward, I want all press matters coordinated via my office. I'll be god-damned if I'm gonna watch Hayes pull flowers out of his ass and take credit for this one. Him or the President. (aside to beautician) This my shade? "Midnight Mahogany"? 'Cuz I'm comin' dangerously close to lookin' like Ronald Reagan here. C.O. Your prerogative, Senator. DEHAVEN Awright. How's our girl doin', anyway? C.O. Standing right here in my office. DEHAVEN Jordan, dear. How are they treating you? JORDAN (catching C.O.'s eyes) Can't complain, ma'am. DEHAVEN Hmmm. Maybe I'll ask when I see you in person. JORDAN Uh, ma'am. DEHAVEN Gonna be visiting that all-woman's America's cup team in a few weeks -- If I were a gambler, I'd say Dennis O'Conner's days are numbered. But they're in San Diego, so I thought I'd take a quick promenade of the base.Deafening silence. We aren't sure who dreads the ideamore -- the C.O. or Jordan. C.O. Uh, V.I.P. security arrangements generally take some time, Senator. DEHAVEN "Security"? What the hell you talkin' about? Your base isn't secure? C.O. Of course, but there's more -- DEHAVEN Then set out the good plates, we'll all have lunch. My office will follow up with details. Jumping off, now...Phone goes dead. The C.O. gives Jordan a look one mightreserve for a lab technician who inadvertently unleashedEbola upon the world. JORDAN Sir, I want you to know that I had nothing to do with any of this. Not this article, not -- C.O. "We'll all have lunch." Good idea. Oh, and let's be sure to invite this sociologist, too -- just in case we want to have a FUCKING BRIDGE GAME AFTERWARDS! YEOMAN Sir? Secretary Hayes calling.The C.O.'s headache becomes a migraine. JORDAN (backing out) Permission to leave, sir? C.O. Permission to evaporate, O'Neil.INT. SENATE BARBER SHOP - CAPITOL BLDG. - DAYDeHaven hands the phone to her aide. He's set up aportable office in the next barber chair. DEHAVEN Think I overplayed it? DEHAVEN'S AIDE Congress and the Pentagon share a lot of plumbing. They'll never know whose leak it is.EXT. BEACH - CORONADO NAVAL BASE - DAY150-pound rubber boats ("Zodiacs") litter the beach. Theclass is breaking down into six-man crews. THE CHIEF Boat Five -- Wickwire, Cozad, Vinyl, Intagliata, Ayers, and Wise. Lieutenant Wickwire is your senior officer. Follow his orders to your death. INSTRUCTOR PYRO Get it up!Crew Five finds their Zodiac, hoists it onto their heads. THE CHIEF Boat Six -- England, O'Neil, McCool, Montgomery, Cortez, and Slutnik. Lieutenant England is your senior officer.Jordan rolls her eyes: At least two of the guys in hercrew are blue-ribbon misogynists. Cortez and Slutnikdon't like it any better. JORDAN Ah, c'mon... CORTEZ Motherachrist... SLUTNIK Me? Again? THE CHIEF (looking up) Somebody got a problem with the muster? JORDAN Fine by me, sir! CORTEZ No problem, sir! SLUTNIK Full of joy here, sir!Exchanging looks across their Zodiac, Jordan and her newcrewmates lift the boat overhead. THE CHIEF Boat Seven...EXT. BEACH - CORONADO NAVAL BASE - DAYWith BATTLE CRIES, 12 boat crews charge into the teeth ofthe POUNDING SURF. Some lose their boat to the firstwave; others clear the surf and scramble aboard. INSTRUCTOR PYRO (into bullhorn) First crew to finish gets hot food and warm racks for the night! Rest of you are digging hide-sites and eating earthworms tonight!EXT. OCEAN - DAYBeyond the breakers, the Zodiacs run parallel to shore,crews paddling furiously, racing the wind, the sun, theother crews. Instructors shadow in power boats,stopwatches running.EXT. BOAT SIX - OCEAN - DAY McCool Don't wanna be pickin' no sandcrabs outta my ass tonight! ENGLAND So shutup and stroke, McCool! SLUTNIK Hoo-yah! Hoo-yah!Flea checks on Jordan. She paddles hard, really diggingin. Flea grins: On some level, he has to admire thiswomen.Jordan catches the grin, gives one back.Ahead, buoys mark the finish line. And just when it seemsvictory is at hand...THWUNK. Something hits Boat Six. Suddenly it's losingair. Jordan torques around to see...The Chief on a nearby boat, speargun in hand. THE CHIEF Your boat just hit razor coral. What do you do now? ENGLAND Patch and pump! C'mon! Whose ass is on the kit? MCCOOL I say keep paddlin'! We're almost -- ENGLAND Forget it, McCool! Pri One is to save the boat, not win a race! So let's get on it!They flail to save their sinking boat. Boat Five nosespast, stealing the lead. Wickwire tosses Jordan a passinglook. "Sorry, but..."EXT. UPPER DUNES - CORONADO NAVAL BASE - NIGHTUp and down the dunes, crews are digging "hide-sites" --six-man holes that will be their homes tonight. Cortezand Slutnik are uprooting shrubs, collecting camouflagematerial. CORTEZ Four years I petition to get into this program. Four years. Finally get here, and now it's co-ed? Such bullshit. Now I'm gettin' hammered just 'cuz she's on our crew. SLUTNIK Least you don't have to sleep with her every goddamn night. CORTEZ Tellin' you, I'd rather be the last class with balls than the first one with chicks. CUT TO:EXT. UPPER DUNES - CORONADO NAVAL BASE - NIGHTJordan and Flea fill sand bags to shore up the walls oftheir hide-site. England and McCool shovel back to back. MCCOOL Had a grandaddy who wanted to be a Navy man. Wanted to fire them big guns on a big-ass battleship. But Navy said to him, "Oh, no. You can only do one thing on a battleship." "Well what's that?" grandaddy said. "Cook," they said. Now this ain't 100 years ago -- I'm talkin' United States Navy, middla World War II. And you know the reason they gave him? You know why they tol' my grandaddy he couldn't fight for his country? ENGLAND He talked too much? MCCOOL "Negroes can't see at night. Bad night vision." JORDAN You're kiddin' me.Jordan jumps in the hole, ready to take over shoveling. MCCOOL See, you just the new nigger on the block, O'Neil. That's all. And maybe you moved in too early.He climbs out. HOLD on Jordan, looking off down thedunes, seeing the other crews covering up and goingunderground for the night. How the hell did she wind uphere? So far from home?EXT. SILVER STRAND HIGHWAY - DAYA Jeep speeds along the public highway, carrying the C.O.back to base. When the Jeep tops a rise: C.O. What in God's name...Ahead, a half-dozen news crews are camped on the shoulder.All cameras are trained on the base.INT. BEDROOM - GEORGETOWN APARTMENT - NIGHTCAMERA FINDS Navy dress blues laid out on a bed... topcoatdraped on a chair-back... CNN on a television. CNN COMMENTATOR (TV) ... is denying that it is considering changing its long-held policy of exclusion -- but it isn't denying the presence of at least one female in a heretofore all-male program. Dubbed "G.I. Jane" by the media, this woman is now undergoing commando training at the Special Warfare Command Center in San Diego...Half-shaven, Royce leans out of the bathroom in time tocatch...Footage from Coronado: A woman in Navy greens is on abeach run, loaded down with backpack and M-16. The NEWSFOOTAGE ZOOMS IN, FREEZE FRAMES with the indelible imagethat will be used over and over in coming weeks: Womancradling rifle. Madonna for the 21st century. ROYCE Goddamn. My poster girl. CNN COMMENTATOR (TV) Senator DeHaven's office still has not released the identity of the woman, but DeHaven is confirming that "G.I. Jane" has outlasted many of her male counter-parts in the program, said to be one of the most grueling anywhere. Joining us now on "Washington Tonight" for the feminist perspective is Gloria Allred, live from --Royce snaps it off. He can't take anymore.INT. BEAU-ART HALL - WASHINGTON D.C. - NIGHTBeneath the coffered ceiling of a great Beau-Art hall, oneof Washington's power-tribes is celebrating. We findgowned women, tuxedoed men, gold-braided naval officers, aSWING BAND, and...Secretary Hayes, newly confirmed. He beams as he danceswith his wife. Compliments and friendly barbs come fromall directions: COMPLIMENTS (O.S.) Congratulations, Mr. Secretary. Say hello to the President for me... Maybe now you can change that carpet in your office, Teddy... So what was the deal you made with DeHaven? Or was it the Devil? Always get them confused... HAYES Didn't you hear? Effective immediately, all navy vessels can no longer be referred to as "she."BRAYS of laughter. CUT TO:INT. BEAU-ART HALL - WASHINGTON D.C. - NIGHTRoyce, EXCUSING his way through the crowd, fixating on thebar, leading his DIAL-A-DATE winner by the hand.Conversations drift into earshot: VOICE #1 ... women are child-bearers. Life- givers. Now we're going to make them killers? VOICE #2 ... just don't have the upper-body strength... VOICE #3 How strong do you need to be to launch a rocket? To push a button or pull a trigger?Royce can't get away from it. DIAL-A-DATE Are we going to dance? ROYCE Not right now.Just yards from the bar, a Pentagon E-RINGER snags Royce'selbow. E-RINGER Commander Royce. How's life across the river? ROYCE Little slow, sir. When's the Pentagon going to send me a good crisis? E-RINGER I'll check my out-basket in the morning. Say, do you know...The E-Ringer turns to make introductions -- but finds hisCIRCLE OF FRIENDS embroiled in the topic du jour: CIRCLE #1 ... but men have trained as athletes for 5,000 years. Women have been at it for, what, couple of decades? Do we really know the limits of their strength? CIRCLE #2 Or their endurance? You know, 30 years ago, women marathoners were 90 minutes off the pace of the men. Now, the women's time is probably only 20 minutes off. CIRCLE #1 Try 15. CIRCLE #3 But what do female soldiers really contribute? I mean, why is this "G.I. Jane" there instead of a man?Eyes drift to Royce, inviting him into the fray. ROYCE (to dial-a-date) You wait right here. I'll get the drinks.INT. MEZZANINE - BEAU-ART HALL - NIGHTHeading upstairs with an iceless rum. Royce finds a calmand secluded place to get drunk in peace and quiet. VOICE #1 Take my word for it. It's just not going to happen. Not now, not anytime soon. VOICE #2 You're guaranteeing that?Royce frowns: He thought he was alone. He tracks thevoices to a forced-air vent beside the chaise. VOICE #1 I have it on unorthodox but reliable authority that combat positions will remain off-limits. Despite what's happening with our Babe in Boyland.Alarms go off in Royce's head. He moves quickly to arailing, looks down.ROYCE'S POV: Of two naval officers on the floor below.They stand beside a matching vent. It's impossible to seefaces from this angle -- but one man has a distinct baldspot. NAVAL OFFICER (VOICE #1) Well, isn't that what these test cases are supposed to decide? (thinking) Unless, of course, you're suggesting that "G.I. Jane" is on her way to becoming "Jane Doe"... BALD SPOT (VOICE #2) All I'm saying is that we won't be integrating -- despite the rhetoric coming off Capitol Hill, despite what's happening in Coronado. And you did not hear it from me. NAVAL OFFICER (VOICE #1) Hear what?A conspiratorial handshake. The men split up.INT. BEAU-ART HALL - WASHINGTON D.C. - NIGHTRoyce flashes down the stairs. Hitting main floor, helooks around and then bumps into... DIAL-A-DATE There you are. Can we please dance now?Over her shoulder, Royce spies Bald Spot heading for thecloak room. Royce commandeers the nearest J.O. ROYCE Lieutenant! J.O. Yes sir? ROYCE Take a dance!INT. BEAU-ART HALL - WASHINGTON D.C. - NIGHTRoyce bobs and weaves through the crowd, trying to keepsight of...Bald Spot. Pushing through the exit doors.Only steps behind, Royce shoulders through the doors...EXT. BEAU-ART HALL - WASHINGTON D.C. - NIGHTAnd blasts outside, intending to shake some answers out ofBald Spot. But here Royce finds...A dozen naval officers waiting for their cars. All ofthem now wear caps.Royce tries to check faces of the quickly departing men.but it could have been anyone. DISSOLVE TO:EXT. OCEAN - DAYA high-speed transport ("Seafox") is SLAMMING OVER SWELLS.Lashed to one side is a rubber life boat.EXT. SEAFOX - OCEAN - DAY THE CHIEF Crew Six! Stand by! ENGLAND Flea! 'Cool! O'Neil! Cortez! Slutnik! In that order! Five- second intervals! Let's go!England's crew lines up for cast-and-recover drills: Oneby one, they speed-roll off the transport...... and drop into the life boat. After quicklystabilizing, they roll off the life boat...... and disappear underwater like human bullets. Englandis last to cast off.EXT. OCEAN - DAYJordan resurfaces. Treading water, she scans for...Seafox. It makes a hard turn in the water and startsback. The recovery rig -- a big flexible loop -- islowered into position.Still hauling ass, Seafox picks up the trainees in reverseorder -- England, Slutnik, Cortez. They each stab an armthrough the passing loop...EXT. SEAFOX - OCEAN - DAY... and vault back aboard, slick as hell. CORTEZ Hoo-yah! Better'n sex in a car crash!But now they're bearing down fast on...EXT. OCEAN - DAYJordan. She braces as best she can. As SEAFOX THUNDERSpast, she stabs for the loop...And snags it with her hand. But only her hand.Hanging on grimly, Jordan drags face down in torrentialwater. Her mouth gropes for clean air but can't find it.If she doesn't let go soon, she'll drown.EXT. SEAFOX - OCEAN - DAYAt the stern, the Chief spots Jordan bobbing up in theboat's wake. THE CHIEF (to pilot) Next recovery! Keep goin', keep goin'!EXT. OCEAN - CORONADO NAVAL BASE - DAYCOUGHING up water, Jordan watches Seafox speed on towardMcCool and Flea. They make textbook recoveries. She'sthe only one who couldn't cut it.INT. WOMEN'S SHOWERS - CORONADO NAVAL BASE - NIGHTHead hung, Jordan showers alone. THE CHIEF (O.S.) You know, the Israelis...Jordan recoils. Christ, how long has he been there? Juststanding in the doorway? THE CHIEF ... they tried women in the 1967 War. Female soldiers.With forced calm, Jordan squeaks off the water and finds atowel. JORDAN Permission to get dressed, sir? THE CHIEF It seems the men couldn't get used to the sight of women blown open and their viscera hanging from tree limbs. Israeli men would linger over wounded females -- often to the detriment of the mission, often endangering their own lives. They don't use women anymore. JORDAN (moving closer) Sir, someone mentioned you received the Navy Cross. May I ask what you got it for? THE CHIEF For pulling a 210-pound man out of a burning barrack in Saudi Arabia. JORDAN I see. So when a man tries to rescue another man, he's a hero. But when he tries to rescue a woman, he's gone soft. THE CHIEF Could you have pulled that 210-pound man clear, lieutenant?She can't say yes. She wants to but can't. THE CHIEF Females in combat situations impact unit cohesion. Men fight better without women around. And that is an historical fact. JORDAN It also seems like a problem with the men's attitude, sir. So maybe you should be sniffing around their shower room instead.She shoulders past. The Chief gives her a few stepsbefore dropping his bomb: THE CHIEF England went out with a stress fracture. That puts you in charge, lieutenant. JORDAN (off-balance) McCool's that same rank. We're both j.g.'s. THE CHIEF You were commissioned one month earlier, which makes you the senior officer. (passing her on his way out) Remember. There are no bad crews -- only bad leaders.INT. ARTILLERY RANGE - CORONADO NAVAL BASE - DAYTrainees are getting familiar with M-60 machine guns,firing SHORT BURST at downfield targets. CORTEZ (pissed) No operational experience, and now she's callin' the shots? Unbelievable. SLUTNIK Suppose she'll wanna eat with us now...Jordan overhears them BITCHING. She steps up to an openslot -- and proceeds to WAIL AWAY with her M-60, tracerrounds blazing. Her target vaporized, she keeps WAILINGmadly, taking out Slutnik's target... then Cortez's...then... INSTRUCTOR JOHNS O'Neil... O'Neil... O'NEIL!Finally she stops. INSTRUCTOR JOHNS One burst, one body, O'Neil! What the fuck you trying to do? Spell your name? (to class) You are not infantry! Your firepower is limited! Excessive killing only risks compromise...Reloading, Jordan tosses a look at Slutnik and Cortez.Ain't nobody bitchin' now.EXT. MESS HALL - CORONADO NAVAL BASE - NIGHT BLONDELL (O.S.) S.E.R.E. training coming up.Eating at a table with other women, Jordan turns to seeBlondell setting down her tray. BLONDELL They take you away to San Clemente Island. Half the guys quit when they come back. Supposed to be just hell-and-a-half. JORDAN That's what I hear. BLONDELL Can I ask you somethin', lieutenant? How come you're doing this? I mean, we're kinda curious. JORDAN Who's "we"? BLONDELL Just some of the women.EXT. QUARTERDECK - CORONADO NAVAL BASE - NIGHTWalking across the base: JORDAN I don't know if there's any single reason. But my father was Navy. And he had this old-time recruiting poster in his den. It showed a girl trying on a sailor's uniform while saying, "Gee, I wish I were a man! I'd join the Navy!" Was maybe 10 years old when I first saw it, and even then it felt wrong. Made me mad. And I don't think a month has gone by that I haven't thought about that poster. "Gee, I wish I were a man." BLONDELL I've been accused of that wish. JORDAN The woman I saw you with... BLONDELL Just a friend. We have friends, too, you know. JORDAN But are there... I mean, how many... BLONDELL More than you'd guess. It's just that we don't hold coffee klatches. If more then three of us get together at any one time, the guys think it's some kind of uprising.They laugh. BLONDELL Sounds funny now, but it's really not. We have to be careful. The Navy still knows how to put on a witch-hunt.Reaching the quarterdeck, they scan a message board.Jordan finds a half-dozen phone slips for her. JORDAN Royce...INT. GEORGETOWN APARTMENT - NIGHT ROYCE (into phone) I've been trying you for five days. Don't they give you messages? JORDAN (V.O.) It's hard to find time to sleep, Royce. Much less keep up with my phone life. ROYCE How hard they making it on you?EXT. PHONE KIOSK - CORONADO NAVAL BASE - NIGHTJordan sighs and slumps against the phone kiosk. Where tostart? ROYCE (V.O.) That bad? JORDAN I feel like there's men here, there's women here -- then there's men. But hey, what'd I expect?INTERCUTTING Jordan and Royce: ROYCE Well, not this. I was doing the Pentagon scene few nights ago. Got some fresh stuff -- about you. You may be in a hostile camp. I think someone may be taking steps to ensure that you crash and burn. JORDAN Me? Why me? ROYCE Don't you know? How they're talking about you? JORDAN I saw an article... ROYCE I can't walk two blocks in Washington without hearing about "G.I. Jane." You're all over the place, and whether you wanted it or not, the feminists are sizing you up for that poster.Jordan's face sours with an errant thought. JORDAN So why are you telling me this? ROYCE Big symbols make big targets, Jordan. I think someone's gunning for you. JORDAN You know, Royce, I got enough heat on me without you turning up the jets, too. ROYCE I'm only trying to warn you in case -- JORDAN Well, let me warm you: I'm going though with this. The more everybody fucks with me, fucks with my head, the more it just makes me want to finish. So don't expect me back crying in your arms any time soon, okay? ROYCE That's not what I want, Jordan. I mean... it is and it isn't... JORDAN Still can't make up your mind, huh? Gotta go, Royce. ROYCE Jordan. You watch your ass. JORDAN Sure. I'll join the crowd.EXT. AIR STATION - CORONADO NAVAL BASE - NIGHTA HELO WARMS UP on its pad.Crew Six approaches, garbed in black wetsuits, loaded downwith weapons and rucksacks. Jordan is at the lead.INT. HELO - NIGHTThe helo is airborne. Sitting on rucksacks, traineesslather their faces with green camouflage paint. Over theHOWLING ROTORS: INSTRUCTOR PYRO Infiltrate... establish your hide- site... record any movement of troops, vehicles, patrols -- any activity inside your scan. If you are compromised, you have two options! Newberry!Newberry is the new sixth man. He's young enough to stillhave a hyperactive Adam's apple. NEWBERRY Evasive maneuvers or radio for emergency extraction, sir! INSTRUCTOR PYRO If you are extracting, be damn sure to follow procedures you have learned in your classroom training! A helo cannot extract you from a wooded area! You must bring it down in a clearing! What's the minimum clearance for an MH-60 Black Hawk, McCool? MCCOOL 32 feet, six inches, sir! INSTRUCTOR PYRO You will be penalized for early extraction, but you will be penalized more for capture -- trust me, far more! Survival! Evasion! Rescue! Evacuation! Welcome to S.E.R.E.!EXT. OCEAN - NIGHTThe helo swoops low over the water, moon silhouetting.Black figures helo-cast into the ocean.INT. HELO - NIGHTLast out, Jordan is poised to follow when... INSTRUCTOR PYRO Lieutenant! Don't back down!Jordan looks back. "What the hell does that mean?"Offering no elaboration, Pyro signals "GO!" Jordansprings clear...EXT. OCEAN - NIGHT... and knifes into black water.The HELO PATTERS away.An inky stillness overtakes the world.Jordan activates a red-light beacon, sweeps it around,revealing her position to...Her crew. Five black faces regroup around her. SLUTNIK Feel right at home, McCool?They secure weapons atop their waterproof rucksacks.Jordan checks a heat-bearing compass. JORDAN (nodding direction) South-southeast. And I don't want to hear another word till we're underground.Pushing rucksacks ahead of them, they start swimmingtowards...A moonlit shoreline. Half-mile ahead.EXT. ROCKY SHORELINE - SAN CLEMENTE ISLAND - NIGHTJordan's crew reaches shallow water. They deflate theirvests and rucksacks. Jordan trades her face mask fornight-vision goggles.NIGHT-VISION POV: Sweeping the rocks. Nothing at first.Then two "hostiles" appear, patrolling the rocks.Jordan motions "down." Six faces sink from sight.NIGHT-VISION/UNDERWATER POV: Of the "hostile" patrolmoving on.They resurface. On Jordan's cue, the crew sheds flippersand begins scaling rocks. They've made landfall.EXT. HIDE-SITE MONTAGE - SAN CLEMENTE ISLAND - NIGHTMONTAGE: Racing the coming sun, Jordan's crew buildstheir hide-site... digging feverishly... filling sandbags... telescoping open a roof pole, fanning out spars...laying canvas roof panels into place... camouflaging thepanels... sprinkling sanitizing powder around theperimeter to ward off animals. INTERCUT WITH...A snake slithering across the ground. As it nears thehide-site...A knife whacks its head off.Slutnik picks up the carcass, kicks dirt over the severedhead. No trace.EXT. SAN CLEMENTE ISLAND - DAYCAMERA PANS the island, awash in morning light. Woodlandslie distant. A road is the only man-made feature -- untilin FOREGROUND, we find a spotting scope poking from theground.INT. HIDE-SITE - SAN CLEMENTE ISLAND - DAYSCOPE POV: Of the road. Fast-attack vehicles approach. MCCOOL (peering into scope) Got two FAVs moving south. I make... four banditos aboard, carrying... H-60 machine guns...Jordan REPEATS THE INFO into a digital tape-recorder, addsthe time. JORDAN Newberry, get a photo. South? CORTEZ Entering my scan now... JORDAN West? SLUTNIK Clear. JORDAN North? FLEA Clear.SCOPE POV: Of the FAVs disappearing down the road. CORTEZ FAVs clear.Everyone relaxes -- as much as six people can in a holefive feet-wide. McCool opens up MREs (Meals Ready to Eat)Slutnik guts his snake. MCCOOL You mind? I'm trying to eat here. SLUTNIK So am I.Cortez finishes pissing into a tin pot. He transfers thewaste to a zip-lock baggy, offers the pot. CORTEZ Anyone?He looks at Jordan. She eyes the pot, tempted and nettledat the same time. FLEA Don't wanna evacuate 'cuz someone came down with uric poisoning, el- tee.Abruptly Jordan unzips, drops her pants, sticks the potunder her. It raises eyebrows: It's a far cry from whenshe was covering up in cold water. JORDAN Didn't even bitch about the seat, did I?EXT. SAN CLEMENTE ISLAND - DAYWIDE VIEW: As a lone figure appears on foot.INT. HIDE-SITE - SAN CLEMENTE ISLAND - DAY MCCOOL What the... Got an unknown here. 100 yards north-northeast.They pile up at McCool's scope. Jordan bulls her waythrough.SCOPE POV: It's a women. Dressed in civilian clothes,she collects firewood. And she's coming this way. MCCOOL She part of the training? JORDAN I don't know... SLUTNIK "She?" There's another one?McCool takes a second look.SCOPE POV: Of the women drawing closer... closer... andfinally looking dead-bang at us. She does an about-faceand walks away. Quickly. MCCOOL Shit. Think we're had. CORTEZ Smoke her. MCCOOL I ain't gonna shoot her. CORTEZ Only blanks. Lemme do it. MCCOOL (pushing him away) Hey. Ain't your call, man.He looks to Jordan. JORDAN Pri One is to protect the mission. If she represents a real threat, we have to do it.Pleased, Cortez slips his rifle under a roof panel. JORDAN (to McCool) But did she see us? Do you know for a fact that we are compromised?McCool doesn't. Not for sure. JORDAN If not, firing will only give away our position to hostiles in the area. Now how smart is that? MCCOOL (a beat) Mighta been civilian. NEWBERRY They got regular peeps on this island, don't they?EXT. ROAD - SAN CLEMENTE ISLAND - DAYThe asphalt road shimmers with midday heat. Suddenly aTROOP CARRIER ROARS over a rise.INT. HIDE-SITE - SAN CLEMENTE ISLAND - DAYSCOPE POV: Of the troop carrier braking hard. "Hostiles"spill out the rear -- and fan out all around us. CORTEZ (at scope) Banditos on the east perimeter! 150 yards! Shit, she was part of it! MCCOOL Fuck me. FLEA What's the word, el-tee? We're about one minute from a major take- down here.HOLD on Jordan, heart skipping. Did she really make thewrong call? JORDAN All right, fire-and-evade maneuvers. Drop everything but weapons and the PRC radio -- we're gonna be high speed, low drag all the way to the link-up site. Ready? SLUTNIK Sure. Now she wants to shoot. JORDAN MOVE!EXT. SAN CLEMENTE ISLAND - DAYThey come out of the hide-site like atomic locusts,splintering into three groups and laying down SUPPRESSIVEFIRE as they blitz for...The woodlands."Hostiles" FIRE and pursue.Flea is running flat out when the ground vanishes beneathhim. He goes down like a doped race horse. Suddenlyexposed, another crew scrambles into daylight: Flea ranright over their hide-site.Slutnik yanks Flea out, gets him back on his feet.EXT. WOODS - SAN CLEMENTE ISLAND - DAYBreathing like asthmatics, Jordan's crew regroups at thelink-up site just inside the woods. Flea comes inhobbling. Badly. SLUTNIK This ain't workin' right! MCCOOL What's our go-to-shit plan, O'Neil? SLUTNIK This ain't even workin' wrong!A beat as Jordan deliberates. She doesn't want to go outlike this. FLEA Really don't wanna be captured, el- tee. Heard some bad things. JORDAN Fuck. (snatching the radio) Basher-Basher, this is Ground Crew Six requesting emergency extraction. Stand by for a PRC fix...EXT. SKY - DAYAs a helo pirouettes in midair.EXT. WOODS - SAN CLEMENTE ISLAND - DAYJordan's crew lopes through the woods, searching for aplace to bring the helo down. Right on their heels...ARTILLERY SIMULATORS THUMP-THUMP-THUMP, illuminationGRENADES POP and flare. This may not be war, but it'll dountil the real thing comes along.INT. HELO - DAYPILOT'S POV: Buzzing treetops, searching.EXT. WOODS - SAN CLEMENTE ISLAND - DAYOn the run: MCCOOL 32 feet, six inches! JORDAN I'm lookin', I'm lookin'!Finally they break into a clearing. Is it big enough? JORDAN 'Cool? MCCOOL (doesn't care) Smoke it!Jordan chucks a smoke grenade.INT. HELO - DAYPILOT'S POV: Yellow smoke rises from the woods. We swooptoward it.EXT. CLEARING IN WOODS - SAN CLEMENTE ISLAND - DAYWhirling smoke, the helo descends. Jordan's crew breaksearly, trying to get there the instant it touches down.But before they can...An FAV crashes through the underbrush, M-60s BARKING inthe helo's direction. The helo bounds away.Jordan's crew tries to retreat -- but a second FAV cutsthem off.INT. HELO - DAYPILOT'S POV: Of the action below, growing smaller andsmaller: Jordan's crew. Surrounded. Laying downweapons. Captured.EXT. WOODS - SAN CLEMENTE ISLAND - DAYJORDAN'S POV: Brush slapping her face.Crew Six is being hauled through the woods, hands tiedback, boots around their necks, pulled along by...The captors. We assume they're instructors in camouflagepaint -- but we're moving so fast it's impossible to besure.EXT. P.O.W. CAMP - SAN CLEMENTE ISLAND - DAYA P.O.W. camp, disturbingly authentic. A dozen traineesare already here, held in pens of bamboo and barbed-wire.Flea, McCool, Slutnik, Cortez, Newberry -- all five gettossed into a pen. Jordan is pulled away. FLEA Where are you... HEY! Where are you taking her?EXT. BOXES - P.O.W. CAMP - SAN CLEMENTE ISLAND - DAYJordan is thrown to the ground. Her eyes go wide when shesees a row of steel boxes nearby. They're scarcely largerthen coffins.INT. BOX - P.O.W. CAMP - DAYHands push Jordan inside the box. She has to curl upfetally just to fit. JORDAN How long? (no answer) Please, HOW LONG?The LID BANGS closed. A LOCK RATCHETS, FOOTSTEPS RETREAT.Daylight sheets in through ventilation slats.When her eyes adjust, Jordan finds markings on the lid andwalls. Scratchings made with a nail. The memoirs ofprevious tenants. JORDAN "Don't know how much I can take"... "A little taste of death"... "Save the nail"... (then the real kick- in-the-teeth) "It's been three days now"...EXT. P.O.W. CAMP - SAN CLEMENTE ISLAND - NIGHTAs "hostiles" pull Flea out of the pen.INT. BOX - P.O.W. CAMP - NIGHTA BANGING wakes Jordan. Are they coming for her? ButFOOTSTEPS LEAVE. A GROAN from the adjacent box. JORDAN Who is it? WICKWIRE (O.S.) (a beat) You know, I had an apartment about this size once. JORDAN Wick. They got your crew, too? WICKWIRE (O.S.) Intagliata was out chasing breakfast. They found his tracks. Well, shit.A beat. JORDAN You really came back for more? Of this? WICKWIRE (O.S.) When I was sittin' behind a desk in Washington, it made sense, somehow. Blame it on my big brother. He was Spec-Recon. And the stories he used to tell... JORDAN If you got a good one, Wick...Anything to get her mind off this box. Out of this box.Now INTERCUT Jordan and Wickwire, lying like fraternaltwins in their wombs of steel: WICKWIRE One time he was doing a rekkie of the Libyan coastline. This is, like, right before we bombed Khadaffi into the past tense. So his crew does a nighttime infil, maps all the big artillery placements and stuff, then turns around to get the hell gone. But between them and the water are five Libyan guards, all armed to the nuts. JORDAN They had to kill 'em? WICKWIRE Nah, they were dead-ass asleep. But on every guard's chest,they left one Marlboro cigarette. Just a little calling card to say they'd been there -- and could come back any time they wanted. JORDAN That's a good story. WICKWIRE So the shit you gotta go through? To get from here to there? Brother said it was worth it. Worth the training... worth the divorce... worth anything. JORDAN He was married? WICKWIRE At first. JORDAN You got anybody, Wick? WICKWIRE Not me. You?It hurts to think about it. The Potomac. The gunkholeharbor. Royce. WICKWIRE O'Neil? JORDAN How'd you make it last time, Wick? How'd you get through this part? WICKWIRE (a beat) Last time I didn't. JORDAN (jarred) Let's keep talkin', Wick. Just keep talkin' to me...EXT. NEWSSTAND - WASHINGTON D.C. - DAYRoyce stops for a newspaper. As he pays, something elsecatches his eye. He picks up...A "People" magazine. The grainy image of "G.I. Jane"fills the cover. A photo inset, much clearer, shows abeaming DeHaven. "BEHIND EVERY GREAT WOMAN..." ROYCE (shaking head) Suitable for framing...INT. CORRIDOR - N.I.C. - DAY ROYCE Got time for a brain-pick?Reading as he walks, a former CIA spook looks up to findRoyce in lockstep. It surprises him: Not many peoplehere talk to him -- unless they're in trouble. THE SPOOKis physically unremarkable except for a face that would beright at home on Easter Island: This is a man who's seenmost of the world's ills -- and forgotten none. THE SPOOK Subject? ROYCE O'Neil, Jordan. THE SPOOK Thought you two were file-closed. ROYCE You knew about us? THE SPOOK Sorry. Thought you knew I knew.INT. SITUATION ROOM - N.I.C. - DAYRoyce and the Spook enter. The vault-like door closesemphatically. Ensuring their privacy: ROYCE Computer -- no transcription, no com-link, no data-link. In fact... shut-down sequence 0-Niner-0-8, mark.All around, screens go blank, phone lights extinguish.They sit at the conference table. No Computer. No files.Just two guys doing headwork. THE SPOOK All right. So who stands to gain if Jordan flames out in a big way? ROYCE The E-Ringers? Full integration is gonna cost the services billions at the worst possible time -- when Congress is already swinging the axe. THE SPOOK (agreeing) Congress cuts, military bleeds. But Pentagon's a big place. Let's narrow the sights. ROYCE The Navy? They've made it clear they don't want to pull missiles out of subs to make room for women's heads. What's it gonna cost to make a fleet of Trident's co-ed? THE SPOOK Sabotage born of economics? Wouldn't be a first. But is Hayes really going to start his watch with such a public failure? ROYCE Possibly. Just to spite DeHaven. THE SPOOK Hmm. Let's aim higher.Royce blinks. "What's higher?" THE SPOOK The White House. If Jordan wins, DeHaven wins in spades. Why? Well, it's been said that the only man the President fears -- ain't no man. ROYCE The first female President? THE SPOOK Don't for a second think she didn't leak this story. "G.I. Jane" gives DeHaven a symbol that taps into the biggest constituency of them all. ROYCE Women. THE SPOOK If you were the President, wouldn't that put a little piss in your shoes? ROYCE I don't know. Seems... THE SPOOK This ain't about some little soldier girl sloggin' her way through commando school. The implications go way beyond. ROYCE Christ, I don't want to see her take a fall. She thinks I do, but... THE SPOOK I take it this file is still open. ROYCE (shaping his words) Even tough I don't talk to her every day -- I still talk to her every day. Know what I mean? THE SPOOK (nodding) Okay, so now work it from the other end. Think about California -- and how things might be handled there. ROYCE I don't... (scoffing) What, someone on base? A "mole"? THE SPOOK This is what you get for brain- picking an old CIA spook. but if I needed to control the outcome of this test case, that's how I'd do it. A man-in-place. Makes everything very controllable.INT. BOX - P.O.W. CAMP - DAYJORDAN'S POV: The box opening. Daylight assaulting us,blowing out our eyes. Disembodied hands pulling us out.EXT. P.O.W. CAMP - SAN CLEMENTE ISLAND - DAYLegs hobbled, uniform soiled, Jordan is led past a row ofhuts. She looks like she got hit by a train -- and gotback up.JORDAN'S POV: Vision still blown out. But inside thepen, we make out 40 trainees now. One guy wrings out asock and drinks from it.Jordan moves past huts. VOLATILE VOICES spill out astrainees get interrogated.JORDAN'S POV: Outside one hut, we see Flea. At least wethink it's him: Strapped face-down to a table, sobbingquietly, he wears a slinky dress and whore's makeup. Theybroke him -- and it's an ugly, ugly sight.INT. INTERROGATION HUT - P.O.W. CAMP - DAY THE CHIEF What is your father's name?Jordan seated. Prowling the hut is her interrogator. Hertormentor. Her chaperon through Hell. THE CHIEF Simple question, lieutenant. No reason not to answer. What is your father's name? JORDAN "Dad." THE CHIEF Any brothers? Sisters? JORDAN Dick, Jane, and Spot. THE CHIEF Are you hungry? What's your favorite food? We'll try to get it for you. JORDAN Green Eggs and Ham. You're not going to get anywhere. You might as well put me in the cage. THE CHIEF You are in the cage, O'Neil. Right here, right now. JORDAN Should I be afraid? THE CHIEF Right down to your worthless womb, and I'll tell you why. This is my island. My world. And here I can get away with shit that would get me arrested anywhere else in the world. Take another scan of my little joy- boy outside. If I can do that to a Navy Seal, what's gonna happen to you? Huh?It makes Jordan think -- and yes, it makes her afraid.Continuing the psychological strip-search: THE CHIEF Why didn't you shoot the woman, O'Neil? JORDAN Wasn't deemed a threat. THE CHIEF She led us right to you. That's no threat?Jordan rubs her head. So long ago. How did the call comedown? THE CHIEF Would you have shot if it was a man? JORDAN No. Yes. I mean, depends on -- THE CHIEF The others already told me, O'Neil. They wanted to shoot, but you wouldn't let them. Because you went soft on another women -- JORDAN That's not right. THE CHIEF That's what your crew said. Are they lying? Or are you? JORDAN I think you're the liar. THE CHIEF I'm not the one who got five good men thrown in a bamboo cage. You wear the bars, you made the call, and you got your whole crew -- JORDAN We didn't know we were compromised. Firing would only've given away our position. THE CHIEF You think we should go easy on women, O'Neil?She stares a beat, knowing it's a loaded question. THE CHIEF Do you? JORDAN No. THE CHIEF I'm so glad we agree.With stunning ferocity, he grabs her by the neck, pushesher out the door...EXT. P.O.W. CAMP - SAN CLEMENTE ISLAND - DAY... and throws her onto a table.In the pens, all faces turn to watch. Even instructorsstop what they're doing as...The Chief pushes Jordan's head down and jams up behindher. THE CHIEF Didn't you know you'd be raped if you were captured? Didn't you even think about that? JORDAN Sure. Just like your men do. THE CHIEF I think we oughtta practice it, just so you know what to expect.He flips her over, rips off her belt, starts tearing openher pants. JORDAN Should I practice bleeding, too, sir? Would that make me a better soldier?He covers her mouth -- her whole face -- with one hand. THE CHIEF (to the men) Any of you can stop this! Just give me the location of one more hide- site, and it ends right here!In the pen: SLUTNIK (wide-eyed) Someone's trippin' out here...The Chief jerks Jordan up, whirls her around like a deaddance partner, slams her face-first into the pen to givethe guys a good look at what's happening to that prettyface. THE CHIEF Three crews are still on this island somewhere. Who knows where?The men trade itchy looks. Some do know. JORDAN Don't do it, don't do it...The Chief throws her down like garbage. THE CHIEF Who's gonna tell me? Who's gonna be chivalrous and stop this abuse? What, you want to see her get mauled? Is that it?The men shift anxiously. Should they talk? Behind theChief, Jordan staggers to her feet. JORDAN Don't tell him shi --The Chief whirls, decks her a crescent-kick. Instructorslurch forward instinctively. THE CHIEF (waving them back) She's fine! (squatting beside) When I put you down, O'Neil, take the hint and stay down.She licks her bloody teeth -- and considers kicking hisballs into his brainpan. Instead she makes a move to getup. He grinds her back down with a crowbar forearm. THE CHIEF (for her ears only) I am saving your life, O'Neil. You may not know it, but I do. You're an inferior soldier, a bad officer, and I don't want you learning that inconvenient truth when you're stuck in a muddy bomb crater behind enemy lines and don't know how the fuck to get out. You get out now, O'Neil. Seek life elsewhere. And if you can't do it in front of me, do it behind my back.Pinning her down with just his eyes, he rises -- andstarts away.Behind him, Jordan struggles to rise.An ANXIOUS MURMUR races through the men: They don't wantto see this. They don't want to see her crucified. MCCOOL Down... stay down...Hearing, the Chief turns back to see...Jordan wobbling to her feet.Eye-lock. JORDAN Fuck you and the boat you rode in on. Sir.TIGHT on the faces of her crewmates -- Slutnik, Cortez,McCool. In their eyes, a new respect. The Chief see it.Instructors see it. Everyone does. THE CHIEF (to instructors) We're done here.Beaten, he walks right out of camp.Wordless, instructors open the pens, unlock the boxes.Wickwire rises like a vampire in daylight. But this timehe made it.A medic tries to help Jordan, but she pushes him away,walking drunkenly for...Flea. She begins wiping the makeup from his face. JORDAN Make you a deal, Flea. Never tell me how I look -- and I'll never tell you.EXT. PIERS - SAN CLEMENTE ISLAND - SUNSETThe Chief chucks gear onto a transport boat. FOOTSTEPSapproach. He knows it's Pyro. THE CHIEF You don't think she'd be raped if she were captured? You don't think the threat of rape would be used to leverage the men? INSTRUCTOR PYRO You broke a dozen training rules back there -- before I lost count. THE CHIEF I've had it. Just because they pay me like a baby-sitter doesn't mean I'm gonna be one. INSTRUCTOR PYRO She's a trainee, just like the others. Why are you coming down so hard? THE CHIEF She's an officer. There's a higher standard. INSTRUCTOR PYRO She's a women, and that's why you're ridin' her bareback. THE CHIEF Of course it is. And I'm gonna stay on her until everyone realizes this is not some bullshit equal-rights thing, that real lives are gonna be lost. Maybe mine, maybe yours. INSTRUCTOR PYRO I oughtta report you. THE CHIEF I think you probably would -- if you didn't know I was right.EXT. STREET - WASHINGTON D.C. - DAYAs a limo moves -- heads for the Capitol building.INT. DEHAVEN'S LIMO - DAYDeHaven snags a BUZZING PHONE. DEHAVEN Yes? DEHAVEN'S AIDE (V.O.) (anxious) Did you hear? DEHAVEN She made it through S.E.R.E. training. Got a call this morning from -- DEHAVEN'S AIDE (V.O.) Not that. The White House just announced that it was sponsoring legislation that would, in one stroke, void all remaining elements of the 1948 Combat Exclusion Laws.The phone suddenly weights a ton, DeHaven dumps it on theseat beside her. HOLD on her disbelieving face. DEHAVEN'S AIDE (V.O.) You there? Senator?INT. CORRIDOR - PENTAGON - DAYHand-carrying a report, Flag Officer #1 hurries down acorridor, pushes through a door. HOLD on the door marker:"Secretary of the Navy."INT. SECNAV OFFICE - PENTAGON - DAY HAYES Without telling us they do this? With absolutely no lead time?At his desk, Hayes scans the report with a deepeningfrown. FLAG OFFICER #1 (to Hayes) Mr. Secretary, if this bill passes... FLAG OFFICER #2 Forget our three-year plan. They're rushing the cadence. We'll be forced to reorganize the Navy from top to bottom -- overnight. HAYES What the hell is the President trying to do? Steal DeHaven's thunder? FLAG OFFICER #1 I think it's more important, sir, to decide what we're going to do -- since it's apparent this issue is not going away quietly. HAYES "G.I. Jane." And which one of you told me she wouldn't last a week? Huh?The flags squirm. Shaking his head, Hayes moves to awindow that offers a stunning view of Arlington NationalCemetery. HAYES 20 years in the Pentagon, I finally rate an office with a window -- and it looks out over the world's largest graveyard. Think it's a sign?EXT. GRINDER - CORONADO NAVAL BASE - NIGHTThe bell. It reflects the moon. TILT DOWN to reveal anew batch of helmets -- the casualties of S.E.R.E. Agraveyard of its own.EXT. THE EXCHANGE - CORONADO NAVAL BASE - NIGHTJordan exits with purchases. Her face is still bruisedfrom S.E.R.E. With a minute to kill, she peruses abulletin board casually. But a RAISED VOICE leads hereyes to...Wickwire. At a phone kiosk, he hangs up emphatically. Helooks flustered when he spots Jordan. JORDAN Sorry, didn't mean to -- WICKWIRE That's okay. Just an ex-girlfriend. And know I remember why. JORDAN First big night of liberty and no date? You're pathetic, Wickwire. WICKWIRE Maybe I'll just head over to McP's with the others, have a drink or four. Don't wanna come, do you? JORDAN (touching bruises) I can't go out. Not like this. WICKWIRE I think you look beautiful. JORDAN Thanks for lying. But you're the class officer, Wick, and it'd just be weird if we hook up. Besides...Catching up, Blondell exits the exchange. BLONDELL Sorry. Forgot I needed oregano and...She sees Wickwire. An awkward beat for them all. JORDAN Do you, uh, know... WICKWIRE Sure, sure. JORDAN We're going over to her place to make salad and pasta. Just, you know, nothing special. WICKWIRE Okay. Well... thought I'd ask.Jordan and Blondell head for the parking lot. HOLD onWickwire, looking after them. Thinking it through.INT. CLASSROOM - CORONADO NAVAL BASE - DAYCharts are being passed around the room. Every traineetakes one, including Jordan. INSTRUCTOR JOHNS ... underwater detonation devices employ mechanical timers, and as such, they are subject to variances due to water temperature. That's why when clearing mines, we always use two timers. The charts now being passed out contain calculations you must memorize before...A MILITARY COP fills the classroom doorway. Frowning,Johns joins the cop for a private discussion. INSTRUCTOR JOHNS O'Neil? JORDAN Sir? INSTRUCTOR JOHNS You're wanted at the C.O.'s.INT. C.O.'S OUTER OFFICE - CORONADO NAVAL BASE - DAYJordan enters. The yeoman's desk is unattended. Noticingthe X.O.'s door open, Jordan peers inside to find...Blondell. She looks scared out of her mind. Before sheand Jordan can speak, the yeoman materializes. YEOMAN This way, lieutenant. They're expecting you.INT. C.O.'S OFFICE - CORONADO NAVAL BASE - DAY JORDAN See me, sir?The C.O. and X.O. are both here. C.O. (uncomfortable) I don't know of any delicate way to say this, lieutenant, so I won't try. Claims have been made that you have engaged in fraternization -- of the same-sex variety. Specifically, that you were... (reading) "... seen leaving the apartment of another female officer at such a time and in such a manner as to suggest conduct unbecoming." JORDAN (a beat,laughing in relief) Sir, if someone is suggesting that I'm a lesbian, they're wrong.The C.O.'s face remains grim. He isn't relieved. JORDAN They're very wrong. And I'd like to know where you got this information.On the C.O.'s nod, the X.O. opens an adjoining office.Wickwire enters. He's stiff as a groom on a wedding cake. WICKWIRE I'm sorry, O'Neil. But as class officer, it's my obligation to report all violations. JORDAN This is insane. You've got no proof. X.O. (from report) You were seen leaving Ensign Blondell's apartment at approximately 0-200, whereupon physical affections were exchanged in public. JORDAN We hugged. X.O. In addition, you have been seen frequenting the base exchange, the mess hall, the -- JORDAN Because the men didn't want me eating with them. Jesus Christ, let's get this right. C.O. That's enough. Everybody. (to Wickwire) Rejoin your class, lieutenant. WICKWIRE (only to Jordan) I wish I didn't have to do this, Jordan. C.O. Dismissed, lieutenant.Wickwire exits. JORDAN Sir, I just want you to know that this is either a gross mistake -- or someone's vindictive bullshit. In no way did anything happen between Ensign Blondell and myself. We're just friends. X.O. So you're saying the charges have no validity whatsoever?Jordan opens her mouth to confirm -- and hesitates,realizing where this might be headed. What the collateraldamage might be. JORDAN I'm saying, we're just friends. C.O. I find this as distasteful as you, lieutenant. But if it's on my desk, it's on my shoulders. There's going to be an inquiry -- it will not be quick and it will definitely not be pretty. You should prepare yourself. JORDAN Sir, please... if there's any way to do this without dragging everyone through the mud... C.O. I don't see how, O'Neil. Dismissed.Jordan moves to the door. Again she makes eye-contactwith Blondell. Now we understand why she's so scared:There's a witch-hunt brewing. JORDAN (turning back) Sir. If tomorrow... I was not under your command... would the inquiry still go forward? C.O. I'm not sure what -- JORDAN Would you have the discretion to end it right then and there?She's offering her own head on a silver platter -- and theC.O. actually hesitates before answering. C.O. I believe so.EXT. GRINDER - CORONADO NAVAL BASE - DAYMcCool and Flea exit a classroom with other trainees.They spot Jordan approaching. MCCOOL So what'd he want? O'Neil?She passes them robotically. Flea realizes where she'sgoing. FLEA Oh, no... no, no, no, no...They lurch after her, grabbing her, stepping in her way. THE CHIEF Stand fast!McCool and Flea jerk to a stop: The Chief has emergedfrom the instructor's office. Helpless, they watch as...Jordan mounts the stairs to the bell... takes up thebaton... and HITS THE BELL like a tyko drummer.RING ONE: On the pained faces of her crewmates.RING TWO: On the Chief. Taking no joy in it. Justaccepting it as inevitable.EXT. THE QUARTERDECK - CORONADO NAVAL BASE - DAYRING THREE: On Wickwire as he walks across the base. Hisregrets are obvious. FADE OUT.FADE IN:EXT. UPRIVER - THE POTOMAC - DAYThe ice floes are gone. The river banks are buddinggreen. Soon CAMERA FINDS a power boat making its wayupriver. A lone figure sits on the prow.EXT. POWER BOAT - DAYIt's Jordan. Dressed in civvies, gunnysack between herlegs, she's back in Virginia with nothing more than whatshe left with. Around a river bend appears...The gunkhole harbor. Home.EXT. GUNKHOLE HARBOR - POTOMAC - DAYThe boat docks. Jordan springs clear, waves a worn-outthanks, starts up the dock. But now she comes to a stop,seeing...Royce. Stepping out of the house.EXTREMELY WIDE: River shimmering behind them, they meeton the dock. A charged stand-off: Where do they pick up?Can they pick up? Then Jordan drops her gunnysack andsteps into his wide-spread arms. Royce wraps her up as ifto never let go.For the first time in this whole ordeal, Jordan beginscrying, sobbing uncontrollably. ROYCE (in her ear) I want to kill them... I want to kill the guys who made you cry like this...INT. COVERED PORCH - JORDAN'S HOUSE - SUNSETAn hour later. Sharing a quiet moment, Jordan and Roycecradle tea mugs while sitting on the rear porch thatoverlooks the Potomac and a fiery sunset. JORDAN All I wanted was an honest chance. And If I couldn't get it, I couldn't stay. ROYCE And this class officer... "Wickwire." You think he was just trying to get even? Striking back for... JORDAN Maybe. Though it didn't seem like he was getting any satisfaction out of it. Almost like... (a beat) Did I say he was class officer? ROYCE Almost like someone put him up to it. Okay, who? JORDAN No shortage of suspects. ROYCE The Chief? Or maybe even Turrentine? Your C.O.?She looks at him sidelong. JORDAN Royce. Tell me you didn't keep a file on me.INT. LIVING ROOM - JORDAN'S HOUSE - DAYCLOSE on multiple files being pulled out of a briefcase.One contains clippings -- "G.I. Jane" photos, editorials,political cartoons. Another holds records of Coronadopersonnel -- Jordan's crewmates, instructors, the basebrass. ROYCE Somebody was yankin' your stings, Jordan -- maybe from 3,000 miles away. I wanted to know who. I still do.She shakes her head, resisting. ROYCE C'mon, Jordan. Do the headwork with me. JORDAN It's done with, Royce. Let it go. ROYCE Someone screwed you over like this, left unanswered charges hanging over your head, and you're not gonna fight back? JORDAN I'm tired of fighting back. I just wanted to come home and be safe and have you here and the river there and just forget the rest of the world, okay? ROYCE Well, before you crawl off to die, Jordan, give me five minutes of good headwork.Agitated, she walks away. B.G., a PHONE RINGS until themachine picks up. ROYCE (pulling a file) "John James Urgayle." The Chief. JORDAN What about him. JORDAN Instructors typically pull three year assignments. This guy's in and out in one year -- your year. That sound right? JORDAN Sounds like an amazing coincidence. ROYCE Or like maybe he was baby sitting a problem child for the Navy. JORDAN I don't know, I don't care. ROYCE Well, pardon me if I do. Now who else? Who could've leveraged a class officer like that? C'mon, Jordan, keep your head in the game.UNDER DIALOG, we hear some of the INCOMING CALL: DEHAVEN'S AIDE (V.O.) ... just got word today. The Senator wants you to know that she's disturbed by the matter, and she'll be looking into it carefully to make sure you were treated fairly. If you need to reach us, we're here in Washington, 202-224-3121.A HANG-UP. Something stirs in Jordan's memory. JORDAN "In Washington..." ROYCE What? JORDAN Wickwire said he was dry-docked in Washington between stints at Coronado...We can see her mind gathering speed. Royce switches filesquickly. ROYCE "Wickwire, Thomas Dane"... Second run at Coronado... and correct, they had him stashed in the "Appropriation Liaison Office," whatever that is. JORDAN You don't crap out of Spec-Recon and get another shot without dispensation from someone up in flag country. (a revelation) He's got a Sea Daddy somewhere. ROYCE I'd sure like to know who. JORDAN Yeah. Me too.INT. ADMINISTRATION - CORONADO NAVAL BASE - DAYAnswering a PHONE: BLONDELL Administration, Ensign Blondell. JORDAN (V.O.) Don't say my name. BLONDELL Who's... (brightening) Lieuten -- JORDAN (V.O.) Or rank. But can you do me a favor and pull a transfer order? BLONDELL Okay, but... You didn't have to do what you did. Not for me. JORDAN (V.O.) (appreciative) "Wickwire, Thomas Dane." See what you can find. CUT TO:INT. ADMINISTRATION - CORONADO NAVAL BASE - DAYFile in hand, Blondell returns to the phone. BLONDELL Got it. JORDAN (V.O.) Who signed as his "sponsoring officer"? BLONDELL Uh... don't see it. There's no signature. But hang on -- there's a note to "See Addendum." Checking...She finds a crisp sheet of stationary, out of place amongthe smeared government forms. BLONDELL Wow... JORDAN (V.O.) What'd you find, Kathy?CLOSE on the stationary. It bears an image of the Capitoldome. MATCH CUT TO:EXT. CAPITOL BLDG. - WASHINGTON D.C. - DAYThe real Capitol dome. A flag is being raised over theSenate Wing.EXT. CAPITOL BDLG. - WASHINGTON D.C. - DAYA car parks at barricades. Jordan and Royce emerge, bothin uniforms. D.C. COP Don't even dream about leaving that vehicle there. ROYCE Government car -- tow it if you want. Just point us to DeHaven's office first.Not waiting for directions, Jordan takes the Capitol stepstwo at a time. We've seen this look on her face before --and last time, she nearly knocked the grinder bell intoorbit.INT. CORRIDOR - CAPITOL BLDG. - DAYJordan and Royce move quickly down a corridor, eyeshunting, passing CAPITOL GUIDES and their tourists. Soonthey find...DeHaven's office. A Navy captain exits with paperwork.Hasty salutes. ROYCE Capt'n. NAVY CAPTAIN Commander.The captain moves on. Royce holds in the doorway a beat,memory nagging him. Again he looks at...The captain. He has a distinct bald spot. ROYCE (to Jordan) Get started here. I'll catch up.Picking up where he left off a few weeks ago, Roycefollows Bald Spot around a corner...INT. PRIVATE STAIRCASE - CAPITOL BLDG. - DAY... down a private staircase...INT. ANOTHER CORRIDOR - CAPITOL BLDG. - DAY... and through a door marked "Naval Appropriation LiaisonOffice." It's not 30 seconds from DeHaven's door.INT. FOYER - DEHAVEN'S OFFICE - CAPITOL BLDG. - DAY SECRETARY Your name again? JORDAN Lieutenant j.g. O'Neil.In a side office, DeHaven's aide overhears. He risesquickly and enters the foyer. DEHAVEN'S AIDE Ms. O'Neil. Yes, of course. I'm Douglas Champeau. Unfortunately, the Senator is in chamber right now. How can I help you? JORDAN What chamber? Which way is that? DEHAVEN'S AIDE I mean, she's on the floor of the Senate. JORDAN Okay, which way? DEHAVEN'S AIDE She really can't be disturbed. But if you care to wait, I'll find you an office with a phone. It might be several hours, but --A TOURIST pokes in. TOURIST 'Scuse me, but I'm here to pick up gallery tickets? Are you... DEHAVEN'S AIDE See the secretary, please.Over the aide's shoulder, Jordan watches as...The tourist claims tickets. HOLD on the bureau near thesecretary's desk where the tickets are stored.INT. SENATE CHAMBER - CAPITOL BLDG. - DAYOn the chamber floor, SENATORS mull about, consultingaides, polling party mates. PAGES place microphones andfill the ceremonial snuff boxes, readying the room forsession. Among the activity, we find...DeHaven. Caucusing with another Democrat. JORDAN (O.S.) Senator DeHaven...DeHaven looks behind her. Nobody. JORDAN DeHaven...Now she looks up to behold...Jordan standing in the gallery. Staring down on DeHavenas she is, it's hard to read anything into her expressionbut open disdain.Drawn by Jordan's voice, a CAPITOL GUARD hurries down thegallery steps. Royce runs interference. JORDAN We can talk here or we can talk outside, Senator. You tell me.On the floor, half the U.S. Senate stops what it's doingand looks up.In the gallery, the guard is thrown off-balance by thenaval uniforms: Do Royce and Jordan belong here or not?Confused, he looks for guidance from...DeHaven. She notes C-SPAN cameras swinging Jordan's way.Summoning a page: DEHAVEN Cloak room. I'll meet her there. Just her.INT. CLOAK ROOM - CAPITOL BLDG. - DAYTowering doors swing open. DeHaven appears, face pleasantbut harried. DEHAVEN Jordan. I always hoped we'd get together -- though just now I'm gearing up for a child-care vote that -- JORDAN Lieutenant Thomas Wickwire.About to hug Jordan, DeHaven stops awkwardly. JORDAN You know him. DEHAVEN Sounds familiar. JORDAN It should. You nominated him for Spec-Recon just three days after you nominated me. DEHAVEN Jordan. Might we do this over lunch tomorrow? I do very much want to talk, but now is scarcely -- JORDAN Did you set me up? Did you set me up just to see me fail? DEHAVEN Absolutely not.DeHaven glances back at the doors to the Senate chamber --the open doors. Walking Jordan a few steps away: DEHAVEN Wickwire was there to help. To be my eyes on the inside, to make sure you were getting a fair shot. At least that was the intent. JORDAN What changed? DEHAVEN Should probably ask him that. JORDAN If I have to ask again, Senator, I'll be asking in front of cameras.It's a threat DeHaven doesn't appreciate. The SenateDOORKEEPER appears. DOORKEEPER Madam Senator? Your esteemed colleagues are requesting -- DEHAVEN Two seconds, Walter. (answering Jordan) In 1981, the Supreme Court was asked to rule on the issue of women in combat positions. The Court cited the 1948 Combat Exclusion Laws as a legal foundation for keeping women ineligible. That decision held for all these years -- until the White House, 10 days ago, moved to have the Exclusion Laws voided. To demolish that legal foundation. JORDAN So? Isn't the President jumping on your bandwagon? DEHAVEN What he did was light the bandwagon on fire. Because he knows what I know -- that American families are not prepared to put their daughters in harm's way. JORDAN You don't know that. DEHAVEN In face, I do: Roper, Harris, Gallop -- they all come back the same. JORDAN What are you saying? That a women's life is more valuable than a man's? That a women's death hurts a family more? DEHAVEN I'm saying it's not going to happen. Not when the President is set to turn this into a third-rail issue should I choose to ever campaign against him. He will fry me six ways to Sunday for sending daughters and young mothers off to war -- and, quite possibly, for bringing them back in body bags.Jordan shakes her head in disbelief. She has met theenemy -- and she is us. JORDAN You were never going to let women serve in combat. You always had a safety net. Or thought you did. DEHAVEN Jordan. I don't expect you to fully understand this -- but sometimes there's more to be gained from the fight than the victory. JORDAN So the rhetoric gets you headlines. But the reality gets you in trouble. DEHAVEN The reality is this: We send far too many men off to war. I don't need to compound the problem with women. (off Jordan's look) Can you honestly tell me you wanted that life? Squat-pissing in some third-world jungle with -- JORDAN I wanted the choice. The chance to prove myself, my skills, my work, me. That's how it should've been. DOORKEEPER Madam Senator, once again I must -- DEHAVEN Just hold the goddamn clock, Walter.Not happy about it, the doorkeeper reaches into an alcove,grabs a broom he keeps around for just these occasions.He enters the chamber...INT. SENATE CHAMBER - CAPITOL BLDG. - DAY... and moves behind the rostrum. Holding the broom bythe bristles, the doorkeeper stands on tip-toes...And uses the broom handle to turn back the Senate clock bythree minutes.Senators GROAN. It's an old trick played by seniormembers -- and they all hate it when it happens to them.INT. CLOAK ROOM - CAPITOL BLDG. - DAY DEHAVEN I once promised you a fast ticket, Jordan, and I always meant to make good on that. Come work for me. I can always use a hard-charger on my team. JORDAN You promise Wickwire a fast ticket, too? DEHAVEN I've had no direct communication with him since this whole thing began. And that's quite verifiable. JORDAN I'm sure it is. DEHAVEN You'll think about my offer? JORDAN You know, I wonder what the SecNav would think about it. If I spoke with him. DEHAVEN Well, I spoke with Mr. Hayes this morning myself -- and told him the deal was off. No more test cases. He was only too happy to oblige. (dangerously low) Don't play politics with me, little darlin'. You'd be up way past your bedtime. DOORKEEPER (distraught) Madam Senator, please... DEHAVEN I'll call you in a few days.She flashes a winning smile and turns away. As thechamber doors start to close behind her: JORDAN So I wonder what the President would think.The last image we have of DeHaven is her whirling back,startled. The DOORS BOOM CLOSED in her face.EXT. C.O.'S HOUSE - CORONADO NAVAL BASE - NIGHTThrough a window, we see the C.O. with a phone pressed tohis ear. He stands at attention even though wearing abathrobe. Half-audible through the glass: C.O. Yes sir. No, I'm not saying it would be impossible, sir, just... Yes sir. No sir. Yes sir. I can appreciate that, sir. Good night, sir.INT. C.O.'S HOUSE - CORONADO NAVAL BASE - NIGHTThe C.O. hangs up and looks to Jordan, heretofore unseen.She waits anxiously. C.O. Well, if you had to go over my head, lieutenant, that's the way to do it. Christ, nothin' like a 0-200 call from the Commander and Chief to get the bowels movin'. JORDAN Sir? What did he say? C.O. Basically -- he asked me if I could unring a bell.EXT. GRINDER - CORONADO NAVAL BASE - DAYSTART on the helmet graveyard. Hands enter FRAME toreclaim one helmet in particular. TILT UP on Jordan,back in the grinder, back in Navy greens.The Spec-Recon class is here. Crewmates gawk like stoneidiots as Jordan takes her old place in the line-up. C.O. (to class) One of you here understands better than anyone what this is all about. Someone who has engaged in conduct unbecoming. Someone who knows, I would hope, what he must now do.CLOSE on Wickwire. Feeling the heat. Wondering if theyreally know who it is. Now the C.O. parks himself rightin Wickwire's face. C.O. And unless that someone takes the honorable way out in the next 10 seconds -- I will make certain he faces action under the Uniform Code of Military Justice.Wickwire breaks rank and heads for the bell. He slowswhen reaching Jordan, considering an apology he knowswould be inadequate. JORDAN Just walk away and never stop.He does. As Wickwire RINGS OUT: C.O. It seems we have an opening for class officer. Any nominations?Eyes swing to Jordan. Way ahead of them: C.O. All those in favor?A CHORUS OF AYES. Jordan puddles up. C.O. Chief Urgayle, turning it back over to you.On his way to the front, the Chief stops to check in withJordan. THE CHIEF Well, I'm trying to figure out if you're stupid, unlucky, gluttonous -- or some new alloy of all three. JORDAN Good to see you again, too, sir. THE CHIEF Okay, O'Neil. So you've impressed all the others. Now try me.EXT. CORONADO BRIDGE - DAYThe morning sun is an orange ball balanced on the CoronadoBridge. In silhouette, pelicans circle, some dive-bombinginto the bay below. Suddenly a HELO HOWLS across the sun,scattering the birds as it heads off-shore.INT. HELO - DAY THE CHIEF (setting watch) Four... three... two... one... hack!Flea, McCool, Slutnik, Cortez, Newberry, Jordan. Insidethe airborne helo, they synchronize their dive watches. THE CHIEF Final assignment! Each crew will be dropped 12 miles out! Between you and the shore is a network of mines and underwater obstacles! You will clear the obstacles, you will tag the mines with your crew number! You have until 18-hundred to make landfall!EXT. OCEAN - DAYAs the helo swoops down onto the ocean deck.INT. HELO - DAYThe trainees double-check wet gear and survival vests. OnJordan's nod, they push an inflatable life boat ("ILB") tothe helo door. It's rolled up into a rubber log. THE CHIEF Remember! The one thing you can count on in any mission is that anything mechanical will fail! If you get stuck out here, do not call me, for you will no longer be in my class! Try the Coast Guard!The HELO PILOT slows to five knots. The Chief givesJordan the go-ahead nod. JORDAN (to her crew) One-second intervals! Go!EXT. OCEAN - DAYThe ILB splashes down into the ocean. Jordan's crew helo-casts in after it.From the door of the circling helo, the Chief watchesas...Jordan's crew swims to the ILB, bobbing in the swells.Flea turns a handle on the CO2 tank meant to inflate theboat. Nothing happens. FLEA C'mon, c'mon...Cortez tries to help. The handle spins in his grip. CORTEZ This tank's not gonna cut it, el- tee. Handle's stripped.Jordan looks skyward. 100 feet overhead, the Chief givesher a parting salute as the helo lifts away. SLUTNIK I just wonder how that happened. JORDAN Cortez, see if you can dig out the tools without losing the rest of out gear. Try a wrench on that thing.INT. HELO - DAYThe helo turns into the morning sun. PILOT and CO-PILOTdrop visors.PILOT'S POV: Of dots in the sun. What the hell are try?SMACK! Something hits the windscreen, splattering red andbrown. THE CHIEF What happening?! PILOT Fucking pelicans! Hang on!He starts to bank clear -- but not fast enough.EXT. HELO - DAYMore birds pepper-shot the helo: One SHREDS through themain rotor, another through the tail rotor. Another birdgets sucked right into...The main turbine.INT. HELO - DAYA SHARP BANG... a WICKED SHIMMY... and now they whole heloloses power. PILOT Holy... LET'S GYRATE!As the pilot wrestles controls, the co-pilot rigs forauto-gyration. But the bank they started is workingagainst them: The helo is coming down badly, circlinglike a huge steel feather.Braced, the Chief looks out the side door -- and seesocean rushing up at him. Fast.EXT. OCEAN - DAY MCCOOL What the shit is...Jordan whirls. She's just in time to witness...The helo hitting the water. In seconds it's gone.A stunned beat. We never knew the ocean could be thisquiet. When the anesthetic of shock wears off: SLUTNIK You don't suppose this is just part of... JORDAN FLEA! KEEP YOUR EYES ON THAT SPOT! Mark it, mark it! Cortez? What the hell you waiting for?Cortez torques his wrench hard: CO2 flows into the ILB,inflating it. The crew scrambles aboard. Jordan digslike a dog to find a radio. JORDAN Base, this is Crew Leader Six. We have a downed helo 12 miles west- south west of base with three aboard. Repeat, we have a downed helo with three aboard...Slutnik yanks a starter cord: Their outboard MOTOR ROARSto life. The boat does a donut in the water and blastsaway. CUT TO:EXT. OCEAN - DAYThe ILB powers over swells. Flea is perched on the bow,nose to the wind like a hunting dog. FLEA CUT IT! CUT IT HERE!Slutnik motors down. FLEA Close as I can get, el-tee! JORDAN Flea, 'Cool, Cortez, Newman -- take your minis, hit the water. Go, GO!They grab masks and mini-tanks and dive in like dolphins.Jordan snaps up the radio. JORDAN Base, this is Crew Leader Six. What is your E.T.A. on that rescue helo? Over. BASE (V.O.) Crew Leader, we have a Medevac rerouting from Long Beach, but no other helos prepped at this time. Seafox One and Two are launching now. Over.A beat. JORDAN Base, don't think you copied me. We are 12 miles out. Seafox tops out at 30 knots, which makes it a no- show for 18 minutes. Over. BASE (V.O.) You copied right, Crew Leader. We're looking for options ourselves. SLUTNIK Maybe we should call the Coast Guard. JORDAN Shut your hole, Slutnik. CUT TO:EXT. OCEAN - DAYMcCool surfaces. MCCOOL Visibility drops dead at 40 feet. If they're deeper than that...The others surface and swim in. CORTEZ Nobody's comin' outta that crash, el-tee. Nobody.A grim beat -- and then A CRACKLE on the radio. With avoice seemingly from the far side of the moon: THE CHIEF (V.O.) Base, this is Basher One. I've got a small problem here. Do you copy?Jaws drop. JORDAN (into radio) Basher One, this is O'Neil. We are barely reading you. What is your situation?EXT. CRASHED HELO - UNDERWATER - DAY50 feet down, the helo lies canted on a reef shelf.INT. CRASHED HELO - UNDERWATER - DAYWedged into a tortured maze of hydraulics and equipment,we find the Chief, operating out of an air-pocket near thewindscreen. The pilot is dead, impaled on his cyclicstick, head submerged. The co-pilot is still alive,barely. The Chief struggles to keep the man's head up ashe keys a survival radio. THE CHIEF Got one other heartbeat here, looks touch and go. I've got a questionable leg.EXT. OCEAN - DAY THE CHIEF (V.O.) Managed to activate the ELB. If you just radio base and let them know, they'll fix on that. Oh, and make sure they send a helo with a winch -- door's blocked by a reef. Over. JORDAN Chief, sir -- rescue team won't be here for 15 minutes. What's your air situation? Over. THE CHIEF (V.O.) Say again? How many micks? JORDAN 15, sir.INT. CRASHED HELO - UNDERWATER - DAYThe Chief sizes up his air pocket. THE CHIEF (into radio) That... may not be adequate.EXT. OCEAN - DAY FLEA If we could just fix on him... MCCOOL Beacon's a no-go for us. JORDAN (into radio) Chief -- did I see a flare box aboard? And can you get at it? Over.EXT. CRASHED HELO - UNDERWATER - DAYThe Chief props up the co-pilot's head. Gulps air. Ducksunderwater to grope through wreckage. Only now do we seethat "questionable leg" he was talking about: It'ssnapped at mid-calf, blood rivering out.EXT. OCEAN - DAY THE CHIEF (V.O.) Got it. JORDAN (into radio) Show us where you are, Chief.EXT. CRASHED HELO - UNDERWATER - DAYAgain the Chief goes below water. He finds a small breachin the fuselage... sticks the flare launcher through...and pulls the trigger.With a MAGNESIUM FLASH, the flare launches...EXT. UNDERWATER - DAY... streaks toward the surface...EXT. OCEAN - DAY... and arcs into daylight 50 yards behind the ILB. FLEA Six o'clock! Marking, marking! JORDAN Spotted you, Chief. Pri One is to slip you some air, so we're coming down with a tank -- just something until the A-team shows. Over.An ominous beat. JORDAN Chief? CHIEF (V.O.) O'Neil... there's no air in your main tanks. MCCOOL What?They scramble to check their main dive tanks. Eventhrough the gauges show full, they're dead empty. All ofthem.INT. CRASHED HELO - UNDERWATER - DAY THE CHIEF (into radio) This mission wasn't about tagging mines. It was to see how you coped with mechanical failures. Pretty fuckin' ironic, huh?He laughs. It's the bleakest laugh imaginable.EXT. OCEAN - DAY SLUTNIK He's circlin' the drain, el-tee.Jordan surveys the equipment they do have aboard -- thestuff she can count on. Mental turbos kicking in: JORDAN So we got two full mini-tanks, three minutes each. 'Cool? How much air in yours? MCCOOL Maybe half. Not even. JORDAN Grab an oar, find a way to weight it down, we're gonna need it. Cortez, help him. Flea? You take one of the two full minis -- and just follow my lead. CORTEZ What, we're gonna pry 'em out with paddles? MCCOOL (grabbing her) O'Neil. Our air's gonna crap out as soon as we get down there. You know that, don't you? JORDAN So I guess we get one shot at it.INT. CRASHED HELO - UNDERWATER - DAYSwimming in his own blood, the Chief starts to fade away,losing consciousness. But then, through the cockpitwindscreen...A hazy orb of light above him. The orb grows and growsuntil it resolves into a flare carried by his would-besavior. Jordan. THE CHIEF Why'd it have to be her...EXT. CRASHED HELO - UNDERWATER - DAYReaching the downed Helo, McCool and Cortez wedge theiroars under the fuselage and leverage hard until...An opening appears.Jordan and Flea swim into the breach...INT. CRASHED HELO - UNDERWATER - DAY... and surface inside the wreckage. JORDAN Chief, sir... still with me? CHIEF (unbuckling co-pilot) Take him first. Once he's clear, come back with -- JORDAN Sir, let me suggest you stop giving orders and start doing exactly what I say, because that's the only way we're all getting out of here. Now how's your vest check out? Still good?EXT. CRASHED HELO - UNDERWATER - DAYMcCool's air craps out. He abandons his oar and swims forthe surface. That leaves only...Cortez, struggling mightily to keep the escape route open.He knows his mini-tank is running on empty -- and itscares the bejeezus out of him.INT. CRASHED HELO - UNDERWATER - DAY JORDAN Flea, take the pilot up slow, feed him air. Chief, sir, you and I are gonna take the express elevator outta here. Remember to let your air out. Ready?EXT. OCEAN - DAYTwin transports -- Seafox One and Two -- pound across thewater. Instructors sweep binoculars, trying to spot...The ILB. Newberry POPS A FLARE skyward as SlutnikDOWNLOADS INFO over the radio.EXT. CRASHED HELO - UNDERWATER - DAYCortez's air goes dead. He gives it three more seconds,eyes riveted on the underside of the helo, knowing theyhave to come out... right... fucking... absolutely...NOW: Jordan appears with the Chief. Flea is at theirheels with the co-pilot.Cortez drops his oar as if it were radioactive and swimsfor the sky.The HELO BOOMS back down onto the reef.Jordan yanks the cord on the Chief's vest. It inflatesinstantly. One arm raised, Jordan streaks for thesurface...EXT. OCEAN - DAY... and "Supermans" into daylight with the Chief. Theycovered 50 feet in four seconds.Doing a 360, Jordan spots...Seafox One coming their way.Jordan waves like a shipwreck victim.Not slowing, Seafox lowers a recovery rig into place:They're wasting no time on the pick-up.Remembering the last time she tried this, Jordan gets adeath-grip on the Chief's vest. THE CHIEF (growling) O'Neil... JORDAN Shut up, sir. I'm concentrating.The recovery loop comes at her like a big brass ring.SEAFOX THUNDERS past. Jordan plunges her free arm throughthe loop...And suddenly they're gone, whisked away by the boat.Throwing a rooster tail a mile long, Seafox pivots on thewater and heads back to base. MCCOOL Hoooooo-yah! NEWBERRY Go, go, go, go! SLUTNIK Uh-huh! That's right! Just like we always practice it! DISSOLVE TO:EXT. GUARD HOUSE - CORONADO NAVAL BASE - DAYLimousine leading, a parade of vehicles reaches the baseentrance. A man exits the limo to expedite matters withthe BASE GUARD. DEHAVEN'S AIDE Senator DeHaven is here for the graduation ceremonies. BASE GUARD What are all these other vehicles? DEHAVEN'S AIDE Just a small press corps. Routine. BASE GUARD And that pickup truck at the end? DEHAVEN'S AIDE That? That would be the all-woman America's Cup team.EXT. GRINDER - CORONADO NAVAL BASE - DAY C.O. (into microphone) Special Reconnaissance Class 118, you may now stand down.All buffed and polished and wearing their dress whites,the former trainees erupt with ONE GREAT HOO-YAH. Whatbegan as a class of 100 now ends with just 40.Sitting among the families and friends we find Royce,smiling through his fears. Not far away sits Blondell.No one claps louder.Jordan trades high-fives and fierce hugs with crewmates.Pyro finally manages to take her aside. INSTRUCTOR PYRO Lieutenant? I was asked to give you this.It's a small case. Jordan opens it to find a medal ofbronze and blue enamel. JORDAN The Navy Cross... INSTRUCTOR PYRO I believe he earned it for saving a man's life in Saudi Arabia. He wanted you to have it. He was very clear on that point. JORDAN I was looking for him earlier, but... INSTRUCTOR PYRO The Chief was granted early retirement as of 17-hundred yesterday. By 18-hundred he was gone. Out of the Navy. JORDAN (knowing better) Just a coincidence? INSTRUCTOR PYRO Maybe it's not my place to speculate on his private thoughts. But I think the Chief knew that his way -- his world -- had come and gone.Jordan nods, understanding. CUT TO:EXT. GRINDER - CORONADO NAVAL BASE - DAYDeHaven. She's holding a press conference, trying to turnpiss into wine -- and doing a pretty good job: DEHAVEN ... of course, we always prefer peace to war. But if we're going to war, give women a piece. Give them the choice to defend their country. And if the President doesn't like that idea -- if he wants to continue to deny women their equal rights -- then I'll be happy to step out back with him any time, anywhere...Jordan approaches. Spotting her, the PRESS PLEADS for aphoto-op with both women. DEHAVEN Jordan? Jordan, dear...Letting silence be the ultimate expression of scorn,Jordan walks right past DeHaven...And joins Royce. Together they turn and leave. C.O. Senator, perhaps this would be a good time for that lunch. Will the America's Cup team be joining us?EXT. BEACH - CORONADO NAVAL BASE - DAYJordan and Royce walk hand in hand, strolling the samebeach she trained on. JORDAN So here we are again. Staring three years of operational duty in the face. ROYCE Look. It's not like you'd be completely out of reach. And maybe we could call in a few favors, get you stationed at Norfolk instead of Coronado. There are ways of dealing with these things -- I mean, if people are so inclined. JORDAN (warily) Which is guy-speak for... ROYCE "Yes, Jordan -- I'll wait for you no matter how long."Finally, the right answer.EXT. AIR STATION - CORONADO NAVAL BASE - DAYSTART TIGHT on Jordan's face. Even beneath the camouflagepaint, we can see her exhilaration. PULL BACK to find herin a line of commandos boarding an IDLING C-130: She'sembarking on her first mission. KEEP PULLING BACK untilwe've lost her completely -- until she's just one soldieramong many, indistinguishable from the rest. FADE OUT. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_G.I. Joe_ The Rise of Cobra.txt b/unformated_scripts/Script_G.I. Joe_ The Rise of Cobra.txt new file mode 100644 index 0000000000000000000000000000000000000000..80c1b678fc7dc990f099c3a6e38d98a329be4078 --- /dev/null +++ b/unformated_scripts/Script_G.I. Joe_ The Rise of Cobra.txt @@ -0,0 +1 @@ + G.I. JOE: THE RISE OF COBRA Written by Stuart Beattie, John Lee Hancock, Brian Koppelman & David Levien November 3rd, 2007 DARKNESS. SILENCE. The following words sear onto screen: Whenever a new breed of evil emerges, a new breed of solider must fight it. -- GENERAL CLAYTON "HAWK" ABERNATHY EXT. THE BASTILLE - PARIS - NIGHT A HEAVY NIGHT MIST swirls around the imposing stone walls of the Bastille. PRISON GUARDS patrol outside with their pikes as the SCREAMS OF PRISONERS echo out the barred windows. SUPER: PARIS, 1641 INT. PRISON BLOCK - BASTILLE PRISON - NIGHT A pair of huge PRISON GUARDS walk down a row of filthy prison cells. Whimpering, starving PRISONERS appear and disappear in the flickering light of the wall torches. A large rat nibbles some stale bread in the corner, watching the guards. Finally, the two guards reach a cell whose PRISONER is not at all whimpering or starving. A huge Scotsman with a proud defiance in his eyes, a RED SQUARE MEDALLION dangling around his neck, glares through the bars. This is JAMES McCULLEN. The guards unlock his cell door, MATCHLOCK MUSKETS at the ready. McCullen stares at the muskets, unimpressed. He speaks with a thick Scottish brogue. MCCULLEN Still using matchlocks, are ya? I can get you a pair of flintlocks, you let me sneak out of here. Everyone else in this sequence speaks with a French accent. GUARD #1 (TEMPTED) Good ones? The other Guard glares at him. McCullen goes for the kill. MCCULLEN The best. From Spain. And perhaps a couple of pretty young ladies to teach you how to use them. Guard #1 is even more tempted, but his partner is a Loyalist. GUARD #2 On yer feet, you Scottish pig. 2. INT. FURNACE - BASTILLE PRISON - NIGHT Huge, sweaty, bare-chested PRISON WORKERS mould something in a furnace, a large chunk of metal in their red hot tongs. The two prison guards muscle McCullen into the room and start to fasten him to a standing rack as a PRIEST begins reciting the Lord's Prayer in Latin. The Warden steps up and reads the charges off a SCROLL OF PAPER. WARDEN James McCullen, you have been found guilty of treason for the sale of military arms to the enemies of our Lord King Louis XIII... even whilst you sold arms to our Lord himself. MCCULLEN Your King is a vile bag of filth who murders his own allies. I should've charged him double. WARDEN You tried to overthrow the Crown in conspiracy with its enemies! MCCULLEN They offered me a Chancellorship, because unlike your simpleton King, they know that is the McCullen destiny, to run the wars, the true power, not simply to supply arms. WARDEN Do you have anything else to say before the sentence is carried out? MCCULLEN Yes, I do. Clan McCullen is far bigger and more powerful than any of you could ever imagine. My sons will continue to rise along after I am gone. As will their sons. And, God willing, their sons. (SMILES) It shall not end with my death. The Warden smiles back sinisterly. WARDEN Oh, we're not going to kill you, McCullen. We're going to make an example of you. 3. The Warden gives a nod to the prison workers who remove the METALLIC OBJECT from the fire. McCullen sees what it is before we do and his face fills with fear. It's a METAL MASK being carried towards him, the hinges open with a hideous creak. McCullen begins to struggle against the rack. WARDEN (CONT'D) So that no man, woman, nor child may ever see your treacherous face again, you shall wear this mask for the term of your natural life. The mask closes around his face. The workers melt the lock. McCullen SCREAMS. AND WE PUSH IN on the RED SQUARE MEDALLION. EXT. NATO HEADQUARTERS - BRUSSELS - DAY The many flags of NATO flap outside its massive headquarters. SUPER: NATO HEADQUARTERS, BELGIUM MCCULLEN (V.0.) War used to be the exception. Now it is the new state of play, a constant, unavoidable... INT. BRIEFING CHAMBER - NATO HEADQUARTERS - DAY The RED SQUARE MEDALLION around the neck of JAMES McCULLEN, gazing over a lectern in a darkened room. Like his doomed ancestor, McCullen carries a proud defiance in his eyes. MCCULLEN Tragic as they are to fight, wars must be won. But perhaps they don't have to be as destructive as they've been in the past. A SERIES OF COMPLEX SCHEMATICS rolls continuously on a screen behind him. McCullen is briefing twenty-two NATO MILITARY COMMANDERS, many of them listening in TRANSLATION HEADPHONES. MCCULLEN (CONT'D) Nano-mites. Perfect little soldiers. Their size can be programmed as well as their intended task. Originally developed to isolate and destroy cancer cells, but at Mars Industries, and with the help of a little NATO funding... 4. A few laughs around the room. McCullen soaks it up. MCCULLEN (CONT'D) .we discovered how to program them to eliminate most anything. For instance... metal. ON SCREEN: A SOLDIER fires a shoulder-launched missile at a tank. The warhead bursts into millions of SILVER MICROSCOPIC NANO-MITES which eat away the metal like piranhas devouring a horse. Then the NANO-MITES fan out from the consumed tank and quickly head for a nearby jeep. MCCULLEN (CONT'D) Once the target has been destroyed, the launcher triggers a kill switch unique to each warhead that short- circuits the nano-mites, preventing any unwanted destruction. ON SCREEN: The Soldier hits a KILL SWITCH on the launcher and the NANO-MITES instantly "drop dead" around the nearby jeep. MCCULLEN (CONT'D) Each warhead contains seven million nano-mites and has the ability to eat anything from a single tank to an entire city. (to consummate salesman) But without innocent casualties. Which is why this has been such a priority for me and my company. The room breaks into APPLAUSE. FOCUSES ON GENERAL HAWK, a British veteran or countless battles, not buying it. HAWK Guess you'll be the first arms dealer up for the Nobel Peace Prize. Laughter in the room. McCullen smiles, being a good sport. MCCULLEN I prefer the term "armament solutions engineer" (more chuckles) Gentlemen! I'm pleased to announce that tomorrow morning your first order of nanotech warheads will ship from my factory in Kyrgyzstan. 5. INT. MARS FACTORY - NIGHT FOUR GLASS-LIKE WARHEADS, each the size of a softball, are placed into four separate compartments inside a WEAPONS CASE by a pair of LAB WORKERS. The KILL SWITCHES are secured next to each warhead. As the case is closed and locked we see the MARS Industries RED SQUARE MEDALLION LOGO on its cover. SUPER: KYRGYZSTAN, CENTRAL ASIA INT. MEN'S ROOM - MARS FACTORY - NIGHT A PAIR OF DOG TAGS drop INTO FRAME in SLOW MOTION. We see the name: "HAUSER, CONRAD R." Still not seeing his face, we watch our soldier strap into his BODY ARMOR and clip on his BATTLE HARNESS. His NAME TAG simply reads: "DUKE". He loads his into the mirror (is that a look of disdain?) and we get our first glimpse of our hero, a handsome, rugged combat veteran with a BATTLE SCAR under his right eye. The sound of RETCHING comes from the stall behind Duke. There is a flush and a strapping young Special Forces Soldier, STALWORTH, steps out. He goes to the sink next to Duke and splashes water on his face. He's pale and sweaty. DUKE The hell's wrong with you, Stalworth, you didn't eat that Chicken A La King at chow did ya? STALWORTH The mission, sir... DUKE What about it? Another day, another run. STALWORTH Never had anything to worry about before. Stalworth's shaky hand pulls a photo out and shows it to Duke: A YOUNG MOTHER with a NEWBORN in her arms. STALWORTH (CONT'D) Three weeks old. Be seeing him for the first time next leave. Duke looks at the picture, then at Stalworth. His eyes go distant thinking about his own past, then they harden again. 6. DUKE You're off the mission. STALWORTH Sir? DUKE That's what you want, right? Stalworth doesn't argue. Duke hands him back the photo. DUKE (CONT'D) If your head's with them, you're no good to me. Stalworth nods. Duke steps closer, now one mean s.o.b. DUKE (CONT'D) One thing, though: you step off this one, you're out of Special Forces. Gonna find you a nice desk and chair back at the base. You're be run of the mill. Regular. STALWORTH I... I guess I can live with that. DUKE Then you should. Stalworth nods, grabs his kit, and leaves. Duke's hard eyes watch him go, then a slight smile creases his lips ... INT. CORRIDOR - NATO HEADQUARTERS - DAY McCullen exits the briefing room into the corridor outside, shaking hands with various Military Commanders. Hawk watches with his aide, a gorgeous German Lieutenant, COURTNEY "COVER GIRL" KRIEGER. When McCullen is alone, Hawk makes his move. HAWK Mr McCullen, Clayton Aernathy, British Army. MCCULLEN (shaking hands) I know who you are General hawk. As sharp in a briefing room as your reputation is on the battlefield. 7. HAWK Not hardly ...You gave me a broad target, I couldn't resist. MCCULLEN It's an honor to meet a man of your many accomplishments. McCullen smiles, then offers Hawk to walk with him. MCCULLEN (CONT'D) What's on your mind, General? HAWK Your warheads. Securing them in transit. Forty pairs of ears in that room now know the when and where. MCCULLEN Those "ears" all have top security clearance. HAWK We both know what that's worth. MCCULLEN Look, General, delivery is my responsibility and it's not one I take lightly. I had NATO assign an elite American Special Forces unit, a fully armored convoy with air support. I assure you, my warheads will be quite safe. HAWK I've made a career of showing up where I'm needed, whether ordered to or not. And if your warheads are half as effective as you say they are.. Then my unit is needed. MCCULLEN This is no time to play catch up. The NATO team's been drilling for weeks. They're lit up and ready to roll. HAWK My unit doesn't need mission specific training. They're chosen because of their ability to handle any situation. 8. MCCULLEN Maybe next time, General... (moves to go, stops) What did you say your unit was called? HAWK I didn't. I just said they were always ready. McCullen continues on down the hall. Hawk gives Cover Girl a look, she reads it and nods. WE SMASH CUT TO: INT. HIGH-TECH DELIVERY BAY - MARS FACTORY - NIGHT A FOUR MAN SECURITY DETAIL escorts two LAB WORKERS as they enter a high-tech delivery bay and wlak past two "COUGAR" PATROL VEHICLES and a huge ARMORED "GRIZZLY TRUCK, all armed with state-of-the-art rooftop weapons. FIFTEEN SPECIAL FORCES SOLDIERS stand at attention in front of Duke. DUKE All right, listen up, the Cougars will be front and back, Grizzly in the middle carrying the package. Minimum distance at all times. Choppers will cover us overhead. The Lab Workers step up. LAB WORKER #1 Captain Hauser. Duke turns to them and start signing forms as WALLACE "RIPCORD" WEEMS takes the case while a little short on academic credentials, Rip is long on confidence, charm, and courage. These two guys are as close as brothers, for better and for worse. Rip looks at the Lab Guy with a jokey grin. RIPCORD Not gonna explode, is it? LAB WORKER (dead serious) They're not weaponized yet. And the kill switches are attached to the launchers. All the same, I'd avoid potholes if I were you. Ripcord stares, then quickly hand the case off to another soldier. Duke shoots him a look and Ripcord shrugs, what? 9. RIPCORD Why not stick it in a chopper and fly it out? If you want, I could-- DUKE --We have our orders. Okay, people! We're on the clock, let's move. RIPCORD MOUNT UP! Duke gives Rip another look. Rip throws him a cheesy grin. The team mounts up. The weapons case to Grizzly. ENGINES ignite. HEADLIGHTS beam. And the convoy rolls out. EXT. MARS FACTORY - KYRGYZSTAN - NIGHT The convoy charges out of the heavily guarded factory gates, passing a sign: "MILITARY ARMAMENTS RESEARCH SYNDICATE". Two BLACKHAWK HELICOPTERS swoop in and follow the convoy. INT. LEAD COUGAR - MARS FACTORY - NIGHT Ripcord drives the lead Cougar, Duke beside him. Two more guys in back, remotely panning a rooftop DUAL MACHINE GUN. DUKE (into radio) Mother Goose, this is Bird Dog. We have the package and are on the dot to make Ganci Air Base ar 0900. RIPCORD You know, I hate all the Mother Goose, bird Dog crap, I just wish they'd let us say, "Hey, Pete, it's Bill, see ya in a few." DUKE Not me, I joined up for the jargon. VOICE ON RADIO Roger that, Bird Dog. Mother Goose out. RIPCORD Just saying, you know, if I ran things... 10. DUKE Rip, if you ran the Army we'd stay up all night, fill our canteen with tequila, and call each other "Bro". RIPCORD But we'd be badasses, right Bro? DUKE (with a sigh) Yeah, we'd be badasses. Eyes on the road, Rip. EXT. CONVOY - MOUNTAIN ROAD - DAWN The two Blackhawks sweep through the skies, silhouetted by the rising sun. Below them, the convoy is thundering down a winding road amid the magnificent Tian Shan Mountain Range. INT./EXT. REAR COUGAR - MOUNTAIN ROAD - DAY A RADAR DISH on the rear Cougar sweeps vigilantly. Inside, a SPECIAL FORCES SOLDIER watches the RADAR MONITOR, clear except for two steady :signatures", the Blackhawks. INT./EXT. LEAD COUGAR - MOUNTAIN ROAD - DAY In the lead Cougar, Duke and Ripcord keep their eyes out. RIPCORD Hey Duke, ya know how they always tell you to empty your head of distracting thoughts on these runs? DUKE Keep your eyes on the road, Rip. RIPCORD And you know how people sometimes joke that it must be easy fr me to keep my mind empty? DUKE Don't listen to 'em. you got plenty of thoughts up there. (into radio) Keep rear security tight, boys. 11. RIPCORD Well, the second I try and make myself not have thoughts, I always have 'em. Like now, know what I'm thinking about? DUKE Please don't say the Air Forces. RIPCORD The Air Forces. DUKE I thought we were done with that discussion. RIPCORD You were done with it, not me. Look, I loev flying... Duke "mouths" the following sentence as Ropcord says it: RIPCORD (CONT'D) I've been flying since I was thirteen years old. Ripcord shoots him a look. Duke just smiles. DUKE I don't think your daddy's crop duster counts as hours logged. RIPCORD Jets, man, jets. You know I always qualify when I'm on leave. DUKE Yeah, yeah, look, you want to get up in the air, we'll get you a trampoline back at the base. RIPCORD We've done ten years in the Army, I just think we should see if the grass really is greener. DUKE This continues to be the stupidest idea you've ever come up with, nd that's saying something. RIPCORD Funny. Real funny. 12. DUKE I don't wanna transfer to the Air Force, okay? RIPCORD It's always about you, isn't it? Give me one good reason? DUKE I want to be in the fight, not flying over it. RIPCORD Won't be saying that when you call in an air strike and I come screaming in to save your-- DUKE --Eyes on the road, Rip. EXT. CONVOY - MOUNTAIN ROAD - DAY Behind the Blackhawks and the convoy an ominous, DARK SHAPE suddenly drops INTO FRAME. ENGINE EXHAUST blurs our view of the aircraft, but we can tell that it's pursuing the convoy. INT./EXT. REAR COUGAR - MOUNTAIN ROAD - DAY On the rear Cougar's RADAR SCREEN, we see the two Blackhawk signatures still appearing in position.. .but nothing else. INT. LEAD COUGAR - MOUNTAIN ROAD - DAY They hit a pothole. Ripcord grimaces, then realizes-- RIPCORD Hey, on the training run weren't there herders around here? This puts Duke instantly on the alert. EXT. CONVOY - MOUNTAIN ROAD - DAY Too late. CONCUSSION CANNONS slide out of ports on both sides of the dark shape. They fire simultaneously. The SUBATOMIC BLASTS punch into the front Blackhawk, crushing it like a beer can on your forehead. It explodes and drops. 13. INT./EXT. LEAD COUGAR - MOUNTAIN ROAD - DAY Duke and Rip see the hall of flaming metal crash in front of them, blocking the convoy's path. Rip hits the brakes. RIPCORD Jesus Christ! Bird Down! DUKE (urgent, but utterly calm) Back up! Back up! Back up! (into radio) Mother Goose, this is Bird Dog. We are under attack. Repeat --we are under attack! EXT. CONVOY - MOUNTAIN ROAD - DAY The second Blackhawk pivots to see the dark shape, --it's like a giant helicopter without rotors, hovering on six JET THRUSTERS. It's a next-gen "TYPHOON" GUNSHIP. The Blackhawk hoses the Typhoon with its six-barrelled MINI- GUNS. But the rounds bounce off the Typhoon's angled armor. The CONCUSSION CANNONS fire at the second Blackhawk, catching it on the nose, crushing it into a flaming ball and sending it reeling ass-over-tail-rotor into the ground behind the rear Cougar, hemming in the convoy. The Grizzly launches two HEAT-SEEKING MISSILES off its roof- turret, but the Typhoon guns them down and fires again. The blast lands directly on top of the rear Cougar, literally flattening it as well as every tree within a hundred feet. INT./EXT. LEAD COUGAR - MOUNTAIN ROAD - DAY Duke sees it all in his rear view mirror, yells into RADIO: DUKE Out! Everyone get out of the vehicles! Now! INT./EXT. GRIZZLY - MOUNTAIN ROAD - DAY A final CONCUSSION BLAST lands between the last two vehicles now. Spinning the Grizzly. It's WINDOWS SHATTER and a thousand lethal GLASS SHARDS shoot inside, killing the drivers. The Cougar flips end over and lands in a ditch. 14. INT. LEAD COUGAR - MOUNTAIN ROAD - DAY Duke and Ripcord land on the upturned ceiling, beat to shit. Duke quickly checks on the two guys in back crushed to death where the blast caved in the Cougar's armor. He looks at Rip. DUKE You okay? RIPCORD (DAZED) Yeah, except for all the blood. Duke sees blood on the back of Rip's head. Then they hear a LOUD ROAR and turn to see the Typhoon hover by the Grizzly. RIPCORD (CONT'D) Who the hell is that? Duke grabs Ripcord and starts dragging him out. EXT. CONVOY - MOUNTAIN ROAD - DAY A SIDE DOOR on the Typhoon hisses open to reveal six "VIPERS", menacing foot soldiers clad head to toe in black BATTLE ARMOR, and armed with fearsome PULSE RIFLES. They exit the Typhoon and spread out to kill anyone left. The decimated Special Forces troops in the Grizzly OPEN FIRE with ASSAULT RIFLES, but the bullets can't penetrate the Viers' armor. The Vipers fire back, the impact from their pulse rifles crush the soldiers' bodies, armor and all, and fling them backwards. Two Soldiers pop two FRAGMENTATION GRENADES and toss them toward the Typhoon. The Vipers shoot one grenade out of the air with their pulse rifles. It EXPLODES well out of range as the other grenade lands on the ground int he middle of the pack. Another shot from a pulse rifle punches the grenade six feet underground. A DULL WHOOMP, lifts the ground by a foot. Meanwhile, another figure emerges out of the Typhoon. Long, slender legs in high black boots, the rest if her covered in black, form-fitting BODY ARMOR. She's beautiful, exotic, and most of all, lethal. She's known in certain circles only as "THE BARONESS" but we will know her as ANA. Her DARK GLASSES glint menacingly as she strides towards the Grizzly. The two Special Forces Soldiers who threw the grenades pop up to shoot her. But she quick-draws a pair of PULSE PISTOLS. BOOM! BOOM! The shots crush both soldiers. 15. Ana flips the pistols back into her holsters as a Viper blows the back door off the Grizzly, allowing her to climb inside. She blithely steps around the corpses and removes the WEAPONS CASE. Duke now has Rip ver his shouders and is running like hell. RIPCORD Duke? DUKE Shut up. RIPCORD If I die... DUKE You're not gonna die. RIPCORD I just want you to know... you never could run worth a damn. DUKE Jesus, Rip. RIPCORD I'm just saying, it's be nice if you could move a little faster. And that's when the Cougar blows, a concussive blast. Ana turns with the weapons case in time to see Duke and Rip go ass-over-teacups down into a ditch. She touches the stem of her glasses which ZOOM IN on Duke. DOWN IN THE DITCH: Duke rolls over and looks at Rip. DUKE Stay here. RIPCORD (really messed up) Sure. DUKE I'm gettin' that package. Duke leaps up and hauls-ass down the ditch, then crouch-runs up the embankment. --And comes face to face with a Viper, who raises his pulse rifle, about to blow Duke away. A hand clamps down over the barrel. The Viper looks at Ana beside him. Duke also looks at her, a flash of shocking recognition ripples across his face. 16. Ana touches the stem of her glasses and the DARK LENSES turn clear, revealing her gorgeous eyes. DUKE (CONT'D) What the hell...? Her face softens hesitantly. ANA Hello, Duke... Then she round house kicks him with her boot across the face, knocks him out on his ass. ANA (CONT'D) You have to admit you had that coming. Ana struggles with something going on inside her head. Then her face reluctantly hardens and she takes her hand off the first Viper's gun barrel, giving Duke an apologetic look. ANA (CONT'D) Good-bye, Duke. Duke can't believe it. Ana suddenly glances up at something behind Duke. It's a "HOWLER" TRANSPORT rocketing onto the scene, its four-winged JET THRUSTERS rotating ninety degrees to slow it into a hover. Duke takes the opportunity to jump to his feet and lay out in the Viper. Ana turns and hauls- ass. A BLACK-CLAD FIGURE fast ropes down out of the Howler and lands behind a Viper and SNAPS his neck. Moving in a blur, he draws and buries a KATANA BLADE into another Viper. Then he glances at the last Viper who's lining up on him, too far away to reach with his sword. He quick-draws a GLOCK PISTOL. BAM! Right between the eye slit in his helmet. All this in the space of six breathless seconds. Duke glances at the almost mystical figure of SNAKE-EYES sheathing his sword on his back while holstering his smoking Glock. RED NINJA CLAN MARKING on his tri-cep. Bad-ass defined. Snake-Eyes leaps behind the Cougar wreck as a pulse burst just missed him. Duke immediately takes off after Ana, his eyes locked on the weapons case in her hands, PULSE BURSTS crackling past his head. He curses under his breath: DUKE Air Force.. .right. 17. A Viper lines up on Duke, but a laser-like ARROW BOLT rips through his eye-slit and ELECTROCUTES him, courtesy of SHANA "SCARLETT" O'HARA who fast-ropes down from the Howler, holding a gas-propulsion CROSSBOW PISTOL. She lines up on another Viper, but he's too quick, ducks behind the GRIZZLY. But Scarlett's CROSSBOW PISTOL viewfinder snapped an image of his FACE ARMOR. She darts behind the COUGAR WRECK with Snake- Eyes, swiftly targeting the Viper's eye-slit on her pistol's LED SCREEN. Then she fires behind her, in the complete other direction to the Viper, the arrow bolt flies away, then turns around and zeroes in on the Viper, finding him behind cover, the smart-arrow slams right through his eye-slit. Another Viper sees this and bolts toward the Typhoon, but LAMONT "HEAVY DUTY" MORRIS leans out of the landing Howler holding a dual MACHINE GUN/GRENADE LAUNCHER. Only a man this big can carry such a weapon. HEAVY DUTY Time to lay down some bass! He fires a grenade and the Viper flies back OUT OF FRAME. You blink, you miss it. BOOM! The Typhoon fires at Heavy Duty, but the Howler is just as nimble, fires its LEFT-SIDE THRUSTERS which roll it onto its side. The CONCUSSION BLASTS whip past and decimate the forest behind it. Hanging awkwardly, Heavy Duty fires a double blast of hand grenades. The Typhoon's mini-gun quickly shoots them out of the air. The Howler fires MISSILES which hit the CONCUSSION CANNONS and rip them apart. The Typhoon SHAKES. Ana races for the recovering Typhoon. Duke races after her through a hail of pulse-fire and draws his PISTOL. DUKE Ana! She whirls around, drawing the weapons case over her chest and face, using it as a shield. Duke hesitates, because of the warheads or Ana? Heavy Duty goes to shoot at her. SCARLETT The warheads! Heavy Duty reluctantly doesn't shoot, everyone watching Ana backpedal towards the waiting Typhoon. Duke charges like a bull and tackles her. Ana sprawls and the case tumbles free. Duke and Ana go eye-to-eye for a split second, then Duke goes after the case while the Joes take the opportunity to spray gunfire her way. Ana zigs, zags, and dives into the Typhoon, which is raked by the bullets. 18. Duke grabs up the case as the Typhoon launches into the sky and disappears over a rise ... SILENCE... Scarlett, Snake-eyes and Heavy Duty now approach Duke, who whirls around at them, pistol up, eyes wild. DUKE Stand down! Stand the hell down! HEAVY DUTY Lower your weapon, Sir. We're not the enemy. DUKE Pointing weapons at me doesn't make you my friend. ABEL "BREAKER" SHAZ jumps out of the Howler wearing a computerized SURVEILLANCE SUIT, a French/Tunisian ACCENT: BREAKER Please hand over the case, sir. DUKE I don't know who you are, and I sure as hell don't know who they are, and until I find out, I'm not lowering anything or handling anything over. CLICK-CLACK. They turn to see Ripcord shouldering a rifle. RIPCORD What's your unit? SCARLETT That's classified. Snake-Eyes discreetly grabs SHRUNKEN THROWING STARS from his belt, but a look from Scarlett makes him out them back. BREAKER Someone would like a word with you. Breaker sets a holo-projector on the ground in front of Duke, which projects a 3D IMAGE OF GENERAL HAWK. Duke is stunned. HAWK State you name and rank. DUKE .you first. 19. HAWK My team just saved your life. now's the part where you say "thank you". DUKE Those aren't the words that come to mind just now. We weren't told about any support for this mission, so you better tell your team to stand down. Ripcord eyes his sight. RIPCORD Happy to turn this into a turkey shoot. Someone OFF-PROJECTOR hands Hawk a file, he looks at it. HAWK You must be... Ripcord, expert marksman, weapons specialist, jet QUALIFIED-- RIPCORD (to Duke) Told ya. HAWK I'm General Clayton Abernathy. You may have heard of me, .Duke. A glint of recognition flickers across Duke's eyes, he nods. DUKE General hawk. Afghanistan, NATO Forward Command... Breaker sees his chance and gingerly steps up to Duke and starts sweeping a scanner across the case. Hawk smiles. HAWK That was my last job. (a twinkle in his eye) I'm in a whole new outfit now. Duke swivels his gun to Breaker's head. Breaker flinches. BREAKER Just need to deactivate its tracking beacon, for security. 20. HAWK Hand over the weapons case son, and let us deliver the warheads. DUKE No way. I signed for 'em. My mission, my package. I carry them, I deliver them. Breaker's scanner BEEPS. He keys a button. The BEEPING promptly stops. He throws a look at Duke. BREAKER Wasn't hard, was it? DUKE Fine. But you seem to be a little short on transportation a the moment. Team Alpha will deliver you to me. DUKE (CONT'D) And where exactly are you, General? INT. CONTROL ROOM - THE PIT - DAY Hawk stands in front of a HOLO-CAM amongst a sea of computers, Cover Girl behind him, Duke on a monitor. HAWK Come see for yourself. EXT. HOWLER - EGYPTIAN SKIES - DUSK The Howler skims over the GIANT PYRAMIDS OF GIZA, a caravan of camels below. The aircraft continues out into the golden desert, too fast for anybody to get a good look at it. INT. HOWLER -SKIES - DUSK Scarlett is cleaning Ripcord's head wound. RIPCORD Hey, you're cute. SCARLETT He's going into shock. RIPCORD What's your name, darlin'? 21. Snake-Eyes stabs Ripcord hard int he arm with a drip-needle, Rip angrily eyeballs him and stifles a scream. SCARLETT I thought all the Special Ops guys were tough. RIPCORD We are tough ... . but also sensitive. (feeling the drugs) Whoa, that's some mucho primo stuff you gave me. Rip is high now, his eyes float up to Heavy Duty who stares back at him. Rip reaches out to touch his well-cropped hair. RIPCORD (CONT'D) .and a kung-fu grip. HEAVY DUTY The name's Heavy Duty. Duke has the weapons case on his lap. DUKE What kind of outfit is this? Not regular Army based on the accents. (to Scarlett) I have you as an Aussie... (looks to Heavy Duty) And you're a Johannesburger... (then Breaker) And you: French North Africa. Algiers? BREAKER Tunisia. Where were you born? RIPCORD Are you kidding me? Duke wasn't born, he was Government-Issued! DUKE But somehow you're all in the same unit. One you can't tell me the name of right? SCARLETT We'd get tossed for telling. 22. RIPCORD Duke, Duke, don't you get it: they're super secret, they're Mission Impossible. This tape's gonna self-destruct in five-- DUKE --You're gonna go after them aren't you? The ones that hit my convoy. (SILENCE) Then whoever you are, whatever this unit is, I want in. BREAKER Not our call. Ripcord sits up, really woozy, looks at Scarlett. RIPCORD I want in too. That way we can spend some bunker time together. A SWORD suddenly slices across Rip's face, an inch away. It's Snake-Eyes, checking his blade, seemingly innocent. But the message is not lost on Ripcord. Scarlett looks at Duke. SCARLETT You two a team or something? RIPCORD We've been together forever. (off her look) But not like that. Hi, I'm Ripcord. SCARLETT Why do they call you that? Breaker laughs, reading Ripcord's file: BREAKER Because his name is Wallace Weems! INT. SECURITY ROOM - THE PIT - DAY Eight SECURITY TECHNICIANS sit around an island console in a small, windowless room. Working their keyboards and watching the HOLOGRAPHIC IMAGE of the Howler soaring across the dunes. A technician hits a LARGE SWITCH on his console. SECURITY TECHNICIAN #1 Alpha-One, this is Base. You are cleared or entry. 23. EXT. HOWLER - SKIES - DAY And a huge sand dune directly in front of Howler spirals open to reveal a CAVERNOUS HOLE. The Howler's THRUSTERS twist vertical and it drops like a helicopter into the hole. SUPER: Global Integrated Joint Operating Entity. INT. LANDING PLATFORM - THE PIT - DAY The Howler descends beneath the surface onto a dark platform as the roof spirals shut and FLOOD LIGHTS switch on. The door of the howler opens and the team steps out. Duke and Ripcord follow hesitantly with the weapons case. A VOICE calls out to them from the shadows: HAWK (O.S.) Welcome to the new Pit! Duke and Ripcord turn to see hawk and Cover girl walking out from behind the lights. HAWK (CONT'D) Duke. DUKE General. HAWK I've read a lot about you two. RIPCORD Okay, look, I didn't "steal" that Blackhawk, I was borrowing it... Duke shoots him a look. Hawk steps right up to Duke. HAWK Matter of fact, I saw that one of my subordinates tried to recruit you to our little operation a while back. DUKE I was never asked to join any Op group. HAWK Remember a tall gentleman approaching you in Thailand when you were on leave, four years ago? 24. DUKE Vaguely. HAWK Right before you tore up the bar? RIPCORD Four years? My man had some issues. Duke shoots him another look, then turns back to Hawk. DUKE This doesn't look like any Tac Op I've ever seen. Where are we? HAWK Okay, you trusted me by going with my team, so I'll trust you. There's a loud METALLIC CLANG and part of the PLATFORM begins to descend. They pass the URBAN COMBAT LEVEL where MEN and WOMEN are training with next-gen urban warfare equipment. HAWK (CONT'D) Technically, GI JOE doesn't exist. But if it did, it'd be comprised of the top men and women from the best military units all over the world. The alpha dogs... They see a pretty woman sip into a next-gen CAMO-SUIT, which reflects and refracts light, making her nearly invisible. RIPCORD Oh man, I want one of those. BREAKER The suit or the girl? RIPCORD Both. Scarlett's eyes roll. They descend into the DESERT COMBAT level, where soldiers train with desert warfare equipment. HAWK Ten nations signed on in their first year. Working together, sharing intel. Now we have twenty- three. 25. DUKE I've never seen combat gear this sleek, what's the trick? SCARLETT Liquid armor. They reach the DEEP SEA COMBAT LEVEL where dozens of men and women are testing fantastic next-gen UNDERWATER VEHICLES. HAWK (O.S.) Good news is we've been pretty successful so far. The bad news is whenever we manage to shut down one organization, another springs up in its place. RIPCORD Who could possibly fund all this? HEAVY DUTY Oprah. INT. CONTROL ROOM - THE PIT - DAY Hawk now leads the group into the Control Room where more TECHNICIANS man consoles. Duke still has the weapons case. CONTROL ROOM TECHNICIAN #1 Mr. McCullen's standing by, Sir. HAWK Patch him through, please. DUKE So who hit us out there? COVER GIRL Currently unidentified. HEAVY DUTY And how'd that bitch in leather get a jump jet like ours? SCARLETT Whoever she is, she's clearly well- financed, with access to highly classified intel and state of the art weaponry. Their capabilities are beyond anything we've ever encountered. 26. RIPCORD That's the reason we got our asses kicked. Duke betrays nothing. Hawk looks at him. HAWK We're going to need to find out everything we can about her. Knowing is half the battle. RIPCORD What's the other half? McCullen now appears next to Ripcord and walks through him. RIPCORD (CONT'D) Jesus! And we realize McCullen is here courtesy of a HOLO-PROJECTOR. A ring of cameras provides him with images of the Joes. HAWK Gentlemen, this is James McCullen, CEO of MARS Industries, the man who built these warheads. WE INTERCUT THIS SCENE WITH McCullen standing in front of a HOLO-CAM in a small room somewhere. THE HOLOGRAPHIC IMAGES of hawk, Duke, and the others around him. MCCULLEN General, most men I've encountered in this business over-promise and under-deliver. You're the opposite. Clearly, you were the security option I should have chosen. ON DUKE: Steaming behind his military demeanor. DUKE My team did everything we could out there. A lot of good men went down-- MCCULLEN --But not you. DUKE That mission was classified, sir. Clearly, somebody sold us out. 27. MCCULLEN I've spent ten years and thirteen billion Euros creating these four warheads. Your job, Captain, was to protect them, and if it wasn't for General Hawk, you would've failed. HAWK That's not a fair assessment. He followed his orders to the letter. MCCULLEN Well that wasn't enough. Duke bristles. McCullen turns to Hawk. MCCULLEN (CONT'D) What are your coordinates? I'll have NATO send another special ops team to retrieve the warheads, company strength this time. HAWK Apologizes, Mr McCullen. It's not that I don't trust you...I don't trust anybody. MCCULLEN (SMILES) Are you sure you're not a McCullen? HAWK I don't talk smooth enough to be a McCullen. MCCULLEN You do just fine, General. Now, so the bastards who attacked you can't find you, you need to disable the tracking beacon hidden in the case. BREAKER We already have. MCCULLEN Good man. So, can I count on you to deliver the warheads to NATO now? HAWK I think it unwise to expose them at the moment. This group might make another attempt. (MORE) 28. HAWK (CONT'D) We need to find and neutralize them before we can consider moving your weapons. MCCULLEN Alright. But allow me to check the warheads to see if any have been damaged. Duke begrudgingly sets the case down. Breaker turns on his suit's BALL-EYEPIECE. It goes into X-RAY MODE and we see the NANO-MITES crawling around inside the four warheads. MCCULLEN (CONT'D) Open it, please. BREAKER My scan says they're intact... MCCULLEN General? HAWK What's the code? ON DUKE, listening carefully. MCCULLEN Five-two-nine-four-four-oh. Breaker enters the code. As the case opens, Breaker discreetly watches McCullen in his BALL-EYEPIECE SCANNER. McCullen runs his holographic fingers over the warheads. Satisfied, he turns to Hawk. MCCULLEN (CONT'D) Please keep me informed of your progress, General. Duke and McCullen share a quick glare. And then McCullen cuts the feed. Scarlett notices concern on Breaker's face. SCARLETT Breaker? BREAKER That bloke's Beta waves were going up, down, and sideways... I think he's hiding something. And off the faces of the rest of the group WE CUT BACK TO: 29. INT./EXT TRIDENT - DAY McCullen turns as Ana appears on a HOLO-PROJECTOR behind him. MCCULLEN I spend five years setting this up. Wringing money out of NATO. This was supposed to be the easy part. ANA If you'd let me stage the assault at your precious factory, we could have contained the situation. MCCULLEN And lost the trust of our clients in the process? It had to be NATO's fault. (steps closer) What happened? Did you hesitate? ANA You're implying this was about some ancient history? That's as laughable as your Intel. What went wrong was the Joes appearing out of nowhere. He stares at her suspiciously, then softens. MCCULLEN Forgive me, jealousy isn't my strong suit. ANA Forget that, where are we now? Have you tracked the case? MCCULLEN They deactivated the beacon. I gave them a code to quietly re-arm it. McCullen hits a key, a SCREEN switches on, displaying A MAP OF THE WORLD. A BEACON LIGHT flashes over a spot in the Egyptian desert, grip coordinates blinking. MCCULLEN (CONT'D) There it is. The infamous Pit. ANA I will get those warheads back. 30. McCullen steps forward and lovingly caresses her face, his hand going right through her. McCullen whispers menacingly. MCCULLEN I hope so. ANA (diffusing the threat) If I were really there, I might actually let you touch me. MCCULLEN (sly smile) I'll send a jet. ANA Business first. Besides, I'm married, remember? Her holo-form blinks off, leaving McCullen alone in the room. MCCULLEN Sometimes I really hate technology. He sighs heavily, then hears a VOICE: STORM SHADOW (O.S.) It is most often used by those without honor. McCullen turns to see STORM SHADOW, a well-tailored Korean man whose soul has long since departed, standing on the other side of the room. MCCULLEN There can't be any more mistakes. The schedule can't be compromised any further. STORM SHADOW If you had sent me, it would be done. MCCULLEN (walking towards him) I'm sending you now, Storm Shadow. To the Baroness's villa. .Make sure her commitment doesn't waiver. Storm Shadow nods, McCullen continues on THROUGH him. We now realize Storm Shadow was a holo-proj. Storm Shadow vanishes. 31. McCullen steps up to a large oval perspex window. WE PULL BACK out of the window to reveal that he's riding through DEEP ARCTIC OCEAN inside a next-gen "TRIDENT" submarine. CAMERA KEEPS PULLING BACK to show the Trident approaching the docking bay of a MASSIVE FACILITY built into the seabed under the jagged canopy of the POLAR ICE CAP. The place is defended by several HARPOON CANNONS and a fearsome TURBO-LASER. It's a breath-taking sight, but also a little frightening. INT. DOCKING BAY - DAY The MARS LOGO is stamped on a pair of WATER-TIGHT DOORS. The logo pulls apart as the doors open, allowing McCullen inside the docking back entrance. Waiting for him is a man known only as THE DOCTOR. His face hidden by a life-support mask that continually pumps air into his lungs and also mechanically helps him to speak without the vocal chords he is missing. THE DOCTOR Welcome back. MCCULLEN Good to be back. THE DOCTOR we've been very busy. He gestures to TWENTY MERCENARIES or various ethnicities, all standing at attention, not a single muscle moving among them. These are NEO-VIPERS. The baddest of the bad. MCCULLEN Is it working? THE DOCTOR You tell me. The Doctor beckons a waiting LAB ASSISTANT who rolls out a glass case containing an eighteen foot long KING COBRA. the Doctor bends down and gazes at the snake. THE DOCTOR (CONT'D) The King Cobra is a magnificent creature. Its venom can kill a full grown elephant with a single bite. He rattles the case and the cobra HISSES at him, revealing its hood. The Doctor steps up to a Neo-Viper and shows McCullen an INCISION SCAR behind the Neo-Vipers' right ears. 32. THE DOCTOR (CONT'D) We introduced into each subject one thousand cc's of the nano-mite solution. As expected, subjects became extremely ill and fell into a coma-like state for approximately forty hours. The Doctor produces a small HANDHELD DEVICE from his pocket, A FILE PHOTO of a Neo-Viper appears on the device's screen. THE DOCTOR (CONT'D) When they returned to sentience, brain scans showed complete inactivity in the self-preservation region of the cortex. MCCULLEN English, Doctor. The Doctor keys a demand and that particular Neo-Viper steps up and sticks his bare arm into the case through a portal. THE DOCTOR They feel no fear. The Neo-Viper grabs the cobra and squeezes, the cobra bites his arm, latching on, sinking its venom into his veins. The Neo-Viper doesn't even wince. THE DOCTOR (CONT'D) Cortical nerve clusters revealed complete inactivity-- MCCULLEN --Doctor. THE DOCTOR They feel no pain. The Doctor keys another command and the Neo-Viper obediently lets go of the cobra and removes his arm from the case. THE DOCTOR (CONT'D) Frontal lobe concepts of morality are disengaged... No remorse... MCCULLEN And they are completely obedient? THE DOCTOR Of course. .The real world applications are endless. 33. The Neo-Viper's knees give out. McCullen watches curiously. WE SMASH CUT INTO the NEO-VIPER'S BITE WOUND where the WHITE VENOM is racing through a blinding labyrinth of veins. THE DOCTOR (V.0.) (CONT'D) The nano-mites will target the venom. STILL IN HIS VEINS we see hundreds of MICROSCOPIC NON-MITES rushing to meet the venom head on. Blocking it. Then swiftly pushing it back. All the way to the original fang holes. The venom seeps out of the holes and drips off the Neo-Viper's arm. He stands and returns to his place in line without a word. The Doctor looks at impressed McCullen. THE DOCTOR (CONT'D) So you tell me: is it working? INT. CORRIDORS - DESTRO HEADQUARTERS - DAY The Doctor follows McCullen through various corridors. THE DOCTOR The science is staggering isn't it? MCCULLEN You've done well. You've thrown the caber clear out of the yard. THE DOCTOR But research and science are expensive propositions. If I can make a suggestion..? McCullen stops and looks at him, there is something truly menacing and evil behind this Doctor's mask. THE DOCTOR (CONT'D) Selling one batch of warheads on the black market could fund-- MCCULLEN --I appreciate your thirst for knowledge, Doctor. But this world is messy enough. Factions fighting and scrabbling for control, for resources, and it's only going to get worse as the century progresses. No. What the world needs is unification. Leadership. (MORE) 34. MCCULLEN (CONT'D) It needs to be taken out of chaos by someone with complete control. He looks through a portal into a shadowy OPERATING CHAMBER, where a brilliant but vicious looking MAN is being scanned by SMART ROBOTS. This is ZARTAN. A Smart Robot begins to change Zartan's fingerprints, which we see on a monitor. MCCULLEN (CONT'D) My family was once this close to that kind of power... (LAUGHS) The French... Zartan CRACKS HIS KNUCKLES and gives McCullen a nod. McCullen looks back at the Doctor. MCCULLEN (CONT'D) Once I get my hands on the reins, the money will take care of itself. You'll be able to do all the research you want. McCullen strides off. The Doctor stares after him. INT. CONTROL ROOM - THE PIT - NIGHT Duke, still holding the briefcase, stares at a PHOTO OF ANA from the ambush, now up on a monitor. BREAKER We grabbed an image from Heavy- Duty's helmet cam. Ripcord looks stunned, he leans closer to Duke and whispers: RIPCORD Hey, that's-- Duke cuts him off with a look. Breaker extracts a full 3D FRONT-VIEW of Ana's face from the photo. Then on an adjacent monitor, he runs an endless series of PHOTOS OF WOMEN. BREAKER Now we can run the face through an infinity scan. HAWK We have access to any photograph on any server anywhere in the world. 35. BREAKER Everyone gets photographed in some way at some time. ATM machines, airports, crowd shots at a football game. We'll find her. Duke just stares at Ana's photo. Ripcord whispers quietly: RIPCORD You okay? DUKE (not okay) .what happened to her? For once, Ripcord doesn't know what to say. Cover Girl walks in and hands a document to Hawk, who looks through it. HAWK From NATO. I am now the official custodian of the warheads. Your mission is complete. Once you hand it over, that is. Duke nods, hands over the case with a hint of defeat. DUKE When you move it, she's gonna come after you, you know that, right? (off Hawk's look) And with her Intel, and her toys... she'll find you. HAWK And your point is...? DUKE You're going to go after her first. And I want to help. RIPCORD Let us in on this, General. Our team just got wasted. I think a little payback is in order. HAWK You don't ask to be a part of GI JOE. You get asked. DUKE You scouted me four years ago, now I'm ready. Let's have at it. 36. HAWK I've lost men too, Captain. Good men. But attempting to-- DUKE I know her. HAWK Excuse me? DUKE You said knowing is half the battle. Well, I know who she is. Duke reaches into his pocket, pulls out a photo and shows Hawk. INSERT PHOTO: Ana, four years earlier, much softer looking, staring lovingly at Duke as they're about to kiss. DUKE (CONT'D) Her name is Ana Lewis, and I can tell you everything you need to know about her until... four years ago. After that, well, obviously sa lot's changed. Hawk just stares in disbelief. INT. HAWK'S STATEROOM - DAY Hawk sits down behind his desk and looks up at Duke, still standing at attention. HAWK Before this goes any further, I need to know what I'm dealing with, a man looking to settle a score, or a man who can put the mission first. Because the battlefield is the wrong place for emotion. (he pauses for effect) Could you kill her? DUKE If I had to. HAWK Chances are you will. But if you flinch, hesitate even an instant... what I'm trying to say is, unless you can kill her graveyard dead I don't want you. 37. DUKE I can. (off Hawk's look) I signed on to deliver those warheads, General, and despite your present authority, I want to finish the job. Hawk regards him for a moment. HAWK So tell me about her. DUKE Okay, I'll start right here: I hope that vault is tight, because she always gets what she wants... EXT. THE BARONESS' MANSION - PARIS - NIGHT A BLACK, BEEFED-UP SUV drives towards a magnificent mansion in the Parisian suburbs. Though the vehicle looks relatively harmless, we'll come to know it as a "SCARAB" attack truck. SUPER: PARIS, FRANCE INT. FOYER - THE BARONESS' MANSION - PARIS - NIGHT Ana enters the mansion. SERVANTS take her coat as her handsome, sophisticated and well dressed husband, BARON LEON DECOBRAY, glides up to her, very French. They kiss warmly. DECOBRAY Hello, darling. ANA How is work at the lab? DECOBRAY Steady progress. ANA So the Minister of Defense was pleased? DECOBRAY He was. You know I wish I could tell you more... ANA Of course. 38. DECOBRAY You were gone a long time. How were the shops in Monte Carlo? ANA I didn't get what I was after. They head up the stairs. DECOBRAY I suppose I should be grateful. ANA Most husbands would be. DECOBRAY Most husbands don't have such mysterious wives, they know exactly where they are and what they do. ANA (TEASING) They think they know. INT. MASTER BEDROOM - THE BARONESS' CASTLE - NIGHT Ana throws open the double doors to her grand bedroom on a high floor with a view of the Eiffel Tower. ANA I never get over how beautiful... DECOBRAY (staring at Ana) Neither do I. She spots Storm Shadow standing in an ante room and quickly spins to face her husband. She pulls Decobray close and kisses him. Storm Shadow makes a move, but ana warns him off with her eyes, She finishes the kiss and looks at Decobray. ANA Let me change and freshen up and I'll meet you for dinner. DECOBRAY Of course. Decobray smiles at her and leaves. The smile falls from Ana's face as she spins around and heads for Storm Shadow. 39. STORM SHADOW Mr. McCullen gave me explicit orders to sever the Baron's spine if he so much as touched you. ANA He's my husband, of course he touches me. Tell McCullen to grow up. Besides, the Baron says his work in the lab goes much better after we've... touched. And that's the important thing. STORM SHADOW I'll be accompanying you to retrieve the warheads this time. Along with some of the men the Doctor's been working on. ANA (with distaste) The Doctor. STORM SHADOW We go at dawn. Storm Shadow turns and heads out through the doors. Ana Stands alone in her room now, she heads over to her dresser and opens a hidden drawer. Inside is a SMALL BOX. She opens it carefully and gazes at an ENGAGEMENT RING inside. Something sad and lonely in her eyes... And WE FLASHBACK TO: INT. MILITARY CLUB - WASHINGTON D.C. - NIGHT A crowded military club. OFFICERS and ENLISTED dancing to an orchestra. And there's Ana, the most beautiful woman in the room. Wearing a black dress. Slightly younger and with none of the cold viciousness she displayed earlier. She's dancing with Duke who's wearing his officer's DRESS UNIFORM, replete with bars and medals. She laughs as Duke whispers something in her ear. She's in love. And so is he. Ripcord is in a booth, downing shots with four ENLISTED WOMEN. He has his arms around two of them and looks loaded. RIPCORD My hot tub only holds four. (COUNTS) No, five. 40. EXT. VERANDAH - OFFICER'S CLUB - FLASHBACK - NIGHT Duke leads Ana outside onto a quiet verandah, the lights of Washington shimmering beyond them. He suddenly kneels down in front of her, an ENGAGEMENT RING in a box in his hand. Ana gasps with shock and joy, tears welling in her eyes. DUKE I've been wanting to do this before we deploy. ANA Duke...it's beautiful. It's too nice you lunatic. DUKE Only time I'm buying one of these, so why not? They stare a each other, a touching beat. Then Duke screws up his face, worried? DUKE (CONT'D) Well, what do you say? She's too emotional to speak. And then they hear: REX (O.S.) Say yes, you idiot...! Lieutenant REX LEWIS saunters up, MEDICAL INSIGNIA on his collar. The look on his face tells us he's happy for them. REX (CONT'D) .Before I tell my new brother-in- law what it's like to share a bathroom with you. DUKE Thanks for killing the mood, Rex. REX I was coming to offer you a ride back to post. ANA Time already? DUKE We go at oh-five hundred. 41. ANA Is it WMDs? It is, right? That's why you're pulling Rex out of the LAB-- DUKE Ana, we can't-- ANA Yeah, yeah. Classified. Top Secret. Have to kill me if you told me, blah, blah, blah. DUKE Speaking of classified information, you still haven't answered. ANA Yes. Of course it's yes. On one CONDITION-- She grabs REX and pulls him down on his knees next to Duke. ANA (CONT'D) Promise me that you won't let my genius egghead brother get hurt. (looks at Rex) He's the only family I've got left. (back to Duke) Promise me. DUKE I promise. She smiles and holds out her hand. He threads the ring onto her trembling finger. Rex smiles, but in his eyes is a glint of instability. Ripcord comes CRASHING OUT through shuttered doors and sprawls out next to them, arms and legs akimbo. DUKE (CONT'D) Jesus, Rip. Ripcord rolls over and yells back through the doors: RIPCORD How was I supposed know she was married!? (then, notices the ring) Nice rock! Hey, are you proposing? DUKE I'm done proposing. 42. ANA I already said yes. RIPCORD Not official until you answer my question. Do you love my boy? ANA Always and forever. Ripcord flips open his CELL PHONE and takes the photo of Ana that Duke carries with him. RIPCORD Now I've gotta find someone to love me, as many times as possible for the next three hours. WE PUSH IN ON THE PHOTO, then SMASH CUT BACK TO THE PRESENT. INT. THE PIT - URBAN ENVIRONMENT - DAY On Duke, watching Heavy Duty pulling out an ACCELERATOR SUIT. HEAVY DUTY If you want to join us, you'll need to be mission ready, Joe style. This is the Mark One Accelerator Suit. RIPCORD What's it accelerate? HEAVY DUTY You. It'll make you run faster, jump higher, and hit harder than any of your enemies. A TITANIUM BOOT slides over a shoe. COBALT MACHINE PARTS snap into place with a HISS over Duke and Rip's arms and legs. HEAVY DUTY (CONT'D) Head-to-toe turbo-hydraulics and highly-pressurized pneumatics. They both slap on aerodynamic, flying-wing HELMETS. Inside, the CYBERNETIC POWER-UP with an ear piercing whine. LASER ENHANCED LED readouts scramble and fritz across their HUDs. 43. HEAVY DUTY (CONT'D) An advanced cybernetics heads-up display, feeding into your helmet. Duke checks out two gas-propelled GRAPPLING SPEARS and six WRIST ROCKETS around his right forearm. HEAVY DUTY (CONT'D) Two gas propelled grappling spears and six ten millimeter, hi- explosive, heat seeking, fire-and- forget rockers. Rip spins the twin barrels of a caseless SUBMACHINE GUN on his left forearm. A Cheshire grin spreads across his face. HEAVY DUTY (CONT'D) And a nine millimeter, caseless submachine gun with six hundred rounds capable of firing all of them in thirty seconds. Duke and Ripcord are now buckled in, getting a feel for the FLEXIBLE, POLY-ALLOY SUITS. Ripcord glances at Heavy Duty. RIPCORD I just missed everything you said. (turns to Duke) How do I look? Pretty cool, huh? INT. TARGET RANGE - URBAN COMBAT LEVEL - DAY Duke and Ripcord run through and URBAN ENVIRONMENT OBSTACLE COURSE, 3D HOLO-PROJECTION TERRORISTS lunging out at them. The guys take them out one by one, never more than a split second after they appear. The HOLO-PROJECTIONS fritz and die. They reach the end of the and a BUZZER SOUNDS. At the back, arms crossed, impassively taking it all in, is Hawk. Scarlett approaches the guys with an ELECTRONIC CLIPBOARD. SCARLETT Sixty-three seconds. Not Bad. But not good enough. Gotta get under a minute to qualify. DUKE What's the record? SCARLETT Forty-five. 44. RIPCORD Don't tell me, Snake-Eyes? SCARLETT No, me. Ripcord glances at Scarlett's CROSSBOW PISTOL. RIPCORD You can do this whole course with that thing in forty-five seconds? SCARLETT If you're going to shoot at something, kill it. Otherwise take up knitting. RIPCORD When I want something, I don't just shoot at it... (steps close to her) When I get a target in my sights, I take it down. His meaning is clear. She holds his gaze, slaps a magazine into her CROSSBOW PISTOL and hands it to him. SCARLETT Here. Go on. Try it. RIPCORD I wouldn't want to show you up. SCARLETT Oh, that's so thoughtful of you. RIPCORD What can I tell you? I guess I'm just a considerate, humble guy. You'll learn that about me. SCARLETT I'm the "target in your sights," right? You've got ten rounds to "take me down". RIPCORD I don't want to hurt you. SCARLETT They're training arrows. The most I'll feel is a little jolt. 45. Scarlett walks back and faces him. He glances aside at Duke who is loving this. Ripcord readies the pistol. Scarlett darts left. He shoots and misses. She darts right. He misses. DUKE C'mon, Rip. Ripcord tries harder, genuinely doing his best. But Scarlett us too fast. Ducking and weaving around Ripcord, as nimble as a cat. Five more shots miss her. And now Ripcord's feeling the pressure. He waits for her to move. Fires. She leaps up onto a corner wall and the bolt passes underneath. He fires again as she lands, ducks under it and rolls up to him. He fires his last bolt point blank. She catches it in her left hand by the stem as it leaves the chamber. Slamming her body up against his. Right hand behind his head, left hand holding the bolt. Their faces close. Lips closer. Ripcord's eyes on hers as he whispers: SCARLETT Guess you didn't really want me that bad, rip. She holds his eyes a moment longer, then lets him go. As she walks away, Scarlett casually tosses the ARROW, it hits the ground and EXPLODES. Ripcord and Duke jump back. Ripcord glances at the underside of the pistol's magazine. Three words: "CAUTION: LIVE BOLTS". Both men watch Scarlett saunter back to the beginning of the course, awestruck. Breaker walks by eating a burrito and watching his bio-rhythm display. BREAKER Aw, Ripcord's heart just skipped a beat. Isn't that sweet? EXT. THE PIT - DESER - DUSK The sun is sinking, turning the dunes a brilliant orange. INT. SECURITY ROOM - THE PIT - NIGHT Security works a console in the Security Room. Their infrared monitors show a HERDSMAN AND HIS CAMELS walking across the desert dunes. A Technician taps some keys and an X-RAY IMAGE shows the skeletal structures of the herdsman and his camels. 46. EXT. THE PIT - DESERT - NIGHT The HERDSMAN walks across the desert with his CAMELS under a FULL MOON and a field of glittering stars. All of a sudden, MULTIPLE MOUNDS OF SAND whip past his feet, almost knocking him over. He stares at them as they abruptly disappear deeper under the sand, like diving submarines. INT. MOLE POD - UNDERGROUND - NIGHT Ana drives the lead MOLE POD, an oblong-shaped digging device that is just large enough for her to fit inside. She watches her HUD relay information about her angle of decent and her distance to the target. Thirty yards...twenty yards...ten... INT. SECURITY ROOM - NIGHT A light flashes on the console in the security room. SECURITY TECHNICIAN #1 Sensors detecting seismic activity to the southwest. Probably just a tremor, but have a team check it. INT. TRAINING ROOM - NIGHT Ripcord and the other Joes watch as Duke and Snake-Eyes circle one another with special ELECTRIFIED PUGIL STICKS. Duke thrusts with a standard bayonet style move, Snake-Eyes side steps it, spins his pugil stick above his head and brings it down on Duke's head with a sword-like stroke. A CRACKLING SHOCK is delivered and Duke goes down. The Joes grimace, feeling Duke's pain. Snake-Eyes turns away, done with him. Duke pops back up again. DUKE Again. They go at each other, fast and furious, the electrified pugil sticks crackling and sparking. Duke spins and attempts a stroke similar to Snake-Eyes' earlier move. Snake-Eyes blocks it, drops, and sweeps Duke's feet, taking him down hard before finishing him with another SPARKING HIT. Again, the Joes react. Snake-Eyes turns away. Duke shakes it off and pops to his feet once more. DUKE (CONT'D) Again. 47. Snake-Eyes nods, a little more respect in his eyes now. This time after the high blows are parried, Snake-Eyes tries the sweep. Duke jumps it, rolls, comes up behind Snake-Eyes and STRIKES. Snake-Eyes barely blocks it. They trade half a dozen blows, the electricity popping and crackling before Snake-Eyes tries a finishing blow. Duke stuffs it with his stick and tackles Snake-Eyes. They fall to the ground, both receiving JOLTS. They go eye-to-eye. It wasn't pretty, but Duke is getting effective. Snake-Eyes pops to his feet. This time he offers a hand to pull Duke up. Across the room, Hawk watches with approval. INT. THE PIT'S GENERATOR STATION - NIGHT The huge drill bit of Ana's mole machine bursts out of the reinforced clay wall, it opens and retracts, Ana rolls out and drops to the ground. Another huge drill bursts out, it retracts and opens and Storm Shadow drops to the ground. They look around. They're between the clay wall and the ELECTRIFIED POWER GRID FENCE of the Pit's generator station. ANA The foundation of this fence is a hundred feet deep. No going under. Ten Neo-Viper mole pods start to burst out the wall. And then there's a crashing sound as one of the wall girders bends, obviously a mole machine in the clay behind it hit it. Ana can hear the engine grind to a halt. ANA (CONT'D) If we don't get him out he'll suffocate. Storm Shadow gives her a look: Like I care? ANA (CONT'D) Just thought I'd mention it. STORM SHADOW All that matters is the mission. Ana pulls out a hi-tech SCANNING DEVICE which shoots out six STEEL BLUE BEAMS in a 360 DEGREE ARC, creating a DETAILED SCHEMATIC of the Pit, showing rooms and people moving about them. She points down a tunnel beyond the electrified fence. Storm Shadow gestures to one of the Neo-Vipers. The Man immediately walks over and grabs the fence, electricity JOLTS him violently, but the man ignores it and shakily starts climbing the fence. The skin on his hands and arms starts to burn and bubble. 48. STORM SHADOW (CONT'D) Acceptable collateral damage. ANA (trying to out-tough him) Is there any other? Near the top the Man finally falls backward and drops down dead. Storm Shadow nods to the next Viper. Without hesitation the Man walks over and grabs the fence. He is immediately JOLTED, but keeps climbing, burning and bubbling. This guy makes it to the top, throws himself over, and crashes to the ground, then crawls over and pulls the OFF SWITCH, cutting the electricity before dropping dead himself. Ana, Storm Shadow and the others quickly scale the fence. INT. PIT BARRACKS - NIGHT An area where the Joe team chills. Duke and Ripcord enter, sore and worked over. They move to some couches. Heavy Duty grooves to the blasting Reggaeton classic "Salio El Sol". HEAVY DUTY You can learn a whole hell of a lot about a girl by the way she dances. Tell me I'm wrong Snake-Eyes. Snake-Eyes, sharpening his sword, barely looks up. HEAVY DUTY (CONT'D) See? He agrees. SCARLETT No, he doesn't. Do you? This time Snake-eyes looks up, his expression unreadable. SCARLETT (CONT'D) See, he knows you have to listen to get to know someone. Right, Rip? Rip is happily stowing his liquid armor gear, glances over. RIPCORD What? You say something? Breaker sits at a chessboard. Heavy D sits across from him. BREAKER Sorry, Scarlett, gotta go with Heavy D on this one. (MORE) 49. BREAKER (CONT'D) Like my man says, get a girl on the floor, you don't just see how she moves, you get the smell of her. What biologists tell us is that the decision is made by he nose long before the rest of the body gets involved. It's a question of pheromones. SCARLETT You're going to teach me science? I read all about the positron emission tomography studies concerning sex pheromones when I was twelve. I'm just saying, it's not very romantic. Rip whispers to Duke, nodding towards Scarlett. RIPCORD Heavy told me she graduated college at twelve. No response from Duke, who is trying to get comfortable. RIPCORD (CONT'D) She's like a freaky genius. A deadly, freaky genius. DUKE You like her, I get it already. BREAKER (making a chess move) You can't learn this stuff in a book, Scarlett. You have to at least kiss a guy, before you're an expert on romance. The guys all laugh. Scarlett blushes, then raises her bow. SCARLETT Who am I shooting first? The laughter stops. Rip looks surprised. RIPCORD You haven't kissed anyone? Now Scarlett looks really furious. Rip instantly wishes he could take his words back. Duke just shakes his head. 50. DUKE Really firing on all cylinders there, Rip. HEAVY DUTY All I know is, when the bass get's that booty shaking in the right way, I'm in the skin like a man named Flynn. Heavy Duty does a little freak dance. Scarlett makes a show of disgust. Ripcord watches Scarlett, then makes a decision. RIPCORD Hell with it. He strides across the room toward Scarlett. Breaker notices. BREAKER (to no one in particular) Into the Valley of Death rode the 600. Heavy Duty looks at him, confused. Breaker nods to Ripcord, stopping near Scarlett's chair. Ripcord sees Snake-Eyes taking in his every move. Scarlett now has her nose in a book. Ripcord CLEARS HIS THROAT but she doesn't look up. He peers closer and WE SEE THE COVER, on which, though in English, is a damn near INDECIPHERABLE SCIENTIFIC TITLE. RIPCORD Beach reading, huh? She groans and lowers the book only slightly. RIPCORD (CONT'D) Hi, I guess we kinda got off on the wrong foot... Without changing expression she goes back to her book. RIPCORD (CONT'D) Okay look, I'm attracted to you. And you, you're attracted to me. And him-- (nods towards Snake-Eyes) The Zen Master, he creeps me out, but what I'm saying is-- SCARLETT "We're attracted to one another." 51. RIPCORD Thank you. SCARLETT That's what you're saying, not what I'm saying. RIPCORD Okay, what are you saying? SCARLETT Attraction is an emotion. Emotions are not based in science. And if you can't quantify or prove that something exists, well, in my mind... it doesn't. RIPCORD Okay, I'll get back to you on that. And he walks away scratching his head. Hawk steps in. Everyone comes to attention. HAWK Duke, You scored in the top half- percent of all people we've ever tested. Rip, well, if we average your scores with Duke's, you pass too. Welcome aboard, provisionally. But we still need to see if you pass muster in the field. Hawk gives them a nod. Duke and rip nod back with pride. HEAVY DUTY YO JOE! Welcome aboard, boyz! INT. HALLWAY - NIGHT Ana, Storm Shadow and the Neo-Vipers creep down the hallway. Two GI JOE GUARDS come around a corner, before they can even react, Storm Shadow practically cuts them in two with his Katana sword. Ana Directs them down another hallway. INT. HAWK'S STATEROOM - NIGHT A DOOR reads, "General Hawk". Cover Girl walks up and knocks. As she waits, we see a SHADOW moving behind her. Hawk opens the door. She hands him her POWERBOOK and a STYLUS. 52. COVER GIRL Sorry to disturb you, general. HAWK That's all right, Cover Girl. What am I signing now? Cover Girl GASPS, a KATANA BLADE piercing out through her chest. She drops lifelessly, revealing Storm Shadow behind her. Hawk grabs a PISTOL, but Storm Shadow flashes his two swords. One slices the barrel of the pistol clean off, the other buries itself in Hawk's gut. Hawk collapses. Ana steps forward and rips the General's SECURITY BADGE off his jacket. Hawk's eyes follow them as they leave. He glances at a RED BUTTON under his desk and struggles to reach it, giving everything he's got, until he finally hits the button. INT. BARRACKS - NIGHT A KLAXON BLARES. Duke, Ripcord and all the Joes leap up. DUKE The warheads. They all rush out of the doors. Breaker stops to change a chess piece on the board before racing out. INT. MAIN VAULT - NIGHT Ana swipes Hawk's SECURITY BADGE across the lock of the VAULT DOOR. It opens. The weapons case sits on a table. She opens the case to check that the four warheads are inside, they shine on her glasses. INT. MAIN VAULT - MOMENTS LATER Duke and Ripcord reach the main vault, armed only with their pistols. They find the INNER VAULT DOOR ajar. They approach, pushing back the door to discover that the place is empty and the weapons case is gone. DUKE They can't be far. 53. INT. URBAN AREA - NIGHT Some of the Neo-Vipers now reach the MOLE PODS and begin prepping them for escape. BOOM! A GRENADE slams into them, killing them and destroying the pods. It's Heavy Duty with his "MPL". Ana enters the room and quick-draws her PULSE PISTOL and blasts away. Heavy Duty dives behind cover, which is blown away, knocking him out cold. Storm Shadow examines the ruined MOLE PODS, glancing around, his eyes falling on a pair of "ARCLIGHT" JET PACKS mounted on a wall rack nearby. Storm Shadow strides to the nearest one and puts it on. Ana heads after him, still carrying the case. Suddenly, Duke and Ripcord rush up behind them, guns raised. DUKE Put the case down, Ana, Rip trains his gun on Storm Shadow. RIPCORD And you get out of that...thing. Stalemate. Storm Shadow doesn't move. Ana turns and looks at Duke. Sets the case down, her voice is gentle. ANA Fine. Done. Then she takes a step toward Duke. DUKE Stop, Ana. Stop right there. But she doesn't. She just keeps slowly moving toward him. ANA You can't shoot me, can you? DUKE I will if I have to. ANA Deep down, you're still the same man I fell in love with. DUKE Don't force this, Ana. 54. ANA What could have been, right, Duke? You beside your best man. Me walking down the aisle. RIPCORD Don't listen to her, Duke. (a thought) Was I really going to be your best man? DUKE (cocking the pistol) Don't make me do this god-damnit! ANA "Don't make me do this?" A recurring theme in your life, right Duke? She takes another step. Duke levels his pistol right at her forehead. Storm Shadow flinches. Duke gives him a glance. DUKE Move and I'll blow her away. (to Ripcord) Get the briefcase. Ana takes another step forward, daring Duke to pull the trigger. Ripcord, gun drawn and fixed on Storm Shadow, moves slowly forward to retrieve the briefcase. Ana is now an inch from the extended barrel. Ana and Duke are close enough to feel each other's breath. Their eyes lock. ANA Do it, Duke. .You already killed me once. And in Duke's eyes we see him falter, just a bit. Ripcord passes Ana, and wit hone lightning quick hand she slaps at Duke's pistol. AN ERRANT SHOT GOES OFF. Storm Shadow lunges at ripcord, SLICING his pistol in half with one sword and about to kill him with the other. When suddenly, Snake-Eyes lunges INTO FRAME. CLANG! Snake- Eyes' KATANA BLADE saves Ripcord's life by a half inch. The rest of the Neo-Vipers arrive and immediately open fire, pinning both Duke and Ripcord down. All hell breaks loose. Snake-Eyes and Storm Shadow lunge at one another, swords flashing at impossible speeds, then they lock swords. Face- to-face, staring hard into each other's eyes. 55. Snake-Eyes glances at Storm Shadow's right forearm, spotting the same RED MARKINGS of his ninja clan underneath his suit sleeve. This shocks the hell out of Snake-Eyes. Storm Shadow smiles. STORM SHADOW (CYNICAL) Hello brother. Snake-Eyes looks shocked. Storm Shadow uses the moment to elbow him in the face, knocking him hard to the ground. Ana grabs the weapons case as Scarlett rushes in, aiming her CROSSBOW PISTOL. SCARLETT I believe you've got my luggage. Ana stares at Scarlett, then quick-draws a PULSE PISTOL. Her shot tears the CROSSBOW PISTOL out of Scarlett's hands. Ana's got her dead-to-rights until Scarlett triggers her CAMO- SUIT, melting into nothing right in front of Ana. Ana doesn't spot the RIPPLES OF AIR around her until she's stuck hard. The case goes flying. Another SMACK and her pistol is knocked free. Ana grabs a second pistol, but that's just as quickly twisted out of her grasp and dropped. Ana fights the invisible Scarlett as best she can, but Scarlett lands several unseen blows on her. Ripcord and Duke take out a pair of Neo-Vipers. Storm Shadow climbs back into the Arclight. Looking at ana as she falls near a vehicle on the blocks. Ana grabs an OIL PAN and flings the oil, which sprays over everything, including Scarlett, making her visible. Ana leaps on Scarlett, knocks her to the ground and angrily begins to choke the life out of her. Storm Shadow ignites the Arclight which jumps into the air, powered by an arc of blue light shooting out of its engine pack. He quickly swoops towards the two women and grabs ana by her arm, pulling her along. Ana grabs the weapons case and they soar up out of the motor pool and over the landing pad. The battle raging below them. Ripcord and Duke fire after them, but they vanish up into the next level. Heavy Duty, now back in action, takes out the last of the Neo-Vipers. Snake-Eyes checks on Scarlett who's nursing her neck. INT. ENTRANCE - NIGHT Ana climbs to Storm Shadow as the rocket up to the SECURITY ROOM WINDOW and BLAST it out of their way. SHATTER CITY. 56. INT. SECURITY ROOM - THE PIT - NIGHT They fly into the security room and quickly dispatch the few technicians still alive. Ana his the large switch on the console and the huge door begins to spiral open. She jumps back into Storm Shadow's arms and they blast back out-- EXT. ENTRANCE - THE PIT - NIGHT --and fly up through the hole where their Typhoon gunship rockets up. They fly in through a door as four Joe ANTI- AIRCRAFT TURRETS spring out of the sand, firing away at the Typhoon as it speeds away into the dark desert night... EXT. WASHINGTON D.C. - DAWN Dawn light shimmers across the reflecting pool, the Lincoln Memorial, the Washington Monument. SUPER: WASHINGTON D.C. INT. WHITE HOUSE CORRIDOR - DAWN The AMERICAN PRESIDENT quickly but quietly closes the door to his bedroom, throwing on a robe, he charges down a corridor, trailed by his STAFF and BODYGUARDS. One of the staffers hands the President a report which he skims through. PRESIDENT How many warheads? STAFFER #1 Four, Mr. President. PRESIDENT Any threats? Any demands? STAFFER #1 None so far, sir. STAFFER #2 We take this to mean the terrorists are unfocused, no clear goals. The President stops, glancing gravely back at his staff. PRESIDENT No, .it means they're going to use them. 57. INT. MCCULLEN'S OFFICE- DESTRO HEADQUARTERS - DAY opening. Ana McCullen gazes a the IRON MASK we and Storm Sh saw his ance adow watc in the h onndual HOLOstor PROJECTORS. This belonged jo E mine. He was c t an old ancestor o f to both sides. aught sellin g arms They forced wear it the rest to his life . ANA Why do you keep at it? So that I MCCULLENne ver forget the most important rul e in dealing arms. Never sell to STORM SHADOWboth sides? MCCULLEN Never get caught. McCullen carefully puts the mask back in its ca se. CONT'D) Take the warheads N ( to them wea Paris. Have ized. Then to test pon one. I want you Test one?ANA MCCULLEN I don't wan t you until leaving Paris that they've you;re sure that the work, been properly y weaponized. (SMILES) We'll let CNN show everyone how w ell they perform. (loses the smile) I want them to fear me. It will be STORM SHADOWdone. MCCULLEN I have a target french will never in mind, one the forget. (MORE) 58. MCCULLEN (CONT'D) As I have never forgotten what the French did to Clan McCullen. INT. OPERATING CHAMBER - DAY In the shadowy operating chamber, the Doctor approaches Zartan who sits on a gurney, scanning his PDA. Dozens of SMART ROBOTS warm up as the Doctor flicks on switches. THE DOCTOR Are you ready, Mr. Zartan? ZARTAN This is going to be the achievement of a lifetime. THE DOCTOR For you and me both. ZARTAN Eighteen months of studying the subject, learning the mannerisms, adopting his eating habits, losing sixty percent of my muscle mas... THE DOCTOR Your commitment has been inspiring. McCullen enters. MCCULLEN Gentlemen. About to get under way? Zartan raises his PDA. ZARTAN Once the ledgers are all square. MCCULLEN Check your account. Zartan checks the PDA. McCullen shakes his head. MCCULLEN (CONT'D) It's always about the money. ZARTAN It's a useful tool. You should understand that. Ah! The transfer just hit my account. Zartan puts the PDA aside, leans back on the gurney and CRACKS HIS KNUCKLES. 59. ZARTAN (CONT'D) Let's do this. The Doctor straps Zartan down, then starts the SMART ROBOTS which converge on Zartan, injecting his body with dozens of long needles. He remains conscious, not feeling any pain. WE ZOOM into a LARGE NEEDLE which OPENS an INCISION behind his right ear. The needle feeds thousands of tiny NANO-MITES into Zartan's head. Zartan's eyes bulge, he starts to SCREAM and fight his restraints as the nano-mites begin to reshape his appearance, reforming facial bones and changing the texture and elasticity of his skin and even changing the color of his eyes. The Doctor grins proudly. McCullen looks disturbed. INT. URBAN AREA - THE PIT - DAY Joes are busy cleaning up the mess. Snake-Eyes sits by himself, hasn't moved in several hours. A thousand yard stare in his eyes. AND WE FLASHBACK TO: EXT. A DRIZZLING SAIGON ALLEY - NIGHT A TEN YEAR OLD FRENCH ORPHAN BOY, cold from the rain and desperately hungry, scavenges for food in a garbage can, he looks up and notices a warm light coming from the other side of a wall and gate MARKED WITH RED CLAN MARKINGS. INSIDE THE TEMPLE: Young Snake Eyes sneaks in through the Kitchen window and goes to a rice pot on the counter. As he takes a first bite, another young boy enters, we see the RED CLAN MARKINGS on his forearm, it's a young Storm Shadow, healthy, wealthy, and well fed. YOUNG STORM SHADOW Thief ! He picks up the KITCHEN KNIFE and tries to cut Young Snake- Eyes, who blocks the strike with the rice pot. They fight fiercely for two little kids, using all sorts of utensils and furniture. Snake-Eyes has desperate street skills, but Storm Shadow's classic training gives him the edge. He finally traps Snake-Eyes under his foot, a triumphant look on his face. He starts to choke Snake-Eyes with his foot ... HARD MASTER (O.S.) (Japanese, subtitled) Enough! Storm Shadow! A Ninja Master steps forward. Storm Shadow turns to him. 60. YOUNG STORM SHADOW (Japanese, subtitled) Father, he was stealing. We need to call the magistrate. HARD MASTER (Japanese, subtitled) He is hungry. We need to invite him in and show him the way. STORM SHADOW He's a cur! A Frenchie! HARD MASTER He doesn't fight like one. The two young warriors glare at one another. HARD MASTER (CONT'D) (Japanese, subtitled) Now what shall be your clan name? Snake-Eyes glares up at Storm Shadow, narrowing his eyes furiously. Hard Master just smiles, AHl AND WE FLASH BACK TO: Snake-Eyes in the motor pool, he stands up and walk off... INT. BARRACKS - NIGHT Battered and bruised, Scarlett hurriedly enters the barracks. Checks around to see that she's alone. Then she heads for a mirror over one of the sinks, peeling back her collar to check the CHOKE MARKS on her neck. Her hands are trembling. She turns on the water and cleans her face with a WASH CLOTH. Ripcord enters the barracks behind. Like Scarlett, he looks around to see if he's alone. He catches Scarlett looking at him in the mirror, as if he's unwanted. Then he notices the choke marks. He is genuinely concerned. RIPCORD Jesus, you okay? SCARLETT I'm fine. RIPCORD You're not fine, let me look at that. 61. SCARLETT I looked at it, it's fine. RIPCORD Take it easy, just trying to help. SCARLETT I know what you're trying to do. RIPCORD And what is that exactly? SCARLETT I don't have time for this. RIPCORD You know, not every guy you meet is an asshole. You do know that, don't you? Scarlett stops and returns to the sink, he ignores her, cleaning the blood off his face. She softens. SCARLETT It's not you, I... I didn't really want anyone to... see me in here. RIPCORD Why not? SCARLETT I don't know. All the people we lost last night. General Hawk... My neck is not that important. RIPCORD You almost died. You're allowed to be concerned. SCARLETT First fight I've lost since I was a kid. My father would be... he was my instructor. RIPCORD Think he's be disappointed. SCARLETT He taught me to win. RIPCORD I don't know how you teach anybody to win at everything every time. (MORE) 62. RIPCORD (CONT'D) But I do know you can teach someone to get up when they get knocked down. Ripcord turn her gently in the mirror. RIPCORD (CONT'D) Look at you. Still here. Maybe this is what he wanted you to learn. Scarlett stares at her reflection briefly. RIPCORD (CONT'D) But of course, that would be an emotional response, one that can't be explained or quantified. Ripcord turns and heads for the door. Scarlett watches him. SCARLETT We're not a couple. Snake-Eyes and me. We're... close, he's like a brother, but... we're not a couple. Ripcord looks back at her, nods, then walks on out. INT. MEDICAL RECOVERY WING - DAY Hawk is hooked up to a LIFE SUPPORT MACHINE. Duke sits nearby, his shoulder being bandaged by a Medical Officer. WE PUSH IN ON Duke's eyes, staring into oblivion, AND FLASHBACK CUT TO: HAWK'S FACE RIGHT AT CAMERA: HAWK Can you kill her? And then WE FLASHBACK TO: Ana strangling Scarlett, a smile on her face. Squeezing harder, harder. Pure evil. DOCTOR (V.0.) (PRELAP) That ought to hold you. INT. MEDICAL WING - DAY Duke "comes to" as the Doctor finishes and walks away. Duke takes a breath, looks to Hawk in his bed, then stands and walks over. He stares down at Hawk, then, a promise-- DUKE Graveyard dead. 63. INT. MEDICAL EXAMINATION ROOM - THE PIT - DAY Duke, Ripcord, Scarlett, Snake-Eyes, and Heavy Duty stare at some next-gen computerized ultra-sound PHOTOSTATS of a dead Neo-Viper. Snake-Eyes points in question to an area. SCARLETT Nano-mites. I wrote my thesis on the theory behind them at Oxford. They've been surgically implanted behind the ear, all programmed to accomplish different tasks. DUKE Like what? SCARLETT Theoretically, the possibilities are endless. Increase their speed, agility, resilience. You program, they perform. That's the genius of nanotechnology, it can do pretty much whatever you want it to. DUKE Mind control? SCARLETT I don't see why not. INT. CORRIDOR - THE PIT - DAY Duke and Ripcord move with the others through a corridor. DUKE Their weaponry, financing, intel, it has to be McCullen. Doing an inside job on his own warheads. SCARLETT You may be right. Maybe he needed NATO to pay for his R D. RIPCORD The weapons case! Everyone stops and looks at Ripcord like he's nuts. RIPCORD (CONT'D) Remember he had us open the case for him. Remember that? 64. SCARLETT What about it? RIPCORD I'll bet that code he gave us like re-activated the tracking beacon or something. Looks pass among the group, it starts to make sense. DUKE And who says you're not a thinker. All of the sudden, Breaker rushes up to them, out of breath. BREAKER I think I found her... INT. CONTROL ROOM - THE PIT - DAY Breaker leads the group into the control room where a WEDDING PHOTO OF ANA AND DeCobray is up on screen. Duke stares at the photo, gazing at her face. Ripcord sees her and knows, too. DUKE Yeah, you found her all right. BREAKER Her name is Ana DeCobray now, Baroness if you're feeling formal. RIPCORD Wow, she traded up, huh? (off Duke's look) I mean... financially. DUKE Who is he? BREAKER Baron DeCobray. Big shot French scientist. Runs a lab in Paris. SCARLETT Lab? Breaker call up an image of DeCobray standing in front of a huge PARTICLE ACCELERATOR along with some other scientists. BREAKER Particle accelerator. 65. SCARLETT They're gonna use him to weaponize the warheads. DUKE That's where she's going. HEAVY DUTY Who likes croissants? EXT. BLACK SKY - NIGHT And then a lighted aircraft in the distance approaches at Mach three. It's the Howler. INT. THE HOWLER - NIGHT The Joes are silent, eyes ahead. Scarlett shares a smile with Ripcord, next to her, Across from them Duke watches, almost smiles, then lays back his head and closes his eyes. AND WE FLASHBACK TO: EXT. JUNGLE VILLAGE - DAY CAMERA PANS AROUND a village choked by thick jungle as EXPLOSIONS erupt in SLO-MO and a BLACKHAWK circles, ROTORS beating hypnotically, giving the images a dreamlike quality. INT. BLACKHAWK HELICOPTER, DAWN - FLASHBACK Duke, Ripcord, Rex, and the rest of an insertion team, sit with their backs against the chopper walls. DUKE Per the briefing, we fast rope in, form up and assault the main lab... (a glance at Rex) Rex--uh, .the science officer, stays back with Fireteam Alpha until Bravo enters and secures the building. Alpha holds the perimeter while science officer secures the WMDs. Five minutes before extraction and the airstrike. The squad nods. Duke looks to Rex again. Rex is sweating, trying not to show it. Duke hands him a piece of gum. 66. DUKE (CONT'D) Double Bubble? Rex takes it. Duke blows a bubble, smiles at Rex. DUKE (CONT'D) Always helps me. You good? REX (weak smile back) Yeah... They chew their gum. EXT. JUNGLE VILLAGE - FLASHBACK - DAY DOWN IN THE VILLAGE: Duke leads a frontal assault of the main building. They take fire from some GUARDS, but put them down. Other GUARDS flee. The way to the door is cleared. Duke gives hand signals along with his commands. DUKE Go, Bravo. Bravo, a TWO-MAN fire team hit the door of the building. They disappear inside. Rex, a kit bag over his shoulder and a .45 Colt ACP on his hip, waits in a crouch, Duke next to him puts a hand on his shoulder. Duke scans the treeline for any treats. One of Bravo Team appears in the doorway and signals "ALL CLEAR." Duke double taps Rex on the shoulder. DUKE (CONT'D) You're good to go, Rex. You don't find it in four minutes, get out of there, because that house won't be standing in five. I already called for the air strike. Rex nods. Duke gives him a smile. Rex takes off and runs low to the door, entering the house. Duke watches him go, then looks back to the jungle and hears the WHUMP of mortars. Duke takes one more look, Rex disappears safely inside, then the mortar rounds start to hit. The ground is torn apart, dirt flying in the air, as Duke, Rip and the rest of the squad takes cover. We catch glimpses of the enemy, lots of them, in the jungle, firing. Duke and Ripcord pop up and return fire. 67. RIPCORD I've gotta level with ya! DUKE I hate it when you level with me. RIPCORD Gonna be a long five minutes. Duke just grits his teeth and keeps firing. Then, in the distance, RUMBLING coming from the sonic roar of JETS. RIPCORD (CONT'D) I love that sound... But then he looks to Duke, confusion on his face. DUKE No, no, no... It's too soon. ANGLE ON: The F-16s in formation streaking toward them across the sky. Duke looks back at the main building. DUKE (CONT'D) Rex. Duke runs for the building. Tracer fire and mortar explosions all around him. Then the whistle of a bunker buster. Duke dives and BOOM! The building is flattened by the bomb. Duke is tossed through the air like a rag doll. Lands hard, barely registers the pain, staggers up, bloody and ripped, stumbles toward the smoking. Flaming rubble that was the building. The Blackhawk comes sweeping low, ready for extraction, the tracer fire and explosions intensify. Black smoke washes over Duke. Ripcord finds him in the debris. RIPCORD Blackhawk's waiting. Come on, we've got wounded! And incoming enemy! Lots of 'em! DUKE I can't. RIPCORD Nothing you can do. Come on...! Gunfire bursts around them as Ripcord pulls Duke away from the ruins of the house. 68. INT. BLACKHAWK HELICOPTER - FLASHBACK TIGHT ON Duke's haunted, soot-streaked face as his eyes take on a thousand-yard stare. AND WE CUT BACK TO THE PRESENT: INT. HOWLER - NIGHT Duke is wide awake, his eyes have on a thousand-yard stare... EXT. PARIS - FRANCE - DAY Paris by day, the Eiffel Tower in all her glory. EXT. GUARD SHED - LABORATORY - DAY Ana's SCARAB ATTACK TRUCK pulls up to a GUARD SHED outside a large building which is surrounded by an ELECTRIFIED FENCE. A SECURITY GUARD steps out of the shed and taps on the driver's window. The Neo-Viper behind the wheel lowers the BACKSEAT WINDOW, revealing Ana and Storm Shadow in the back. The guard smiles at Ana. They speak in French, subtitled. SECURITY GUARD Good Morning. Baroness. ANA Good morning. Gene. My husband's expecting me. SECURITY GUARD Absolument. The Security Guard opens the ELECTRONIC GATE and the Scarab drives up to the building. INT. FOYER - LABORATORY - DAY Two SECURITY GUARDS look up from their desks as Ana and Storm Shadow stride through the DOORS with two Neo-Vipers. Storm Shadow throws something. Both guards fall dead. THROWING STARS in their heads. The Neo-Vipers steal behind the desk, throw a switch, open a LOCKED DOOR for Ana and Storm Shadow. INT. PARTICLE ACCELERATOR CHAMBER - LABORATORY - DAY Ana and Storm Shadow enter a colossal chamber which is all but consumed by the PARTICLE ACCELERATOR. 69. LAB TECHNICIANS swarm all over it, taking readings and making adjustments, under the eyes of DeCobray who sits at a control station surrounded by monitors. Ana gives the weapons case to Storm Shadow who hangs back as she walks up to her husband. DECOBRAY Ana...? ANA I need you to do something for me and I don't have much time. DECOBRAY (sees Storm Shadow) Who is this? She beckons Storm Shadow who sets the weapons case down on DeCobray's desk, opening it up to reveal the four NANOTECH WARHEADS and their launchers. DeCobray stares, bewildered. DECOBRAY (CONT'D) I don't understand... what are these things? What's going on? ANA They're warheads, dear. And I need you to weaponize them for me... (looking around) .or we'll kill everyone in here. DeCobray stares at her, shocked. He looks at Storm Shadow who removes a GLOCK PISTOL from his belt and shoots a TECHNICIAN. Chaos erupts. DeCobray shouts to the room, calming the others somewhat. He stares at Ana and Storm Shadow, terrified. DECOBRAY This is a civilian laboratory. We don't have the correct programming protocols for weaponizing... ANA The protocols are in the case. (he hesitates) I told you, I don't have much time. DeCobray reluctantly takes the weapons case. EXT. BRAWLER - CITY STREETS - DAY A BRAWLER charges through the streets. On the outside it looks like your Uncle's R.V, but inside it's all next-gen. 70. INT. BRAWLER - LABORATORY - DAY Heavy Duty drives the Brawler while Breaker mans a hi-tech terminal next to him. In the back, Snake-Eyes loads his guns while Scarlett, Duke, and Ripcord put on ACCELERATOR SUITS. SCARLETT Heavy D and Breaker will stay in the Brawler, watch our back. The rest of us will break into the lab with the accelerator suits. Once the warheads are weaponized, they'll be extremely volatile. We can't afford to let any of them go off inside the city. Ripcord looks at Snake-Eyes. RIPCORD What about you? Don't you get a suit? Snake-Eyes just looks at him, "Are you kidding me?" SCARLETT He doesn't need one. INT. PARTICLE ACCELERATOR CHAMBER - LABORATORY - DAY A TREMENDOUS WHINE echoes through the chamber as the particle accelerator come to life, HUMMING evenly. Storm Shadow backs up a little. Ana glances at him. He shrugs, what? Technicians quickly finish up and back away from the accelerator. DECOBRAY Firing. DeCobray hits a switch. The PARTICLE ACCELERATOR charges and begins hurling atoms through miles and miles of underground tunnels. Inside the accelerator, the four warheads begin to spin in a GLASS VACUUM CHAMBER -- then, as the power grows, they begin to rise, each one hovering as they spin. Ana and Storm Shadow watch with mild curiosity as the noise inside the chamber builds. The atoms catapulting faster and faster through the tunnels, bombarding the warheads again and again. Until finally, a LOUD BOOM rings out. And the warheads slowly sink back down and stop spinning. DeCobray keys another button and the GLASS VACUUM CHAMBER emerges from the accelerator. 71. Technicians open the chamber and very carefully remove the warheads, returning them to their case. Storm Shadow locks the case and picks it up. DECOBRAY (CONT'D) Careful... they're alive. ANA Thank you, Leon. DECOBRAY I think I have never seen the face of evil until I looked at you now. Ana looks at him and falters, something in his words piercing her hard veneer. She feels Storm Shadow watching her and with a flick of her eyes, the walls go up again. She drop a SEALED ENVELOPE on DeCobray's desk and heads for the door. ANA Adieu. DeCobray watches her go, then opens the envelope. We see the LARGE HEADER printed on the first page: "ACCORD DE DIVORCE". INT./EXT. BRAWLER - LABORATORY - DAY The Brawler races up towards the lab, they see it out their forward windows. HEAVY DUTY There it is. INT./EXT. SCARAB - DAY Ana and Storm Shadow emerge from the lab and climb into the back of the Scarab as the two Neo-Vipers climb in the front. INT. FOYER - DAY DeCobray stumbles out to the foyer, finds the two Security Guards dead, and quickly picks up a phone. EXT. GUARD SHED - DAY The Security Guard in the guard shed puts down his phone and glances at the oncoming Scarab just as a Neo-Viper leans out with his PULSE RIFLE and blasts the whole shed to pieces. The Scarab crashes right out the gate. 72. INT./EXT. BRAWLER/SCARAB - DAY At the same time, the Brawler reaches the laboratory and there's a split second where both sides see each other in their windows. Duke and Ana lock eyes. Snake-Eyes and Storm Shadow do the same. BREAKER That's them! Snake-Eyes is already moving, lunging out a SIDE DOOR onto the street as the Brawler still moves, running right at the Scarab which turns to get away. Scarlett immediately follows him out, landing in a roll with her accelerator suit. Ana leans out of her window and fires her PULSE PISTOLS at the Brawler, keeping Duke and Rip inside. Then she fires at Snake-Eyes and Scarlett. Snake-Eyes dives, but the blasts nail Scarlett. She crashes hard. Snake-Eyes glances at her. SCARLETT Keep going! With that, he leaps after the Scarab, just grabbing the back of the vehicle as it tears away. The Brawler stops right next to Scarlett, out of breath, her accelerator suit FRITZING. SCARLETT (CONT'D) (to Duke and Ripcord) Don't worry about me, go and help Snake-Eyes! Duke doesn't need to be told twice. He leaps out and runs after the Scarab. Rips starts to follow, Breaker grabs him. BREAKER Careful. They're worth millions of dollars... each. RIPCORD Millions of dollars, got it. He promptly trips and crashes to the pavement. Picks himself up. Gets hit by a car. Picks himself up again. RIPCORD (CONT'D) (to Driver) Sorry! Excusem moil (to a stunned Breaker) Won't happen again. 73. Then Rip hauls-ass after Duke. INT./EXT. SCARAB - CITY STREETS - DAY An ACCORDIAN BUS passes casually through an intersection. All of a sudden, the Scarab bursts through it, ripping it in two and barrelling on down the busy street. Snake-Eyes is still barely clinging to the back. INT./EXT. BRAWLER - CITY STREETS - DAY Breaker watches the two halves of the bus whirl around on his SATELLITE VIEW as Heavy Duty drives through the city streets. BREAKER Christ, they just shot right through a bus! EXT. ACCELERATOR SUITS - CITY STREETS - DAY Duke and Rip charge after the Scarab. Their speedometers reading 15mph...then 30mph...then 40mph. they leap over and around speeding cars and trucks. INT./EXT. SCARAB - CITY STREETS - DAY The Scarab smashes through any vehicle in its path, leaving a trail of destruction for Duke and Ripcord to leap over or dart around in their suits. Ana and Storm Shadow hear Snake- Eyes on the roof and drop their windows and lean out and shoot at him. But Snake-Eyes quickly clambers down the side of the vehicle, escaping their shots by disappearing beneath the undercarriage. And that's when Ana sees Duke and Rip following. She sits back down inside and keys a button on a console. SIDE PANELS slide open on the outside of the Scarab to reveal two MISSILES, one on each side. They fire. The MISSILES streak back towards Duke and Ripcord. No time to get out of the way, they dive and roll in various directions, extreme kinetic energy hurling them forward. The two missiles whip between them and detonate, one on a PARKING OFFICER'S CAR and the other on a BILLBOARD. The EXPLOSION from the car knocks them down. The Scarab tears away around a corner. 74. INT./EXT. BRAWLER - CITY STREETS - DAY They see Snake-Eyes on their monitors in the Brawler. BREAKER They're turning the corner. Go through that building at 6 o'clock! EXT. ACCELERATOR SUITS - CITY STREETS - DAY Duke and Ripcord see the building in front of them. RIPCORD There's no door! BREAKER'S VOICE Make one! Duke charges directly at the building. Ripcord reluctantly following as Duke smashes through the wall into... INT. COCKTAIL LOUNGE - PARIS - DAY A crowded bar. Neither of them slow for a second. Duke bolts through. Rip grabs a MARTINI, opens his visor, downs the drink, then places the empty glass on the tray of a stunned waitress. Behind her a sign reads: "DRINK RESPONSIBLY". Duke and Ripcord SMASH through the opposite wall... EXT. ACCELERATOR SUITS - CITY STREETS - DAY .back out onto the city streets where they turn and level their WRIST-MOUNTED ROCKETS at...nothing. A puzzling beat. And then the Scarab thunders up behind them at full speed. Ripcord dives out of the way just in time. Duke has no such luck. He spins and catches the FRONT GRILL, digging his feet into the road in an attempt to slow the Scarab down. But the Scarab now angles towards a busy intersection, threatening to crush DUKE in the criss-crossing traffic. Duke throws himself onto the hood just as an SUV CRASHES into the front grill and is chucked away like so much garbage. Duke tumbles up onto the roof. A PULSE CANNON pops up. Duke dives off the back as the weapon fires. He tumbles to the pavement as Ripcord speeds up to him, firing his WRIST- MOUNTED ROCKETS at the Scarab. Duke fires with him. 75. INT./EXT. SCARAB - CITY STREETS - DAY Their rockets nail the Scarab and knock out the PULSE CANNON. BOOM! But its armor saves the vehicle. INSIDE: Storm Shadow and Ana are knocked around. Storm Shadow pops a hatch and grabs one of their own ACCELERATOR SUITS. Hands it to Ana. STORM SHADOW Mr. McCullen would be quite unhappy if I let you die. Ana quickly and nervously starts to buckle in. ANA How thoughtful. INT. BRAWLER - DAY On the monitors, Scarlett and Breaker watch the Scarab via Snake-Eyes speeding through the streets. SCARLETT Look at the moves they're making, they're heading somewhere. Breaker widens the map, plotting a route. BREAKER This's their route from the lab. On the screen, they see the lab, the current position of the Scarab, and what lies just ahead. . .the Eiffel Tower. SCARLETT (REALIZING) Metal... Oh God... EXT. SCARAB/STREETS - DAY Snake-Eyes is now desperately clinging to the undercarriage. Duke and Rip are catching up behind him. SCARLETT'S VOICE Guys, you have to stop them. DUKE Yeah, we're working on it. 76. SCARLETT'S VOICE I mean right now. They're going to detonate one of the warheads on the Eiffel Tower. Ripcord glances up and sees the Eiffel Tower looming up fast. RIPCORD Oh, man... Under the Scarab, Snake-Eyes pulls out his GLOCK PISTOL and fires into the unprotected insides of the FRONT TIRES, which promptly rip to shreds. The Neo-Viper loses control of the vehicle, SMASHES through a GUARD ARM onto train tracks. Snake-Eyes sees something, lets go, rolls free and crashes into garbage cans just as a METRO TRAIN barrels into the Scarab, which LAUNCHES into the air, hood-over-tailpipe. Duke and Ripcord are running too fast to stop. Duke manages to leap into the air, his boots barely scraping the top of the train while Ripcord covers his face with his hands and PLUNGES headlong into a window on the side of the train... INT. METRO-RAIL TRAIN - DAY .flying across the aisle, whipping past a group of stunned morning COMMUTERS, and smashing out through the far window... EXT. CITY STREETS - DAY The Scarab, Duke and Rip all CRASH HARD to the pavement and tumble. Sparks and flame and flying metal everywhere. Duke and Rip finally stop tumbling, a hundred yards away from the wreck of the Scarab. INT./EXT. BRAWLER - CITY STREETS - DAY Scarlett, Heavy Duty and Breaker see this on their monitors. HEAVY DUTY/BREAKER Holy shit... SCARLETT (CRINGING) You guys okay? EXT. RAILWAY CROSSING - CITY STREETS - DAY Duke and Ripcord's visors lift, both looking a bit wigged. 77. DUKE What happened to you? RIPCORD I went through the train. What happened to you? DUKE I jumped over it. RIPCORD You can do that? DUKE Yeah, you didn't know? INSIDE THE SCARAB: We see the Neo-Vipers are dead. Storm Shadow is incredibly beat and bloody, but Ana is just fine in her red Accelerator Suit. Storm Shadow grabs the weapons case and he and Ana leap out. Duke and Ripcord pick themselves up while Snake-Eyes crawls out of the TRASH CANS nearby. They see Storm Shadow and Ana emerge from the Scarab and hurry off towards the tower. DUKE (CONT'D) C'mon! Snake-Eyes follows Duke and Ripcord, charging after them. EXT. EIFFEL TOWER - DAY HUNDREDS OF TOURISTS swarm around the south base of the tower to buy their tickets and start their tours. Storm Shadow and Ana burst through them, slamming past SECURITY GUARDS as they bound onto the stairs. People scream at the sight of Ana. Duke and Ripcord arrive seconds later, rushing up in their Accelerator Suits like beings from another world. They spot Ana and Storm Shadow on the stairs and hurry after them. The Security Guards draw their pistols and start SHOOTING at Duke and Ripcord. The BULLETS ping off their suits. RIPCORD (to Duke) How do you say "we're the good guys" in French? Meanwhile, Snake-Eyes evades all the chaos by leaping up under the south base, scaling the iron lattice like a monkey. 78. ON THE FIRST FLOOR: Ana and Storm Shadow crest the stairs and rudely push through the crowd to the stairway on the opposite side of the floor. Another SECURITY GUARD draws a gun on them but Storm Shadow snatches the weapon out of the man's hands, swatting him with the butt, all without missing a step. The crowd panics and runs screaming for the stairs-- --where Duke and Ripcord are struggling to catch up. The avalanche of tourists slows their progress. Underneath the stairway, however, Snake-Eyes continues to climb fast without a safety net. He makes it to the first floor and races after Ana and Storm Shadow. ON THE GROUND: The Brawler screeches up. Scarlett's first out with Breaker and Heavy Duty behind her. All of them carrying weapons. The Security Guards instantly go on the defensive as they hurry up to the stairway. Guns go up. Scarlett speaks to them urgently in French. SCARLETT (French, subtitled) Don't shoot! We're a special anti- terrorist unit! There's a bomb up there! POLICE CARS are now rushing up behind them. ON THE SECOND FLOOR: Ana and Storm Shadow speed over to the main tower ELEVATOR and barge their way inside. Storm Shadow hurls the ELEVATOR OPERATOR out as Ana opens the weapons case and removes one of the NANOTECH WARHEADS and its KILL SWITCH. Through the stunned crowd, they see Snake-Eyes reach the top of the stairs behind. Ana rolls the warhead towards him while Storm Shadow lines up on him with the Security Guard's pistol as if to shoot him. Snake-Eyes glares defiantly at Storm Shadow who just grins and lowers his gun at the warhead. A SINGLE SHOT AND THE WARHEAD EXPLODES. Snake-Eyes recoils. ON THE GROUND: Everyone hears the warhead detonate. ON THE FIRST FLOOR: Duke and Ripcord freeze. ON THE SECOND FLOOR: A BURST OF NANO-MITES spreads out in all directions. Storm Shadow closes the ELEVATOR DOORS and hits a button for the top. The elevator races upwards as everything else gets eaten by the ravenous NANO-MITES. The floor begins to disappear. Tourists stampede towards the stairs. A LITTLE GIRL is thrown from her MOTHER'S GRIP. The mother screams out for her child as the girl goes over the railing. 79. ON THE FIRST FLOOR: a hundred feet up, Duke and Rip see her coming. Ripcord swings out and catches the girl just in time. Above them, the tower is dissolving before their eyes. Duke sees Snake-Eyes being pushed down the stairs by the tourists. He leaps up onto the iron lattice. RIPCORD Where you going? DUKE Each warhead has a kill switch. RIPCORD It's too late! We gotta get off this thing! DUKE Those nano-mites will level the entire city! Duke climbs up the side of the tower with his Accelerator Suit. Rip things about following, but then looks at the little girl in his arms, who smiles and hugs him. Snake-Eyes grabs him and they join the flow of people down the stairs. The NANO-MITES chasing them close behind. Below them, Scarlett, Breaker, and Heavy Duty are helping the police evacuate the Tower. INSIDE THE ELEVATOR: Ana and Storm Shadow race to the top. ANA (into mike) Be ready to pick up in thirty seconds. IN THE SKIES: The Typhoon gunship rockets towards the top of the disintegrating Eiffel Tower, its SIDE DOOR opening. ON THE TOWER: Duke scales the tower, the NANO-MITES chasing him up. His eyes on the elevator as it reaches the top deck just above him. The Typhoon fires a blast of its CONCUSSION CANNONS at Duke, knocking him off the tower. He falls, but manages to catch the tower just below, the NANO-MITES almost on top of him now. The climbs even faster. ON THE TOP DECK: The elevator arrives. Ana and Storm Shadow calmly walk out and climb the railing as the Typhoon hovers up beside them. Below them, Duke sees them board. The tower groans and wobbles. It's a long way down. Time has run out. Ana and Storm Shadow jump into the Typhoon. 80. With the NANO-MITES at his heels, Duke clambers up and jumps up off the side of the Tower, sailing up through the air and latching onto the SIDE DOOR of the Typhoon. IN THE TYPHOON: The gunship rocks with his sudden weight. Ana and Storm Shadow almost lose their footing. Duke springs inside. He smacks Storm Shadow down and grabs the KILL SWITCH from Ana, pressing the trigger. Immediately, the NANO-MITES pulse with light and fall to the ground around the Eiffel Tower. The Tower groans, half-eaten, then topples over on its side. Ripcord and Snake-Eyes scurry out of the way as it crashes down onto the Seine, sending up an enormous explosion of water. The shock on the faces of everyone around reverberates through the entire Joe team. Ripcord keeps his eyes on the Typhoon as it pulls away. Breaker suddenly gets an idea. BREAKER Come on! He hauls-ass. INT. TYPHOON - DAY Ana looks at Duke, a pursed smile on her lips. ANA You just saved Paris. Storm Shadow is not happy at all, he TASERS Duke, who drops hard to the floor of the Typhoon. EXT. STREET - DAY A crowd has gathered around the crashed Scarab. Heavy Duty yanks one of the dead Neo-Vipers out. Breaker yanks off the guy's HELMET then removes a needle-like PORT PLUG from his SURVEILLANCE SUIT. Scarlett moves into position to help him. Ripcord kneels down. RIPCORD What are you doing? BREAKER Plugging into his cerebral cortex. With a SICKENING CRUNCH, Breaker plunges the needle into the top of the Neo-Viper's head. Ripcord winces at the sight. 81. SCARLETT The brain survives for a couple of minutes after death. We can read his most recent memories. RIPCORD Can you find Duke? BREAKER If this guy remembers the way home we can. INSERT: A FLASH OF MEMORIES appearing on Breaker's HUD. Duke shooting him in the face, racing along the highway, driving the ARMORED CAR. As the images continue, we PUSH IN on the Neo-Viper's open eyes and CUT TO: INT. CONTROL ROOM - MARS HEADQUARTERS - DAY McCullen watching Breaker and Ripcord through the dead Neo- Viper's eyes on a screen. He turns to the Doctor urgently. MCCULLEN Destroy that unit immediately. The Doctor removes his PDA and taps a key to draw up the Neo- Viper's file. He clicks a button that reads "TERMINATE". EXT. CITY STREETS - DAY Instantly, the Neo-Viper's body snaps rigid and begins to shake. Everyone gets a shock. Backing up. HEAVY DUTY He's still alive! SCARLETT He's not alive. HEAVY DUTY You ever seen a dead guy do that? SCARLETT They activated a self-destruct. The Neo-Viper's body starts to decay before them. Thousands of NANO-MITES literally eating away at his flesh and bones. BREAKER Nano-mites! 82. RIPCORD They're eating him! SCARLETT Hurry, Breaker! But the NANO-MITES are too fast. The Neo-Viper's legs are now gone. His chest and arms next. Breaker rapidly scans through the MEMORY FLASHES. But now the NANO-MITES consume his head. BREAKER NOW INT. CONTROL ROOM - MARS HEADQUARTERS - DAY McCullen watches Breaker's frantic face suddenly disappear on his screen. He gives the Doctor a smile. EXT. STREET - DAY Breaker looks crestfallen at the empty Neo-Viper suit in his arms. Ripcord kneels beside him, stunned and bereft. RIPCORD You did the best you could. BREAKER Relax, I got it. RIPCORD You got it? (CONFUSED) Well, what was the "NOO!" for? BREAKER That was for McCullen. There is the sound of weapons being raised. The team looks to see they are surrounded by FRENCH POLICE and PARATROOPERS. FRENCH SWAT CAPTAIN (in French) Put your hands in the air! The Joes trade looks, shrug and raise their hands. RIPCORD (under his breath) We don't have time for this. 83. SCARLETT It's agains friendly for t orders to engage with ces. RIPCORD The onl about i Dukendly force I care S Ripcord suddenly S Forces' heads. Some hit the PRAYS a burst of crashes through t deck. gunfire over the French to grab him , he French line. Ripcord charges , and though A DOZEN PARATR forward, AND he fights, they take OOPERS OPERS manage WE SMASH CUT TO: A him down hard. The Joes sit alone FRENCH POLICE HOLDING CEL L - DUSK who bears some bruisbenches. Heavy fight.DutY stares at Ripcord, HEAVY DUTY Nice. ARLETT It'snot his emotional. fault. He's just... Scarlett and a French Detect Rip share a look. On the other SUIT o curiously examines n a desk. Bre aker jumps up to Breakerssde Rf the bars the bars. Please, BREAKER touch that. Please, don't HE'S touching It's very... Okayit. , Please! Sir. Sir, How do RIPCORD you say "lawyer" in French? BREAKER If we could get on a Might be to computer we longitude able Input the partial les g es latitude, and Viper, figu the downloaded from tha t re out their locati ON- HEAVY DUTY (to Ripcord) It'll be a military when they're done tribunal. need a lawyer. We with us And 'll need diapers. 84. RIPCORD (to himself) Think, think, think... (to the Joes) At some point they gotta feed us or take us out for the interrogation. When they do I'll jump the lead Guard. Heavy, you go for his weapon and-- BREAKER --Start an international incident. RIPCORD I'm not gonna just sit here! BREAKER This is bigger than Duke. RIPCORD What if it was one of you? What if they had Heavy or Scarlett, what would you do? The Joes trade looks - rock and a hard place. RIPCORD (CONT'D) We're not doing Duke a damned bit of good sitting here. If it was reversed, Duke would be kicking down every door between here and the freakin' moon 'til he found me. SCARLETT And we'll do the same for him as soon as we get out of here. She has a thought and turns to Breaker. SCARLETT (CONT'D) Partial? You said partial latitude and longitude. BREAKER We only got the one coordinate-- 90 degrees, then the image went to snow. SCARLETT Maybe it was the whole coordinate, just 90 degrees latitude. (they all look at her) (MORE) 85. SCARLETT (CONT'D) Before the image went to snow,...it's the polar ice cap. RIP'S DOG TAGS hit the floor and slide to his feet. The Joes all look up to see several POLICE OFFICIALS looking at them. INT. HALLWAY - NIGHT The Joes are led down a hallway. RIPCORD They did away with the guillotine, right? They arrive at a door. The door is opened to reveal a man in a wheelchair, back turned. When he spins around, it's Hawk. BREAKER General! Hawk just shakes his head and sighs heavily. INT. ROOM - LATER The Joes sit around the General, mid-discussion. HEAVY DUTY How long before we're released? HAWK The French government is allowing you to leave on the condition that none of you ever return. Other agencies will be handling this from here on. SCARLETT/RIPCORD What?! HAWK The heads of state of every member of GI JOE are recalling their operatives. We are now considered a rogue unit, uncontrollable. Shut down. We're to report to Washington for debriefing. Hawk rolls his wheelchair to the door. RIPCORD That's it? They've got Duke! 86. Hawk stops his wheelchair, turns to them. HAWK I said you were to report to Washington. I didn't say when, or which route to take. SCARLETT Maybe a northern one. Hawk smiles and wheels out the door. EXT. NIGHT RAVEN - SKIES - DUSK A NIGHT RAVEN rockets through the orange skies, SMASHING through the sound barrier with an ear-tingling SONIC BOOM. INT. NIGHT RAVEN - SKIES - DUSK Storm Shadow sits in a meditative state. Duke is shackled, hands bound, out of his ACCELERATOR SUIT. Ana steps out of the cockpit area and approaches him, nods to Storm Shadow. ANA He thinks I should kill you. DUKE Why don't you? ANA James wants to meet you in person. DUKE James? ANA Mr McCullen. DUKE Ana listen-- ANA --Talk softly, or he'll tazer you again. DUKE (raises his bound hands) Loosen these, he'll never taser anything again. She taps the bonds on his wrists. 87. ANA I should've thought of this before. They almost share a smile. DUKE Let me get this straight. You're with McCullen. You're married to that Baron. And you claim you're still in love with me. ANA I'm a complex woman. DUKE Maybe you just don't know who you are anymore. ANA Who I was died long ago. DUKE No, this isn't you, I still see the person I loved behind your eyes. Her eyes soften for a moment. ANA Tell me what she was like. DUKE She was smart, and funny. She was loyal as hell. She loved those she was close with, me, her brother... (agonized pause) I did my best. With Rex. I'm sorry. He was my responsibility. I should have... It's why I left, Ana. Why I couldn't be with you. You were in so much pain... I thought the sight of me just give you more. She seems to be affected by this ever so slightly, then... a hard, cold look comes to her eyes, she shakes her head. ANA It doesn't matter now. DUKE No, it matters very much. We have the chance to make things right. 88. ANA Nothing will ever be right again. Duke stares at her, his heart ripped apart. WE PUSH IN ON the two of them and FLASHBACK TO: EXT. CEMETERY - WASHINGTON D.C. - FLASHBACK - DAY Rain is drizzling on a military cemetery. Ana sits alone, without family, without Duke, staring straight ahead as Rex's casket is lowered into the ground. Parked on a nearby road is a lone car. Duke sits inside it, staring at the funeral in the distance. His face tells us the anguish he's living with. He pulls out and starts to drive away, the rain on the windshield BLURS AS WE DISSOLVE TO: INT./EXT. NIGHT RAVEN - POLAR ICE CAP - NIGHT The Night Raven zeroes down on a stretch of ice near a huge CAVE. A SET OF RUNWAY LIGHTS appear under the ice, guiding it in for a smooth landing. The cave swallows the plane whole. INT. ICE CAVE - NIGHT The Night Raven rolls to a stop inside the cave. The side door opens. Storm Shadow exits with the weapons case. Ana leads Duke out, two Neo-Vipers behind them. Storm Shadow clicks a hand held remote and a HIDDEN ICE WALL opens to reveal a HI-TECH DIVING BELL awaiting them. Duke uses the moment to lunge forward, grab the case and haul ass towards the cave door. Storm Shadow spins, Shurikan throwing stars in his hands. The Neo-Vipers whip up their pulse rifles. ANA NO! McCullen has plans for him! Storm Shadow throws a star, it whistles across the cave and nails Duke in his shoulder, Duke goes down hard, staggers back up, but the Neo-Vipers are already on him, they start beating the living shit out of him. Ana jogs up. ANA (CONT'D) Enough! Storm Shadow picks up the case and looks at Duke, face down, bloody and beaten. 89. STORM SHADOW And what was your plan? Run three thousand miles across the ice? He rips his star out of Duke's shoulder. Duke sucks it up. STORM SHADOW (CONT'D) Stupid soldier. Duke rolls over and stares up at them, breathing hard. INT. SUBMARINE - NIGHT Ripcord, Scarlett, Snake-Eyes, Heavy Duty and Breaker are in the conn tower of a next-gen submarine, going over a 3-D MAP of the polar ice cap. HEAVY DUTY That's a lotta ice. RIPCORD It's gonna be like trying to find whale spit in the ocean. Breaker sees a SMALL LIGHT flashing on his Ball-Eyepiece. BREAKER That's strange. SCARLETT What? BREAKER When they stole the weapons case, I set my suit to scan for the tracker beacon in case it came back on, and it just came back on. Ripcord just smiles. RIPCORD That's my boy. EXT. ARCTIC OCEAN - NIGHT The DIVING BELL comes shooting down out of a shaft in the bottom of the ice cap and rockets down towards the facility. 90. INT. DIVING BELL - NIGHT As the diving bell descends, Duke stares at the facility out the portal. He is awed by the immense size of the place, he looks at Ana, proud of her office. ANA Certain work needs to be done away from the public eye. INT. ENTRY PORT - NIGHT The diving bell entry port opens, guarded by two Neo-Vipers. McCullen stands waiting. His eyes first move to the weapons case in Storm Shadow's hands. Storm Shadow opens it and shows him the three remaining warheads. McCullen runs his fingers over them, then nods, Storm Shadow closes the case. MCCULLEN Take them to the drones. I want them ready to launch in one hour. STORM SHADOW It will be done. And only then does McCullen greet Ana. MCCULLEN My beautiful Lady of the Lake... He kisses her. Ana kisses him back with slightly-feigned affection, her eyes open and on Duke. Duke stands there, impassive. McCullen finishes the kiss and turns to Duke. MCCULLEN (CONT'D) This bother you? Duke says nothing, so McCullen steps closer. MCCULLEN (CONT'D) Isn't it funny, with the entire balance of power in the world about to shift, a couple of guys can still have a stare down over who gets the girl. Duke takes the opportunity to HEAD BUTT McCullen. The Neo- Vipers instantly pummel Duke to the floor. McCullen wipes a small trickle of blood from his nose. 91. MCCULLEN (CONT'D) The interesting thing about my Neo- Vipers is they still think the same thoughts they always did, they just can't act on them anymore. Instead, they do what I want. I imagine that must be very frustrating. He gets right down in Duke's face. MCCULLEN (CONT'D) I'm going to make you very unhappy. DUKE (grit teeth) I'm already happy. McCullen glances at Ana, watching the display with conflicted eyes. McCullen heads for the door, beckoning the Neo-Vipers to make Duke follow him. INT. CORRIDORS - NIGHT Duke trails behind McCullen and Ana, flanked by Neo-Vipers. DUKE What're you gonna do with the warheads? MCCULLEN You take to your training well, that's good. Still trying to develop information. Still planning to escape and stope me. Moments from now, you'll see that won't ever happen. DUKE Then you won't mind telling me. MCCULLEN Isn't it clear? I'm a business man. I'm going to use them. DUKE Millions of people are gonna die if you launch those warheads. What is it you want, McCullen? 92. MCCULLEN Merely to strike fear into the hearts of every man, woman, and child on the planet. Only then will they look up to the man who wields the most power, and obey him. INT. CONTROL ROOM - NIGHT The control room is alive with TECHNICIANS squirreling about various stations. Monitors show three large AERIAL DRONES sitting in vertical launch bays. Duke sees the drones and his face registers the horror of what McCullen's about to do. He glances at Ana, she quietly looks away, a hint of remorse in her eyes? The Doctor rises to greet McCullen, glancing at Duke for several moments, as if struck by the sight of him. MCCULLEN Meet the genius behind all my nanotechnology. THE DOCTOR My genius lies only in taking what others created to the logical next steps. All modern gains in science are made through theft. MCCULLEN You'll have to excuse his modesty, when I found him, he was -- THE DOCTOR (interrupting, re: Duke) --Another "recruit"? MCCULLEN Albeit a rather unwilling one. The Doctor's nano-mites can control all manner of brain functions. When you wake up, you'll be working for me, and your past will be a distant shimmer that floats in and out of your mind like a leaf on a breeze. THE DOCTOR I'll prepare him for the surgery. The Doctor beckons the Neo-Vipers who shove Duke after him towards another door. Duke and Ana exchange one last look. McCullen keeps his eyes on her as she watches him go. 93. EXT. DESTRO HEADQUARTERS - UNDERWATER - DAY A school of fish swims past the facility, one fish breaks away from the school. CAMERA ZOOMS IN TIGHT ON IT: it's not a fish at all, but a mini robotic underwater spy system. EXT. SUBMARINE - DESTRO HEADQUARTERS - DAY A sleek submarine drifts silently through the arctic waters. BREAKER (V.0.) Picture's coming on line now. INT. CONN TOWER - SUBMARINE - DAY In the Conn Tower of the sub, our team gathers around Breaker who sits at a monitor watching what the "fish" is watching. SCARLETT It's an underwater facility... HEAVY DUTY McCullen's home away from home. RIPCORD Dukes' gotta be in there somewhere. SCARLETT Wait, what's that? Breaker ZOOMS IN on a massive TURBO-LASER CANNON. BREAKER Oh, Jesus...That's an automated, phased array turbo-pulse battery. (off their looks) A really big gun. SCARLETT Could it take out our sub? BREAKER That thing could take out a dozen subs simultaneously. SCARLETT Then that's our first objective. RIPCORD No, no. Duke's our first objective. 94. SCARLETT The main force can't attack as long as that cannon's online. HEAVY DUTY How you figure getting it offline? Snake-Eyes points to the DIVING BELL CABLES n the monitor. SCARLETT Elevator cables. They've got a surface entrance. Shipwreck? She turns to the submarine commander, HECTOR "SHIPWRECK" DELGADO, a fiery Spanish naval combat veteran. SHIPWRECK Going up, senorita? Scarlett nods and leads the others down a corridor. SCARLETT Snake-Eyes, Breaker, Ripcord, and I will infiltrate the factory from above and destroy the cannon. Heavy D, as soon as we give the word, you lead the assault from outside. HEAVY DUTY (nods grimly) Go, Joes... EXT. ICE FIELD - POLAR ICE CAP - DAY A quiet wind blows across a remote stretch of arctic ice. All of a sudden the ice pack begins to tremble like the mother of all earthquakes. It cracks and ruptures and then erupts as the CONN TOWER of the submarine crashes through, then grinds to a halt. A FORWARD HATCH OPENS and two ROCK SLIDES launch out, landing hard on the ice and speeding away. Ripcord and Breaker on one. Scarlett and Snake-Eyes on the other. INT. LAUNCH BAY- DESTRO HEADQUARTERS - DAY McCullen, Ana, and Storm Shadow watch monitors showing TECHNICIANS securing the warheads onto three rocket propelled SMART-DRONES. As the last one is secured a Technician says: TECHNICIAN All drones prepared and ready, Sir. 95. MCCULLEN Good, commence the launch sequence immediately. is that a ripple of concern flickering across Ana's face? INT./EXT. ICE CAVE - POLAR ICE CAP - DAY Our team races into the ice cave on their ROCK SLIDES and park beside the dormant Night Raven. Weapons up. Scanning the place from top to bottom. Ripcord stars at the awesome plane towering before him. RIPCORD That McCullen's got some gadgets. Breaker gestures to the ice wall. Snake-Eyes uses his Katana sword to slice a circle in the wall and yank it out, revealing the DIVING BELL CABLES, but no diving bell. BREAKER Maybe we could slide down. Snake-Eyes shakes his head, doubtful SCARLETT The arctic water would kill us. INT. CONTROL ROOM - DESTRO HEADQUARTERS - DAY McCullen, Ana, and Storm Shadow watch the drones sitting in the launch bays on the screens. Technicians are working hard. TECHNICIAN Three... two... one... ignite primary engines. The entire control room begins to shake. The screens fill with fire. INT./EXT. ICE CAVE - POLAR ICE CAP - DAY The Joes run outside, wondering what the hell is causing the earthquake. A large circle of ice near them MELTS. And then the first drone EXPLODES UP before them and LAUNCHES into the morning sky, peeling away to the east. Before they can react, the second drone EXPLODES UP a hundred yards away, peeling off to the west. They hear the third one about to rocket up-- 96. Snake-Eyes thinks fast, sprints into the cave, jumps on a Rock Slide, hauls-ass outside, hits a WEAPONS SWITCH on his Rock Slide, prepping two HEAT-SEEKING ROCKETS on either side of the vehicle. The third drone LAUNCHES UP from two hundred yards away. Snake-Eyes locks onto its exhaust and FIRES. The missiles race up after the drone and knock it out of the sky. It EXPLODES. Metal FLIES. Snow BURNS. INT. CONTROL ROOM - DESTRO HEADQUARTERS - DAY The technicians see this on their monitors. TECHNICIAN We lost one. MCCULLEN Lost one? What do you mean? TECHNICIAN Bird Three is down, Sir. McCullen looks at the monitors, enraged. Storm Shadow smiles. STORM SHADOW We're under attack. MCCULLEN Alert all defences. Charge up the pulse cannon. He turns to say something to Ana, but she has left the room. EXT. ICE CAVE - POLAR ICE CAP - DAY Topside, the team watches the two remaining drones race away. BREAKER What about the other two? RIPCORD We find the kill switches and short out the nano-mites. BREAKER (shakes his head) They're already way out of range. SCARLETT Then somebody has to go up there and shoot those things down. 97. RIPCORD (PAUSE) That's me. INT. NIGHT RAVEN - ICE CAVE - MOMENTS LATER Ripcord climbs into the Night Raven's cockpit. Scarlett steps up to watch. He's already flipping switches and putting on a FLIGHT HELMET. SCARLETT Can you even fly this thing? RIPCORD I can fly anything. You just track those warheads and guide me in. We don't have long until they hit. SCARLETT Ripcord? He glances at her, a moment between them. Then she presses forward and kisses him on the mouth. He stares back at her. SCARLETT (CONT'D) Good luck. RIPCORD Do me a favor? Save Duke. She gives him a nod, then leaves. Ripcord grins to himself. EXT. NIGHT RAVEN - ICE CAVE - DAY The NIGHT RAVEN tears across the ice and launches into the sky. Ripcord WHOOPS with adrenaline. Scarlett, Snake-Eyes, and Breaker fast rope down into the first launch bay as the ice REFORMS behind them, hiding the hole. INT. OPERATING CHAMBER - DESTRO HEADQUARTERS - DAY We now find Duke, wearing only SURGICAL TROUSERS, strapped on the operating gurney we saw Zartan on earlier. The SMART ROBOTS warming up around him as the Doctor approaches. THE DOCTOR The atomic bomb that was dropped on Hiroshima destroyed seventy percent of the city. Seventy percent... Did you know that, Duke? 98. Duke looks at him, something familiar. REX There was a bank situated less than one hundred yards from Ground Zero, destroyed of course. Only one thing survived. It's four bank vaults. And when those vaults were opened, they discovered everything inside them had survived completely unscathed. DUKE Who are you? THE DOCTOR Of course, the vault I took shelter in wasn't that well-made. He unclips his BREATHING TUBES and lowers the mask to reveal a scarred and burned face. THE DOCTOR (CONT'D) Double Bubble? Duke is beyond shocked. DUKE Rex... Rex immediately has trouble breathing and returns the mask over his face. DUKE (CONT'D) You sonuvabitch... Ana buried you. THE DOCTOR A moving ceremony, I'm sure. The three volley salute. The flag on the coffin. DUKE Why? .Why didn't you come in...? THE DOCTOR Because I found out the truth... AND WE FLASHBACK TO: JUNGLE BUILDING - DAY Rex moves through the building with Fireteam Bravo. 99. BRAVE SOLDIER Intel says the lab's in the basement. Fireteam Bravo kicks open a door. They lead the way down a staircase toward the basement. Rex follows, nervous as hell. The soldiers round a corner, suddenly, Rex hears GUNFIRE, he freezes, then silence, Rex pulls out his .45 And rounds the corner to see Fireteam Bravo down. A GUARD is trying to clear a jam in his machine gun. As he clears the weapon and raises it, Rex raises his .45 and fires first. The Guard drops. Rex checks Bravo, but they're not moving. He looks around the basement, no lab, but he sees a massive VAULT DOOR, closed. He heads for the vault, 45 raised, breathing hard. WHOOSH, a blast of refrigerated air hits him as he opens the door. Rex enters a small room filled with DEAD ANIMALS in huge FORMALDEHYDE JARS> Something inside the animals is constantly reshaping their appearances, reforming their facial bones and changing the color, texture and elasticity of their skins. There is a scuffling noise, Rex points his gun. A small, stooped old SCIENTIST in a lab coat appears. SCIENTIST Are you going to shoot me?... Rex doesn't respond. SCIENTIST (CONT'D) We knew you were coming. But I couldn't walk away from it... Rex stares in awe, not what he was expecting. REX Stay where you are. His gun up, he finds a COMPUTER TERMINAL and begins accessing various files, starts reading them. REX (CONT'D) These aren't chemical or nuclear-- SCIENTIST No. Something much... better. RES This is beyond anything... This is light years ahead of anyone in the field. 100. SCIENTIST You see why I couldn't leave. Rex nods, hypnotized by the science in front of him, an instant bond formed with the man who created it. The distant sound of Jets. The Scientist moves to the vault door and begins pulling it closed as we hear the J-Dam Bunker Buster whistling towards them. SCIENTIST (CONT'D) If we live, I'll show you everything... WE SMASH CUT BACK TO THE MEDICAL WING - PRESENT Duke tries to absorb what he's learned. The Doctor continues. THE DOCTOR The man who created this technology was not our enemy. In fact, he was hired by our very own government to create it. When it was deemed too unethical, they sent us to kill him. He didn't survive the blast. But I... lived. (touches his face) And I escaped with his research. Unfortunately I tested it on myself first, and lost my lungs and vocal chords in the process. But now I've perfected it, and you will get a first-hand experience. DUKE (his biggest concern) Does Ana know about this, about you? THE DOCTOR No... and she never will. He glances at the SMART ROBOTS and Duke realizes. DUKE You sick bastard... you did this to your own sister? THE DOCTOR (INCENSED) I loved my sister! Do you have any idea the state she was in? Me dead. You AWOL. Depression, drugs. (MORE) 101. THE DOCTOR (CONT'D) So, I had her brought here, gave her a way to deal with her pain, gave her purpose. Made her strong. I gave her a new life, Duke. DUKE Why work for McCullen? THE DOCTOR He saved my life, for starters. Now to mention infinite resources to work in the field of my choosing. DUKE That's bullshit. You could have had any job you wanted. THE DOCTOR I didn't want any job. You can't play nice with science, Duke. It's sometimes necessary to experiment, to fail, even to destroy to attain a goal. It's a fact that McCullen has the guts to embrace. DUKE (still shocked) Everything she's done, everything she's become, started because she thought you died that day. THE DOCTOR And because you then abandoned her, let's not forget that part. And with that, he leaves Duke to the SMART ROBOTS, which menacingly begin to move in. INT. LAUNCH BAY - DAY Scarlett, Snake-Eyes, and Breaker drop down into the launch bay. They see a chrome corridor leading into the facility. SCARLETT It's pressure plated and laser protected. Anyway around it? BREAKER No. Any object larger than a quarter will fry your britches. Snake-Eyes shakes his head with a sigh, then steps forward and leaps onto the floor, landing on his fingertips. 102. Then, with incredible strength, he proceeds to walk across the floor on his fingertips, aware of the continuous crackle and hum of lasers around him. Scarlett and Breaker watch with baited breath. Snake- Eyes now reaches the doorway. BREAKER (CONT'D) What you'll have to do is rewire the laser panel's brain by-- --Snake-Eyes swiftly balances on one set of fingertips while his other fingers grab his sword and STAB the laser panel. The sound of the laser net instantly vanishes. BREAKER (CONT'D) .or you cold just stab it. INT. OPERATING CHAMBER - DAY Duke lies on the operating table as a SMART ROBOT makes an incision behind his right ear. Duke grimaces. A long needle zeroes in on the incision. As the needle dives towards Duke's head, a hand hits a switch and the needle quickly retracts. Duke looks over to see Ana by the controls, gazing at him. ANA I don't have much time. She rushes over and unties him and they stare at each other, then kiss passionately. All of a sudden, Duke feels something behind her right ear, he turns her head, --an INCISION SCAR. He looks at her, but before he can say anything, Ana's body snaps rigid and falls limp in his arms. DUKE Ana! Duke looks over to see the Doctor holding his PDA, McCullen and two Neo-Vipers beside him, their rifles on Duke and Ana. Duke gazes at Ana, desperately feeling for her pulse. INT. TURBO LASER CONTROL ROOM - DAY Two TECHNICIANS man the firing controls of the huge TURBO LASER CANNON. Snake-Eyes takes them out and shuts down the cannon. HE sends a quick message on his WRIST-COMMUNICATOR. INT. CONN TOWER - DAY Heavy Duty sees the message appear on a screen. "CANNON OFF- LINE. HAVE A NICE DAY." Heavy smiles and turns to Shipwreck. 103. HEAVY DUTY Let's get in this fight. EXT. UNDERWATER - DAY The GI JOE submarine peels around a rocky headland now, in full view of the underwater facility. A series of TORPEDOES fire out of the submarine's launch tubes. Most are blown up by the facility's Harpoon Cannon defenses, but several manage to hit the facility's exterior. KA-BOOM!! INT. FLIGHT CONTROL ROOM - DAY The whole place SHUDDERS. Scarlett and Breaker blow the control room door and cut down the Technicians trying to shoot them. Breaker takes over a station console. BREAKER Okay, I've got a lock on the two remaining warheads. Target one is Moscow! Target Two is Washington! SCARLETT Give Ripcord the coordinates. INT. TURBO LASER CONTROL ROOM - DAY Snake-Eyes spins to see a pair of KATANA BLADES come crashing down at him from behind. He spins, but one of the blades cuts him on his left arm, sending him reeling backwards, it's Storm Shadow. Who quickly powers the laser cannon back online. Snake-Eyes dives to stop him, --and as their swords meet WE FLASH CUT TO: THE GROUNDS OF THE ARISHIKAGE TEMPLE, where two sixteen year- olds, Snake-Eyes and Storm Shadow, trade blows with wooden katanas. Storm Shadow drops Snake-Eyes, who falls hard, Storm Shadow steps on his throat, sword point in Snake- Eyes' face. Hard Master looks on without expression. FLASH CUT BACK TO: THE CONTROL ROOM, where Snake-Eyes and Storm Shadow's blades flash like lightning, they battle fiercely around the room. A Neo-Viper charges up the controls. Snake can't stop him. 104. EXT. UNDERWATER - DAY Outside, the massive TURBO-LASER swings wildly towards the submarine and fires. A BRILLIANT BLUE PULSE ripples through the arctic sea, glancing the side of the vessel. WHAM!! INT. CONN TOWER - DAY The submarine shakes hard. Rivets burst. Water pours in. SHIPWRECK The hull's been ruptured! HEAVY DUTY Everyone into the attack boats! EXT. SUBMARINE - DAY Hatches open along the sides of the submarine, deploying ten SHARC ATTACK CRAFT carrying dozens of Joes. At the same time, batches begin to open on the facility and a dozen MANTIS attack craft carrying dozens of Neo-Vipers emerge. INT./EXT. SHARC - UNDERWATER - DAY Heavy Duty and Shipwreck pilot one of the SHARCS. The huge opposing force coming at them is quite terrifying. HEAVY DUTY Keep tight everybody. He fires a HARPOON TORPEDO which BLASTS a Mantis. The mantis craft RETURN FIRE. The whole area explodes in a pulse fire and harpoon blasts. The Joe submarine sinks and EXPLODES at the base of the facility. INT. OPERATING CHAMBER - DAY Duke cuddles dead Ana, clearly emotional. McCullen steps up. MCCULLEN Is she still alive? THE DOCTOR For now. MCCULLEN You said this couldn't happen. 105. THE DOCTOR I didn't think it could. I've never seen anyone defeat the programming, even momentarily. Duke recovers and angrily grabs one of Ana's PISTOLS and kills the two Neo-Vipers, then turns the gun on the others. The Doctor lifts his PDA, finger on the "TERMINATE" BUTTON. THE DOCTOR (CONT'D) If I press this, Ana dies. DUKE Put it down. THE DOCTOR Your choice, Duke. DUKE Put it down! The Doctor doesn't move. McCullen watches the stand-off his right hand discreetly drawing STEEL HOSE out from his sleeve. INT./EXT. NIGHT RAVEN - SKIES - DAY Ripcord streaks into the upper atmosphere in the Night Raven, the curve of the Earth visible out his windows. Ahead, he can see a PULSATING LIGHT. RIPCORD I see it, dead ahead. INT. FLIGHT CONTROL ROOL - DAY Breaker speaks into his headset. BREAKER You have to knock it down before it re-enters the atmosphere so the nano-mites don't reach the ground. INT./EXT. NIGHT RAVEN - SKIES - DAY Ripcord flicks a switch and opens a PULSE LASER on the nose. RIPCORD Uh, I've got a problem. The fire controls are not in here. 106. BREAKER'S VOICE What do you mean, not in there? RIPCORD I mean I can't see them anywhere! INT. FLIGHT CONTROL ROOM - DAY Scarlett hears this and realizes. SCARLETT It's gotta be voice-activated. RIPCORD'S VOICE What? SCARLETT You have to say the words into your flight helmet. INT./EXT. NIGHT RAVEN - SKIES - DAY Ripcord lines up the missile in his sights, gets a lock. RIPCORD Fire! (nothing happens) Shoot! (still nothing) Blast away! Still nothing, the missile streaking onwards towards the Earth. INT. FLIGHT CONTROL ROOM - DAY They hear Ripcord yelling over the speakers. RIPCORD'S VOICE Nothing's happening! BREAKER Must be a different language. SCARLETT (to Ripcord) Try "teine". RIPCORD'S VOICE What? 107. SCARLETT It's Scottish for fire. INT./EXT. NIGHT RAVEN - SKIES - DAY Ripcord's not sure about this, the missile arcing down. RIPCORD Teine. SCARLETT Listen to my voice, "Teine". RIPCORD Teine! Teine! Teine! (nothing happens) It's not working! SCARLETT'S VOICE That's because you're not saying it right! RIPCORD How many different ways you want me to say it? SCARLETT'S VOICE One way! The right way! Teine! RIPCORD Teine! And at last the PULSE LASER fires. Blasting the missile out of the sky. The CLOUD OF NANO-MITES floats aimlessly away. INT. FLIGHT CONTROL ROOM - DAY They all see the missile disappear on their screen. BREAKER Nice work, Ace. You just saved Moscow. INT./EXT. NIGHT RAVEN - SKIES - DAY Ripcord sighs with relief, already peeling away. RIPCORD Just doing my job. Guide me to the other drone... (MORE) 108. RIPCORD (CONT'D) (under his breath) .man, I freakin' saved Moscow! EXT. WHITE HOUSE - WASHINGTON - DAY The White House glistens in the midday sun. INT. PRESIDENTIAL BUNKER - DAY The American President's Bodyguards rush him and his staff down into a fortified bunker beneath the White House. PRESIDENT How soon will it strike the city? STAFFER Seventeen minutes, Sir. PRESIDENT This will be a disaster the likes of which we have never seen. As the DOORS CLOSE behind them we see the MARS INDUSTRIES LOGO on the doors. EXT. UNDERWATER - DAY Another blast from the TURBO-LASER destroys a SHARC. INT./EXT. SHARC - UNDERWATER - DAY Heavy Duty sees this as he takes out a MANTIS. SHIPWRECK That cannon's going to kill us all. HEAVY DUTY My guy will take care of it, trust me. INT. CONTROL ROOM - ENERGY SHAFT - DAY Snake-Eyes kills the Neo-Viper, who falls down a large shaft into freezing waters. Storm Shadow lunges at Snake-Eyes and the two of them tumble down into the shaft, but land on a gangway. They both leap up and begin to fight again. The Neo- Viper tries to crawl out of the freezing water, seemingly unfazed as he slowly freezes solid. 109. All of a sudden, there's LOUD NOISES and a series of ENERGY LASERS power on up and down the shaft between various circuit modules. This is where the energy is charged to operate the cannon. One of the lasers catches Storm Shadow's shoulder and burns him severely. Snake-Eyes sees this and ducks just as an ENERGY LASER fires on beside his head. EXT. UNDERWATER - DAY Outside, the TURBO-LASER fires. The Joe craft desperately weave and dodge. INT. ENERGY SHAFT - DAY .and the LASER NET fades. Instantly, Storm Shadow and Snake- Eyes continue their desperate fight. Swords FLASH and CLANG, two masters at their best. AND WE FLASH CUT TO: THE GROUNDS OF THE ARISHIKAGE TEMPLE, where two twenty-two year olds, Storm Shadow and Snake-Eyes sword fight. Storm Shadow knocks Snake-Eyes to the ground again and places his steel sword against Snake-Eyes' face. Again, Hard Master watches without expression. AND WE FLASH CUT BACK TO: THE ENERGY SHAFT, where Storm Shadow slashes Snake-Eyes across the chest, but before he can finish him off, the cannon charges up again and the LASER NET slams on. Storm Shadow twists his body to avoid the ENERGY LASERS while Snake- Eyes lifts himself up to his toes to avoid a laser that threatens to disintegrate his crotch. Storm Shadow sees this, grins to himself. INT. PRESIDENTIAL BUNKER - DAY A staffer is on the phone, looking up at the President. STAFFER It seems somebody's shot down the warhead heading for Moscow. PRESIDENT Thank God... As he says this, a SECRET SERVICE AGENT draws a SILENCED PISTOL and kills the other Agents and Staff. We see an INCISION SCAR behind his right ear and realize he is a Neo- Viper. The President stares, stunned and horrified. The Neo- Viper holds his pistol on the President as-- 110. --A BOOKCASE moves on the wall, revealing a secret room. An UNSEEN FIGURE emerges and the President stares in shock. INT./EXT. NIGHT RAVEN - SKIES - DAY Up in the skies, Ripcord spots the second drone rocketing down towards the lower atmosphere in front of him. RIPCORD Second drone in my sights. INT. FLIGHT CONTROL ROOM - DAY Breaker and Scarlett watch in the control room. BREAKER Hurry, Rip. You've only got thirty seconds before it enters the lower atmosphere. INT./EXT. NIGHT RAVEN - SKIES - DAY Ripcord's feeling the pressure. He targets the missile. RIPCORD Taine! But nothing happens. Scarlett's voice yells in his head. SCARLETT'S VOICE Teine! Teine! RIPCORD Don't yell at me! SCARLETT'S VOICE Teine. Ripcord takes a breath, stealing his nerves. A RED FUEL LIGHT starts beeping on his control board. Rip does his best to ignore it, focusing on the missile as it begins to disappear into the lower atmosphere. The light beats faster and louder. RIPCORD Teine! The LASER PULSE fires, blasting straight at the missile which is lost in the atmospheric haze below. For a moment, he can't tell if he hit it or not. INT. CONTROL ROOM - DESTRO HEADQUARTERS - DAY The tracking in the control room provides the answer. BREAKER You missed! The warhead has entered the lower atmosphere! INT./EXT. NIGHT RAVEN - SKIES - DAY Ripcord realizes this as he enters the lower atmosphere himself. The spread of WASHINGTON D.C. Far below him now. INT. OPERATING CHAMBER - DAY In the operating chamber, the stand-off reaches its boiling point now. McCullen slowly approaching Duke who keeps Ana's pistol on the Doctor, Ana still in Duke's arms. MCCULLEN Did you think she loved you? DUKE Stay back! MCCULLEN Did you imagine your life with her? DUKE I said stay back! THE DOCTOR Don't you know you've lost, Duke? DUKE All I know is that neither of you deserves her. McCullen suddenly lifts the STEEL HOSE in his right hand-- --A BURST OF FLAME tears out at Duke who reflexively fires the PULSE PISTOL at it. The intense air blast from the pulse pistol catches the flames midway between them and blows them back onto McCullen. McCullen SCREAMS as his face is literally burned off. The Doctor freaks and drops the PDA, then yanks McCullen out into the corridor. Duke fires after them, then grabs the PDA, removing Ana's screen with a sigh of relief. 112. INT./EXT. NIGHT RAVE - SKIES - DAY Above Washington, Ripcord guns his aircraft after the falling drone. Getting real close this time. No way he can miss. INT. CONTROL ROOM - DESTRO HEADQUARTERS - DAY They see this on the screens in the control room. BREAKER You're too close, Rip. Back up. INT./EXT. NIGHT RAVEN - SKIES - DAY Ripcord gets eerily calm all of a sudden. RIPCORD Actually, I think I'm just about close enough... (PAUSE) .teine. The PULSE LASER fires point blank. The missile EXPLODES right in front of him. Ripcord flies through the flames, the CLOUD OF NANO-MITES latching onto his wings. INT. CONTROL ROOM - DESTRO HEADQUARTERS - DAY The drone disappears from their screens now. SCARLETT Ripcord? What happened? Rip! INT./EXT. NIGHT RAVEN - SKIES - DAY Ripcord is now struggling mightily with his controls as the NANO-MITES swiftly eat his plane. His FUEL LIGHT flashes at him alarmingly. He angles the Night Raven upwards, giving it all he's got, NANO-MITES everywhere. INT. CONTROL ROOM - DESTRO HEADQUARTERS - DAY They see his plane angle back up into the upper atmosphere. 113. BREAKER He's taking the nano-mites back up into the upper atmosphere. INT./EXT. NIGHT RAVEN - SKIES - DAY The Night Raven is breaking up all around Ripcord now. He quickly attaches his flight helmet's BREATHING MASK. INT. CONTROL ROOM - DESTRO HEADQUARTERS - DAY Ripcord turns the plane over, inverting it. RIPCORD Cur magh! The canopy explodes. Rip shoots back down into the atmosphere as the NANO-MITES devour the Night Raven, then float away... INT. CONTROL ROOM - DESTRO HEADQUARTERS - DAY They see this on their screens. BREAKER He did it... He actually did it... SCARLETT Ripcord? Talk to me...Ripcord! Still nothing. And now they begin to suspect the worst. Then: RIPCORD'S VOICE I asked you not to yell at me. Relief comes rushing back to Scarlett and Breaker. SCARLETT What happened? Are you okay? RIPCORD'S VOICE Yeah, did it work? SCARLETT Yes...yes, it worked. EXT. PARACHUTE - SKIES - DAY Ripcord smiles, parachuting down towards Washington. 114. RIPCORD (into headset) Good...cause I think I'm about to get arrested. EXT. WHITE HOUSE - DAY Ripcord lands on the White House lawn, holding his hands up benignly as dozens of SECRET SERVICE AGENTS surround him. INT. ENERGY SHAFT - DAY ENERGY LASERS pulse on again, almost catching the two ninjas in their fight. Snake-Eyes draws his KATANA SWORD, its blade shimmering in the laser-light as he redirects the laser back into its module. Storm Shadow does the same with his sword, barely saving his neck. They glare at each other. AND WE FLASH CUT TO THE ARISHIKAGE TEMPLE, where the two 26 year-olds fight with katanas. Storm Shadow presses forward, Snake-eyes side-steps and hurls Storm Shadow to the ground! He steps up and puts his sword tip in Storm Shadow's eye. Snake-Eyes first ever win over Storm Shadow. Hard Master CLAPS ONE TIME. Storm Shadow looks at his father, he can't believe it, his father seems happy for Snake-Eyes. He slaps the sword away, gets up and stalks off. FLASH BACK TO: The cannon fires and the lasers disappear, freeing them to continue their duel. This is it. The final duel. Snake-Eyes struggles, exhausted and wounded. Storm Shadow puts in every ounce of hate he has left. He finally tears Snake-Eyes' sword away and kicks him down. About to go for the final kill. But before we find out the climax to their fight, we must finish their story: ON THE ARISHIKAGE TEMPLE GROUNDS, Snake-Eyes, still 26, walks along the pond. He hears a LOUD CRY. Snake-Eyes breaks into a run, careens around a building and sees Hard Master slumped on the ground, a sword in his back. SNAKE-EYES Master! Other NINJAS come flooding in. NINJA #1 That's Storm Shadow's sword! NINJA #2 There! There's the murderer! 115. Snake-Eyes spins to see Storm Shadow climb up the side of the Temple, onto the rood, give him a last look, and jump down over the wall. FLASH BACK TO: THE ENERGY SHAFT where Snake- Eyes is suddenly filled with renewed energy, he stares up at Storm Shadow's katana blade poised for the final kill. STORM SHADOW You took your vow of silence to avenge our Master. But now you will die without a word. The LOUD NOISE gears up again, distracting Storm Shadow for just a beat. Snake-Eyes uses the moment to catch Storm shadow with his feet, holding him up for a split second as the ENERGY LASERS come back on. One of them burns deeply across Storm Shadow's neck, he SCREAMS and stumbles back and falls OVER THE EDGE and down into the freezing turgid waters. Snake- Eyes steps up and looks down to see if he surfaces... He doesn't. SNAKE-EYES Father always feared it would come to this. EXPLOSIONS begin to rock the shaft now. Snake-Eyes stumbles towards the exit, leaving his fallen Sword Brother behind. INT./EXT. SHARC - UNDERWATER - DAY Heavy Duty sees the cannon return to its dormant position. HEAVY DUTY Turbo-laser is down! He guns his engines, firing at a MANTIS attack craft. It EXPLODES. Heavy Duty howls with delight. Around him, the Joes begin to turn the tide of the battle. A SERIES OF SHOTS of Mantis vehicles getting nailed by Joe harpoon cannons. INT. CONTROL ROOM - DAY They feel the EXPLOSIONS in the control room. Screens short out. Water starts to cascade in through BURSTING RIVETS. BREAKER Energy overload in the phased array battery. Power subsystems are going critical. 116. SCARLETT Let's get out of here! Scarlett grabs Breaker by the scruff of the neck and hauls him out of the room. INT. TRIDENT - DAY McCullen's face is horrifically burned as The Doctor helps him down into the Trident. EXPLOSIONS blowing above them. The pilots guide the sub out white the Doctor starts injecting McCullen with NANO-MITES. McCullen starts to SCREAM... INT. DIVING BELL ENTRY PORT - DAY Scarlett and Breaker races into the diving bell entry port and are shocked to find Snake-Eyes already here. Scarlett runs up and gently hugs him. SCARLETT Snake! Snake-Eyes grimaces, then looks Scarlett in the eyes. SNAKE-EYES .he's dead. She knows who he means, she gives him a grim smile. And that's when they see Duke, carrying Ana, charging up to them. Another EXPLOSION makes them all dash into the diving bell. The doors close and we hear them launch. INT./EXT. SHARC - UNDERWATER - DAY Heavy Duty notices the Trident escaping out of the EXPLODING docking bay into the arctic water. He angles towards the sub. HEAVY DUTY We got a runner! Cut him off! All of a sudden, the whole damn facility EXPLODES. INSIDE THE DIVING BELL: Our heroes are rocked by the BLAST, then they see MASSIVE CHUNKS OF POLAR ICE plummet down from the ice pack above, cutting off Heavy Duty and the Joes, and DEMOLISHING the remainder of the facility. The Trident disappears behind the trillions of bubbles and falling ice. 117. INT/EXT. SHARC - UNDERWATER - DAY Shipwreck checks his targeting scanner. SHIPWRECK All other targets neutralized. HEAVY DUTY GO JOES!! EXT. TRIDENT - UNDERWATER - DAY The Trident is moving fast through the water somewhere. INT. TRIDENT - UNDERWATER - DAY McCullen turns to us and we see that the NANO-MITES have created a FORM-FITTING MASK all over his face. He catches his reflection in the portal and he grabs at the mask, the NANO- MITES twisting with the contours of his muscles to reveal his complete and ever-lasting horror. He breaks down, falling to the floor, then he recovers and looks up at The Doctor. MCCULLEN I guess I should thank you, Doctor. The Doctor is busy fiddling with his hand held PDA. THE DOCTOR I want you to call me... Commander. (looks at McCullen) And from now on, I'll be on a first name basis with you, Destro. McCullen's silver face goes blank. MCCULLEN Yes, Commander. INT. VIEWING ROOM - MAXIMUM SECURITY PRISON - DAY Duke watches Ana through a two-way mirror. She sits alone in a holding cell. A MILITARY SCIENTIST watches her with Duke. - SCIENTIST Physically, she's fine. But without the correctly-coded kill frequency, we can't short them out. 118. DUKE There's nothing you can do? SCIENTIST Only the man who put them in there has the correct code. Duke considers this carefully, staring at Ana. INT. CORRIDOR - MAXIMUM SECURITY PRISON - DAY Duke walks along a prison corridor with Ana, led by two PRISON GUARDS. She carries a small bundle of PRISON GEAR. DUKE I'll visit you. ANA I won't be here long. DUKE You'll be here for the rest of your life, Ana. She looks at him, her face softening. ANA Duke? DUKE I'm here. ANA After all I've done, .you can't save me, .it's too late. A BEAT passes between them. DUKE I'll visit you. And for a moment, she appears to crack... but then a sinister smile creases her mouth. ANA You know, this has only just begun. She touches his face, then the PRISON BARS slam shut between them. She holds his eyes a moment longer, then the two Prison Guards lead her away. Duke just watches her go, his face torn with pain. He walks off alone... 119. INT. LANDING PLATFORM - THE PIT - DAY General Hawk is in his wheelchair, still recovering from his wounds. He leads Duke and ripcord to the Howler. HAWK With GI JOE reinstated, would you boys like to stay on awhile? DUKE What do you say, Rip? Ripcord looks at Scarlett, who throws him a wink and a smile. RIPCORD I'm good. They all laugh. Rip steps up to her. RIPCORD (CONT'D) So how do you feel about this? SCARLETT I feel very... emotional. Duke smiles and the Joes climb aboard as the platform rises. INT. PRESIDENTIAL OFFICES - WHITE HOUSE - DAY A bevy of SECRETARIES and STAFFERS greets the President. Then he enters the Oval office and closes the door, alone, he looks around, walks behind the desk, and grins as he sits, as if this is the first time he's ever done this. With a little flair, he CRACKS HIS KNUCKLES and we realize this is Zartan! And we SMASH CUT TO BLACK and ROLL CREDITS... THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Game 6.txt b/unformated_scripts/Script_Game 6.txt new file mode 100644 index 0000000000000000000000000000000000000000..78cde03a5b3fafbc96ff8684c7bf17b27b7cfa0b --- /dev/null +++ b/unformated_scripts/Script_Game 6.txt @@ -0,0 +1 @@ + GAME 6 Written by Don DeLillo Revised Draft May 18, 2004 INT. LOFT APARTMENT - MANHATTAN - MORNING 1 1 STEVEN SCHWIMMER, a drama critic, asleep on his bed. He wears a sleep mask. 2 The bed is a mattress on a makeshift platform. Papers strewn on the floor. An exercise bike. A desk with and old manual typewriter, reference works, periodicals, Styrofoam cups. A cast-off sofa with pants, shirts, sweater, underwear and socks tossed haphazardly on the cushions and arms. A counter that sets apart the kitchen area. A portable TV set on the counter. The remains of dinner for one. A row of stacked cardboard boxes with mail spilling out on the floor. Boxes are labeled in crayon: HATE MAIL. A coffee table with a candle nub in a saucer and six gleaming rounds of ammunition scattered next to a Llama Comanche .357 Magnum with a checkered walnut stock -- overall length, nine and a quarter inches. A Port-O-San toilet, about seven feet high, orange, scarred and dented -- scavenged from a construction site. A snapshot on the bedside table. It's a blurry picture of Steven holding a cat. Steven wears a peaked cap, and a shadow falls across his face. Next to the picture is a clock radio, which comes on with a buzz as the clock shows nine AM. RADIO ANNOUNCER begins to speak -- LONE EAGLE (V.O.) (softly) Traffic flowing smoothly on the Deegan right now but if you're lucky enough to have a ticket for tonight's game, be sure to leave early because it's going to be bumper to bumper. Steven does not stir. EXT. LOFT BUILDING 2 teven's loft is in an old squat building on 47th Street near Twelfth Avenue. The structure looks abandoned. Graffiti everywhere. Entranceway filled with debris. 2. LONE EAGLE (V.O.) Another day of traffic. Traffic everywhere I look. Cars stop and move and stop again. People sit at the wheel thinking their thoughts. EXT. UNITED NATIONS PLAZA APTS - - MORNING 3 The shimmering glass facade of the United Nations Plaza Apartments at 48th Street and First Avenue. A man visible at a window on one of the high floors, a cup of coffee in his hand. LONE EAGLE (V.O.) Day in, day out. Red light, green light. Traffic on the major arteries and traffic in the little veins. From his POV we see the traffic below creeping along, nearly at a standstill. LONE EAGLE (V.O.) Cars, vans, taxis, trucks, limos, Mopeds, bikes and buses. Emergency vehicles screaming and wailing. Birth and death, walk and don't walk. The man takes a sip of coffee. LONE EAGLE (V.O.) Traffic yesterday, today and tomorrow. Bumper to bumper, soul to soul. This is Lone Eagle over and out. EXT. 47TH STREET AND FIRST AVENUE - A LITTLE LATER 4 4 The same man -- the playwright Nicky Rogan with his hand in the air, hailing a cab. He is forty-five, vigorous, wearing well-made sporty clothes. In a corner of the screen -- OCTOBER 25, 1986 INT. TAXI 5 5 Stalled in traffic. NICKY I used to drive a taxi. 3. DRIVER Where you're going, mister? Nicky glances at the driver's name plate KAGANOVICH ANATOLI NICKY I used to drive a taxi. DRIVER I used to be head of neurosurgery. Big hospital in USSR. This hospital, I'm not kidding. NICKY Very big. DRIVER I opened thousands of brains. NICKY What did you find? DRIVER Big mess every time. NICKY I loved my taxi. Went twelve hours nonstop. Stopped only to pee. I peed under the Manhattan bridge. Peed many times in parks and playgrounds. EXT. STREET CORNER 6 6 47th Street and Third Avenue. A man is dancing with a life- size cloth doll. His tape player is on the sidewalk, playing and instrumental version of "Beautiful Dreamer" and there is a cigar box for donations. A few people look on from a distance. The man wearing an old cutaway, with running shoes, and the doll has long red tresses and wears a frilly gown. Nicky emerges from a taxi at the corner and walks rapidly past the dancing man. Nicky crosses the courtyard to Buchanan Apartments. INT. FOYER 7 7 JOANNA BOURNE reaching for the door. Joanna is fifty-ish, handsome, stylishly dressed. 4. INT. BUCHANAN APARTMENT - SECONDS LATER 8 8 Nicky and Joanna embracing with wordless abandon. They are in the hallway clutching each other, stumbling. The walls on either side are hung with expensive art. They grapple past the living room. Fleeting look at the paintings by Longo and Fischl, a poster by the Guerilla Girls. T he edge of the bedroom. Nicky is crawling into the room and Joanna is hanging on to him, being dragged. They are fully dressed except for one of Joanna's shoes. The bedroom. A Lichtenstein, a Hockney, a silk-screen of Joanna by Andy Warhol. A Jeff Koons piece. Nicky and Joanna roll on the floor until they are halfway under the bed. INT. HALLWAY 9 9 Muffled sounds from the bedroom. We track to: The maid's room. The maid is smoking a cigarette and reading New York magazine. The cover is partly obscured by her hand but we can see a blurry black-and-white photo of a man hurrying along a street with a newspaper over his face, shielding himself from the camera. Over the photo, three words visible: THE PHANTOM WHO -- A second line of type is too small to be legible. INT. BEDROOM -- LATER 10 10 Nicky and Joanna are undressing after the fact, very slowly and distractedly. Joanna stands by a chair near the window. Nicky is on the other side of the bed and he alternates between standing and sitting as he takes off his clothes. JOANNA Last night. Alan Albright called me a handsome woman. Second time he's done that. Son of a bitch. NICKY I hear Alan's sick. JOANNA Alan's very sick. He has to go to New Mexico and sit in a lukewarm solution. NICKY You know about Adele. JOANNA What about her? NICKY She's dying. JOANNA She died. NICKY I talked to her two days ago. JOANNA Apparently it didn't help. You know about Peter, of course. NICKY Our Peter? JOANNA Peter Redmond. They found out why he can't remember his lines. There's something living in his brain. A parasite he picked up in Borneo, doing the movie. NICKY Can he get through it? JOANNA They're watching him closely. There's a special rehearsal set for this afternoon. To bolster his confidence. And that's not all. NICKY I've got bigger problems, Joanna. Personal problems. JOANNA That's not all, Nicky. I've been backing your plays for fifteen years. And I've never been more depressed. NICKY About what? JOANNA S teven Schwimmer. The most powerful critic in America gets his first crack at Nicky Rogan. 6. NICKY (hiding his concern) Look. All I want is a haircut. I'm not worried about this guy. JOANNA Ever since he started reviewing the Broadway theater, nobody in this business has been worried about anything else. NICKY They can send their heartless brilliant boy-critic. There's a much bigger thing going on than tonight's opening. JOANNA What? NICKY The Red Sox JOANNA You mean the World Series? I thought the Red Sox were winning. NICKY Three games to two. But if you know their history, you realize there's a tragedy in the making. I've been carrying this franchise on my back since I was six years old. JOANNA It can't be all that personal. Joanna enters the walk-in closet to finish undressing and get a nightdress. NICKY If you have a team you've followed all your life, and they raise your hopes and crush them, and lift them and crush them, do you want me to tell you what it's like? It's like feeling your childhood die over and over. J JOANNA I mean Nicky, really, no. 7. Nicky follows her into the closet, still in his shirt and boxer shorts. JOANNA I'm proud of this play. It's so different from anything you've done. NICKY This is how we've managed to last. JOANNA We're able to surprise each other. NICKY In and out of bed. JOANNA Because we're completely mismatched. NICKY We don't even like each other, do we? Nicky walks out of the closet, takes off his shirt, gets into bed. JOANNA I used to tell myself. Talent is more erotic when it's wasted. Will I see you tonight? NICKY The Red Sox blow a chance to win their first World Series since 1918. You expect me to miss that for an opening night? Joanna emerges from the closet in her nightdress and gets into bed. JOANNA It makes me so mad. Steven Schwimmer ready to strike. The exterminating angel. NICKY It's all worked out. They'll lose tonight. Then they'll lose tomorrow. I see it with stunning clarity. 8. JOANNA It's your best play, Nicky. NICKY They'll lose because they're my team. JOANNA He will absolutely hate it. 11 11 INT. STEVEN SCHWIMMER'S LOFT Steven is just waking up. The radio plays soft music. He reaches over and hits the off button, then activates the cassette player. He struggles out of bed and Sufi music begins to fill the room. He stands at the foot of the bed, a man in his mid-twenties, hollow-chested, slightly potbellied, wearing rumpled pajama bottoms and a Mostly Mozart T-shirt. He does not remove the sleep mask. The music has a sensuous, driving beat. Voices begin to chant. Steven holds his arms parallel to the floor. Slowly he begins to turn, clockwise. The beat picks up and he whirls more quickly, his mouth coming open. Now he begins to whirl about the room. The chanting grows in intensity. Although he is blindfolded, Steve deftly avoids running into furniture and other objects. Steven stops whirling at the precise moment the music stops playing. He is back at the foot of the bed, arms stretched wide. INT. TAXI 12 12 Creeping along. Nicky leaning toward the driver. NICKY I wrapped my sandwiches in tinfoil. I ate and drove. I had one of those big checkered cabs. DRIVER You are going where? NICKY Crosstown. 9. DRIVER Very bad today. Driver's nameplate -- CHOUDHURY RAMASWAMY NICKY I cleaned out the ashtrays religiously. DRIVER I am sitting here five years in traffic. It is one continuous traffic since I arrive. Why must it be? A taxi pulls up alongside. Nicky notices the young woman in the rear seat. It is his daughter Laurel. He opens his window. NICKY Laurel, stay there. (to his driver) Keep the meter running. And try to stay abreast. Nicky leaves his taxi and gets into Laurel's. INT. SECOND TAXI 13 13 Nicky pushes in next to her. Laurel is eighteen, slightly overweight, with a pleasant and expressive face. She is carrying books in a nylon haversack. NICKY I never see you anymore. Where are you all day? LAUREL I go to college. I thought you knew. NICKY Do you want to get some coffee? LAUREL I don't drink coffee, Daddy. And this is not what we should be talking about. 10. NICKY What do you want to talk about? I'll talk about anything. What's this? Nicky lifts a small radio and headset out of her bag. LAUREL I'm seeing your play tonight, remember? NICKY Why do you need a radio? LAUREL So at the intermission I can listen to the ball game. Do you know that mother is seeing a prominent divorce lawyer? NICKY That's completely crazy. LAUREL Is it? NICKY Don't talk like that. How prominent? What are you implying? LAUREL She's doing like those Iranians. `I divorce thee. I divorce thee. I divorce thee' NICKY (indicating driver) And he hears it the same time I hear it? What happened to family secrets? Driver's nameplate --- TABATTABI ABULHASSAN LAUREL Mother is totally, you know, upset. NICKY Abulhassas, we'll be getting out here. 11. Nicky pays the driver. EXT. THE STREET 14 14 Nicky stands alongside the first taxi and pays his original driver. Laurel reluctantly exits the second taxi. 15 15 INT. COFFEE SHOP 47th Street between First and Second Avenue. Nicky and Laurel enter the coffee shop they are greeted by the owner, a hefty Greek named GEORGE. GEORGE Nicky, you don't come in for a while. Everything's okay? NICKY Hello George. You're so healthy and thick-bodied I want to punch you in the chest. This is my daughter Laurel. Just to hear the sound it makes. GEORGE I saw your picture in the paper. Two papers. NICKY That means they're getting ready to kill me. GEORGE That's not what I hear. I have four, five actors working here. `His best play since "Yessiree Bob" I'm telling you, they say it. LAUREL He doesn't want to hear it. He leads them toward a booth. INT. COFFEE SHOP - LATER 16 16 Nicky is launched into a full breakfast. Laurel has a tea bag in a cup -- no water. NICKY If lawyers for the mob are called controversial, why are divorce lawyers called prominent? 12. LAUREL Because they get outstanding settlements. And Mother is determined that this time there's no turning back. NICKY I just had breakfast with her. She didn't say a word about this. A young waiter recognizes Nicky and unobtrusively points him out to another waiter. LAUREL Because you refuse to believe she's serious. You've always refused. NICKY Don't be so steely-eyed. It's that course you're taking in criminology. LAUREL Oh please. Not now. (beat) She wants you to stop seeing What's- Her-Name. Finally. Now and forever. Do you think that's too much to ask? For a wife of nineteen years. NICKY You're too young to be studying criminal behavior. It's making you obsessive. LAUREL She is kicking you out. NICKY Your mother and I have something between us that's too strong to damage permanently. Believe me, I know this. That's right, nineteen years. And what about the days and minutes? Sharing small moments, sharing memories, raising a beautiful child. We're wedded in the deepest and strongest ways. Lillian isn't only my wife. She's my best friend. Nicky shrugs. 13. LAUREL Bullshit, Daddy. INT. COFFEE SHOP - NEAR THE CASH REGISTER - LATER 17 17 Nicky and Laurel stand on a short line at the cash register, each holding a check. LAUREL Mother won't tell me how long you've been seeing this person. She's embarrassed to tell me. So why don't you tell me? NICKY Don't call her Mother all the time. It makes her sound tragic and unforgiving. What happened to Mom? LAUREL I didn't turn her into Mother. You did. NICKY This person and I are a thing of the total past. I promise you. Nicky takes Laurel's check away from her, intending to pay himself. Laurel snatches it back. LAUREL Know what Mother said to me? Daddy's demons are so intense he doesn't even know he's lying. EXT. THE STREET 18 18 Bank towers. The Bank of India, Banco di Napoli, Bear Stearns, the Bank of New York, The Chemical Bank, Manufacturers Hanover. A sense of real institutions looming over the busy street. The bank names engraved on bronze markers, carved in granite, incised on glass. Street level. A glimpse of the bronze statue called "Taxi on Park Avenue" -- a man with and attache case and raincoat, hailing a cab. The real people hailing cabs, well-dressed men and women striding along with briefcases -- purposeful, successful. 14. INT. TAXI 19 19 Nicky rides again. NICKY It's life, it's taxis. People trying to make contacts, make deals, meet their lovers. Taxis are sexy. You can't have Manhattan without taxis. I was proud of my taxi. I kept my taxi clean. Nicky shifts his gaze. He sees Elliot Litvak slinking across the street, looking faintly unclean and shows a trace of a smile. He watches Elliot enter the lobby of the Chemical Bank. INT. BANK 20 20 Elliot is at a cash machine, making an elaborate transaction. Nicky appears, approaching the adjacent machine. Elliot sees him. ELLIOT Nicky. I was thinking about you. I went to the preview last night. NICKY I don't want to hear about it. Nicky attends to his own transaction. ELLIOT (whispering) A lovely piece of theater. Small but important. NICKY Shut up, Elliot. ELLIOT Quietly effective. Nicky takes his cash and begins to move away. We don't appreciate what they've built for us. We're artists who are too dumb to see that this is the peak moment of Western culture. NICKY You're an artist. I'm a craftsman. 15. ELLIOT Press a button and they give us money. NICKY Ride with me. We need a haircut. 21 21 INT. TAXI Stalled between Park and Madison. The driver has opened the door and is standing just outside the cab, trying to determine the cause of delay. ELLIOT (whispering) How is Lillian? I haven't seen her. NICKY She wants a divorce. ELLIOT Don't talk like that. NICKY It's over, finished and done with. ELLIOT That sounds so final. But are we really surprised? NICKY I'm completely stunned. I don't want this to happen. ELLIOT But didn't we know it would happen? NICKY Don't needle me, Elliot. Tell me how bad you feel. We're suppose to feel bad together. This is what friends do. ELLIOT (whispering) Joanna Bourne. So rich and crisp. This woman lets you touch her body? You put your hands on her personal parts? Nicky hits Elliot -- a token blow to the arm. Elliot thinks about it, then hits back. 16. They swat each other, half kiddingly, each of them leaning away from the other to prevent being hit in the face. EXT. THE STREET 22 22 A whitish brown mist is building the west. There is a sense of scurrying people. 2 3 23 INT. TAXI The driver re-enters. DRIVER We must abandon. NICKY What do you mean, we must abandon? DRIVER Ruptured steam pipe. ELLIOT Ruptured steam pipe. DRIVER Asbestos lining. Do not inhale. NICKY We must abandon. DRIVER Contaminated substance. Very dangerous. Shooting mud. NICKY Do not inhale. ELLIOT We must abandon. DRIVER Ruptured steam pipe. NICKY Very dangerous. ELLIOT Asbestos lining. NICKY We must abandon. ELLIOT Do not inhale. 17. Driver's name plate -- BODENHEIM YEHOSHAFAT Nicky pays him. 24 24 EXT. THE STREET The driver flees eastward. Nicky and Elliot run across Madison Avenue. A snowstorm of asbestos is shooting out of a man hole cover west of Fifth Avenue, reducing visibility to near zero. Cars and people are white shadows. The two men, with collars raised and hands over heads hurry into a restaurant on 47th Street between Madison and Fifth. 2 INT. RESTAURANT - LATER 5 25 A small narrow room. Handsome wall paintings -- a Tuscan hill town. Very slow day. Nicky and Elliot sitting with a carafe of wine, a bottle of mineral water and some bread sticks. Glancing at menus intermittently. NICKY I'm trying to think. When did you start looking so terrible? You look awful. ELLIOT I can tell you the year, the day, the night, the minute. NICKY You used to love life. You don't exude this any more. ELLIOT What do I exude? NICKY Suffering. You exude a person who sits in a small dark apartment eating soft white bread. ELLIOT Tonight you find out what it means to suffer. NICKY Tonight. What's tonight? 18. ELLIOT Shit. They don't have any carrot soup. NICKY You mean because What's-His-Name. ELLIOT You will suffer because he is in the theater. And you will suffer a thousandfold when his review appears. NICKY It's just a review. ELLIOT It is just a review. Do not inhale. Very dangerous. NICKY What's the fuss? I don't get it. ELLIOT That's what I said eighteen months ago. NICKY What happened eighteen months ago? ELLIOT Before his Broadway days. He reviewed the one-act I did at the Fulton Fish Market. We did this play at four AM, outdoors in the rain. One performance. For the fish handlers. NICKY And he was there? ELLIOT Steven Schwimmer. I memorized every word of this review. NICKY That's awful. ELLIOT I recite it to myself with masochistic relish. 19. NICKY A year and a half later? You're still brooding? A patron approaches the table and stares at Nicky with a fixed grin of crazed recognition. MAN Yessirree Bob! Yessisree Bob! Nicky's jaw becomes set and he pours himself a glass of wine as the man backs off. ELLIOT You don't know about obscure writers, Nicky. How we have our anger to nurture and love. Our murderous fantasies for any amount of fame, money , power and sex. The waitress comes by. She is Paisley Porter, attractive, in her mid-twenties. PAISLEY Guys ready to order? ELLIOT Paisley Porter. I didn't know you were waiting tables. PAISLEY Elliot? ELLIOT (to Nicky) This is a great young out-of-work actress. AISLEY Elliot Litvak. Have you been ill? And Mr. Rogan. How nice. NICKY What's good? PAISLEY We have a very nice pasta today. Alla Putanesca. ELLIOT Say it again. 20. PAISLEY Alla puttanesca. ELLIOT (to Nicky) Isn't she great? What did I tell you? A talent. INT. RESTAURANT - LATER - SAME TABLE 26 26 The food has arrived. Nicky is eating compulsively -- in contrast to Elliot, who sips his mineral water, dabs his mouth with a napkin, looks around the restaurant between bites. When Nicky is finished with his food, he begins picking among the items on Elliot's plate. Elliot uses his fork to deflect Nicky's fork and the two men have a brief duel with utensils, fencing silently but intently, using knives and spoons to vary action. 2 EXT. STREET 7 27 The asbestos mist still clings. Men in protective suits and masks move slowly, like moon walkers. Halted traffic, abandoned cars. Mud covering the sidewalks and shop windows. A gauzy stillness, dreamlike. INT. STEVEN SCHWIMMER'S LOFT 28 28 Stillness. A slow whirling 360-degree shot. The kitchen area is empty. The door of the portable toilet is open and no one is inside. The makeshift wardrobe is empty except for four or five hangers with shirts and jackets. There is no one at the desk or exercise bike. A sound, faint but persistent, like an intake of air. The bathroom. The toilet bowl has been ripped out and taken away, leaving a hole in the floor. Brownish water drips from the tap into the wash basin, which is indelibly stained. The drip makes a two-part sound and it matches the rhythm of the intake of air. One-two. Pause. One-two. The bathtub has been sprayed by a graffiti artist. Multi-colored swirls and arabesques. S teven is sitting on a mat in the tub, arms in the air and folded so that his fists are close to his ears. He is in lotus position, breathing in serious meditation -- a deep intake of breath followed by a softer expulsion, matching the beat of the dripping faucet. He is still wearing the sleep mask. 21. INT. RESTAURANT - MAIN ROOM - LATER 29 29 The kitchen staff is eating at a group of tables pushed together. Nicky's table has been absorbed by this cluster and he sits reading the sports section in a tabloid and having an espresso with his cigar. Elliot, Paisley and actor-waiter stand at the small bar in conversation. Next to Nicky, two kitchen workers talk about the ball game. FIRST MAN I got a good feeling about tonight SECOND MAN We got Ojeda going. He pitched beautiful last time out. FIRST MAN Plus Darryl's due for a big game. NICKY I hate the Mets. SECOND MAN How come? NICKY When the Mets lose, they just lose. It's a flat feeling. But the Red Sox -- here we have a rich history of interesting ways to lose a crucial game. Defeats that keep you awake, that pound in your head like the hammer of fate. Paisley walks across the room toward the kitchen. Nicky pauses to watch her, then resumes speaking. NICKY You can analyze a Red Sox defeat day and night for a month and still uncover layers of complex feelings - - feelings you didn't know you were capable of. The pain has a memory all of it's own. EXT. SHEA STADIUM 30 30 The parking lot is empty. The stands are empty. A few members of the crew move the batting cage into place for batting practice. 22. INT. SHEA STADIUM - LOCKER ROOM 31 31 The empty visitor's locker room. Uniforms hang on the doors of the lockers in preparation for tonight's game. We see the 3 names Henderson, Stanley, Buckner. INT. THE MEN'S ROOM - A LITTLE LATER 2 32 Cramped quarters. Intensely claustrophobic. Elliot at the urinal. Nicky at the hand-dryer. An actor-waiter standing between them at the sink. ELLIOT (quoting Steven Schwimmer) `One thing saves Elliot Litvak's work from complete mediocrity, and this is his lack of ambition.' WAITER It gets funnier. ELLIOT (zipping up) It gets funnier. See, Nicky? They chart the laughs. This from a critic who lives like a fallen monk. Whose address is a carefully guarded secret. WAITER A critic who has to disguise himself. NICKY What do you mean? WAITER To go to the theater. Wears I don't know what. Make-up, padding. NICKY Why? WAITER Because he is so deeply hated by so many people in the business. ELLIOT He has to disguise himself, Nicky. WAITER For his own safety and peace of mind. 23. The waiter squeezes past and leaves. ELLIOT Do you want me to tell you what it was like, reading that review at the newstand with trucks rumbling past and street vendors facing Mecca? NICKY What was it like? ELLIOT I said, `I'm dead'. He killed me. INT. RESTAURANT -LATER 33 33 Elliot standing near the front window, in a shaft of sunlight, examining a white after-dinner candy. He puts it in his pocket for later. P aisley eating lunch at the end of the long table, looking up to see Nicky approach with liqueur and a glass on wine. He sits opposite her, placing the wineglass in front of her. NICKY You've worked with Elliot? PAISLEY I was in the fish-market play. What happened to him? NICKY There was a review. PAISLEY I think I remember. NICKY So does Elliot. PAISLEY Not one of Steven's finer moments. NICKY Oh. You know him. PAISLEY A little. NICKY And he has finer moments now and then. 24. PAISLEY He has -- something. A funny little quality I find -- NICKY Endearing. PAISLEY Engaging. NICKY Elliot wants to kill him with a railroad spike. PAISLEY A little drastic maybe? NICKY Say it again. PAISLEY What? NICKY You know what. PAISLEY Alla puttanesca. NICKY One more time. INT. THE ENTRANCE WAY - A LITTLE LATER 34 34 Elliot watches Nicky embrace Giorgio. Nicky carries the tabloid he'd been reading -- the "Daily News". Elliot and Nicky stand at the door and watch the whitish mist that continues to linger. ELLIOT Is it safe? NICKY Do we care? ELLIOT I think we Nought to wait. NICKY I say we go. ELLIOT You say we go? 25. NICKY Do not inhale. ELLIOT I'm not ready. NICKY Here we go. They pull up their collars and run outside. EXT. STREET - DAY 35 35 The street is deserted. Nicky holds the newspaper over his face for protection. Each man has an arm in the air, trying to hail a taxi. They are standing near a trash receptacle that carries an advertisement for "New York Magazine". It is a reproduction of the cover that we'd glimpsed earlier in Joanna's apartment when her maid was reading the magazine. A furtive man shielding his face with the newspaper -- and a headline about a Phantom. Nicky and Elliot do not see the receptacle. A bus comes down the street with a large horizontal ad covering its right side. It is the same ad -- five of them actually, five "New York Magazine" covers side by side. Elliot is trying to hail a cab and doesn't notice the ad. As the bus bears down, Nicky steps out of the way, removing the newspaper from his face and getting a clear look at the five photos on the side of the bus -- a man concealing his face with a newspaper. Nicky reads the text under the logo of "New York Magazine". THE PHANTOM WHO HAUNTS BROADWAY Learning to hate Steven Schwimmer Nicky stares after the bus. Another bus comes along, carrying the same ad. Nicky watches darkly. EXT. STREET - LATER 36 36 This is the diamond district. Store signs reading: Antique Jewelry We Buy Diamonds Gold Emporium Wholesale Jewelry All Brand-Name Watches Reduced 26. INT. THE TAXI - NICKY AND ELLIOT 37 37 Nicky is reading the newspaper. The driver is speaking Chinese into his two-way radio. Squawky replies from the dispatcher in machine gun Chinese. ELLIOT The man has taken over my mind. He's not only out there. He's in my head and I can't get rid of him. I can't write a word without imagining his response. I'm paralyzed as an artist. NICKY I don't have the problems that artists have. LLIOT You've been saying that for years. NICKY What? ELLIOT (mockingly) `I'm just a professional. A dues- playing member of a guild.' Because you're afraid, Nicky. That's the darkest part of you. You don't think you're good enough. Nicky lowers the newspaper. Driver's nameplate: WU LI EXT. THE STREET 38 38 About a dozen people gathered together including several diamond merchants in their beards, black suits and fur hats. They are watching the man in the cutaway dancing with his cloth doll. Someone places a donation in the cigar box. From the tape player: "Dancing in the Dark." Elliot ends up near the Gotham Book Mart, on the north side of the street. Nicky looks right past him into the bookstore window. He sees something that interests him. ELLIOT Where are you going? 27. NICKY Don't wait Efor me. ELLIOT What about the haircut? INT. GOTHAM BOOK MART 39 39 Nicky walks along the main aisle, looking at a woman standing in the poetry nook. Only a few people in the shop. He enters the back room and gets a glimpse of a woman walking through the opposite doorway back into the main room. He squeezes past a browser and looks through the doorway. Someone is just leaving the shop. He walks to the rear of the store, where the office is located. The door is open, the room is empty. He re-enters the main room and sees a woman seated on the top step of the stairway that leads to the basement stacks. Her back is to Nicky and she is reading a book. He approaches slowly and then squats by the doorway to get a closer look at her. She turns. It is Paisley Porter. INT. GOTHAM BOOK MART - A MOMENT LATER 40 40 Nicky and Paisley in a corner of the back room. NICKY You keep slipping away. How do you do that? PAISLEY I was one of those silent, listening children. Glued to the shadows. NICKY I was all noise. Played the radio loud. Battled constantly with my brother and sister. Here I am, world. PAISLEY I hear good things about the new play. 28. NICKY So do I. Over and over. PAISLEY Peter Redmond is an actor I admire enormously. NICKY Would you like to meet him? PAISLEY He doesn't want to meet some out-of- work ingenue. NICKY I'm trying to prolong our afternoon. In case you haven't noticed. AISLEY The fact is, I have to get going. NICKY Is it true? PAISLEY Is what true? NICKY He wears a disguise. PAISLEY Steven goes to extremes to protect his privacy. No friends. No phone. NICKY But you're his friend. PAISLEY Sort of. Sometimes. You're not building an obsession about Steven, are you? Look. I understand opening- night jitters, but you've got one of the great actors in American theater starring in your play. 4 EXT. THE BARRYMORE THEATER 1 41 47th Street between Broadway and Eighth Avenue. 29. INT. THE BARRYMORE THEATER - STAGE ENTRANCE 42 42 Nicky has been cornered just inside the entrance by the stage manager, a small, fierce woman named RENEE SIMON. RENEE I can't take this anymore. He forgets simple lines. He forgets where to stand. We tell him and tell him and tell him. I know he's a sweet man. I love Peter. It's not his fault. But I've never worked in a show where the leading man has 4 parasites in his brain. INT. THE BARRYMORE THEATER - THE ORCHESTRA 3 43 Nicky sits down in the orchestra, looking darkly into space, brooding. He surveys the set, a working class kitchen, behind it a backdrop of dark streets and looming tennaments. A portly well-dressed man appears, moving along the row toward Nicky. This is SIDNEY FABRIKANT, the producer. NICKY aybe we ought to postpone the opening. SIDNEY Joanna loves this play. She has sunk tons of money. She is completely Ncommitted. NICKY appreciate that, Sidney. But our leading man can't remember his lines. And his understudy can't carry the play. Nicky looks out at the rehearsal in progress on stage. The director, JACK HASKINS and the actor PETER REDMOND (50)confer, move about gesturing and blocking. SIDNEY I had lunch with Joanna. She said she told you about Peter. You weren't concerned, she said. NICKY hat was this morning. 30. SIDNEY So what happened since? You're worried about this kid who writes these reviews? Nicky looks across the theatre. Paisley Porter sits alone, tenth row center, watching rehearsal with rapt attention. NICKY 'm not worried about this kid. SIDNEY Well I am. Worried sick. Everybody quotes Steven Schwimmer. He's here to announce the death of civilization. He kills a play every time he farts. NICKY Postpone. We have every right. SIDNEY Too late. All the elements are in place. Delay the opening and we lose the theater. NICKY I've had three straight washouts, Sidney. SIDNEY (deliciously) You're dangling from the last letter of your last name. INT. THE BARRYMORE THEATER -THE STAGE - NICKY AND PETER 44 44 REDMOND - A LITTLE LATER The actor sitting on the sofa. Nicky on one knee, leaning towards him in intimate conversation. NICKY Sidney remains optimistic. PETER Sidney. NICKY Sidney Fabrikant. Our producer. PETER I was educated by nuns. 31. NICKY Y es. PETER I have excellent long-term memory. NICKY Yes. PETER I kissed Shirley Felder on the teeth. NICKY Yes, Peter. PETER But my parasite is consuming all the new memories. Eating my lines. NICKY You have to see the words. Try to build a mental picture of the script. Imagine your lines high- lighted with a felt tip pen. PETER What color? NICKY What was your favorite color crayon, growing up? PETER Burnt sienna. NICKY Mine was cobalt blue. PETER This is your history, isn't it? Nicky? All around us. And my parasite is consuming it. NICKY Yes. PETER I kissed her while she was laughing. NICKY Yes. 32. PETER I can see her face so clearly. Dear God. My heart was flying out of my chest with love. INT. THE BARRYMORE THEATER - THE WINGS 45 45 Jack Haskins and Renee Simon RENEE I hear he got the parasite in Burma. JACK I heard Borneo. RENEE Why do we blame the Third World for our parasites? Maybe he got it in Denver or Minneapolis. JACK Maybe he got it in Borneo. INT. THE BARRYMORE THEATER - THE STAGE 46 46 Nicky and Peter still conferring. Jack and Renee approach. PETER I feel shaky about one line in particular. If I can get past this line. I think I can handle the last long speech. RENEE Which line, Peter? PETER The Son says to the Father, This could be it. NICKY And the Father replies? PETER That's the line I can't ever, for the life of me remember. I just can't get it. JACK It's the same line. The Father simply repeats what the Son says to him. 33. RENEE This could be it. NICKY This could be it. PETER I know it sounds easy. But something happens between the time I hear the line and the time I'm suppose to Jrepeat it. ACK This could be it. PETER (long pause) This could be it. JACK Let's work on it. PETER (long pause) Let's work on it. INT. THE BARRYMORE THEATER - AISLE - A LITTLE LATER 47 47 Nicky and Paisley Porter make their way out of the theatre. AISLEY Do you think he can do it? NICKY I don't know. PAISLEY He's a very sweet man. NICKY Where are you going now? PAISLEY Home. NICKY Someone waiting for you? PAISLEY No one's waiting. 34. NICKY There's a certain kind of wounded young man who uses his oddness to get laid. Is that our Steven? PAISLEY If I'm sleeping with him, and I haven't said I am, then so what? NICKY (quietly) So everything. That's so what. So I begin to hate him. So I want to do him grave harm. PAISLEY But you don't even know me. How can you care what I do with whom? NICKY I know you both. Enough. How much knowledge does it take before a man does something crazy. PAISLEY Do you want to talk about doing crazy things. NICKY Yes. PAISLEY Never mind. INT. LOBBY - CONTINUOUS 48 48 They enter lobby daylight, squint a little. NICKY What? Come on, Paisley. PAISLEY Our Steven not only disguises himself. NICKY Yes. PAISLEY He goes to the theater armed. MUTED BACKGROUND VOICES ON THE LOBBY PA: Jack Haskins and Peter Redmond. 35. JACK (V.O.) This could Pbe it. ETER (V.O.) This could be it. They look up at the speaker. PAISLEY He feels he has to defend himself if necessary. NICKY I'm actually beginning to enjoy this. 49 49 EXT. BARRYMORE THEATRE - DAY Wide of the theater. Nicky says goodbye to Paisley. Reverse angle, Elliot watches them from across the street. icky goes back inside the theatre. Paisley walks west on 47th street. Elliot waits for a moment, then follows her. INT. STEVEN SCHWIMMER'S LOFT 50 50 The Port-O-San. Steven emerges and goes to the stacked cardboard boxes against the wall. His hate mail. He is wearing a bath towel like a prayer shawl over his sweat clothes. He drags one of the boxes to the ratty armchair. He sits in the chair by the filthy window that looks west toward the early-setting sun. He takes a letter from the box, opens it, reads it, lets it fall to the floor. Takes another letter, opens it -- There is a knock at the door. Steven tenses, does not move. Another knock. He moves warily toward the door. PAISLEY (V.O.) Steven, it's me. Will you open please. 36. Steven releases the dead-bolt lock and opens the door. STEVEN You've come to me. I wanted to believe you would one day. PAISLEY I haven't come to you. STEVEN But you're here. So you must have come to me. 5 1 51 INT. STEVEN SCHWIMMER'S LOFT - A LITTLE LATER Steven is back in the chair by the window. Paisley nervously prowls the loft. PAISLEY In other words I never understood until today how much pain and anxiety you've been causing with your reviews. Steven, it's so unfair. STEVEN Of course it's unfair. The truth is always unfair. Why do you think I live this way? Hiding out. Stealing electricity from a lamp post. Because people who write the truth are outcasts of society. I can't live openly, in a nice clean doorman building, with my name on the mailbox. They'd come after me in packs. PAISLEY Not if you stopped hurting people. Write the truth gently. STEVEN The truth is never gentle. Listen to me carefully. Each of us lives in the thinnest possible wrapping of wishes and dreams. Truth is the force that penetrates this wispy skin. It hurts and maims. ( reaching down to clutch a fistful of letters) Look how they hate me for telling the truth. It's an education, Paisley. The College of Raw Nerves. (MORE) 37. STEVEN(cont'd) Letters dripping blood. Cries of revenge. PAISLEY Yes. I've seen your victims. One past and one future. I thought I might convince you to reconsider. STEVEN And I thought, at last, she's here, she wants me. PAISLEY I don't want you, Steven. Paisley moves towards the door. TEVEN Stay. Teach me to be compassionate. PAISLEY I'm going home to my machine. EXT. STREET CORNER CASH MACHINE 52 52 Elliot looks up and sees Paisley emerging from Steven's building. He crosses the street toward her. W hen Paisley sees him, she seems to freeze. EXT. THE BARRYMORE THEATER 53 53 47th Street between Broadway and Eight Avenue. Nicky walking slowly backwards, arm raised, trying to hail a cab. It is getting dark. He glances left, sees a large two- panel poster in front of the theater. One half is a black-and- white photo -- a younger Nicky Rogan, in a tuxedo, holding an award in his raised hand. The other half is all type -- SIDEWALKS The new Nicky ogan He sees someone enter the theater lobby. It is his daughter Laurel. He follows, catching up to her at the end of a short line of people at the ticket window. NICKY Laurel. Tickets are all set. I double-checked. 38. LAUREL Thanks, Daddy. But I just need one. Mother's not going. NICKY Opening night? LAUREL I know -- why should a bitter divorce interfere with tradition? Laurel reaches the window and speaks to the clerk. LAUREL Rogan, Laurel. You also have a Rogan, Lillian. She won't need it. Sell it. NICKY Take it yourself. Take a date. AUREL I don't have a date. I don't want a date. They leave the window with Laurel's ticket. NICKY And you blame me. It's because we never talk. Let's talk. LAUREL I have a class. I'm late. NICKY Can we talk later? Will you be at the party? LAUREL I'm not sure. She is out the door, hurrying across the street. Nicky stands under the marquee, calling out to her. NICKY I'll find you. After the show. Somewhere. INT. TAXI 54 54 Moving very slowly. Driver's nameplate -- 39. MOSHOESHOE IBRHIM DRIVER A man is hit the other day by another taxi. I mean he is flying. Crash against the windscreen. Right here in my face. Blood is everywhere. NICKY I never left the garage without my Windex. DRIVER I was barrister in Kenya. I said to him, get off from here. I cannot drive with your body on my windscreen. NICKY I drove twelve hours straight through. Ate at the wheel. RIVER You have to eat at the wheel. You cannot get anywhere. NICKY That's the drama. We're waiting for life to continue. Where do you pee, Ibrahmin? DRIVER Under the Manhattan Bridge. NICKY That's where I peed. EXT. THE STREET 55 55 47th Street between Eighth and Ninth Avenue. A hotel, a high school, brownstones with fire escapes. 5 INT. MICHAEL ROGAN'S KITCHEN 6 56 Michael, Nicky's father, is making an omelette on the old stove. He is pushing eighty, slow-moving, with a two-day stubble. Knock at the door. Michael goes to the intercom, inches from the door. 40. MICHAEL (into speaker) Who is it? NICKY (V.O.) I'm at the door. MICHAEL (into speaker) Go way. I'll call a cop. NICKY (V.O.) Pop, will you let me in? MICHAEL (into speaker) Where the hell are you? NICKY (V.O.) Right here. At the door. Michael goes to the door and looks through the peephole. INTERCUT AS NECESSARY 57 57 MICHAEL What do you want? NICKY It's me. Nicky. MICHAEL Nicky comes on Sunday's. NICKY Where are your glasses? Go get them. MICHAEL If it's you, what are you doing here? NICKY I'm on my way to get a haircut. ICHAEL Where does Nicky get his hair cut? Nicky stands against the door, speaking softly into the peephole. 41. NICKY Across Ninth Avenue. Dodgie's. Where you've been getting your hair cut for fifty years. Where Uncle Billy and Uncle Marty got their hair cut. Where Jim Rorty shot a man for cheating at poker. MICHAEL It was rummy, not poker. But I'll take a chance and let you in. INT. MICHAEL ROGAN'S KITCHEN - LATER 58 58 Michael is eating his omelette at a small enamel-topped table in the kitchen. Nicky stands by the boxlike refrigerator, drinking a beer. This is the kitchen that is the centerpiece of the theatre set. The new play is Nicky's young life. NICKY It's a constant shock to me, how small this place is. How did we do it? Five people in these little rooms. MICHAEL Get yourself something to eat. Nicky takes some eggs out of the refrigerator. NICKY We must have been heroic. MICHAEL Five's not so many. There were families with seven kids. A grandmother. A dimwit uncle. NICKY Lillian says it once a week. `Why doesn't he come live with us?' MICHAEL You know the answer to that. NICKY I do know the answer to that. Why don't we watch the ball game later? We'll go to Mannion's. MICHAEL They're only gonna lose. 42. NICKY Of course they're gonna lose. We'll watch them lose. What good is heartbreak if we don't experience it firsthand? MICHAEL The Red Sox are your problem. I never understood about you and the Red Sox. Everybody rooted for the Yankees. Nicky is scrambling the eggs. NICKY Remember 1949? Last two games of the season. Against the Yankees. The Sox lost on Saturday. Then they lost on Sunday. First I cried for twenty-four hours. Then I had fist- fights the rest of the week. MICHAEL It's one thing for kids. You get older, you Nhave other things. NICKY It's all connected, Pop. It's one life. Baseball is memory. How do fathers and sons show their love? They go to a ball game together. Thirty-five years later, they sit in the kitchen and remember. MICHAEL But the son is suppose to stop crying. NICKY I could have grown up happy. A Yankee fan. A divorce lawyer. Nicky sees his father's glasses on a shelf above the stove. He puts them on the table. NICKY You'll need these. Tonight. For the play. MICHAEL Don't make me sit through one of your plays. 43. NICKY Hey, Pop. I know you don't like the commotion of opening night. But I especially want you to see this play. It's new territory for me. And for you too. I have to know what you think. MICHAEL Since when did that matter? NICKY Let's not start that again. MICHAEL My back is killing me. NICKY Where's your elastic brace? MICHAEL I can't find it. NICKY You're suppose to wear it when your back gives you trouble. MICHAEL I lost it. I lose everything. NICKY I'll go get you another one. You have to wear it. Nicky takes a roll off the counter, makes a sandwich for his scrambled eggs, takes a bite and heads for the door. NICKY Be right back. Take a good look at me. Michael puts on his glasses. MICHAEL So I know who I'm letting in. Nicky leaves the apartment. EXT. THE STREET 59 59 The man in the cutaway dances with his doll. The tape machine plays "In The Still of the Night. 44. " The street is completely empty except for the dancer. Nicky, a small paper bag in his hand, reenters his father's building. INT. MICHAEL ROGAN'S LIVING ROOM 60 60 The room bears some resemblance to the living room set at the Barrymore. Michael sits at the end of the sofa, weary. Nicky is taking an athletic bandage -- about four feet long and three inches wide -- out of the package. He sits in a chair that is set perpendicular to Michael's end of the sofa, so that Nicky is looking at his father in profile. MICHAEL `Why doesn't he come live with us?' Because everything is here. NICKY I know, Pop. MICHAEL I'm lucky they don't knock down the building. It could happen anytime. And everything worth remembering is right here. NICKY I think the building's okay. At least for the time being. MICHAEL You didn't think it was okay when you lived here. You wanted to get out so fast I thought you were running a marathon. NICKY Normal boy's ambition. I like coming back. You know that. MICHAEL You tell your friends your father used to work the docks. Callused hands. But you had an attitude when you were growing up that wasn't easy for your mother and me to understand. Nicky is gradually unbuttoning his father's shirt so that he can wrap the bandage around the old man's chest and back. E 45. NICKY I was in a hurry to do big things, make big mistakes. Any mistakes were okay as long as it was big. But I'm trying to see these things clearly and honestly. That's the play they're going to kill starting tonight. There's a guy out there getting ready to rip it apart. And that's us. Who we were and where we come from. MICHAEL So what are you going to do about it? NICKY What do you want me to do? MICHAEL Show him who we are. Nicky takes off the shirt. Michael struggles out of his T-shirt and we see that he is wearing the elastic bandage he thought he had lost. He is sitting with his head tilted up, eyes closed, and is unaware that he is wearing the bandage. Nicky takes the new bandage, winds it tightly and puts it back in the box. His father has gone to sleep. EXT. STREET BUILDING 61 61 It is dark and cold. Nicky emerges and walks west, diagonally across the street, to a barbershop on the other side of Ninth Avenue. lliot is on the stoop waiting for him. INT. THE BARBER SHOP 62 62 Nicky sits in the barber chair. Elliot pulls up a customer's chair and sits with his back to the mirror, more or less facing Nicky. The barber, an elderly hawk-eyed man named Dodgie, begins his preparations for Nicky's haircut. NICKY He carries a gun. 46. ELLIOT Then you should carry a gun. He places the sheet over Nicky's upper body and fastens it at the neck. NICKY I used to carry a gun when I drove a cab. ELLIOT Where is it? NICKY I gave it away. I thought, I'm a writer now. ELLIOT That was a big mistake. DODGIE You should never be without a gun. In this city? ELLIOT If he carries a gun, you have to carry a gun. NICKY We're making too much of this. ELLIOT No, we're not. NICKY I'm not a lonely spooky writer like you. Nursing a hundred grudges. I'm a man who loves life. ELLIOT We're talking about something deeper than grudges. How do we respond to personal attack? DODGIE In this city? And you don't carry a gun? ELLIOT How do we maintain our dignity and self-respect? 47. NICKY In other words why should we suffer silently at this kind of abuse? The man is out there ruining lives. ELLIOT It's your best play, Nicky. NICKY He'll hate it. ELLIOT He'll kill it. He'll write a review so devastating it will shatter your career and cause the most unmanageable psychic grief. What happens to your apartment on the East River? Your house in Connecticut, where you watch things grow. Dodgie goes to the cabinet on which the cash register sits. He opens the cabinet door, slides out a drawer and removes some hand towels. There is something there he wants Nicky to see. An old pockmarked revolver. Nicky sees the gun. NICKY We were thinking of putting in a pool. ELLIOT (quoting) `The most interesting thing about Elliot Litvak is that he writes the way he looks -- fuzzy, grubby and shifty-eyed.' (beat) I'm telling you as a friend. NICKY What? ELLIOT There are things that speak to us from the past. DODGIE In this city you don't walk five feet out the door and there is somebody trying to take what's yours. 48. ELLIOT Your truth is locked in your past. Find it. Know it for what it is. (beat) Shoot him, Nicky. NICKY Shoot him. ELLIOT The American theater doesn't need people like that. NICKY Shoot him, Nicky. Not that we really mean it. But where does he live? ELLIOT Keep going west. Last building before the river. NICKY How do you Eknow. LLIOT Paisley Porter. NICKY What do you mean? ELLIOT About an hour and a half ago. I saw her come out of a place. She said she was visiting a friend. But she wouldn't tell me who. NICKY Had to be him. ELLIOT She was very evasive. Nicky gets out of the chair. Dodgie removes the sheet for him and Elliot smooths down his clothes and hair, like a pair of grooms attending a warrior. Nicky goes to the cabinet, gets the gun. He returns to the chair. NICKY I'm enjoying this more every minute. 49. Elliot takes an after-dinner candy out of his pocket -- the candy he pocketed in the Italian restaurant after lunch. He blows the lint off and eats it. DODGIE How do you want the sideburns. NICKY Elegant and refined. 63 63 EXT. SHEA STADIUM Crowds of people pouring down the ramps from the train station, hurrying, late. The umpire's room -- six men nibbling cookies, smoking a last- minute cigarette, adjusting equipment. An unidentified room somewhere in there lower reaches of the stadium. Twenty cases of Great Western champagne stacked and ready for the postgame celebration. INT. STEVEN SCHWIMMER'S LOFT 64 64 Steven shaving. He does it symmetrically. A stroke under the left sideburn; a stroke under the right sideburn. Left side of jaw; right side of jaw. Steven standing in his shorts, applying putty to his jaw to make it square. Then a false mustache and a wavy blond hairpiece. Then a thick bronze makeup paste. Steven in front of a full-length mirror near the bed, putting on a bulletproof vest, which gives him a solid appearance, bulking his caved-in chest and concealing his pot belly. Steven putting on black trousers, a brash shirt with a bright bow tie, which he tips slightly askew. A pair of black and white shoes with elevator heels. Then his shoulder holster. Steven leaning over the coffee table, inserting bullets into the chamber of the revolver. With the gun in his holster, he stands in front of the mirror. Takes the gun out, aims it, puts it back in the holster. Does a dazzling karate move. Steven putting on a metallic rayon sport coat. A long silk scarf. We see a handsome, dashing young man. 50. He puts on a pair of dark glasses and heads for the door. EXT. THE BARRYMORE 65 65 pening night crowd. The sidewalk is mobbed. Limousines and taxis pulling up. Men in tuxedos, other men scalping tickets. The TV crew with a female reporter doing interviews: talking to Joanna Bourne and Sidney Fabrikant. A couple of ten-year-old break dancers entertain the well heeled opening night crowd. 6 6 66 INT. TAXI Stuck in traffic. Nicky in the rear seat. The driver is a black woman around fifty. Next to her in the front seat is her grandson, Matthew, who is ten. The interior of the taxi is homelike. A plastic drinking cup magnetically rooted to the dashboard. A small battery- operated fan next to the cup. The steering wheel is upholstered. There are family photographs on the dashboard and visors. Matthew's schoolbooks are next to him on the front seat. He is doing his homework. Driver's name plate -- MOSEBY TOYOTA NICKY I loved my taxi. A checkered cab. Big and rumbly. TOYOTA I'm looking at you trying to think. Put your face in the mirror. I know I recognize you from somewhere. NICKY Everybody else does. Why not you? TOYOTA You're Frankie Lazzaro. The gangster from Rhode Island. NICKY Oh yeah? 51. TOYOTA Matthew, look at him. When I lived in Roxbury, the media followed this man everywhere. He was bigger than ten movie stars. (to Nicky) Where's your white Lincoln limo? Nicky is delighted at the mistake and alters his voice slightly, using a gangsterish inflection. NICKY (to Matthew) Some little kid stole the hubcaps. TOYOTA The most charming gangster in New England. Where are we going, Mr. Lazzaro? NICKY Call me Frankie. And it looks like we're going nowhere. TOYOTA Might be an accident on the West Side Highway. NICKY How come you got the kid with you? TOYOTA Matthew's my grandson. NICKY A grandmother. God bless you. TOYOTA He does bless me, each and every day. Matthew's mother works a hospital shift, so I pick him up at school. We stop for a meal usually around this time. He does his homework and gets some experience meeting people. But we never had a famous mobster before. NICKY It's the kid's lucky day. TOYOTA This is one charming crook. If shooting people is charming. 52. NICKY Now that's a complicated subject. TOYOTA That's a simple subject. NICKY Look, we're stuck here front and back. It's dinnertime for you, game time for me. Let's park the cab and go to Mannion's. What do you say, Matthew? We'll drink beer and talk baseball. GRAINY IMAGE 67 67 Filling the screen. Actual footage. A man in a parachute coming down on an expanse of grass. It is the infield at Shea Stadium. He carries a sign reading "Let's Go, Mets". Security men hustle the parachutist off the field and into the Mets dugout as the game begins. INT. MANION'S OLD TIMER TAVERN 68 68 We see that the image is on a TV screen over the bar. The place is crowded, a neighborhood tavern. Near the door: Nicky embracing the owner, a beefy man named Georgie. People coming and going. NICKY Georgie. GEORGIE Nicky, God bless. You're well? Your family's well? That's all that counts. NICKY Are you absolutely sure? GEORGIE Hey. I love this guy. Be good. Stay well. I'm serious: Give my best to everybody. They embrace. Faces lining the bar. TV images from the game. 53. People at tables standing occasionally for a better look at the game. INT. MANION'S OLD TIMER TAVERN - THE TABLE -LATER 69 69 Nicky sits facing Toyota and Matthew. A young waiter is placing their food on the table. MATTHEW What happens if somebody comes in here right now and shoots you? NICKY This place becomes famous. Tour buses. Blind people feeling around for bullet holes in the wall. TOYOTA You see what you're doing, don't you? NICKY What am I doing? TOYOTA You're charming the boy. NICKY Hey, Toyota. He asked me a question. TOYOTA Frankie Lazzaro. Coming down the courthouse steps every day in the media. Children see this. They think you're the Secretary of the Treasury. NICKY That's my cousin, Angelo. INT. THE BARRYMORE THEATER - DRESSING ROOM 70 70 The actor Peter Redmond and the director Jack Haskins. A second actor, who is about fifteen, witnesses the exchange. JACK This could be it. PETER This could be it. 54. JACK This could be it. PETER This could be it. JACK Does it feel comfortable? PETER Does what feel comfortable? JACK This could be it. PETER This could be it. INT. MANION'S OLD TIMER TAVERN - THE MAIN ROOM - LATER 71 71 People cluster around TV sets. Raucous noise. A waiter with a tray of food standing transfixed, watching the game. Nicky is now sitting next to Matthew and they are watching the game. MATTHEW What's it like to shoot somebody? NICKY I respect a kid who does his homework in a taxi. But let's put a lid on the questions. TOYOTA Go on, tell him. Tell the truth. Tell him how you feel, shooting a piece of hot metal in somebody's flesh who was once a child, who was once the same age as this boy. Somebody's flesh who was innocent once. NICKY It's complicated. It's a whole life. A person doesn't commit an act of violence out of nowhere. There are strong forces at work. 55. TV audio: derisive shouts from the stadium crowd directed at A Red Sox players. Action on the field. TV VOICES Dew-eeey! Rog-errr! The bar crowd picks up the chant. TV images. The Red Sox have scored and lead 2-0. INT. MANION'S OLD TIMER TAVERN - THE TABLE 72 72 Nicky stands to see the action better. His jacket swings open and Toyota sees the revolver tucked into his waistband. INT. THE BARRYMORE 73 73 eople seating themselves in the orchestra. Noise from the tavern TV continues to be heard from the subjective viewpoint of a man in the theater who has a miniature TV and earphones. Steven Schwimmer in an aisle seat in the orchestra. He sees Paisley sitting in the theatre some distance away. House lights go down. Two figures hurrying down the aisle. An usher leading a young woman. The woman is Laurel Rogan, Nicky's daughter, wearing her headset antennas. Laurel squeezes past some people and takes her seat, and Steven, sitting three rows back, watches her with interest. The curtain comes open. INT. MANION'S OLD TIMER TAVERN - LATER 74 74 Cheering from the bar crowd. Nicky is a little disheveled. He has finished his dinner and is eating from Toyota's plate finishing and watching the game. TOYOTA You're a family man, Frankie? NICKY Wife and daughter. My father's still alive. (MORE) 56. NICKY(cont'd) He outlives me, starting tonight. Because the Mets just tied the score. It was only a matter of time, wasn't it? TOYOTA An how many years does it take a person to make his family safe and secure and happy, and then in one dumb moment, what does he do? NICKY I don't know Toyota. What does he do? TOYOTA And the people he hurts the most are the people who love him. Despite who he is and what he does for a living. We're always saying we want to take control of our lives. You don't want to take control. You want to lose control. Jesus knows it. Nicky is standing again but he's not looking at the TV screen this time. His gaze is directed at someone who has just entered the tavern. A woman stands at the entrance, middle-aged and somewhat anxious, looking for someone. She is Lillian Rogan, Nicky's wife. NICKY It's a complicated subject. TOYOTA It's a simple subject. Nicky gestures that he will be right back. INT. MANION'S OLD TIMER TAVERN - THE BOOTH 75 75 LILLIAN Your father said you might be here. NICKY Two-all after six. LILLIAN I've been looking for you because I want to let you know what's been going on before you read about it in a gossip column. 57. NICKY We stranded five runners in the first two innings. This will come back to haunt us. LILLIAN I want to be fair-minded, Nicky. NICKY All right. What's been going on? LILLIAN I've been talking to a prominent divorce lawyer. NICKY How prominent? LILLIAN He has his own submarine. I'll be getting everything that matters. I'll get New York and I'll get Connecticut. Happy roars from the bar crowd. A young waiter arrives with menus. NICKY I'll have whatever she's having. LILLIAN (to Waiter) I don't want to be responsible for his food. Just a small green salad. And a Perrier. NICKY Bring me the bay scallops with mercury poisoning. WAITER Yessiree, Bob. NICKY Get the hell out of here. I don't want you bringing our food. Send a real waiter. INT. MANION'S OLD TIMER TAVERN - THE BAR 76 76 TV images: action on the field. 58. Crowd at the bar. Noise like a massive pulse beat. Bar crowd picks up chant from stadium crowd. BAR VOICES Rog-errrr! Dew-eeey! INT. MANION'S OLD TIMER TAVERN - THE BOOTH - LATER 77 77 Dinner has arrived with a bottle of wine. A cigarette burns in the ashtray in front of Lillian. NICKY Opening night, Lillian. LILLIAN Who the hell cares? NICKY The whole thing is my fault. I took unfair advantage of your patience and understanding. You understand me. LILLIAN That's always been my problem. NICKY And you've been extremely patient. LILLIAN You know why, don't you? Because I am patient, chain-smoking Lillian. NICKY You smoked because I smoked. We were falling in love, remember? I used to see certain movies only because you had seen them. I wanted to see what you saw. LILLIAN I'd forgotten that. NICKY I went because you went. You smoked because I smoked. LILLIAN That's very lovely actually. 59. NICKY Laurel wants us to be honest and open. Let's be open with each other. LILLIAN Be open with me. I'd like that. NICKY There may be things you'd rather not know about. LILLIAN I want to know. We haven't talked this way in years. NICKY I had an affair -- are you sure you want to hear this? LILLIAN Joanne Bourne. NICKY Alma Wetzel. LILLIAN Nicky, no. This is insupportable. How could you? NICKY I'm a man. She's, you know, a woman. LILLIAN She's my gynecologist. Lillian begins to weep lightly. NICKY I am really, deeply sorry. LILLIAN It violates so many trusts. NICKY It was an animal thing. No real intimacy. LILLIAN I never thought of Dr. Wetzel as having a sex life outside the office. 60. NICKY We did it in the office. She thought her apartment was too impersonal. LILLIAN I'm glad we're having this talk. NICKY I feel great. I feel impeccably alive. I'm elated. Eat something. Please. I love you. 7 8 78 INT. MANION'S OLD TIMER TAVERN - THE BAR Moans from the bar crowd. TV images. Scoreboard: Red Sox lead 3-2 in the seventh inning. EXT. THE STREET 79 79 Nicky with one arm raised, hailing a taxi. He and Lillian kiss sweetly. A taxi pulls up and Lillian gets in. She and Nicky hold hands through the window. LILLIAN You look awful, sweetheart. Get a haircut. Get a lawyer. Across the street, the man in the cutaway is dancing with his doll. The tape machine plays, "In the Wee Small Hours of the Morning." INT. MANION'S OLD TIMER TAVERN 80 80 Nicky rejoins Toyota and Matthew. He carries the wine bottle and his glass. MATTHEW Great game. Red Sox are winning. NICKY They're always winning. Until they lose. TOYOTA Your problem is you take the easy way out. Losing is easy. 61. NICKY Winning is easy. Losing is complicated. It's a lifetime's work. TOYOTA It may be work but it's not honest work. Faith is the real work. MATTHEW Clemens has a blister. Look. They're pinch-hitting for him. TV SCREEN Mike Greenwell comes up to hit for Clemens. Two pitches, two strikes. NICKY He's a twenty-four-game winner. He pitches seven solid innings. We scratch out a one-run lead. Of course he gets a blister. Of course they put up Greenwell even though Baylor's sitting on the bench. Of course Greenwell strikes out. Third pitch. Greenwell strikes out. INT. MANION'S OLD TIMER TAVERN - THE TABLE 81 81 TOYOTA You made him strike out. You wished it on him. You want to lose. It's too hard for you to believe in something. It's hard to have faith. It's hard Nwork to trust somebody. NICKY (reciting) "It looked extremely rocky for the Boston nine that day." TOYOTA You're afraid to risk believing. Believe in them. Believe in your self. Take a risk. It will humanize you as a person. NICKY I want to believe. 62. TOYOTA If you believed, you wouldn't be walking around with a handgun in your belt. What does that tell me? You want to make the night come down. 82 82 INT. THE BARRYMORE iew from the wings. Jack Haskins and Renee Simon looking on. The stage. Peter Redmond as the Father sits at the end of the sofa. The fifteen-year-old actor who plays the Son approaches him, sitting on a footstool and leaning close. FATHER I always thought a night's sleep is what you get for a hard day's work. But these last weeks I lie there helpless. Hour after hour. I've come close to praying for the first time since I was your age. Pray to God to put Sme out. SON I talked to the doctor again, Pop. He said she's not getting any better. He wants to talk to you. I think he means right away. FATHER How bad is she? SON This could be it. Peter stares at the Son, a look of desolation slowly entering his face. In the wings, Renee looks at Jack. She is equally desolate. INT. THE BARRYMORE - THE ORCHESTRA SEATS 83 83 Laurel in the audience leans forward, waiting for the next line. teven Schwimmer watches, giving nothing away. INT. THE BARRYMORE - THE STAGE 84 84 eter staring at the Son. The Son looking increasingly bewildered. 63. Sound of coughing in the audience. INT. THE BARRYMORE - THE WINGS 85 85 Renee takes a newspaper off a chair, offers a section to Jack, keeps the rest for herself. 8 Sound of coughing intensifies. INT. MANION'S OLD TIMER TAVERN 6 86 Boisterous noise from the bar crowd. Two women exchanging high fives. TV images. Scoreboard: 3-3 after nine innings. INT. MANION'S OLD TIMER TAVERN - THE TABLE 87 87 Nicky is finishing his wine. Matthew is next to him, standing. TOYOTA Say it and you'll believe it. Life is good. Say it. NICKY I want to say it because my whole life may depend on these next few moments. TOYOTA Then say it. NICKY Life is good. TOYOTA Speak it like it's real. Matthew. MATTHEW Life is good. NICKY Life is good. Raucous, mocking cries from the Bar Crowd. BAR CROWD Hen-duuu! Hen-duuu! 64. TOYOTA What are people? NICKY I don't know. TOYOTA Matthew. MATTHEW People are dependable. NICKY I don't know if I can say that. TOYOTA People are dependable. MATTHEW People are dependable. NICKY Let's see what Henderson does. TV SCREEN Dave Henderson stands at the plate to lead off the Red Sox tenth. 8 INT. MANION'S OLD TIMER TAVERN - THE TABLE 8 88 A real waiter arrives -- obese, slow-moving, with hair curling out of his ears -- and he brings ice cream for Matthew, coffee for Toyota and a stinger for Nicky. NICKY Finally, I get a waiter who doesn't know "Macbeth". WAITER But I know you, don't I? I seen you on a poster in the theater district. I'll think of your name in just a -- Nicky lifts his hand to stop the man. NICKY You know- BAR CROWD Hen-duuu! 65. Then a moan and deep silence. Nicky disengages from the altercation and looks at the TV screen. TV SCREEN Dave Henderson has hit a home run and the Red Sox now lead 4- 3. 89 89 INT. MANION'S OLD TIMER TAVERN - THE TABLE Toyota and Matthew are jubilant, and Nicky is quick to join them. It is the only lively table in the place. MATTHEW People are dependable. TOYOTA Life is good. NICKY Baseball is life. TV SCREEN The Red Sox push across another run when Barrett singles, driving home Boggs. NICKY Enjoy your ice cream, kid. When you're an old man it'll come back to you. The same deep sweet soft toothy taste. And you'll remember where you were and what you saw. Scoreboard shows: Red Sox 5, Mets 3, going into the last of the tenth. INT. THE BARRYMORE 90 90 he theater is nearly emptied out. A few people still heading toward the exits. Laurel Rogan remains seated, wearing her headset, listening to the ball game. She is concentrating deeply, fists clenched. Only one other person is still seated, three rows back. It is Steven and he is looking intently at Laurel. The house lights dim. 66. INT. MANION'S OLD TIMER TAVERN 91 91 Toyota, Matthew and Nicky are huddled closely, watching the screen. Matthew is seated now and Nicky leans over him from behind, framing the boy's head in his hands so that Matthew's attention will be directed unswervingly to the action on the screen. The bar crowd is somber. Nicky drops his mob accent. NICKY This is something no one has been privileged to see in almost seventy years. Very few people now alive can say that they have seen what you are about to see, Matthew. The Red Sox win a World Series. This is deeply, intensely personal. All the mistakes I've made, all the envy, fear and violence that's encased in this little envelope we call a person -- all washed away in the next few minutes. And your grandmother knows why. TOYOTA Because God loves a winner. NICKY He used to love losers. But the laws of physics changed. TV SCREEN Backman flies out to Jim Rice. One out. INT. MANION'S OLD TIMER TAVERN - THE TABLE 92 92 NICKY Backman flies to Rice. It's like a beautiful song lyric. TV SCREEN Hernandez flied out to Henderson. 67. INT. MANION'S OLD TIMER TAVERN - THE TABLE 93 93 NICKY All the times I died when the Red Sox lost an important game they should have won. All the awful things I said to my mother and father. To Tmy wife and daughter. TOYOTA Washed away. NICKY Because life is good. TOYOTA Because faith is rewarded. INT. RED SOX LOCKER ROOM 94 94 Attendants putting plastic in front of the lockers to prevent champagne damage. Camera crew setting up. Men wheeling the twenty cases of champagne into the clubhouse. A man peeling foil from the tops of the bottles. INT. MANION'S OLD TIMER TAVERN - THE TABLE 95 95 NICKY All the failures, all the fatalism. MATTHEW Washed away. NICKY One more out. TV SCREEN Carter singles to left. The bar crowd remains silent. NICKY (V.O.) One more out. One more out. Mitchell singles to center. Slight stirring among the bar patrons. A few people, about to exit, return to the bar. 68. TOYOTA (O.S.) It's all right, Frankie. Just a little touch of suspense. Life is good. MATTHEW (O.S.) Baseball is life. NICKY (O.S.) One more little out. A nubber. A pop-up. All year long, thousands of outs. We want one more little out. Knight singles to right center. Carter scores and Mitchell goes to third. The score is 5-4. The whole tavern is rocking. INT. MANION'S OLD TIMER TAVERN - THE TABLE 96 96 TOYOTA Don't worry. It's a test. NICKY It's a test all right. They're bringing in Stanley. TV SCREEN Bob Stanley trots in from the bullpen. NICKY (O.S.) It's Stanley. It's the Steamer. Fate has spoken to this man in the depths of the night. MATTHEW (O.S.) What did it say? NICKY (O.S.) A thousand things. INT. MANION'S OLD TIMER TAVERN - THE TABLE 97 97 MATTHEW You're hurting my head. Nicky releases his grip on Matthew's head. The bar crowd begins to chant. BAR VOICES Mookie, Mookie, Mookie, Mookie! 69. TV SCREEN Mookie Wilson stands in against Bob Stanley. MATTHEW (O.S.) We're still winning. That's what counts. First pitch to Wilson -- he swings and misses. Silence from the bar crowd, cheers from Nicky's table. Second pitch to Wilson -- he fouls it off. No balls, two strikes. Sound begins to fade. Wilson fouls off a pitch. Wilson takes a ball, outside. Wilson fouls off another pitch. Absolute, unnatural silence. Stanley prepares to throw. The silence suddenly breaks and for the first time we hear the TV Announcers clearly. ANNOUNCER 1 The Sox are one pitch away. ANNOUNCER 2 One pitch away. ANNOUNCER 1 Stanley's getting ready. ANNOUNCER 2 This could be it. ANNOUNCER 1 This could be it. INT. MANION'S OLD TIMER TAVERN - THE TABLE 98 98 Nicky recognizing the line from his play. NICKY This could be it! MATTHEW This could be it! TOYOTA This could be it! NICKY This could be it! 70. Nicky is charged with excitement, hearing the line as a favorable sign, a positive connection between the play and the game. TV SCREEN Stanley winds up and throws. It's a wild pitch. Mitchell comes in from third with the tying run. The bar crowd erupts in cheers. INT. MANION'S OLD TIMER TAVERN - THE TABLE 99 99 Shock and dread. MATTHEW It's all right. It's a tie game. We can still win it next inning. Nicky drinks his stinger. BAR CROWD Mookie, Mookie, Mookie, Mookie! TOYOTA This is the time. Trust in people. Believe in life. Faith is hard work. Don't give in. Don't give up. MATTHEW Life is true. NICKY Life is real. TOYOTA Trust your team. TV SCREEN Stanley delivers to Wilson. Sound fades away. Action is in super slow motion. Wilson swings and hits a bouncing ball toward first base. Stanley moves off the mound to cover first. Wilson drops his bat and races down the line. Bill Buckner, the first baseman, ranges to his left to field the ball. INT. MANION'S OLD TIMER TAVERN - THE TABLE 100 100 Nicky watches as if in a trance. Complete silence around him. He is separate from everybody else, the only clearly defined figure in a group of shadowy and indistinct people. 71. TV SCREEN Nicky's viewpoint. An image of Bill Buckner in silvery light expanding out of the TV screen to fill the larger environment. Moving soundlessly in slow motion, Buckner fields the bouncing ball and heads toward the bag. He beats Wilson to the base by an eyelash and the inning ends with the teams tied at 5-5. Frozen moment: Buckner holding his glove hand aloft, the ball securely gripped. In the drama of the moment, Buckner seems to be crying out a word or name, but his face is twisted with tension and exertion and we can't make out what he is saying. INT. THE BARRYMORE 101 101 Laurel Rogan, seen from behind, is somewhat slumped in her seat. She turns off the radio, removes the headset and rises. She moves along the row toward the aisle. She appears to be the only person in the theater. She moves trudgingly up the aisle toward the exit. At the head of the aisle she is startled by a figure standing in dimness. It is Steven Schwimmer. They look at each other. Sound of the cleaning crew in the lobby and then a door opening at the rear of the orchestra. Light from a flashlight plays across the seats and walls. The beam hits Laurel first and then Steven. The beam holds on Steven. What Laurel sees is a strikingly handsome young man, dramatically lighted . He takes off his dark glasses, so she can see his eyes. INT. MANION'S OLD TIMER TAVERN - MEN'S ROOM 102 102 Cramped space. Nicky at the washbasin, disheveled but happy, washing his face. One man at the urinal. SECOND MAN behind him, waiting his turn. Nicky drying his face with a paper towel. NICKY Great game. FIRST MAN Unbelievable. 72. NICKY Classic. SECOND MAN Scintillating. FIRST MAN I still don't believe it. NICKY Have to hurry back. SECOND MAN Hurry back. Hurry back to what? NICKY Eleventh inning. What else? FIRST MAN (zipping up) I think you're a little confused. Nothing personal friend. NICKY What are you talking about? FIRST MAN What are we talking about? NICKY Yes. What are you implying? The second man approaches the urinal. SECOND MAN Game six is history,pal. NICKY You're not making sense. FIRST MAN We're not making sense. SECOND MAN Did you see Mookie hit the ball? NICKY Of course I saw it. FIRST MAN Did you see the winning run score? 73. NICKY You're not making sense. Make sense. Nicky throws his paper towel at the men. No one moves. They are trying to interpret this action. NICKY You're implying I missed something. What did I Fmiss? IRST MAN You missed the boat, Popeye the Sailorman. Nicky charges the men. He and the First Man wrestle each other into the stall. SECOND MAN Hold him till I zip up, Tommy. Nicky and the First Man are grappling in the stall. Second Man hurriedly washes his hands at the basin. NICKY Baseball is life. Life is good. Al three men in the stall, wrestling. Nicky has one foot in the bowl as someone's elbow strikes the handles and the toilet flushes. INT. MANION'S OLD TIMER TAVERN - THE BAR AREA - A LITTLE 103 103 LATER The crowd is slowly breaking up. A few people still clustered near the TV sets, which are showing replays. Nicky is standing alone near a small set at the back on the room. His clothing torn and stained. One shoe and pants leg dripping wet. A bruise on his forehead. He is watching a replay. TV SCREEN Wilson hits the ball. It bounces twice, then goes under Buckner's glove. Knight scores from the third with the winning run. A 6-5 victory for the Mets. The main light in the tavern goes out. The TV sets keep replaying Buckner's error. Regular speed, slow motion, color, black and white. 74. Nicky stands in the darkness, brooding. EXT. LOFT BUILDING 104 104 The condemned building where Steven Schwimmer lives. The street is deserted. 105 105 INT. STEVEN'S LOFT Steven and Laurel on the sofa. He is unbuttoning her blouse. Two sources of light. A candle on the coffee table. The small TV set on the counter -- showing a newscast, with sound turned off. LAUREL Why won't you tell me your name? STEVEN It's only our first date. Steven undoes the last button. LAUREL I'm willing to tell you my name. STEVEN Names are incredibly intimate. We barely know each other. Trust me on this. She decides she will trust him. They kiss softly. LAUREL You have to tell me what you thought of the play. STEVEN First you tell me. LAUREL Brilliantly moving. She begins to remove his jacket. STEVEN What else? LAUREL Packs an emotional wallop. STEVEN What else? 75. LAUREL A flat-out hit. Together they get his jacket off. STEVEN Are you majoring in theater criticism. Laurel sees the shoulder holster and gun. LAUREL Criminology. They kiss passionately. STEVEN If you're wondering about the firearm. LAUREL Yes. STEVEN This building is not secure. They are all over the sofa, working on the removal of Steven's shirt. INT. THE ENTRANCEWAY 106 106 Nicky makes his way past the debris. The front door is gone, the inner door smashed and battered -- door knobs gone and locking mechanism ripped out. He starts up the stairs past a dead or sleeping body. INT. THE LOFT 107 107 On the sofa, Laurel is straddling Steven, whose shirt is almost completely off, exposing his bulletproof vest. Laurel is blouseless and barefoot, with her unzipped skirt still on and her bra dangling from one shoulder. LAUREL I have this thing where I have to know a person is being honest with me before, you know, I can feel completely free to be myself. 76. STEVEN We're strangers in the night. The last thing we want is honesty. LAUREL What do we want? STEVEN Mystery. Deception. LAUREL Deception isn't something I personally consider sexy. STEVEN What's sexy? LAUREL Knowing who a person is. Down deep. STEVEN Even if the truth about a person is sad or depressing or shocking? LAUREL You won't even tell me your name. What's shocking about a name? Steven maneuvers himself into a sitting position so that he and Laurel face each other at equal height and at close quarters. STEVEN Even if the truth requires a certain adjustment? Steven begins removing the cosmetic putty around his naturally shallow chin. He uses Laurel's hair clip to scrape his jaw clean. Then he peels off his fake mustache. And borrows Laurel's dangling bra cup to wipe the bronzing agent off his face. INT. THE LANDING 108 108 Nicky stands with his back to Steven's door. His gun is out. He holds it up near his face, muzzle pointed up. He looks at the gun as if it had feelings and personality, and he speaks to it as to a sympathetic friend. NICKY I used to go to the movies all the time. (MORE) 77. NICKY(cont'd) I saw a hundred situations like this. A man and a gun -- and a locked door. Lee Marvin or Steve McQueen. And I used to say to Lillian because we went to a hundred movies that we saw together or that I saw because she had seen them, and I'd say, `Watch him kick in the door with one kick,' And it might be Steve McQueen or Jeff Chandler, holding the gun up like this, and he would turn and kick the door and it would fly open at once, and I would say to Lillian, `How completely phony. Whoever made this movie has no idea how hard it is to kick in an actual door in real life.' I still love Lillian. But it's not easy to kick in a door. I knew they would lose and they lost, so what are we so upset about? They lost tonight, they'll lose tomorrow. It's written on the wind. 1 INT. THE LOFT 09 109 Laurel is on her feet, backing away slightly. Steven removed his shoes and stands in his stocking feet, noticeably shorter than he'd been earlier. He begins to unstrap the bulletproof vest, causing Laurel to retreat further. INT. THE LANDING 110 110 NICKY These wives named Lillian. I used to say to her, `You don't kick a door once or twice and expect it to open. It's only in the movies a man can kick in a door with such amazing ease. Because a real door requires a tremendous and prolonged pounding before it finally gives way.' He's a great player...how could that ball go through his legs? Nicky turns, steps back and kicks the door. It opens at once. 78. INT. THE LOFT 111 111 Steven and Laurel are briefly immobilized by shock as the door comes flying open. Nicky moves toward the candle-lit couple. Laurel realizes who he is and stands by the sofa. She zips her skirt. Nicky is trying to understand what he sees, then he gets it. NICKY (quiet) Laurel. Nicky holds his gun hand aloft, repeating the image of Bill Buckner with the baseball in his glove -- Nicky's hallucination. Then Nicky issues a cry, a sound from the time before humans acquired language. It is the audible anguish of his life, from the fetus onward. We hear what he is saying in overlapping echoes and we realize he is crying out a name. We recognize the look on his face and the formation of syllables on his lips as elements we'd seen earlier -- on Buckner's face when he shouted something as he made N the "third out" of the tenth inning. NICKY Ste-vennnn Schwim-merrrr! Laurel reacts with horror to the revelation of Steven's identity. She rearranges her bra. Nicky stumbles, drops his gun. It goes off. Steven flees toward the shadows at the back of the loft, his hand moving toward the gun in his shoulder holster. Nicky picks up his gun and begins to stalk him. Steven fires twice striking a nearby lamp. The room is dark now. Lit only by the blue glow of the TV. The TV sports roundup, which has been showing football highlights, has switched to baseball -- highlights of the Red Sox-Mets. Nicky reaches Laurel. 79. NICKY (crying out) This is my daughterrrrr! Steven is wide-eyed at the news. LAUREL I don't think he knew, Daddy. Nicky sees the photo of Steven and his cat. He shoots twice, blows it away. LAUREL Daddy, I'm sorry. But he was so beautiful. I trusted him. When I saw what he really looks like -- A voice from shadows: STEVEN (OS) Am I really so deeply repugnant? LAUREL Yes. NICKY Go home, Laurel. Tell your mother I will be late. Nicky walks toward Steven's voice, toward the shadows. NICKY You're going to die. You're a dead man. You're dead. He notices Laurel following behind him. NICKY Look. I'm sorry you keep running into dishonest men. But you're only eighteen. We can still turn it around. LAUREL Except I won't have a father anymore. NICKY I'll see you all the time. I'll get a place right nearby. One room. No distractions. We'll talk. 80. He shouts into the darkness. NICKY YOU'RE DEAD! Laurel puts her hand on his shoulder. LAUREL What will we talk about? NICKY Everything. Nicky sees one of the New York Magazine ads, Steven Schwimmer's face mounted on the cardboard. He fires three times, wiping out Schwimmer's eyes. LAUREL Will I believe you when you tell me something? NICKY There's nothing left for me to lie about. Nicky starts into the darkness only to see Steven emerge from the shadows, his gun lowered. Oddly, he seems distracted by something on another part of the room. He is looking at the TV set on the counter. Nicky watches him approach the kitchen area. He follows, gun raised. Steven sits on a stool to watch TV. Nicky approaches warily, his gun aimed at Steven's head, which is blue-lit by the TV screen. NICKY You're dead. I see you on a morgue slab drained of all fluids. Laurel follows at a distance to see what they're so interested in. Nicky puts the gun muzzle flush against Steven's temple. NICKY I see the outline of your body in chalk on this very floor. 81. LAUREL (whispering) Daddy, wait. Steven is watching slow-motion footage of Bill Buckner missing the slow roller. STEVEN Then they lost? NICKY Why does it matter? STEVEN If they lost tonight, they'll lose tomorrow. It's all over. NICKY Why do you care? STEVEN They're my team. NICKY No. They're not your team. They're my team. Nicky cocks the hammer. STEVEN They're my team, too. I grew up on Boyleston Street. Right by Fenway Park. I went to fifty or sixty games a year. All by myself. I was one of those kids with scabby elbows. I called out to the players. `Look over here. Hi, I'm Steven. My parents are divorced.' NICKY I went to college in Boston so I could be near the Red Sox. I took summer classes and the cut them to go to the game. My wife is from Boston. Lillian Ziegler? STEVEN The Red Sox were my world. I surrendered my existence to a team that couldn't win the big one. 82. NICKY If you're such a devoted fan, why were you at the play tonight instead of the game? Answer carefully. This is important. You could have gone to the theater last night. There was no game last night. STEVEN Because I can't bear to watch. When they lose, I die inside. It's like some little person named Steve just crumples up and dies. I wait for the scores. I still die, hearing the scores, but it's over in a second. I can't survive the game pitch by pitch, inning by inning. I've done it too many times. And I can't do it anymore. Nicky lowers the gun. NICKY I was six years old the day Pesky hesitated throwing home and Slaughter scored all the way from first. That's when I knew the Red Sox were my team. Pity and terror. STEVEN When I traveled through Asia this summer, I went to tremendous trouble and expense to rent a car with a phone so I could call up Sports Phone in New York and get the scores. I drove through the war in Afghanistan calling Sports Phone like every hour on the hour, for updates. NICKY What about my play? LAUREL Yes. And no more evasive tactics. STEVEN It's your best play, Nicky. LAUREL See, Daddy. 83. STEVEN I've seen it twice. I went back tonight to be sure. It's a brave and honest piece of work. LAUREL What else? STEVEN An artistry and sensitivity you've never shown before. NICKY And you're not saying that because of the gun in my hand? STEVEN You're out of bullets. Nicky points the gun at the palm of his own left hand and pulls the trigger. A click. LAUREL See, Daddy. STEVEN And Peter Redmond helped immensely. These pauses were exquisitely timed. He made us wait and wait. He built a gorgeous tension and suspense. NICKY We worked very hard on the pauses. Nicky places it on the counter. STEVEN I called Sports Phone from Lhasa, Tibet. Freezing in my little rented Fiat. Sheep on a hillside. Rocky debris dating back millions and millions of years, from the time the Himalayas thrust up when the plates of India and Asia collided. Red Sox 3, White Sox 2. A moment in the history of the world. Nicky takes Steven's head and moves it tenderly against his chest. When Nicky releases the head, he has Steven's toupee in his hand. He looks at it briefly, then hands it to Laurel. 84. EXT. 48TH STREET NEAR ELEVENTH AVENUE 112 112 A yellow taxi comes speeding past, moving eastward on 48th Street. We see it from various perspectives and elevations. It is a large checkered cab, the only thing moving in the night. Steam comes billowing from funnel vents. The taxi catches every light just before it turns red. INT. TAXI 113 113 Nicky is driving, his face showing intense satisfaction. Laurel sits next to him. Driver's name plate --- MEMLUK SULEYMAN The driver sits in the middle of the rear seat, looking somewhat nervous. LAUREL Faster, Daddy. EXT. 48TH STREET 114 114 The taxi crosses Park Avenue, speeding past the bronze statue of a man hailing a cab. It approaches First Avenue, where a road divider bisects the thoroughfare. Nicky swings into a sharp turns, barely averting contact with the divider, and stops abruptly. Three doors open. On the empty street, Nicky hands the driver a wad of bills. Then he and Laurel step over the divider. He puts his arm around her shoulders and they cross the avenue to the glass tower where they live. The sun begins to climb out of the East River. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Game, The.txt b/unformated_scripts/Script_Game, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..1b6713776175964c9dddbf4d1b65c83986dbdb3b --- /dev/null +++ b/unformated_scripts/Script_Game, The.txt @@ -0,0 +1 @@ +The Game by John Brancato & Michael Ferris REVISED October 19, 1995 A1. TITLES OVER "HOME MOVIES" from the 1960's -- FLICKERING, GRAINY, HAND-HELD, KODACHROME COLORS. MUSIC OVER. 1. E X T . V A N O R T O N H O U S E - D A Y (HOME MOVIES) A SEVEN-YEAR-OLD BIRTHDAY BOY with a blindfold spins round and round, the HANDS of OTHER CHILDREN keep him spinning. MAIN TITLE. It's a game of pin-the-tail-on-the-donkey. The dizzy boy is given a strip of felt, and the CAMERA follows as he stumbles toward a large cardboard donkey. He pins the tail on its nose. 2. QUICK, RAGGED CUTS-- the BOY blows out candles... opens gifts... a CLOWN ties balloon animals. CHILDREN, MAIDS and BUTLERS hover about; there's even a real-live PONY. The party take splace in the gardens of a massive Pacific Heights MANSION. 3. THE BOY is SCHUYLER VAN ORTON (7), and this is his birthday party. He's a serious-looking child, who adjusts his glasses as he poses for a shot with his mother, MRS. VAN ORTON, a stiff-looking society matron. A NANNY brings over an INFANT and gently places the baby in Schuyler's arms. Schuyler is ultra-careful, over- whelmed by the responsibility of holding his tiny BROTHER (DAVID). 4. THE BOY and the other children sit spellbound, watching a magic show in the front GARDEN-- a MAGICIAN waves a colored handkerchief, a DOVE FLIES OUT. CAMERA FOLLOWS the bird UP toward the house... 5. THE CAMERA FINDS MR. VAN ORTON, a pinched, depressive man of about 40, wearing glasses. He stands on a high balcony at the top story of the mansion, in a bathrobe, smoking a cigarette. The unseen photographer ZOOMS IN jerkily on the man. When he realizes he's being photographed, Mr. Van Orton turns his back and goes inside the house. The film SOLARIZES and runs into LEADER-- CUT TO: 6. E X T . V A N O R T O N H O U S E - D A Y (PRESENT DAY) TITLES CONTINUE. Early morning, the same mansion (ideally an ornate Victorian or Arts & Crafts). The landscaping has changed, there are some modern touches, such as an iron gate surrounding the carriageway, a black 500-class MERCEDES in the drive. MUSIC DOWN, SEGUE to a CNN NEWS BROADCAST OVER as the CAMERA MOVES IN ON THE UPPER BALCONY where we'd seen Mr. Van Orton earlier... it's now COVERED and GLASSED-IN. We move THROUGH THE GLASS... 7. I N T . M A S T E R B E D R O O M - D A Y TRACK THROUGH a large master bedroom; neat, masculine and Spartan, free weights, a treadmill. Atop the bed a LAPTOP COMPUTER runs STOCK QUOTES. A LARGE-SCREEN TV plays UNWATCHED, a familiar CNN ANCHOR (we'll assume BERNARD SHAW). The Bang & Olufsen CLOCK RADIO CLICKS ON, 6:30 am; CLASSICAL MUSIC now DUELS with the TV report. HAND-ANNOTATED PAPERWORK and STOCK READOUTS cover a NIGHT TABLE, where the ringing multi-line TELEPHONE JOINS the cacophony. END TITLES as we MOVE TOWARD a DOOR, it's open a crack-- from this adjacent bath we hear the SOUND OF A SHOWER RUNNING... 8. I N T . M A S T E R B A T H R O O M - D A Y In the steam-filled bathroom, we make out SCHUYLER VAN ORTON, now 38. He's handsome, fit and apparently in complete control of his world. He steps out of the shower, wraps a towel around himself and grabs the BATHROOM PHONE. SCHUYLER (on phone) Van Orton... Yes, it is my birthday, Bob, is that why you called...? Ah... No, I'm not carrying Alan Baer another inch, fuck him, BG Lumber is history... As he speaks, he continues his morning ritual-- hair combing, Q- tips, etc. (Schuyler is a man in almost constant motion.) 9. E X T. S A N F R A N C I S C O S T R E E T S - D A Y The black Mercedes moves quickly through morning traffic. 10. I N T . S C H U Y L E R ' S C A R - D A Y SCHUYLER is on his car phone, NEWS RADIO LOW in BG, maneuvering aggressively through traffic. His laptop RUNS in the passenger seat, its cellular antenna up. SCHUYLER (on carphone) Ignore the rumors, Alan, you know me, of course I'm behind Baer- Grace a hundred per cent... great, see you at the shareholders' meeting next month... He hangs up and HONKS at another driver, displaying no emotion. 11. I N T . V A N O R T O N O F F I C E S - D A Y TRACK WITH SCHUYLER through an elegant suite of offices. He passes a discreet sign: "THE VAN ORTON GROUP." Schuyler is on a cell- phone, carrying the laptop, trailed by MARIA, his middle-aged secretary. She bears paperwork and patiently awaits his attention. SCHUYLER (on cellphone) I've got buyers for the BG paper mill, goose the lawyers, final papers in three weeks... sure it's sad, but an old dog loses its teeth and pisses itself, you put it to sleep... As Schuyler walks, he's GREETED by passing UNDERLINGS, whom he ignores. He SHUTS OFF the phone, Maria hands him a couple of items, follows him into his office. MARIA Carol from the museum called. She's sending architect's sketches of the wing... 12. I N T . S C H U Y L E R ' S O F F I C E - D A Y The office is large, tasteful, reeks of old money. A window overlooks the San Francisco skyline and the Bay. MARIA That Business Week reporter called again-- SCHUYLER Tell him to fuck himself. Nicely. MARIA (awkwardly) --and, um, somebody who identified himself as, um, P.P. Willy. SCHUYLER FREEZES at this, stares at her. MARIA Sorry, I figured it was a crank, but he swore you'd know who he was. He wanted to meet you for lunch, I told him you had appointments all-- SCHUYLER Cancel. Cancel the whole afternoon. MARIA But you-- SCHUYLER Do it. Did he leave a number? MARIA No. He just said he'd be at Leo's in the Haight. At noon. Maria hands him a slip of paper, lingers, awaiting explanation... SCHUYLER That's all, Maria. She heads out quickly. Schuyler stares at the slip, then turns to look out the window, lost in thought. CUT TO: 13. I N T . L E O ' S - D A Y A working class bar, an ALCOHOLIC or two, pinball machines. SCHUYLER sits a table near a window, checking his watch, it's not his kind of place. A WAITRESS arrives in a too-small uniform-- young, multiple earrings, CHRISTINE according to her name tag. CHRISTINE Can I take your order? SCHUYLER I haven't seen the menu. CHRISTINE Oh, right. Here, see ya. She hands him a menu and starts off. Schuyler calls after her. SCHUYLER An iced tea, please-- She waves a hand, "yeah, right," without looking back. Schuyler sighs and opens the menu. Suddenly, someone BACKHANDS the side of his skull, he assumes a defensive posture. Schuyler sees his LAUGHING brother: DAVID VAN ORTON. DAVID Yo, Sky. Happy birthday. SCHUYLER (rubs his head, annoyed) Thanks, "Pee-pee." I never get tired of that. DAVID slides into the seat opposite him. He's in his early 30's, good-looking but unkempt, wears bright, funky clothes, an earring and a perpetual grin. There's an intense, edgy quality to him which Schuyler has some trouble readjusting to. SCHUYLER Well... long time. DAVID Yeah, since Mom died-- what, five years? So how you been? SCHUYLER Business as usual... DAVID How's Elizabeth? Any kids? SCHUYLER A little girl. DAVID Congrat-- SCHUYLER It's not mine, she married a pediatrician in Sausalito. DAVID You're divorced... (off Schuyler's nod) Too bad, she was actually interesting. SCHUYLER She stopped drinking, I guess getting rid of me was the 13th step. DAVID So you're all alone in the House of Pain. SCHUYLER I redecorated. Where have you been? DAVID All over. Nowhere in particular. Didn't your fucking gumshoes keep you informed of my every movement? SCHUYLER I called them off two years ago, David. You'd kicked the heroin, you'd left the ashram, you were windsurfing somewhere in Central America... DAVID It's gorgeous down there... you should go sometime. SCHUYLER Look, are you in trouble, is there anything you need? You can't have gone through the trust fund... DAVID (looks at him, hurt) That's not why I'm here, Sky, I just wanted to see you... I even brought a gift, for a change. SCHUYLER You didn't bake me a cake, did you? DAVID You can't still be mad about the hash brownies... Schuyler's unamused by the memory. David grins and pulls a small envelope out of his pocket, tosses it on the table in front of him. DAVID Happy birthday, bro. SCHUYLER What is this. DAVID It's a bomb. Open it! Schuyler shrugs, opens the envelope and shakes out-- A BUSINESS CARD in BLUE and ORANGE: "CONSUMER RECREATION SERVICES." The C, R and S are HIGHLIGHTED, a PHONE NUMBER at the bottom. SCHUYLER picks up the card, fingers it. SCHUYLER Consumer Recreation Services. OK... DAVID I can't tell you very much about it, that'd ruin the surprise. Just promise me you'll give 'em a call. SCHUYLER I don't get it. DAVID Just call 'em. OK look, it's simple, really. They entertain you. SCHUYLER Is this an escort service? DAVID No, it's nothing like that. They're a business, they're for real... They guarantee just one thing-- you won't be bored. Schuyler gives him a bored, blank look. David throws up his hands. DAVID They make your life fun. SCHUYLER Fun. DAVID You've heard of it. Christine the waitress has shown up with Schuyler's iced tea. She puts it down hastily, spilling some across the table. Schuyler shies away, grabbing a napkin and blotting it up before it can drip into his lap. Cracking gum: CHRISTINE Sorry. She moves off as Schuyler tries to order, raising a finger-- SCHUYLER Just a cheesebur... how'd you find this place? DAVID Old connection used to meet me here. So you gonna call 'em? SCHUYLER (a sigh, carefully) You know, David, this is sweet, but it's an awfully busy time, I'm in the midst of a delicate liquidation-- DAVID (mimicking him bitterly) "A delicate liquidation," God, you would do this... SCHUYLER David-- DAVID We can't get together once without you making me feel like shit. That's important to you, isn't it? SCHUYLER What are you talking about? DAVID Forget about it, don't bother. David slumps in his seat, won't meet Schuyler's eyes. SCHUYLER Are you still on medication...? David glares at him. With the impeccable timing of all waitresses, CHRISTINE appears, chipper. CHRISTINE You guys know what you want? DAVID Go away. She curls her lip and departs before Schuyler can open his mouth. He sighs, resigned to the idea of not eating. Calmly: DAVID I just thought you'd like it. I did, it was a blast, best thing that ever happened to me. And for your information, I'm not on anything anymore, I'm not even seeing a shrink, I'm in a better place than I've ever been, I'm even happy-- but that's something else I wouldn't be able to explain to you. SCHUYLER OK, OK, I'll give them a call... DAVID Whatever. SCHUYLER Look, take a pill. Just be normal for thirty seconds and tell me what this is. I hate surprises. DAVID I know. David WINKS, puts a finger to his lips-- not another word. CLOSE as Schuyler slips the brightly-colored CARD into his pocket. CUT TO: 14. E X T . V A N O R T O N O F F I C E B U I L D I N G - N I G H T ESTABLISH the moonlit exterior of an older, classy building in downtown San Francisco. MOVE IN on a high window, one of the few LIT at this hour. We hear the SOUND OF A PHONE CHIRPING OVER. lS. I N T . S C H U Y L E R ' S O F F I C E - N I G H T COMPUTERS run, stacks of PAPERWORK, etc. PHONE continues to RING. FIND SCHUYLER as he punches the SPEAKER: SCHUYLER Van Orton. ELIZABETH (on speaker) Hello, Schuyler. ELIZABETH is Schuyler's ex-wife-- an earnest woman, a stranger to subtlety. STAY WITH SCHUYLER, who half-smiles, looks at his watch. SCHUYLER Eleven forty, you almost didn't make it. ELIZABETH (on speaker) I always call on your birthday. How was it? SCHUYLER Oh, the usual, big party, circus clowns, naked lady in a cake... ELIZABETH (on speaker) (slight chuckle; serious) How are you, Sky? She has the concerned, forthright tone of a "recovery person," someone who's been through a lot of therapy and wants to reach out. Schuyler GRIMACES, then mimics the tone: SCHUYLER I'm just fine. How are you? ELIZABETH (on speaker) It wasn't a trick question. Thirty-eight, I thought that might be a-- a difficult year for you... SCHUYLER Hm? Just another birthday, another year closer to death. ELIZABETH (on speaker) I meant-- because of your father. SCHUYLER Oh that's right, I guess he was 38, wasn't he? I hadn't thought about it, to tell the truth, but thank you for the reminder. ELIZABETH (on speaker) Why do I call you... SCHUYLER I honestly don't know, but it's a nice change of pace from talking to your attorneys. So, still working at the hospice? ELIZABETH (on speaker) Mm-hmm, couple days a week... SCHUYLER Great, that's great. Well, give my regards to Dr. Mel and the baby-- ELIZABETH (on speaker) She has a little brother on the way... we just did the ultrasound. SCHUYLER Really. Congratulations-- two kids, an official nuclear family, you must be very happy. ELIZABETH (on speaker) We are, Sky. Very happy. SCHUYLER Well, you deserved someone who wanted the same things you did-- ELIZABETH Are you? Happy? SCHUYLER hates this question. He quickly changes the subject. SCHUYLER Speaking of little brothers, I saw David today. ELIZABETH (on speaker) Really? SCHUYLER He asked about you. He's on a new kick, some personal improvement cult. I'm gonna check it out, I'm sure he's getting fleeced again. ELIZABETH (on speaker) Who knows, maybe it'll be good for you. Send David my love. SCHUYLER Right. Well, thanks again for calling, Elizabeth, take care. ELIZABETH (on speaker) You too, Schuyler-- I mean that-- SCHUYLER Mm, good luck, bye. He PUNCHES off the phone in the middle of her "Good-bye." Schuyler returns to his work, as if the call hadn't taken place-- but a few seconds later, we see his concentration is completely shattered, he leans back in his SQUEAKING deskchair. CUT TO: 16. E X T . P A C I F I C H E I G H T S - N I G H T SCHUYLER'S MERCEDES cruises on the hilly streets, past impressive mansions on all sides, a CRESCENT MOON overhead. 17. I N T . S C H U Y L E R ' S C A R - N I G H T CLASSICAL MUSIC plays. SCHUYLER drives, looking unsettled. 18. E X T . P A C I F I C H E I G H T S - D A Y (60'S/FLASHBACK) POV DRIVING SHOT, from the backset of a LIMOUSINE. PERIOD CARS, FASHIONS, etc. MUSIC CONTINUES OVER. 19. I N T . S C H U Y L E R ' S C A R - N I G H T SCHUYLER changes the RADIO STATION, trying to drown out his thoughts with LOUD ROCK AND ROLL. 20. E X T . V A N O R T O N H O U S E - N I G H T THE ELECTRIC GATE slides open, and Schuyler's Benz pulls in. 21. E X T . V A N O R T O N H O U S E - D A Y (FLASHBACK) A LIMOUSINE pulls into the ungated carriageway. THE BACK DOOR OPENS and SCHUYLER (7) emerges from the backseat, carrying elementary schoolbooks. As he approaches the front steps, he looks upward at something, blinks and squints. ANGLE UP-- MR. VAN ORTON, in his robe, stands on the balcony railing, looking up at the sky. He turns his gaze slowly downward. YOUNG SCHUYLER is puzzled, gives his dad a tentative wave. MR. VAN ORTON waves back, his eyes dead, expression blank. YOUNG SCHUYLER opens his mouth to call to his father-- instead we hear an URGENT ELECTRONIC BEEPING-- 22. I N T . S C H U Y L E R ' S K I T C H E N - N I G H T A MICROWAVE OVEN BEEPS that the meal is "READY." SCHUYLER opens the door, takes out his upscale junk food, grabs a fork. 23. I N T . S C H U Y L E R ' S D E N - N I G H T ON A BIG-SCREEN TV, a CNN NEWSCAST shows a FIRE OUT OF CONTROL. MOVE FROM THIS through the manly, book-lined den. The house is traditional, opulent, densely decorated with "good pieces"-- and it feels like a mausoleum. FIND SCHUYLER peeling open the plastic food container. He sits in a leather armchair. A BOTTLE OF DOM PERIGNON sits on the coffee table, near a champagne flute glass, a CUPCAKE with a CANDLE in it. The LAPTOP computer is RUNNING. ON TV, BERNARD SHAW comes out of the story. BERNARD SHAW (TV) --for the residents of the Crescent Heights project, a truly tragic day is over at last-- SCHUYLER I'll drink to that. SCHUYLER raises his champagne glass to the TV, his birthday done. Then he toasts in the direction of a FRAMED PICTURE on the coffee table-- a WEDDING PHOTO OF SCHUYLER and ELIZABETH. BERNARD SHAW (TV) --up next, the latest in sports. For all of us here at CNN, thank you for watching-- SCHUYLER reaches for the REMOTE CONTROL. He settles back on the sofa, CHANNEL HOPPING. He despairs of this quickly, points the remote at his own head-- CLICK, CLICK. He closes his eyes. 24. E X T . V A N O R T O N H O U S E - D A Y (FLASHBACK) MR. VAN ORTON stands on the edge of the balcony, waving as before. He looks skyward one last time, then suddenly LAUNCHES HIMSELF INTO SPACE in a head-first dive. We hear what sounds like a SCREAM-- CUT TO: 25. E X T . C R S B U I L D I N G - D A Y --it's a CAR HORN. The vehicle passes to reveal SCHUYLER striding toward a postmodern building in the financial district; a ramp leads to a parking garage beneath. Casually dressed, he glances up at the facade for a few moments, then goes in. 26. I N T . C R S L O B B Y A N D A T R I U M - D A Y The very new, dramatic structure is built around a central twelve- story atrium narrowing to a SKYLIGHT above. There's still some minor construction underway on the ground floor, scaffolding about. Schuyler crosses to a bank of lobby elevators. 27. I N T . C R S E L E V A T O R - D A Y Schuyler looks out the glass elevator as it rises vertiginously. HIS POV as the atrium shrinks below him. 28. I N T . C R S O F F I C E S - D A Y Partitioned work areas, terminals, clutter and disarray. Office doors open off a reception area. CRS EMPLOYEES move about hectically. Schuyler enters, wanders about for a moment, confused. A friendly female RECEPTIONIST glances up from her desk. RECEPTIONIST Can I help you? SCHUYLER Is this Consumer Recreation Services? I have an appointment, the name's Van Orton. The woman flips through an appointment book with a logo, CRS. IN BG, JIM FEINGOLD pays a CHINESE DELIVERY GUY for a BAG OF FOOD. RECEPTIONIST Hm... I don't seem to-- SCHUYLER Schuyler Van Orton, I called last week. The woman shakes her head. FEINGOLD slows as he crosses past Schuyler, carrying the bag. He's 30-40, a no-nonsense engineer, looks a bit dull, but he exudes competence and trustworthiness. FEINGOLD Problem? RECEPTIONIST This gentlemen says he has an appointment, but... Feingold glances at Schuyler, shrugs. FEINGOLD Van Orton, huh? I'll take him. (shakes his hand) Jim Feingold, v. p. in charge of engineering and data analysis. The man leads Schuyler to a row of open boxes on the floor, looks in a couple, then finds what he's after. He snatches up a couple of pages, hands them to Schuyler. Then he finds a clipboard on the floor, tosses it to him like a frisbee. FEINGOLD Sorry about the chaos, we're still in the process of moving... follow me, I've got an office around here someplace. He reaches into a box of PENS, passes one to Schuyler. CLOSE ON PEN-- the CRS LOGO. CUT TO: 29. I N T . F E I N G O L D ' S O F F I C E / H A L L W A Y - D A Y A modern, dramatic office. Swoopy furniture, imposing ART, all very cool-looking. Feingold moves behind the desk, unpacks a couple of white cartons. FEINGOLD I can't remember the last time I ate in a restaurant, all I do is work... SCHUYLER sits on a couch, looking at the forms. SCHUYLER I know what you mean. Look-- what is all this? The fast-talking Feingold moves energetically through the office, occasionally picking at his food or poking at the air with chopsticks-- he's a bit hyper and fidgety in general. FEINGOLD Application, MMPI and TAT tests, financial statement... (indicating food) Want some? Tung Hoy, best in Chinatown... (as Schuyler shakes his head) The tests serve a threefold purpose. First off, are you right for us? Are we right for you? Unfortunately, there's a limited number of slots-- SCHUYLER Let's back up here-- FEINGOLD (over him) B, we need an idea of your abilities and limitations, what turns you on, and off. Numero tres, our insurance company requires it. (a beat, studying Schuyler) You're familiar with our service, aren't you? SCHUYLER Not at all. What are you selling? FEINGOLD Well... it's a game. SCHUYLER A game. FEINGOLD Recharges the batteries, gets you off the treadmill, it's an experience. Sort of a-- vacation for the guy who's been everywhere. SCHUYLER This really doesn't sound like my sort of-- Feingold sits on the edge of his desk, arms crossed, nodding and smiling condescendingly-- he raises a hand to stop Schuyler. SCHUYLER What's so amusing? FEINGOLD Nothing. I know who you are. You're David Van Orton's brother, he got you in here. SCHUYLER So. FEINGOLD (remembering fondly) David was-- impressive, one of the better I've seen. But frankly, I can see you're not the type. SCHUYLER The type. FEINGOLD You know, a player. SCHUYLER I'm not a player. FEINGOLD I don't mean anything personal by it-- I know you're an important guy, powerful guy, you're used to being on top. It's just, this isn't for everyone. Not everyone can handle it. SCHUYLER (nearly losing it) What kind of fu-- game is this? FEINGOLD The ultimate fucking game. I wish I could tell you more, but it's different every time. (rising) Thanks for coming in-- SCHUYLER (doesn't move) I'm not an idiot. I see what you're doing. First the vague yet intriguing pitch, then I'm supposed to feel like my manhood's in question because I'm not up for, what, some motivational role-playing fantasy nonsense-- FEINGOLD Interesting, you don't know the first thing about it but you've already decided what it is... Listen, I don't wanna waste any more-- SCHUYLER Please, Jim, cut the hard-to-get shit. I've got the afternoon free, I'll take your silly tests. Feingold cocks his head, reappraising him. Then, with a smile, he calls to an attractive young WOMAN passing in the hall; Schuyler, meanwhile, flips through the pages of the tests. FEINGOLD Ms. Nelson, are you busy? We need someone to run Mr. Van Orton. MS. NELSON This way, sir... As she leads Schuyler out the door, Feingold WINKS at him. FEINGOLD I'll catch up with you after the physical. Schuyler reacts-- a physical? He throws up a hand and follows the woman into the hall. Alone now, Feingold cracks a fortune cookie and glances at the slip of paper inside. He furrows his brow with concern at the fortune-- then tosses it aside. CUT TO: 30. CRS OFFICES - SERIES OF SHOTS During the following QUICK CUTS, SOUNDS will be layered in and CONTINUE over one another, e. g. the SOUND of a scraping pencil, the BLIPS of machinery, HEAVY BREATHING, MURMURING VOICES of TECHNICIANS giving instructions... A. X-CLOSE: A #2 pencil FILLS IN box after box on a long MMPI form. CLOSE on a couple of these: "I sometimes hurt animals... I feel guilty when I masturbate..." each followed by TRUE and FALSE boxes. B. A WHITE-WALLED ROOM: Schuyler concentrates on a drawing held by a stone-faced PSYCHOLOGIST, a TAT test; he laughs as he speaks into a tape-recorder, analyzing the pictures. C. X-CLOSE: The DRAWING, a large ant with an apron feeding a TV dinner to a human child. The card moves just as we register it to reveal another DRAWING of a smiling man toppling backwards in a chair, perched on the edge of a cliff. D. A LAB: Electronic MONITORS and PRINTERS record Schuyler's EEG and EKG. We see him on a doctor's table, wearing a medical gown with the CRS logo. He's hooked up to the wires, a female TECHNICIAN studying the readouts while a NURSE takes his blood pressure. E. X-CLOSE: The traveling trace of intersecting colored waves. F. A DARKENED ROOM: Schuyler in FG, still in the gown, watches a screen as images FLASH-- geometric SHAPES, WORDS, PHOTOS. His finger hovers over a bank of three buttons, he presses different ones from time to time. There's a MIRROR to one side of the room-- G. X-CLOSE: A COMPUTER SCREEN shows green columns of NUMBERS-- SCHUYLER'S NAME is steady at the top of the screen, with an account number. CAMERA MOVES FROM THE SCREEN to show an unseen COMPUTER OPERATOR watching Schuyler through the one-way glass. The CACOPHONY of the MONTAGE ends abruptly as we CUT TO: 31. I N T . C U B I C L E - N I G H T Schuyler, in the gown, sits on an examination table with his hands in his lap in a small, featureless cubicle-- he seems vulnerable, looks around blankly. To himself, irritated and bemused: SCHUYLER David, you suck. FEINGOLD BURSTS IN, a slew of COMPUTER PRINT-OUTS under his arm. FEINGOLD Sorry to keep you waiting, a client's head exploded... (grins) You can get dressed, we're done. He throws open a closet door. Schuyler reaches inside for his clothes, which are neatly folded and on hangers. Feingold turns his back on him as he DRESSES, perching on the examination table and studying the unburst print-outs. FEINGOLD Looks promising at this point. You test well, you're in decent shape for someone in your tax bracket... Hm, some resistance to the psych questions, but we got the general idea... He heads out, beckons for Schuyler to follow. 32. I N T . C R S M A I N F L O O R - N I G H T Feingold leads him through the office-- SECRETARIES and other WORKERS pack up at the end of the day. FEINGOLD We design the game around your schedule, you're free to give it as much or as little time as you wish. And of course, you can call it quits at any point. SCHUYLER This was actually a gift. Did my brother pay in advance? FEINGOLD You'd have to ask our billing department... the price varies. But our service comes with a guarantee. If you're not satisfied, there's no charge. And we've never had an unsatisfied customer... SCHUYLER You mean dissatisfied. FEINGOLD (looking at a form) Mm, that's right-- you're a left- brain word fetishist. SCHUYLER I get that all the time. Feingold smiles tightly and leads Schuyler back into his office. 33. I N T . F E I N G O L D ' S O F F I C E - D A Y CLOSE ON PAPERWORK as it's dropped on the desktop. SCHUYLER, CRS pen in hand, looks at this dubiously. SCHUYLER So I'm supposed to sign up for a game when I don't know the rules, I don't know the object, I don't know how much it costs... FEINGOLD It's a leap of faith. But at this stage, there's no commitment-- we just need to process your application. And if you qualify, you're in for the ride of your life. What have you got to lose? Schuyler CLICKS the ballpoint pen, they both lean over the papers. FEINGOLD Initials-- initials-- sign here. Schuyler's about to sign when Feingold grabs his wrist. FEINGOLD In blood. (a WINK) ---Just kidding. CLOSE, as Schuyler SIGNS on the dotted line. FEINGOLD snatches up the forms, suddenly seems in a hurry for Schuyler to go. FEINGOLD Very good, Mr. Van Orton. Please, keep the pen. Schuyler shrugs, sticks it in his breast pocket, starts out. SCHUYLER When can I expect to hear-- FEINGOLD We'll be in touch. Feingold gently shuts the door on schuyler's face. S C E N E 3 4 D E L E T E D CUT TO: 35(NEW). I N T . R A C Q U E T B A L L C O U R T / C O R R I D O R - D A Y WHAM, a BALL SLAMS against a wall. THROUGH A WINDOW, we see SCHUYLER playing violently, pumping sweat... he's alone. We hear the sound of a PHONE CALL OVER: SCHUYLER (V. O.) David, where the hell are you, we were supposed to meet at the club-- DAVID (V. O.) Oh, shit, sorry Sky, I spaced-- next Tuesday? SCHUYLER (V. O.) I'll be in Seattle. DAVID (V. O.) Buy you lunch soon as you get back, I swear... Fed up with playing alone, Schuyler lets the ball bounce, exits the court and heads for a LOCKER ROOM down the hall... SCHUYLER (V. O.) I checked out CRS by the way-- DAVID (V. O.) Hey, great, you gonna go for it? SCHUYLER (V. O.) Haven't decided yet... S C E N E 3 6 D E L E T E D 37(NEW). E X T . C O U N T R Y C L U B B A R - D A Y SCHUYLER, in casual clothes, hair still wet from a shower, comes out of a locker room area toward an outdoor BAR by a SWIMMING POOL at this upscale country ciub. He passes PETE and JOHN, two middle- aged RICH MEN sitting at a table near the bar; he overhears a snippet of their conversation-- JOHN --like fuckin' wildfire, just opened an office in Frisco here-- PETE I played my game in New York... What do you think John, will CRS ever go public? JOHN (laughs) Not likely, would you? Schuyler slows down, eavesdropping, then moves toward the bar, addresses the BARTENDER with a nod toward John and Pete. SCHUYLER New members? BARTENDER I believe so. SCHUYLER This round's on me. Schuyler moves casually toward the men-- DISSOLVE TO: 38(N). SAME LOCATION, LATER, the bartender brings another round of drinks to the table, Schuyler and the men have been chatting a while, all seem relaxed. Pete, the friendlier (drunker) of the two, puffs a CIGAR as he speaks: PETE ...last time I played Pebble, I swore I'd never pick up a club again... The others CHUCKLE knowingly. Schuyler sips his drink, blinking and coughing discretely at the smoke; there's a slight pause. SCHUYLER Great thing about golf, the way it takes you out of your life... Speaking of games-- I take it you two are familiar with CRS...? JOHN Uh-oh. Time to piss... He slides off his stool. Pete studies Schuyler, sizing him up. PETE Why do you ask, Schuyler? SCHUYLER I couldn't help overhearing-- PETE We don't usually talk about it. SCHUYLER I only bring it up because, well, I recently tested for it. PETE Did you? Kudos. SCHUYLER I just wasn't sure if they're for real, whether it's worth it-- PETE Worth it... Gee, I dunno... they did save my fucking life... SCHUYLER Sorry? PETE Look, I don't know you, you don't know me, but... I hit a certain point, nothing meant anything. My work, the wife and kids-- hell with 'em, I was sick of it all, y'know? But CRS... they changed everything. "Are they for real?" Who cares, maybe nothing is. (raises his glass) To reality. Schuyler raises his glass, numbed by this outpouring. Pete drains his drink, chuckling to himself. His friend comes back, looking concerned, takes the man's arm. JOHN C'mon Pete. PETE (winks at Schuyler) Good luck, pal. You'll need it. Schuyler stares after the two men dubiously as they move off. CUT TO: 39. I N T . L A W F I R M C O N F E R E N C E R O O M - D A Y A slick, designery conference room, filled with BABBLING LAWYERS-- at the head of the table stands BOB PLYMPTON, a trustworthy man in his late 50's. MURMURING CONTINUES during Plympton's address. PLYMPTON Excuse me. Excuse me! Postponing the Baer-Grace meeting is out of the question. Schuyler gets on a plane for Washington tomorrow morning at seven with every contract, every side agreement, the complete closing package! Schuyler has been going through paperwork in the back of the room, he steps forward during the above. LAWYER But there's simply no-- THWAP! Schuyler DROPS the stack of papers on the table, SILENCE. SCHUYLER No is not an option. If you fail to recognize that, I'll find ten other law firms in the yellow pages that can get the job done-- CHIRP. Schuyler's CELL-PHONE has started RINGING during the above. He finally removes it from his pocket and moves to a quiet corner. SCHUYLER (impatient) Yes. QUIET COMMOTION resumes IN BG during the following. On the other end of the line, there's the bland, bureaucratic VOICE of CYNTHIA: CYNTHIA (filter) Mr. Van Orton? SCHUYLER Yes, who is this? CYNTHIA (filter) This is Cynthia at CRS... SCHUYLER What?! How did you get this number? CYNTHIA (filter) I'm just calling to inform you that we've finished processing your application-- SCHUYLER I'm in a meeting-- CYNTHIA (filter) --and I'm afraid you didn't qualify. SCHUYLER --so I don't have time for-- (beat, then quickly) Excuse me, what was that? CYNTHIA (filter) Well... your application was rejected. SCHUYLER ...Why? CYNTHIA (filter) Oh, I'm afraid I don't have that information, but-- many applicants don't meet the criteria. We apologize, we hope it hasn't caused you any inconvenience-- SCHUYLER This is absurd-- CYNTHIA (filter) Thank you for thinking of CRS. CLICK and a DIAL TONE. Schuyler shuts the phone and replaces it in his pocket, his mind suddenly far away from the meeting at hand. PLYMPTON, a wel1-meaning man with a fatherly attitude toward Schuyler, steps close to him and speaks quietly, concerned: PLYMPTON Bad news, Sky? SCHUYLER No, nothing. Sorry, Bob. (loudly, to boardroom) So were there any more questions, or may I assume it's under control... CUT TO: 40. E X T . V A N O R T O N H O U S E - N I G H T SCHUYLER pulls up in his MBZ, the electric gate glides shut. He gets out of the car and SETS THE ALARM. He heads for the front steps of his home-- then freezes, blinks-- ON HIS DOORSTEP lies a body, face-down, apparently a WINO, in a tattered, filthy overcoat. FLASH CUT TO: 41. E X T . V A N O R T O N H O U S E - D A Y (FLASHBACK) SAME ANGLE, QUICK SHOT of the body of MR. VAN ORTON, sprawled across the steps in much the same position as the wino, flat on his stomach, head twisted at a grotesque angle. His bathrobe is even similar in color to the wino's overcoac. CUT BACK TO: 42. E X T . V A N O R T O N H O U S E - N I G H T SCHUYLER shakes off the memory, looking alarmed. He calls out: SCHUYLER Hello! What are you doing here? THE BODY doesn't stir. He approaches gingerly. SCHUYLER Wonderful. You OK? You dead? He crouches by the wino, winces at a strong smell, covers his nose. He reaches out to touch the body, but hesitates, pulls back. Alive or dead, he doesn't want to have anything to do with this person. SCHUYLER Shit, shit, shit... The "wino" suddenly SPRINGS UP like a jack-in-the-box, bending backwards impossibly at the hips. Schuyler lets out a CRY and scrambles back toward his car. THE HEAD swivels to face him-- it's a grotesque HARLEQUIN, its head made of COLORED GLASS, LIT from within. The MOUTH DROPS OPEN and a tongue in the shape of a corkscrew SPRINGS OUT. A SMALL KEY ON A HOOK dangles from the tip of the tongue. One of the harlequin's glass eyes WINKS. SCHUYLER stares in amazement for a few moments. CLOSE on the dangling KEY as Schuyler fingers it. The key catches the light and we see the letters "CRS" embossed on it. 42B(NEW). I N T . S C H U Y L E R ' S F O Y E R - N I G H T THE DUMMY is dumped in a straight-back chair in the foyer. SCHUYLER takes a step back and studies it. He crosses its legs, smirks and shakes his head, ascending the stairs. CLOSE ON the disturbing empty stare of the DUMMY... CUT TO: 43. I N T . S C H U Y L E R ' S B A T H R O O M / B E D R O O M - N I G H T CLOSE ON SCHUYLER'S EYE as he blinks and removes a CONTACT LENS. A NEWSCAST is barely audible in BG. WIDER, Schuyler, squinting, in a bathrobe, enters from the bathroom off the bedroom, putting his contact lens case into a toiletries case. He's been packing a leather GARMENT BAG, which hangs from a door, slips the toiletries into a "side pouch. The TV PLAYS in BG, Bernard Shaw delivering the news. BERNARD SHAW (on TV) ...the bill goes before the House next week, where it's expected to meet stiff opposition-- (beat, touches his ear) Wait, this just in... This gets Schuyler's attention, he squints toward the television. BERNARD SHAW (cont., on TV) The U. S. geological service has detected a massive disturbance in the earth's crust deep beneath the northern segment of the San Andreas fault... SCHUYLER scrambles for his glasses, as Shaw struggles to continue. BERNARD SHAW (cont., on TV) ...they have issued a warning that a major earthquake of magnitude eight or greater is likely to hit the San Francisco Bay area within... (a beat) Oh my God, the next fifteen minutes-- SCHUYLER sits on the bed, breathes hard, stares at the tube. BERNARD SHAW (cont., on TV) There is no time for an evacuation. The federal government has issued the following instructions for all residents of central and northern California... SCHUYLER is freaking out, paces frantically, moves toward a phone-- who's he going to call? He makes a low MOAN. SHAW'S voice CRACKS, he speaks very rapidly. BERNARD SHAW (cont., on TV) Locate emergency shut-offs for all power and gas-- SCHUYLER starts moving out of the room-- BERNARD SHAW (cont., on TV) Wait, there's no time for that-- just stay away from windows and doors-- SCHUYLER doubles back, avoiding a window, his panic mounting-- BERNARD SHAW (cant., on TV) Find a heavy piece of furniture such as a desk or table and get under it-- SCHUYLER looks around, sees no such appropriate spot in the room. BERNARD SHAW (cant., on TV) If no such furniture is immediately available, go to a window or doorway-- SCHUYLER blinks, hesitates starts to move toward the doar-- BERNARD sHAW (cant., on TV) But first turn off all power and gas. Crouch in a comfortable position, put your head between your knees and cover it with your arms-- SCHUYLER, confused, crouches as instructed-- BERNARD SHAW (cant., on TV) Then KISS YOUR LILY-WHITE ASS GOODBYE! On this last line, Shaw's voice starts to ECHO and CHANGE. SCHUYLER rises, staring at the TV, mouth agape. SHAW WINKS. His VOICE is utterly transformed. BERNARD SHAW (on TV) Howdy Sky. HIS FACE RIPPLES and MORPHS into a SKULL, it's becoming clear that this is a computer-generated Bernard shaw. CYBERSHAW (on TV) Que pasa? As CYBERSHAW speaks, his face will continue to transform, sometimes back to a recognizable human state, other times into abstract images, a talking piano, a dog, etc. CYBERSHAW (on TV) Welcome to the Game! Congratulations on your decision to let Consumer Recreation Services entertain you. The combination of relief, amazement and anger is a bit much for Schuyler to absorb. Smiling sickly: SCHUYLER Fuckers! CYBERSHAW (on TV) This might be a good time to lay out a few ground rules, help you enjoy your adventure. You've received the first key. There will be others. Pay attention-- you never know where you'll find 'em, you never know when you'll need 'em, so keep 'em with you at all times... As he speaks, Schuyler reaches for the gold key on his bedside table. He starts putting it onto his keychain. ON TV SCREEN-- below CyberShaw, a PHONE NUMBER SCROLLS PAST. CYBERSHAW (on TV) You might want to write this number down, it's the CRS hotline, operators are standing by to assist... but please don't call to ask what the object of the game is-- figuring that out is the object of the game... SCHUYLER has snatched up the CRS pen to write down the number-- it doesn't work. SWEARING, he tosses it aside, grabs another. ON TV, CyberShaw MORPHS back into the original Bernard Shaw. There's a quick VISUAL GLITCH on the tube as the original TV feed resumes-- Bernard Shaw is delivering a normal news story. BERNARD SHAW (on TV) --reaction on wall Street was muted following the Fed's announcement of... SCHUYLER is taken with the display of electronic pyrotechnics, in spite of himself. He hits the speaker button on his phone, dials. OPERATOR VOICE (filter) You've reached CRS... SCHUYLER Yeah, this is pretty impressive but listen-- OPERATOR VOICE (filter) Our office is closed. Please call back during business hours. (BEEP) SCHUYLER My name is Schuyler Van Orton, my game just started. Look, this is a bad time, I'm about to leave town-- A DIAL TONE, CRS doesn't take messages. Schuyler sighs, HANGS UP. 44. E X T . V A N O R T O N H O U S E - N I G H T SCHUYLER crouches by a coaxial cable line emerging from the side of the house. He fingers a box with a miniature LOOP and RABBIT EAR ANTENNA that's been spliced into the line with a tiny S-shaped WIRE. He starts to unscrew it, then thinks twice, heads back in. WIDER, as Schuyler enters his mansion, a GIBBOUS MOON OVERHEAD. CUT TO: 45. E X T . S E A - T A C A I R P O R T - D A Y Mist in the air, a jet taxis to a terminal. 46. I N T . S E A - T A C T E R M I N A L - D A Y SCHUYLER comes out of the gate with the garment bag and a briefcase. He joins up with a DRIVER carrying a sign that says VAN ORTON, the man takes his bag for him. SCHUYLER I'm expecting a package with some documents. Did it arrive? The man shakes his head, Schuyler, exasperated, whips out his cell- phone and dials. As he and the driver move through the CROWD, they pass a red-eyed, dredlocked, homeless-looking RASTA MAN in a BRIGHTLY COLORED outfit with knit cap, hassling other TRAVELERS. He turns his attention to Schuyler and begins walking alongside. RASTA MAN Ay mon, got sometin' fo you mon. DRIVER (to the rasta) Get lost, pal. RASTA MAN No can do. SCHUYLER (on phone) Bob, it's Sky, what the hell is going on? No, the papers aren't here, you'll have to fax signature copies straight to the BG offices now. Yeah I'll hold. The driver and Schuyler climb into a little white people mover cart, the driver starts forward, BEEPING at folks in the way. The rasta man continues to badger Schuyler. RASTA MAN You want what I got, mon. SCHUYLER (hand over the phone) No thank you. RASTA MAN Dere are many paths to enlightenment, but you must choose one and stay on it-- or you will surely die in the darkness-- SCHUYLER I'll take my chances. The rasta man jogs alongside, holds up a stained, newsprint religious TRACT, Schuyler glances at it without taking it-- CLOSE-- we see the words "CRISIS, REVELATION, SOLUTION." The letters C, Rand S are printed in a different color from the rest. WIDER-- Schuyler ignores the tract, he's talking to Bob again on the phone. The driver SPEEDS UP as they pass a guard, entering a restricted access area. SCHUYLER (on phone) What?! Fire their asses, that's it. The Rasta Man runs out of breath as the cart SPEEDS UP. He calls after Schuyler: RASTA MAN Jah Love mon, dat's the key, dat's the key... 47. E X T . S E A - T A C T E R M I N A L - D A Y Cold and bleak. The little white truck emerges from the terminal, crosses the tarmac, heading toward an IDLING HELICOPTER, where is stops. From the chopper, ALAN BAER emerges-- he's an elderly, muscular man, bluff, once blue-collar. He gives Schuyler a firm handshake. They have to SHOUT over the WHIRRING BLADES: SCHUYLER Alan! What's wrong with a car-- BAER I'm giving you an overview of our little operation! You gotta see the new breed of high yield saplings... SCHUYLER looks uncomfortable with this prospect. The driver is already loading his bag into the chopper. Baer claps a hand on Schuyler's shoulder, leading him under the wash, into the chopper. THE RASTA MAN is walking slowly across the tarmac nearby. He watches the HELICOPTER ASCEND with a half-smile. 48. I N T . H E L I C O P T E R - D A Y SCHUYLER and BAER in the back of the chopper. BAER How was your flight? SCHUYLER Fine. Schuyler looks out the window. SCHUYLER'S POV - On the PASTA MAN in his colorful clothes, now holding up a dangling KEY on a chain. Moments later, he's invisible in the MIST. ON SCHUYLER, looking disappointed, and annoyed with himself-- he realizes he's missed something. He reaches into his pocket as Baer DRONES ON beside him. Schuyler pulls out his KEYS, fingers the gold one with the CRS logo, thinking. DISSOLVE TO: 49. E X T . M O U N T A I N S - D A Y The HELICOPTER swoops low over a beautiful FORESTED MOUNTAINSIDE. DISSOLVE TO: 50. I N T . B A E R - G R A C E O F F I C E S - D A Y PAN from a WINDOW. Outside, we see a sign-- BAER-GRACE LUMBER-- and the helicopter, now idle on a pad. MOVE PAST a HUMMING FAX MACHINE, find Schuyler addressing Alan Baer across a table. A couple of other LUMBER EXECS are present. Everyone wears a stricken expression, Schuyler's tone is matter-of-fact. BAER You've been planning this for months, haven't you? Sandbagging me like this, selling us for scrap... SCHUYLER BG lumber is not profitable and hasn't been for years, my duty is to salvage what I can. These are the closing papers, in ten minutes I'm going to present the sale terms to the shareholders and elect my new management team. As he speaks, Schuyler moves to the fax machine. A TRANSMISSION has come through, he picks up the sheaf of papers. BAER I was friends with your father, you bastard, I watched you grow up, and now you kick me in the balls-- Schuyler squints at the papers in his hand, flipping through them. CLOSE, the entire transmission has been GARBLED. The words all BLEED TOGETHER incomprehensibly, it looks like a child's scribbles. BAER (O.S.) That's not how you play the game. SCHUYLER turns on him, a suspicion forming... BAER You could've fucking told me! SCHUYLER What game? Schuyler studies the SENSELESS PAGES for a moment then puts them down, shaking off his apprehensions. SCHUYLER Never mind... we'll just have to go with the earlier draft. In BG, one exec picks up a page, WHISPERS to an ASSISTANT, who moves out of the room. Schuyler moves to his briefcase. It's LOCKED. He starts patting his pockets. BAER Can't find your keys? Baer has a malevolent expression. Schuyler looks at him. SCHUYLER Where are they. BAER Up your ass? A couple of execs stifle chuckles. Schuyler's suspicions mount. SCHUYLER Up my ass, very funny... His eyes drift to a piece of CORPORATE STATIONARY on the table in front of him. He picks it up: INSERT - UNDER BAER-GRACE LETTERHEAD we see a handscrawled note: "CRS CALLED." We don't see what's written below. SCHUYLER is reeling, paranoia confirmed. SCHUYLER I don't-- OK. OK, you're with CRS... Baer stares at him blankly. Schuyler puts a hand over his eyes, seems disoriented, trying to piece it all together. SCHUYLER So the game, it's just a screen, to blow this deal... BAER I'm not following you. SCHUYLER Like hell you aren't. How did you get my brother involved, that's unforgivable. The assembled execs are looking at Schuyler in utter confusion. As he speaks, the ASSISTANT returns with some PAPERWORK. Schuyler stares at him menacingly. Hesitantly: ASSISTANT Um... sorry to interrupt. We've been having some trouble with this fax, so they re-sent the material. It's all OK now. The assistant comes over, cheerfully places the crucial documents in front of Schuyler. The assistant fishes in his pocket. ASSISTANT Oh and Mr. Van Orton-- are these yours? The pilot found 'em on the floor of the chopper... Schuyler gingerly takes the KEYS which the assistant holds out, looks from them to the paperwork. Then he glances back at the handwritten note on the table: INSERT NOTE: It actually reads "CBS CALLED." (Schuyler's thumb or a Post-It note covered the base of the B before, making it look like an R.) It continues "Re: Interview with Alan B. on Sun..." SCHUYLER takes a breath, reassembles his composure and consults his watch. He rises, anxious to put the last few minutes behind him. SCHUYLER Everything seems to be in order. Please disregard my last comments. The shareholders meeting is about to get underway... Shall we? He heads for the door. As he leaves, the execs exchange looks. CUT TO: 51. I N T . S E A - T A C T E R M I N A L - N I G H T Schuyler wanders through the terminal, carrying his bags, glancing periodically at the DEPARTURES monitor and the clock. His manner now has changed, he eyes every PASSERBY, especially the ODD ONES. P. A. VOICE (filter) Flight 177 to San Francisco is now boarding at Gate 14... Suddenly a leg is thrust out from behind an advertising kiosk, Schuyler TRIPS and goes sprawling. The Rasta Man steps out, now wearing SUNGLASSES with PINK LENSES. RASTA MAN Shit mon sorry oughta pay more attention. Schuyler gets up, dusts himself off. As calmly as possible: SCHUYLER Listen, I quit. RASTA MAN Free at last... you won't be needin' this, then. He snatches up the briefcase, dances back a few paces. Schuyler speaks as if to a child. SCHUYLER No, cretin. I'm quitting the game. The rasta man keeps backing away, puts a hand to his ear. RASTA MAN Wha's that, mon? I didna hear you. Schuyler is pursuing the man, walking faster and faster. SCHUYLER I said I-- shit! The rasta turns and RUNS, Schuyler bolts after him, unable to believe this is happening. They draw a lot of looks during the brief chase through the terminal, the suited businessman, garment bag flapping behind him, in pursuit of the crazy rasta. RASTA MAN Help, help! The mon is crazy! He runs into a MEN'S ROOM, Schuyler follows a moment later. 52. I N T . A I R P O R T M E N ' S R O O M - N I G H T Schuyler has the rasta cornered now-- but he doesn't have the briefcase. Both are out of breath. PISSING MEN look wary. SCHUYLER Where is it? RASTA MAN Got something better. The rasta men holds out a SHINY KEY on a chain. Schuyler narrows his eyes, he's trying not to lose control of his temper. SCHUYLER I realize you're just some bit player, but I'd like you to get a message to your employers. This bullshit is interfering with my work, it's breaking my concentration and I can't allow that to happen-- THE RASTA makes a sad face, SNIFFLES, still dangling the key. SCHUYLER If I take that stupid key, will you give me back my briefcase and go away? The rasta nods with a big grin. Schuyler steps forward, hand extended. The rasta flings open the door of a STALL beside him and hurls the key into the TOILET. Instinctively, Schuyler moves to grab it, reaches into the toilet, pulls out the chain, his hand and sleeve DRIPPING. The key is missing from the end of the chain. SCHUYLER What the fuck am I doing?! RASTA MAN Don' worry, mon, it's a world a shit. He drops the rasta schtick, speaks with an Ivy League accent: RASTA MAN So try looking at it through rose- colored glasses... here. He takes off his sunglasses, folds them and tucks them in the pocket of Schuyler's suit. Then he reaches above him and pulls down the briefcase, which was perched on top of the stall. Schuyler grabs it from him, raises his voice: SCHUYLER I told you, this is over! I quit! RASTA MAN They all say that at first. He gives Schuyler a hearty SLAP on the back and strolls off, HUMMING. Schuyler leans against the wall, shaking his head. He puts down his luggage, pulls the sunglasses from his pocket. CLOSE ON SUNGLASSES-- there's the image of a tiny GOLD KEY embossed on each of the arms. SCHUYLER puts them on, looks around for a moment, catches a GLIMPSE of himself in the mirror-- he looks silly. He quickly takes them off. As Schuyler heads out the door we see him from behind... the Rasta has slapped a colorful SIGN that reads "KICK ME" on his back. CUT TO: 53. E X T . L E O ' S - D A Y THE NEON SIGN FIZZLES in front of this low-rent establishment. 54. I N T . L E O ' S - D A Y BELLS RING and LIGHTS FLASH as a DRUNK plays a PINBALL MACHINE with a lot of body English. SCHUYLER, stuck at a table right next to the machine, winces at the noise, checks his watch and rises. He makes his way through the lunch hour CROWD to the bar, leans toward the bartender, a gravelly-voiced woman-- RONNIE. SCHUYLER I was supposed to meet someone here, a David Van Orton-- I was wondering if he'd left a message. RONNIE 'Fraid not, sorry. He drums his fingers, then whips out a CELLPHONE, spins around quickly as he starts to dial-- --and SMACKS into Christine the waitress as she emerges from the kitchen carrying a tray-- --SCHUYLER gets hit in the chest with a TRAY OF DESSERTS, colorful JELLO, CREAM PIE, etc. He stands there, stunned and DRIPPING. CHRISTINE Fuck me! She starts picking up plates and silverware, oblivious to Schuyler's own plight; Ronnie charges out from behind the bar. After the first shock, Schuyler CHUCKLES with annoyance. He wipes the phone clean, pocketing it. SCHUYLER Oh this is cute. Very cute. RONNIE What happened here, you OK? CHRISTINE It was an accident-- SCHUYLER No it wasn't. Ronnie gives Christine a look as she starts wiping at Schuyler with a rag. He picks at his chest, examines the WHIPPED CREAM, tastes it. Schuyler addresses the kneeling Christine: SCHUYLER What's next, a giant banana peel? CHRISTINE squints up at him, puzzled. CHRISTINE Huh? Oh I get it-- you're nuts. RONNIE Chrissy, just apologize... CHRISTINE Dickhead here was on the phone, he walked right into me! SCHUYLER Drop the act, you've been waiting all day for this moment. CHRISTINE Shut the fuck up. RONNIE Go home, you're fired. CHRISTINE What?... RONNIE You heard me. CHRISTINE Fuck you too. She THROWS a plate on the ground, it shatters, then storms off into the kitchen. Schuyler CHUCKLES angrily, pushing through the slop on the floor with his shoe, looking for something. SCHUYLER Let's get this over with... Where's the next key? Does she have it? Ronnie stares, uncomprehending... Schuyler goes after Christine. 55. I N T . L E O ' S K I T C H E N - D A Y He crosses past a short-order COOK in the grimy industrial kitchen, pulling a cube of JELLO out of his lapel pocket. He finds Christine in an alcove with a couple of lockers, as she finishes changing into her street clothes. Her brown uniform hangs from a locker door, the nameplate "CHRIS" prominent. CLOSE as his fingers touch the CRS of CHRIS-- they even look a bit brighter than the H and the I. SCHUYLER I wish you people could be a little more subtle. CHRISTINE notices him for the first time. CHRISTINE Asshole, just send me the goddamn dry-cleaning bill. Could you--? She waves a hand at him, "go away" and ducks out of view, finishing dressing into punk-grungy street clothes. She SLAMS the locker, starts to push past him, pulling on her backpack bag. SCHUYLER Don't you have something for me? CHRISTINE Uh-huh sure, here you go. She puts her hand into her side pocket, pulls it out with her middle finger extended, moving away from him in a hurry. Schuyler's face falls-- he made another mistake. SCHUYLER Wait, you really work here-- CHRISTINE Not anymore, thanks to you. She's out the SWINGING kitchen door. Schuyler absorbs his blunder for a moment, then hurries after her. 56. E X T . L E O ' S - D A Y Schuyler catches up as Christine hurries toward a MUNI station, LIGHTING a cigarette. A few PEDESTRIANS come off the steps from the arriving elevated train in this residential SF neighborhood. SCHUYLER Slow down-- you don't understand, I thought it was a gag. CHRISTINE No, you don't understand. I carry mace and I know how to use it. She reaches into her purse/backpack, Schuyler backs off. SCHUYLER I was only trying to apologize. CHRISTINE Shit, it's in here somewhere-- SCHUYLER Fine. He starts to move away, then they both hear GASPING O. S.-- ON THE STEPS, a HEAVY MAN, 60, in a coat and tie has collapsed, struggling for breath, very pale. Christine and Schuyler are the only pedestrians around now. CHRISTINE Shit-- She rushes to help the guy, loosening his tie-- he JOLTS. SCHUYLER looks up at them dubiously, brushing a scrap of food still clinging to his suit. CHRISTINE reaches in to clear the guy's throat, starting CPR. She shoots a look at Schuyler. CHRISTINE You got a fucking phone, call an ambulance! Schuyler approaches slowly, pulling out his phone, studying the guy as Christine gives him mouth-to-mouth. SCHUYLER This is just too weird-- it can't be real-- CHRISTINE You really are insane! SCHUYLER leans close to look at the man. ON THE MAN'S FACE-- sweating, contorted, unnaturally pale, his eyes rolling back as he GAGS his last... CHRISTINE grabs the phone away from Schuyler, dials. CHRISTINE We need an ambulance, guy's having a heart attack near the MUNI station at 5th and Market-- (to Schuyler) What's the number on this thing?! SCHUYLER I don't give it out-- (off her horrified look) 731-5723-- CHRISTINE 731-5723-- yeah, thanks-- She stuffs the phone in a pocket and pumps the man's chest, returns to the mouth-to-mouth. Schuyler looks around uncomfortably, starting to believe this is a real heart attack. SCHUYLER Is there anything I can do? CHRISTINE ignores him, all attention on saving this guy's life... 56A. WIDE as an AMBULANCE pulls up, SIREN BLARING. A couple of MALE PARAMEDICS hurry out with a stretcher. ON THE STEPS, the two PARAMEDICS lift the unconscious HEAVY MAN onto the stretcher while Christine and Schuyler stand aside. Both have small EARPIECES that look like hearing aids, with wires into their clothes. Throughout the following, there's a lot of MEDICAL BUSINESS-- feeding the victim OXYGEN, giving him INJECTIONS, etc. PARAMEDIC #1 (to Schuyler) Could you come with us, help us fill out a few forms-- SCHUYLER No! I have work to do-- CHRISTINE I'll go. She climbs into the back, they start to shut the doors. SCHUYLER Wait a minute, you've got my phone-- He climbs in to get it back, they SLAM THE DOORS and start moving. THE AMBULANCE peels out. We now see the LOGO on the back: "CITYWIDE RESCUE SYSTEMS," with the C, R and S in RED. 57. I N T . A M B U L A N C E - D A Y The PARAMEDICS are intent on the gasping man. The SIREN BLARES, a bit MUFFLED in here. Schuyler, looking out the back, is extremely pissed, makes a fist and almost punches the wall of the ambulance. CHRISTINE Chill, will you?! SCHUYLER I don't want to be here. CHRISTINE Neither do I, now siddown, get outta their way! A BUMP almost sends him flying atop the stretcher. Schuyler sits near Christine on a ledge near the back doors. Petulant: SCHUYLER I'd like my phone back please. CUT TO: 58(NEW). I N T . H O S P I T A L E N T R A N C E / G A R A G E - D A Y An UNDERGROUND RAMP, signs reading "EMERGENCY VEHICLES ONLY," a set of DOORS leading into the lobby of an EMERGENCY ROOM; MEDICAL PERSONNEL visible inside, INJURED PEOPLE, etc., a few PEOPLE mill outside the doors. THE AMBULANCE SCREECHES to a stop, the back doors fly open, the PARAMEDICS wheel out the dying man and rush into the entrance, automatic doors OPEN and CLOSE for them. Schuyler and Christine climb out, disoriented, walking more slowly to the doors. The AMBULANCE pulls away behind them. Schuyler nearly slips in a mysterious dark PUDDLE. SCHUYLER Oh, this day keeps getting better. CHRISTINE What is your problem, you think the whole fucking world revolves around you? As she says this, she walks right into the ELECTRIC DOORS, which fail to open for them. THEIR POV-- THROUGH THE DOORS the gathered STAFF and PATIENTS all turn at once to regard Christine and Schuyler. They GRIN and WINK. ON SCHUYLER AND CHRISTINE, who barely get the chance to register this before-- THE LIGHTS GO OUT... PITCH BLACKNESS and SUDDEN SILENCE. We hear only SCHUYLER'S BITTER LAUGHTER. Dialogue OVER DARKNESS: SCHUYLER As a matter of fact... CHRISTINE What the fuck is going on?! We hear RUSTLING in a purse, but still see next to nothing. SCHUYLER It's a little hard to explain... CHRISTINE Try! We hear the STRIKING OF A MATCH, there's some ORANGE LIGHT-- CHRISTINE holds the match. The whole area is DESERTED, except for the two of them. SCHUYLER kicks at the glass doors-- they're not going to give, nothing is visible beyond them. SCHUYLER I seem to be playing a game. This is supposed to be funny-- CHRISTINE I don't get it. SCHUYLER --a challenge, a puzzle. CHRISTINE OK, I'm puzzled. Where are we? SCHUYLER has found a STEEL DOOR with a GLOWING RED SIGN: EMERGENCY USE ONLY. He yanks it open and a PAIL swings down, dumping WATER on his head. He's facing a BRICK WALL through the door. CHRISTINE can't help but LAUGH, then YELPS in pain as the match burns her fingers. LIGHTS another. Schuyler flips open his phone. SCHUYLER Damn it, no signal. CHRISTINE Here's a lightswitch-- SCHUYLER I wouldn't-- She flips it on, A BLINDING STROBE FLASHES for a few seconds-- both CRY OUT-- then the BULB EXPLODES in a shower of sparks. SCHUYLER I don't know the rules, if there are any, but it seems the obvious move usually backfires... CHRISTINE Of course. I have no idea what you're talking about. They've taken a few steps forward, exploring the DARK. She LIGHTS a cigarette with the next match, nearly running into ANOTHER DOOR. She RATTLES it-- locked. CHRISTINE Son of a bitch. SCHUYLER I think I have a key. Schuyler pulls out his keyring and tries the gold CRS key-- nope. SCHUYLER Damn it... (a beat, thoughtful) Wrong key... CHRISTINE Last match. In the matchlight, we see Schuyler fumbling in his pockets, pulling out the ROSY SUNGLASSES from the Rasta. He puts them on. CHRISTINE Too bright for you, is it? SCHUYLER'S POV as the last MATCH GOES OUT-- CHRISTINE GLOWS RED in the matchlight for a moment, then as soon as it goes out, we see a GLOW of FLUORESCENT PAINT on the ground... a series of STRIPES and ARROWS in DIFFERENT COLORS, GLOWING. These start PARALLEL near where he stands, then RADIATE in different directions. CHRISTINE is but a SILHOUETTE against the COLORED LINES. SCHUYLER I can see now. Grab my arm. CHRISTINE No way! You're crazy! CHRISTINE moves away from him. SCHUYLER Stay on the path! A BURST OF FLAME erupts from the GROUND close enough to scare the shit out of CHRISTINE, who SCREAMS. SCHUYLER hurries toward her. The FLAMES VANISH, she lurches in a differrent direction-- SCHUYLER Christine, don't move! CHRISTINE Leave me alone! She LOSES HER FOOTING on a slippery surface, falls, sliding down a gentle SLOPE. CHRISTINE Help! SCHUYLER follows. FALLING himself. They try to reach toward each other for purchase, but it's no good, the slope is getting steeper. 58A. In a moment SCHUYLER tumbles on top of Christine in a four- foot deep round CHILDREN'S POOL, but it isn't full of water. There's a bit of BLACK LIGHT here, enough to make out-- --COCKROACHES, thousands of them, a TEEMING ROIL OF INSECTS in a CHURNING LIQUID. There's a BUZZING NOISE, both SCREAM. CHRISTINE Aaggh! BUGS!! SCHUYLER quickly helps lift Christine out. She starts to pull him upward, but-- SCHUYLER Where are the glasses?! CHRISTINE Fuck the glasses! SCHUYLER We can't get out of here without them! He steels himself and rummages amidst the bugs, about to get sick, finally coming up with the glasses. He shakes them free of INSECTS and clambers out to join Christine, who's GASPING and brushing the bugs off of her. SCHUYLER puts on the glasses and holds up a BUG. SCHUYLER They're rubber. Hold onto me, I'll get us out of here. CHRISTINE Ha! SCHUYLER Fine, stay. CHRISTINE No! She grabs his arm; both are now covered in MUCK from the bug soup. SCHUYLER What's your favorite color? CHRISTINE ...Blue? He takes off the glasses, puts them on her. She looks around. HER POV-- the RAINBOW of COLORED LINES on the FLOOR... CHRISTINE Wow... OK, this is kinda cool. Hey! SCHUYLER slips the glasses off her, puts them back on. SCHUYLER Sorry, it's my game. But we'll take blue. HIS POV-- a BLUE LINE moves in a snaking path ahead of them, going in circles now and then, INTERSECTING or moving PARALLEL to other colors, up a series of ramps. This space sometimes resembles a PARKING GARAGE, scmetimes a SEWER or a STEAM TUNNEL. CHRISTINE keeps a hand on Schuyler as he follows the path. CHRISTINE Talk about the blind leading the blind... what's your name anyway? SCHUYLER Sky Van Orton. CHRISTINE Sky? Were your folks hippies or something? SCHUYLER Far from it. CHRISTINE I'm Christine Kaminsky. SCHUYLER Nice to meet you. 58B. LATER, CHRISTINE almost hugs Schuyler now, as they move in a seemingly random pattern in the darkness. SCHUYLER It's a company called Consumer Recreation Services, CRS. I never know what's gonna happen next. CHRISTINE Well, who does. SCHUYLER Until recently, I had a pretty good idea... Duck. The BLUE LINE has led them into a NARROW TUNNEL, soon they're crawling on hands and knees. CHRISTINE So are you like a serious masochist, or just really, really bored? SCHUYLER I'm sorry, you shouldn't have been dragged into this. CHRISTINE Well... I have to tell you something. Some guy came into Leo's yesterday, showed me your picture, offered me 250 bucks to spill that food on you. SCHUYLER Ah. CHRISTINE Said it was a practical joke. I figured what the hell, I can use the money-- I got him up to 500. I hated that fucking job anyway-- SCHUYLER Wait, so the heart attack, you knew that was a joke too-- CHRISTINE No! It scared the shit out of me-- SCHUYLER But that CPR routine-- CHRISTINE I used to be a lifeguard. SCHUYLER (points) We're getting somewhere... The TUNNEL has opened up again. There's even a tiny bit of VISIBLE LIGHT now. He takes off the glasses, gives them to her. HER POV-- the COLORED LINES are all joining up from different directions. A few steps onward they all converge at a point, like the spokes of a wheel, at a WHITE SPOT on the ground... SCHUYLER AND CHRISTINE look around, then Schuyler points upward-- A WHITE RING overhead... it looks like the underside of a MANHOLE COVER, with an illuminated CIRCLE OF LIGHT around the rim, a halo. CHRISTINE How do we get up there? SCHUYLER steps on the circle of WHITE-- it's a BUTTON. A ROPE LADDER drops down. 59. E X T . W A L K W A Y - E V E N I N G A MANHOLE COVER slides aside, SCHUYLER climbs out and helps Christine up. It's a short, covered WOODEN WALKWAY in an alley. CHRISTINE Well, that was pointless... but different... kind of fun... SCHUYLER Mm, a different kind of fun. What's your middle name? CHRISTINE Louise... why? SCHUYLER points to some GRAFFITI-- a HEART with "SVO + CLK." SCHUYLER You're supposed to be here... they picked you for a reason. CHRISTINE But-- why? They start to move shakily down the CONSTRUCTION WALKWAY, both bedraggled, covered in goo. HANDBILLS cover one wall. SCHUYLER Probably knew you'd play Good Samaritan for that guy, drag me along-- but they could have hired an actor for that, less of a risk... ON THE WALL, a series of HANDBILLS say, "AREN'T YOU FORGETTING SOMETHING?" SCHUYLER puzzles over these as they move, gets to one last one-- "BEHIND YOU, STUPID." SCHUYLER looks back toward the end of the alley-- A YELLOW DUMPSTER with the logo, "CONSOLIDATED REFUSE SUPPLY" and the smaller image of a KEY. SCHUYLER moves quickly to it, throws open the lid. ANGLE IN DUMPSTER-- a MOUNTAIN of SHREDDED PAPER. SCHUYLER rolls his eyes, sorting through it. Christine approaches. CHRISTINE This is really sick. I think they're trying to fix us up. SCHUYLER Maybe you can't play alone-- CHRISTINE Who says I want to play? (a sigh) OK, what the fuck are you doing in the dumpster. SCHUYLER There's something in here I need. He climbs inside, dives in... and pops up again in a moment with-- CLOSE-- A Z-SHAPED WINDOW CRANK. Sure enough, there's a KEY embossed on the side. SCHUYLER climbs out again, brandishing the small crank. CHRISTINE What's that for? SCHUYLER I imagine I'll find out. 60. E X T . C R S B U I L D I N G - E V E N I N G SCHUYLER pockets the crank as he and CHRISTINE emerge from the alley. PEDESTRIANS give them a wide berth. To a PASSERBY: CHRISTINE What are you looking at? Schuyler heads straight for the CRS doors, the large numbers 636 printed above-- it's LOCKED. He tries his little GOLD KEY on a deadbolt, it's USELESS of course. SCHUYLER This is their offices. We must have been in their garage... my office is just a few blocks from here, we can get cleaned up there. He walks a few steps on, she stands still for a moment, then nods agreeably and follows. CUT TO: 61. I N T . S C H U Y L E R ' S O F F I C E - N I G H T START ON THE SKYLINE-- SCHUYLER moves from the window, as we hear a DOOR OPEN. CHRISTINE emerges from the attached dressing area and bath, toweling damp hair, in an oversized Harvard sweatshirt and gym shorts, with a large plastic bag containing her filthy clothes. She looks good, clearly she put some effort into her make-up. CHRISTINE Your turn. SCHUYLER (moving past her) Find everything you need? CHRISTINE You're outta conditioner. SCHUYLER My apologies, I'll have it taken care of. Help yourself to the fridge. He points to a MINI-FRIDGE, shuts the door, a moment later we hear WATER RUNNING. She looks around the office, letting down her facade. She seems quite impressed, and intimidated, by the place. She looks back toward the bathroom door-- maybe this guy isn't so bad after all. From this point, she takes a more seductive tack. 62. I N T . D R E S S I N G A R E A / B A T H - N I G H T LATER, Schuyler has cleaned up, is finishing dressing, pulling a pair of jeans over boxer shorts, tucking in a sport shirt. Christine talks through the closed door. CHRISTINE (O. S.) So um... how rich are you anyway? SCHUYLER (amused) Rich enough. Bit forward, aren't you? CHRISTINE (O. S.) Well, what exactly do you do? SCHUYLER Manage investments, some venture capital, I'm on the board of a number of publicly traded companies... CHRISTINE (O. S.) So you just like, move money around? 63. I N T . S C H U Y L E R ' S O F F I C E - N I G H T Schuyler emerges, shoes in hand. SCHUYLER Basically. Beats working, huh? Christine sits on his desk, with her bag slung over her shoulder, eating an APPLE. She slides off the desk, flirting rather bluntly. CHRISTINE You don't look so bad, without the tie. SCHUYLER Look, I hope you haven't been too put out... I could probably get you another job, I have a stake in a couple of restaurants-- CHRISTINE I'm not much of a waitress, really. Y'know, today's been kind of-- SCHUYLER Can you type? CHRISTINE Kind of a turn-on, you know? (getting no response) I didn't mean-- just, the danger... Like fucking in a graveyard. SCHUYLER Mm. So where do you live? Christine realizes her come-on is falling flat, she pulls back, tossing her unfinished apple in the trash. CHRISTINE Out in Concord, with my folks, unfortunately. They're never gonna believe that I've been hanging out with a guy like you. SCHUYLER What do you mean? CHRISTINE Nothing, just-- most of the guys I see have tats, y'know? (off his confused look) Tattoos... SCHUYLER Of course. We'd better head downstairs, the limo's waiting. Christine nods disappointedly as Schuyler moves to the door. CUT TO: 64. I N T . L I M O - N I G H T Schuyler and Christine ride in silence in the back seat. CHRISTINE Mind if I smoke in here? SCHUYLER Yes. (leaning forward) Up here on the left. As the limo pulls over, he and Christine turn to each other. It's a somewhat awkward moment. CHRISTINE So what's our next move? I mean, in the game. Obviously we need to figure out what that crank thing is for-- SCHUYLER I'm not playing anymore. CHRISTINE (disappointed) Why not? SCHUYLER I have a life. Jack'll take you home, or wherever you want to go. CHRISTINE Yeah, maybe I'll get in a little ballroom dancing before bed-- The limo has stopped now. Schuyler has started to open the door. CHRISTINE Wait, what about your clothes? SCHUYLER Forget it. CHRISTINE C'mon it's a brand new sweatshirt. So saying, she pulls it off. She's wearing a black bra... a ROSE is tattooed on her shoulder. Schuyler can't help but react. She thrusts the shirt at him, he's half out of the car. SCHUYLER No, it's not-- just-- back from the cleaners. CHRISTINE (throatily) You dry clean your sweatshirts... He nods slightly... as he reaches to take it-- --CHRISTINE leans forward, cups the back of his head and gives him a LONG, HARD KISS. JACK THE DRIVER, middle-aged and trustworthy, turns and catches a glimpse of this, quickly turns away. CHRISTINE breaks the kiss, sinks back against the red leather seat, waiting for Schuyler to make the next move. CHRISTINE See ya. Schuyler nods again, torn. She's looking at him expectantly. He's clearly aroused, but this is such an inappropriate female. Sadly, he waves a hand. SCHUYLER Good night. 65. E X T . L E O ' S - N I G H T Schuyler shuts the door, sweatshirt in hand, the dome light slowly DIMS OUT out on the crestfallen Christine-- we see her mouth a CURSE. Schuyler moves toward his MBZ, the limo IDLING. He's about to get inside when he sees a TICKET IN AN ENVELOPE under the windshield wiper. He SNORTS-- insult to injury-- tosses it on the dash as he climbs in. 66. I N T . S C H U Y L E R ' S M B Z - N I G H T He sits behind the wheel, watching the lights of the limo disappear. He sniffs the sweatshirt a moment, then STARTS at the sound of a MOTOR STARTING across the street. ANGLE THROUGH SIDE WINDOW-- an MBZ the same year, model and color as Schuyler's-- pulls away from the curb, Schuyler gets a glimpse of something REFLECTING STREET LIGHT in the window of the car-- a gun? A camera with a long lens? The car makes a quick U-turn and drives in the same direction as the limo. SCHUYLER, curious, STARTS THE ENGINE as if to pursue. Then he glimpses the envelope on the dash out of the corner of his eye. He doesn't put the car in gear, picks up the envelope instead... CLOSE ON ENVELOPE-- The words "OPEN ME" are printed in BLOCK LETTERS on the outside. He opens it quickly-- there's no ticket inside, but he shakes out a RAINBOW-COLORED CONDOM in a clear wrapper and a NOTE in KIDNAPPER LETTERS: "BETTER SAFE THAN SORRY." SCHUYLER frowns at this and throws the note aside. He flips on the WINDSHIELD WIPERS (it's started to DRIZZLE) and pulls out. POV THROUGH WINDESIELD-- A DARK FIGURE runs from the curb by Leo's, right in front of the car, SCHUYLER SLAMS on the BRAKES-- --It's DAVID. He hurries around to the passenger door and jumps in, looking haggard, scared, a man on the run. DAVID Drive. Anywhere. SCHUYLER Jesus, David, you scared the shit out of me-- DAVID I'm sorry Sky, just drive, please-- SCHUYLER pulls forward. SCHUYLER Where were you today? DAVID I almost didn't make it at all. I been in the bar for hours, waiting for you to come back to your car-- Jesus, I can't believe I did this to you, I'm so sorry-- SCHUYLER Slow down, take a breath-- what are you talking about? DAVID The game! It just doesn't stop! I thought I'd finished playing a long time ago, I paid the bill, then it started all over again, they won't leave me alone-- SCHUYLER (slowly, evenly) Calm down. What are they doing to you? DAVID Everything. It just doesn't stop. SCHUYLER Look. That's crazy. Yes, it's a pain in the ass, but why would they keep playing once you paid them? DAVID I don't know! I paid them MORE to make it stop, God help me I even gave you to them... but they won't leave me alone! He sees the crumpled note on the floor, picks it up-- DAVID What's this? SCHUYLER It was on my windshield-- DAVID Oh shit, oh SHIT they must be following us-- He cranks his neck around, looking for pursuers. Schuyler looks at him for a beat-- BANG! He almost loses control of the wheel. SCENES 67-71 DELETED 72. E X T . C I T Y S T R E E T - N I G H T A TIRE HAS BLOWN. Schuyler drives ON THE RIM, struggles to get over to the curb, BRAKES hard and stops. 73. I N T . S C H U Y L E R ' S M B Z - N I G H T David's losing it, looking around. DAVID They're shooting at us! SCHUYLER David, get a grip, it's just a flat tire! He picks up the phone, punches buttons, gets nothing. SCHUYLER Damn it, the phone's not working-- DAVID Of course not. SCHUYLER (climbing out) Fine, I'll change the fucking thing myself. DAVID Just hurry-- I'll pop the trunk. David reaches for the glovebox. SCHUYLER No, you can't do it from-- CLOSE ON GLOVEBOX-- it POPS OPEN and KEYS SPILL OUT. There are at least fifty of them jammed in there, all kinds, silver and gold... and all have CRS stamped on them. SCHUYLER leans closer, intrigued. David's eyes go wide as he fingers a few of these keys. SCHUYLER What the fuck are those-- DAVID (whirling on him) Like you don't know. Sonofabitch, they got to you first, didn't they? SCHUYLER Um, David-- hello? 74(NEW). E X T . G O L D E N G A T E P A R K - N I G H T David gets out of the car in a hurry, amidst the greenery in the park. RAINING HARDER now. DAVID It's more than that isn't it? You're part of it, you're one of them! Of course, it makes perfect sense! SCHUYLER They planted those keys! I don't know what the hell they're for-- Schuyler tries hard to be rational, but David is over the edge. DAVID You're behind the whole thing aren't you? You and your sick fucking friends set it up-- SCHUYLER What?! What friends? Get a grip, David-- why would I do that? DAVID I don't know, out of boredom, to get back at me-- SCHUYLER For what?! DAVID For being a weirdo, for trying to be happy? Well, congratulations, you win. Now make it stop! SCHUYLER (grabbing him) I can't! Listen to me-- DAVID Fuck you! David SLUGS HIM in the face, Schuyler staggers back, clutches his BLEEDING nose. David runs, full tilt, into the woods near the Japanese Tea Garden. SCHUYLER pursues amidst the trees and vegetation, running out of breath, calling after David, who's vanished. He leans against a tree, PANTING, dabbing at his bleeding nose with a SCRAP OF TISSUE from his pocket. He hears a PHONE RINGING, moves toward it, emerging through bushes near the ACADEMY OF SCIENCE... He pauses at the RINGING PAYPHONE. He decides not to pick it up, looking around at the deserted MUSEUM BUILDINGS and hurrying toward civilization. He passes other PAYPHONES en route to the park exit... each one STARTS RINGING as he approaches it. He moves faster, freaked. At the edge of the park, he snatches one up-- SCHUYLER (on phone) What have you done to my brother, you bastards?! This is over, I'm not playing anymore-- (beat) Hello, is anyone there-- PHONE VOICE If you'd like to make a call, please hang up and dial again-- if you need help-- SCHUYLER slams the phone down. He dabs his nose one more time, tosses the paper scrap into the trash. CLOSE ON SCRAP-- "CRS" with the emergency NUMBER, the blue ink has BLED with the rain and Schuyler's BLOOD... SCENE 75 DELETED 76(NEW). E X T . F U L T O N S T R E E T - N I G H T POV THROUGH CAR WINDSHIELD, as Schuyler emerges from the park. The car suddenly MOVES FORWARD-- WITH SCHUYLER. He walks to the curb, distractedly raises a hand for a cab, which pulls up instantly. He climbs in. 77. I N T . C A B - N I G H T An aged, battered CAB; PLEXIGLAS between the CABBIE and the back. SCHUYLER Six three six Mission, please. The cabbie nods and hits the gas. 78. E X T . S A N F R A N C I S C O S T R E E T - N I G H T The cab roars down the street, KICKING UP WATER from the gutters. 79. I N T . C A B - N I G H T Schuyler bites his cuticle, not watching where they're going; the windows are wet and fogged. Then he looks out, narrows his eyes and RAPS on the PLEXIGLAS PARTITION. SCHUYLER You're heading the wrong way. CABBIE (filter) Relax, pal, you'll get where you're going. The cabbie turns IN PROFILE for a moment. He appears to be wearing a HEARING AID, a round piece of plastic, a tiny WIRE disappearing into his shirt. And there's something familiar about his face. Schuyler glances at the driver ID on the back of the seat-- CLOSE ON PHOTO, the man is the RASTA from the airport, with a new hairdo. The COMPANY NAME-- "CONSOLIDATED REGENCY SEDANS." CRS. SCHUYLER rubs his head, very angry. SCHUYLER Why are you doing this-- CABBIE/RASTA (filter) We do it all for you! We're the best friends you got, no one ever worked so hard to make you feel alive... but you gotta let it happen... The cab STOPS at a RED LIGHT. SCHUYLER tries the doorhandle-- it doesn't work. 80. E X T . S A N F R A N C I S C O S T R E E T - N I G H T The cab PEELS OUT when the light turns green, heads for a pier. 81. I N T . C A B - N I G H T Schuyler looks around in increasing panic. SCHUYLER What the fuck is this-- CABBIE/RASTA Have a nice day... The cabbie opens his own door and leaps out of the MOVING CAB-- 82. E X T . W H A R F - N I G H T The cabbie/rasta hits the ground and ROLLS in a perfect stunt fall. The cab rockets to the end of the disused wharf and-- --GOES FLYING off the edge into the San Francisco Bay, illuminated by SPOTLIGHTS from the end of the wharf. 83. I N T . C A B - N I G H T Schuyler SCREAMS as the cab plunges and HITS the water. 84. E X T . B A Y - N I G H T The STEAMING cab's nose slowly DIPS below the surface. 85. I N T . C A B - N I G H T FILLING WITH WATER from the car's floor, from overhead. EERIE LIGHT from the front of the cab. Schuyler tries to roll down the window, the handle SPINS, nothing happens. 86. E X T . B A Y - N I G H T The cab GOES UNDER with a BURBLE of BUBBLES. 87. I N T . C A B - N I G H T Schuyler CRANKS the other window handle desperately, now up to his waist in water, water GUSHING IN now. INCREASING BLACKNESS through the windows as he sinks. The handle falls off in his hand. 88. U N D E R W A T E R S H O T - N I G H T The sinking cab, HEADLIGHTS and INTERIOR LIGHTS STILL ON, Schuyler inside KICKING at the windows and the Plexi, without any success. 89. I N T . C A B - N I G H T Schuyler stops his frantic kicking, tries to think coolly. He's up to his neck by now. Angry at himself for not realizing it sooner, he pulls what he needs out of his pocket-- the HANDCRANK he found in the dumpster. He takes a deep breath and-- 90. SUBMERGES. UNDERWATER he inserts the crank into the window handle hole... a perfect fit. He CRANKS FAST, WATER FLOODS IN. 91. U N D E R W A T E R S H O T - N I G H T Schuyler SLITHERS OUT the open window. Cheeks puffed out, he kicks frantically for the surface. 92. E X T . B A Y - N I G H T He BURSTS to the surface, SPLUTTERING, catching his BREATH. A FLASHLIGHT BEAM catches him. GIRL Mister-- are you all right?! Schuyler, treading water, turns around-- A CABIN CRUISER at the dock nearby. A very beautiful GIRL in a yellow rain slicker, holding a powerful FLASHLIGHT leans over the edge, tosses him a life preserver, hauls him toward her. 93. E X T . C A B I N C R U I S E R - N I G H T SCHUYLER clambers onto the rear ladder with the girl's help, teeth CHATERING. HOLD ON the boat's colorfully painted name on the stern: "POSEIDON'S CURSE," and in small letters, "COSTA REY SOL." SCHUYLER boards the large, ritzy craft. SCHUYLER Thank you... I'm very grateful. GIRL Shouldn't swim in the Bay, you could get hepatitis. Schuyler nods, looking around, recovering from the shock. SCHUYLER I have to get in touch with the police. GIRL You're freezing, I got some dry clothes below. 94. I N T . B O A T C A B I N - N I G H T Schuyler's wet clothes hang from a hook, he's in a towel, starting to pull on a fresh set of casual clothes. GIRL Do you need any help? His back is turned as the girl climbs down, opens her raincoat-- only a STRING BIKINI beneath. She could be a Playboy centerfold. SCHUYLER Uh, no. I'm fine. These fit... (buttoning his pants) ...perfectly. He turns slowly, just as the girl reaches behind her. GIRL Sure I can't do something for you? She WINKS as she lets her top drop. Schuyler smiles strangely. She takes this for lust, approaches him with open arms. He GRABS her by the hair. Menacingly: SCHUYLER I am finished playing. GIRL OW! Let go! She pounds at him, tries to kick. He wrestles her to the floor, kneels on top of her. He seems about to hit her. SCHUYLER This has got to fucking STOP! GIRL You're hurting me! SCHUYLER Who are you!? GIRL I just got hired to show you a good time! C'mon please get off me... Schuyler gets his rage under control, horrified at himself. He climbs off her, she scrambles away, afraid, covering herself. GIRL I am not into this kinda shit! SCHUYLER Who hired you. GIRL I don't know, the service set it up. SCHUYLER The service? GIRL Y'know, Fantasy Girls. They said you had this wild fantasy, I should just wait in the boat... Schuyler realizes he's not going to get anything more out of her, pulls on a shirt, grabs his wet clothes and leaves the cabin. 95. E X T . W H A R F - N I G H T Schuyler leaps off onto the wharf. The girl, pulling the raincoat on, leans over the deck. GIRL Doncha want your thing? I'm supposed to give you this, this key thingie... Schuyler pauses, turns slowly, approaches. SCHUYLER A key. THE GIRL nods quickly, reaches over the railing to hand him a SMALL WOODEN COFFIN with a BLACK BOW and a RED KEY BURNED into the lid. GIRL They said you'd figure out what to do with it. SCHUYLER takes it from her gingerly, undoes the bow, opens the lid: ANGLE IN COFFIN-- an ornate HATCHET with a KEY DESIGN on the blade. SCHUYLER REMOVES it from its QUILTED resting place. THE GIRL backs away, nervous to see SCHUYLER with a weapon. SCHUYLER I'm supposed to carry a fucking hatchet around...? Relax. I don't want it. He drops the AXE and the COFFIN into the water with a SPLASH-- 95PT. THEY GO UNDER and DISAPPEAR... CUT TO: 96. E X T . C R S B U I L D I N G - D A Y Early morning, the RAIN has stopped-- a RAINBOW arcs behind the office building. TWO COP CARS, marked and unmarked, pull up at the curb, lights FLASHING. 97. I N T . C R S L O B B Y - D A Y Schuyler, in the clothes from the boat, and Plympton, his lawyer, are joined at the elevators by two plainclothes detectives-- BARNETT and GALLO-- and two UNIFORMS. PLYMPTON Thank you for your promptness, officers. I'm Robert Plympton, Mr. Van Orton's attorney-- SCHUYLER Let's go. Seventh floor. 98. I N T . C R S O F F I C E S - D A Y Schuyler enters, followed by the others. He stops short, reacts. WIDE SHOT reveals-- the same offices, now entirely empty. The partitions, the desks, everything has been removed. A small amount of TRASH is scattered on the floor-- the move was evidently hasty. CUT TO: 99. LATER. UNIFORM #1 SPEAKS into his walkie-talkie, COP TALK; #2 pokes around in a box full of SHREDDED PAPER; Plympton CONFERS with Barnett, nods, then both of them cross to Schuyler, who sits on the carpet, back to an empty wall. Barnett checks his notes. BARNETT Management company for the building said this floor hasn't been rented. We checked with the Secretary of State and the county recorder, there's no listing of a "consumer research service." PLYMPTON Recreation service. BARNETT Right. No sign of the boat or the girl. Divers got the cab's vehicle ID, the company junked it a month ago. Gallo, who'd been talking on a phone IN BG, approaches. GALLO The numbers you gave us are disconnected, sir, this was the only address the phone company had. And we found your car-- it's in impound. BARNETT I'm a little confused as to motive here. You said your brother sent you to these people... SCHUYLER It's not his fault, he's unstable, he didn't know what he was doing-- BARNETT And they were supposed to show you a, a good time? GALLO (a cautioning look at Barnett) My guess is this Feingold guy's using an alias... is there anything else you can tell us about him? Schuyler spots an empty CHINESE FOOD CARTON crumpled in the corner. CLOSER as SCHUYLER picks up and fingers the container-- Chinese characters on it, the name TUNG HOY. SCHUYLER He likes Chinese food... BARNETT Don't worry, Mr. Van Orton, we'll get these jokers. SCHUYLER nods, unconvinced. CUT TO: 100(NEW). E X T . V A N O R T O N M A N S I O N - D A Y PLYMPTON pulls up in his LEXUS, SCHUYLER gets out wearily. PLYMPTON There's clearly a civil case once we locate the defendant... SCHUYLER Whatever. PLYMPTON Y'know, Sky, things are quiet since the closing-- you could take some time off. SCHUYLER sighs and nods, closes the car door and waves good-bye. He climbs the steps to his front door and Plympton pulls away. 101(NEW). I N T . S C H U Y L E R ' S F O Y E R - D A Y SCHUYLER enters and automatically reaches for a LIGHTSWITCH-- BLUE SPARKS leap to his fingers, the switch has been RIPPED OUT, leaving exposed WIRING. SCHUYLER CURSES and shakes his hand out. He looks around in disbelief-- the walls are covered in GRAFFITI. "GAME OVER" is the first one we see in the foyer, above the HARLEQUIN, who still sits in the only upright chair... but now a GLOSSY BLACK AND WHITE PHOTO is stuck in its teeth. SCHUYLER pulls out the picture, looks at it, hand trembling-- A POLICE PHOTO of MR. VAN ORTON, his body sprawled in a pool of blood. It's stamped "PROPERTY SFPD" in red... SCHUYLER Oh, God-- SCHUYLER tosses the picture aside, moves into his living room-- 101B(NEW). I N T . S C H U Y L E R ' S L I V I N G R O O M - D A Y More GRAFFITI everywhere: "FUCK THE POLICE," "SORE LOSER!," "NO FUTURE," "CRS RULES," assorted OBSCENITIES. BOOM, as Schuyler moves through the living room, CONTACT EXPLOSIVES on the floor EXPLODE beneath his feet, making him LEAP and DANCE. OVER THE MANTLEPIECE, A NOTE is stuck into a PAINTING with a KITCHEN-KNIFE. SCHUYLER approaches and rips this down. INSERT NOTE, PAN DOWN SLOWLY, X-CLOSE: "Like my father before me, I kill what I love. Goodbye, cruel world, blah blah blah..." A RED SIGNATURE ARROW is affixed by a DOTTED LINE at the bottom, "PLEASE SIGN HERE." SCHUYLER GROANS and crumples the note. He reaches for a phone-- he PICKS up the receiver, it's been MELTED into the body of the telephone. He throws it aside. He hears VOICES from the next room, enters cautiously, picking up a SMALL SCULPTURE as a weapon-- lOlC(NEW). I N T . S C H U Y L E R ' S S T U D Y - D A Y THE TELEVISION is on, playing a silly-looking CARTOON. ACTION HEROS fly through the air, shooting LIGHT from their eyeballs, etc. SCHUYLER lowers his weapon, moves to shut off the tube. More GRAFITTI over the walls, the books, etc.: stick figure drawings of a MAN HANGING HIMSELF, a BROKEN HEART, a PENIS, a NAKED WOMAN, etc. Across the walls, over the TV, are the words, "YOU ARE NOT ALONE." SCHUYLER presses the on-off switch-- nothing happens. ACTION HERO (on TV) Don't touch that dial, Sky! ON SCREEN, THE MASKED ACTION HERO stands proudly, hands on hips, before a colorful MOVING BACKGROUND. It speaks in a cheezy HE-MAN VOICE, an ANIMATED MOUTH. There's a CRS LOGO on its chest. CRS-MAN (on TV) Boy oh boy, you fucked up big-time! Bringing in the cops-- real mistake! SCHUYLER covers his eyes, leans against a chair; this is too much. SCHUYLER No no no-- CRS-MAN (on TV) Oh you're always so negative... Schuyler realizes this is a two-way conversation as the CRS-MAN WINKS at him, making a stiff WAVE. SCHUYLER You people are insane... CRS-MAN (on TV) Hey, look who's talking to their TV set. SCHUYLER How did you do this, how did you get in here? CRS-MAN (on TV) Simple, we duped your keys the day you came in for your physical, wired the whole house while you were at work. You rich people all have alarms, but you never set 'em, do you? SCHUYLER Look, at least leave my brother alone, he's fragile enough as it is-- CRS-MAN (on TV) Don't worry about him, he's just playing his own game-- at a more advanced level, you might say... SCHUYLER You can't just fuck with people like this, you don't know who you're dealing with! CRS-MAN (on TV) (LAUGHS) We know exactly who we're dealing with, that's the whole idea! For a guy with your test scores, you're pretty slow on the uptake. SCHUYLER What the fuck do you want from me?! CRS-MAN (on TV) Sky, I just came to say good- bye... Too bad it didn't work out, better luck next time. Uh, there might be a few loose ends for you to tie up, but remember-- it's not whether you win or lose that counts, it's how you play the game... ya big loser you... THE SCREEN IMPLODES as SCHUYLER SMASHES IT with the sculpture-- CRS-MAN (filter) Ouch! Take it easy, my hot-headed friend! Schuyler peers into the SMOKING electronics, pulls out a battery pack, a small video camera, a loop antenna; the SPEAKER's not dead. CRS-MAN (filter) Holy smoke, this was an expensive TV-- He BASHES the equipment repeatedly on the floor with all his might. The speaker SPUTTERS OUT, the CRS-MAN'S VOICE at last SILENCED. The PHONE has started ringing during the above. Schuyler, breathless, moves around the room now, trying to find it. He finally tracks it down in the bottom of a GARBAGE CAN, covered with disgusting SLIME which he wipes on his shirt. SCHUYLER (on phone) Now what?! MANAGER (filter) (beat) Is this Schuyler Van Orton? SCHUYLER (on phone) Yeah, who's this? MANAGER (filter) I'm calling from the Claremont Hotel in Berkeley... we have your American Express card, you left it at the check-in desk... SCHUYLER (on phone) What? That's impossible, I've never stayed there-- MANAGER (filter) Are you sure, sir? SCHUYLER pulls his wallet, spreading his credit cards on the floor. SCHUYLER Son of a bitch. 101D(NEW). I N T . S C H U Y L E R ' S F O Y E R - D A Y START ON THE DUMMY, propped in a chair-- SCHUYLER seizes it, SMASHES IT against the wall, the glass head SHATTERS. CUT TO: 102(NEW). E X T . C L A R E M O N T H O T E L - D A Y LATE AFTERNOON, the COMPANY LIMO pulls up and Schuyler emerges. 102B(NEW). I N T . C L A R E M O N T H O T E L - D A Y SCHUYLER crosses the opulent lobby to the desk. A passing BELLHOP gives him a nod and a smile. BELLHOP Hello, Mr. Van Orton. Schuyler stares after the bellhop, whom he's clearly never seen before. He proceeds to the check-in desk. Before he can even introduce himself, the DESK CLERK turns to him with a tight smile-- DESK CLERK Mr. Van Orton. Here's your credit card... and the maid found this under the bed... From under the desk he removes a small ATTACHE CASE, places it gingerly in front of Schuyler. SCHUYLER That isn't mine. DESK CLERK It has your initials on it, sir. SCHUYLER examines the case closely for the first time, sees the gold monogram, "S. V. O." DESK CLERK We'd just as soon you took it with you, in any event... and in the future, you might consider choosing another hotel for your... The man trails off and moves away. SCHUYLER I've never been here before in my life! The man ignores him now. Schuyler pockets his credit card, thinks a beat, then grabs the briefcase. SCENES 103-104 DELETED 105. I N T . C O M P A N Y L I M O - D A Y JACK drives, Schuyler in back, studying the open briefcase in his lap. He seems extremely upset, fighting to maintain his wits... SCHUYLER Jack... the woman you took home the other night, where did you go? JACK (puzzled) Out to Concord... SCHUYLER I know, what was the address? JACK is a bit nervous, he doesn't want to piss off the boss. JACK Mmm... it was... Beulah Drive, I think, yeah, offa Oakdale... but didn't you-- never mind. SCHUYLER What? JACK Just-- I thought you followed us there. There was a black 500SE behind us the whole way, I just assumed... SCHUYLER Shit. Shit! It wasn't me, Jack. JACK Of course, sir. It was a white house, I remember... big tree in the front... with one of those, you know, tire swings... SCHUYLER Jack, I'm serious. It wasn't me. JACK It wasn't you, sir. Schuyler looks at the man, who stares straight ahead, not believing him for a second. Schuyler shakes his head, looks down at the open briefcase in his lap. ANGLE IN BRIEFCASE-- a set of HANDCUFFS, assorted BONDAGE GEAR... and a few BLURRY POLAROID PHOTOS, showing a NAKED WOMAN with a LEATHER MASK chained to a bed. ONE SHOT shows her shoulder clearly-- we see a ROSE TATTOO. CUT TO: 106. E X T . I M P O U N D L O T - D A Y A female IMPOUND WORKER with paperwork leads SCHUYLER through a maze of SMASHED CARS, etc. IN BG, the COMPANY LIMO pulls away. IMPOUND WORKER Triple A changed your tire... bad blow-out was it? Anyone hurt? Schuyler shakes his head. They've reached his MBZ. IMPOUND WORKER Oh. Just... we were a little curious about the mess in the back... SCHUYLER bends down to look in the window. HIS POV-- THE BACKSEAT has been SLASHED. A few SPLASHES OF BLOOD, not too much. Schuyler's HARVARD SWEATSHIRT is torn and STAINED with blood, crumpled in a corner of the seat. SCHUYLER swallows, recovers quickly. SCHUYLER A friend's dog-- he'd been hit by a car, I drove him to the vet... (as the cop nods slowly) Golden retriever, beautiful animal. IMPOUND WORKER (handing Sky a receipt) He OK? SCHUYLER Too early to say. He quickly gets behind the wheel. CUT TO: SCENE 107 DELETED 108. E X T . C H R I S T I N E ' S N E I G H B O R H O O D / H O U S E - E V E N I N G SCHUYLER'S MBZ cruises past rows of similar-looking, lower-middle- class homes, a pretty shabby neighborhood. He parks the Benz. A WHITE VAN is parked just up the street, a LOOP AND RABBIT EAR on the roof. PAN to show THE DRIVER'S SIDE DOOR... A cartoonish logo with the CRS MAN holding a wrench by a TV SET in front of a RAINBOW, the words "CABLE REPAIR SPECIALISTS." ON THE HOUSE, MOVE from a WHITEWALL TIRE hanging on a rope from a tree to SCHUYLER as he RINGS the front doorbell of a WHITE HOUSE. AT THE DOOR, an older, working-class man in a T-shirt appears-- Christine's dad, MR. KAMINSKY. MR. KAMINSKY Yes? SCHUYLER Mr. Kaminsky? Schuyler Van Orton-- MR. KAMINSKY Is that a name? Look, I'm kinda busy. (starts to close the door) SCHUYLER You have a daughter named Christine? I'm afraid she might be in danger. MR. KAMINSKY narrows his eyes at him as we hear-- CHRISTINE (O. S.) Daddy? Who is it? Schuyler, very surprised, peers around Mr. Kaminsky-- 109. I N T . C H R I S T I N E ' S L I V I N G R O O M - E V E N I N G Schuyler does a double-take as CHRISTINE comes down the staircase, wearing a sweatshirt and shorts. She lights up when she sees him, then quickly hides her excitement. CHRISTINE Sky? Hi, Sky. MR. KAMINSKY allows the relieved Schuyler to enter now. DAD Well, I'm gonna get back to that carburetor... nice meeting you. Christine's dad WINKS at his daughter as he moves back to the basement. She rolls her eyes, but mouths, "thanks," and then moves to sit beside Schuyler in the modest, over-knick-knacked living room: religious pictures and statues, family photos, etc. CHRISTINE I didn't think I'd-- what are you doing here? SCHUYLER is smiling at himself now, shaking his head. Christine reaches across him to FLIP ON a lamp. SCHUYLER Last night, when Jack dropped you off-- did anything happen? CHRISTINE No... unfortunately. SCHUYLER I thought-- eh, you don't wanna know. CHRISTINE Come on-- SCHUYLER I thought they kidnapped you, tortured you-- CHRISTINE What? Who? SCHUYLER CRS... I saw pictures, girl with a tattoo on her shoulder like yours-- CHRISTINE (touches her shoulder) Ssh, my folks don't know about that yet. So, what-- they wanted ransom from you or something? SCHUYLER No, I thought they were trying to frame me, they planted evidence... CHRISTINE Why would they do that? SCHUYLER I have no idea, nothing they do makes any sense. Forget it, it's just a game. CHRISTINE So that's the only reason you came out here to East Hell, your stupid goddamn game. SCHUYLER I was worried about you. I wanted to see you again. CHRISTINE (thinks for a beat) If you pretend to mean that, I'll pretend to believe it. Well, looks like your pals are trying to keep us together. Buy me dinner at least? SCHUYLER Sure, why not. CHRISTINE (rises) I look like a slob, let me change. She hurries upstairs. Schuyler sighs, wondering what the hell he's doing here. He glances at a VIRGIN MARY statue, squints-- then unscrews the head, it's a decanter. He takes a sniff and puts it back with a bemused expression. He takes another sniff, noticing something else in the air... A WISP OF SMOKE rises from the lamp Christine turned on. SCHUYLER peers beneath the shade. On the table is a framed PHOTOGRAPH of a LITTLE GIRL who could be Christine in a frilly white dress, holding flowers. ANGLE INSIDE LAMPSHADE-- a new PRICETAG dangles from the shade against the bulb, starting to TURN BROWN, smoking. SCHUYLER licks his fingertips, reaches inside the shade to PULL OFF tag-- in doing so, he burns his fingers on the hot bulb, STIFLES a curse and jerks his hand away. He KNOCKS OVER the picture, which FALLS to the floor. Shaking his hand, he rises distractedly, pokes his head through a swinging door. 110. I N T . C H R I S T I N E ' S K I T C H E N - N I G H T DIMLY LIT from outside. Modest, surface clutter, hanging pots, etc. Schuyler moves to a sink, turns on the tap and RUNS WATER over his burned fingertips. He SHUTS OFF the tap, looks around for a towel, shaking his hand-- the paper towel dispenser has no roll on it. He pulls open a kitchen drawer-- ANGLE IN DRAWER-- completely empty. SCHUYLER, curious now, opens a cabinet, absently drying his hand on his shirt-- also empty. He tries another couple of drawers, finds nothing but scraps of paper, matches. No utensils. He exits, a disturbing thought forming. 111. I N T . C H R I S T I N E ' S L I V I N G R O O M - N I G H T SCHUYLER picks up the photo to replace it on the table. ANGLE ON PHOTO: Schuyler slips the picture from its cardboard mount-- it's an ADVERTISEMENT clipped from a glossy magazine, TEXT printed on the portion previously unseen. SCHUYLER quickly returns the clipping to its mount, puts the photo back on the table as Christine comes downstairs, dressed and made- up for a night on the town. CHRISTINE Can you get us into Chez Panisse? I always wanted to eat there-- Schuyler nods casually toward the photo as she sits beside him. SCHUYLER Is that you? CHRISTINE (quick glance) Mm-hmm, First Communion. (touches his hair) What's the matter, you look a little green around the gills-- He grabs her hand away. Icily: SCHUYLER Don't touch me. His tone alarms her-- he stares at her with hatred. A silent BEAT between them, each tries to assess the new situation. She realizes he's onto her. She swallows, makes a quick decision. Suddenly she leans close to him, reaching around him to SHUT OFF the table lamp. She leaves her arms around him and HISSES in his ear-- she drops her lower-class accent, speaks in a clipped, educated voice: CHRISTINE Don't be stupid. Don't say anything, not here, they're watching. SCHUYLER (sickened; to himself) God damn it... She kisses him, he doesn't open his mouth, neither shuts their eyes. Then she gets up quickly, moves to a corner of the room. CHRISTINE (back in character, accented) OK, I know a good place we could go and like, be alone... She glances up quickly to indicate something on the ceiling-- ON CEILING, a large SMOKE DETECTOR with a RED LIGHT, a cable from it-- there's a small LENS in the center... A HIDDEN CAMERA. SCHUYLER looks at this, starting to rise. She moves to a window, out of range of the camera, beckons him over. CHRISTINE It's a beautiful night, isn't it? Schuyler comes up beside her, she nods for him to look outside-- POV-- THROUGH WINDOW-- the CRS VAN. Christine WHISPERS urgently: CHRISTINE There's four of them in the van, they're armed. Just play along, I'll get us out of here-- SCHUYLER turns to her, his voice is tired. SCHUYLER Fuck you. (to surveillance camera) OK, that's it, game over-- 112. I N T . C R S V A N - N I G H T CLOSE on a video monitor, Schuyler framed in a FISHEYE SHOT: SCHUYLER (FILTER) --you can come out now, assholes-- He moves toward the front door, a panicked Christine behind him-- RASTA MAN'S VOICE We're blown, let's do it-- We hear MEN GETTING TO THEIR FEET, see BODIES MOVE in FG. 113. I N T . C H R I S T I N E ' S L I V I N G R O O M - N I G H T Christine's furious and terrified, dashes in front of him, LOCKS and THROWS A CHAIN across the front door. CHRISTINE You idiot! Come on! She starts to pull him away from the door, he throws off her arm. SCHUYLER No, enough already. I've had it. He goes to the window and opens the curtain. THROUGH WINDOW-- the Hack/Cabbie, the Rasta/Pilot and a pair of CRS AGENTS (JOHN and PETER from the men's club) hurry toward the house, the older men reach inside their jackets-- SCHUYLER Now what. CHRISTINE Get away from there!! SCHUYLER (steps toward her) Oh, now I suppose they're going to-- THE WINDOWS BLOW IN, GUNFIRE, Christine TACKLES HIM and pulls him to the ground as-- KNICK-KNACKS fly to pieces directly behind where he was standing. CHRISTINE AND SCHUYLER keep low as they dash for the kitchen-- SCHUYLER Holy shit!! 114. I N T . C H R I S T I N E ' S K I T C H E N - N I G H T Christine pulls him toward a basement door-- 115. I N T . C H R I S T I N E ' S G A R A G E - N I G H T They dash down steps to the darkened one-car garage, mostly empty with a few random tools. MR. KAMINSKY looks up from a game of SOLITAIRE, a day player confused by the sudden commotion. SCHUYLER What is this!? CHRISTINE God, wake up, it's a con game! THE GARAGE DOOR OPENS, Christine pulls Schuyler against a wall-- A "PARAMEDIC" charges out of the shadows, pulling a handgun-- IN BG MR. KAMINSKY dives for cover with a frightened NOISE-- CHRISTINE grabs a WRENCH and CLUBS THE PARAMEDIC, who falls with a CRY, clutching his skull. They hear FOOTSTEPS on the stairs they just came down. Christine hustles the dazed Schuyler out of there. 116. E X T . C H R I S T I N E ' S H O U S E - N I G H T Christine and Schuyler dash for the Benz, climb in and SCREECH OFF. CRS MEN run for their van to pursue. 117. I N T . S C H U Y L E R ' S M B Z - N I G H T Schuyler drives for all he's worth, Christine watching behind. 118. E X T . S U B U R B A N S T R E E T S - N I G H T A brief CHASE, the van pursues the MBZ. 119. I N T . S C H U Y L E R ' S M B Z - N I G H T Christine turns forward, her eyes widen-- CHRISTINE Watch out!! 120. E X T . S U B U R B A N S T R E E T - N I G H T The MBZ SIDESWIPES a car as Schuyler runs a light, his WINDSHIELD CRACKS, the side of the car's CRUNCHED IN, but he keeps driving. He crosses lanes directly in front of an oncoming TRUCK-- the VAN HITS THE BRAKES to avoid getting squashed. Schuyler SKIDS into a narrow alley. THE VAN, having lost a half a block, misses this and continues straight. 121. I N T . M B Z - N I G H T Christine's looking behind as Schuyler drives. CHRISTINE OK, we lost 'em-- She's THROWN FORWARD as Schuyler SLAMS ON THE BRAKES, reaches across her and THROWS OPEN the passenger door, which CREAKS from the collision. He gives her a shove, she clings to the doorframe-- CHRISTINE What are you doing!? SCHUYLER Get out of my car. CHRISTINE I coulda handed you to them! They find me now I'm dead-- Schuyler pushes harder. 122. E X T . S U B U R B A N A L L E Y - N I G H T Christine tumbles into the wet gutter. CHRISTINE Listen to me you bastard-- I know what's going on! No one else is gonna tell you! Schuyler pulls the door shut, the car starts BACKING AWAY. Christine gets to her feet, looks after him. He reaches the end of the alley and stops-- then SCREECHES FORWARD. She jumps to the edge of the alley, fearing he's trying to run her down. Schuyler HITS THE BRAKES a few feet away. He leans across, calls to her. SCHUYLER Get in. 123. I N T . S C H U Y L E R ' S M B Z - N I G H T SCHUYLER You can talk while I drive to the police station. Christine puts a hand on the wheel before he can back up again. CHRISTINE No cops, I got an outstanding warrant. (off his look) Mail fraud. I'll get nailed, but you'll never be able to prove a thing. Just drive. CUT TO: 124. E X T . H I G H W A Y - N I G H T The MBZ SPEEDS out of a tunnel on the highway toward SF. 125. I N T . M B Z - N I G H T Christine looks out the side window, lights a cigarette. CHRISTINE Heard about this big swindle and-- I needed the money. You wouldn't know what that's like. SCHUYLER Spare me the snide comments. And please don't do that in here-- CHRISTINE Second-hand smoke is the least of your problems. (blows it in his face) Shit, they really screwed up, I can't believe they didn't take the time to get the house right. SCHUYLER Wait, how did-- before the game, you were working in that bar-- CHRISTINE They planted me in advance, your brother set you up. SCHUYLER Oh God, David's in on it...? CHRISTINE It's not his fault, he thought it was the only way out... just another victim. SCHUYLER How the hell did they think they were gonna get my money? CHRISTINE Honey, they already got it. She gives him a pitying look. Schuyler throws her a sidelong glance; this is absurd. She gestures at his car phone. CHRISTINE You don't believe me, check your bank accounts. Listen, that night in your office, remember? I downloaded files off your computer while you were in the shower... CAMERA MOVES IN ON SCHUYLER'S FACE during the following and-- DISSOLVE TO: 126. --SCHUYLER'S DESKTOP COMPUTER as CHRISTINE'S HAND inserts a FLOPPY DISK and starts hitting keys. CHRISTINE (V. O.) I stuck in a code-breaking program to glve CRS remote access to Van Orton Group files... 127. --RAPID INSERTS from the CRS OFFICES-- Schuyler's SIGNATURE, financial FORMS, a TAPE RECORDER, TEST FORMS, etc. CHRISTINE (V. O.) --you'd already given them everything else they needed. Your handwriting, voice samples, personal information, all the tests you took... they used the data to generate your passwords. --ON A CRT SCREEN as various combinations of letters and numbers SCROLL BY, too quickly for the eye to read. CHRISTINE (V. O.) From there they just had to break into the financial networks, transfer your holdings into some dummy accounts-- --PAN OVER BANKS Of COMPUTER TERMINALS in DARK OffICES as financial READOUTS FLIP and CHANGE, VANISH. HIGH NUMBERS go to 0.00. CHRISTINE (V. O.) Remember Jim Feingold, guy who signed you up? He's one of the original hackers, did a five-year stretch for zapping Citibank. --MOVE FROM deft fingers at a computer keyboard UPWARD toward the screen. POLARIZE to show, in reflection... FEINGOLD'S FACE, LIT BY the BLUE-GREEN CRT LIGHT, a mask of evil. CHRISTINE (V. O.) He's not some dweeb flunkie, he runs the whole show. END SERIES OF SHOTS, DISSOLVE TO: 128. SCHUYLER'S FACE... LIGHTS through the FRAGMENTED WINDSHIELD cast weird PATTERNS on it. He's pumping sweat now, reaches for his cell phone, dials, hand shaking. Christine flicks her cig out the window; she sounds regretful. CHRISTINE I'm sorry. They already did your brother, I guess they figured you for a family of suckers... SCHUYLER (on phone) Overseas operator? Please dial the number for Allgemeine Bank in Zurich... CHRISTINE Bet you haven't really been taking care of business the past few days, huh? This "game," the psych shit about your dad going sui... SCHUYLER (on phone) Guten tag-- Vilen dank, Englisch... CHRISTINE All of it was just to buy time, keep you from paying attention... SCHUYLER (on phone) Blue Two-Five... 6-9-0-D... Yes, I consent to voice-print... My name is Schuyler Van Orton. I'd like to know my balance, please... that account is closed?! CHRISTINE (nervously) I think maybe you should pull over... Schuyler sets his jaw, drops the phone-- and turns the wheel hard. 129. E X T . H I G H W A Y - N I G H T The MBZ SCREECHES for an offramp. 130. E X T . C O N V E N I E N C E S T O R E - N I G H T Schuyler's on his portable phone at a gas station/convenience store, leaning on the Benz as he pumps gas. Christine stands out of earshot, arms folded, staring at the dark horizon. SCHUYLER (on phone) Bob, listen carefully, this is an emergency. Feingold and his people, I've called all my banks, they've drained the accounts, personal and corporate, everything-- tell the cops I've got one of them with me, we'll make her testify. They're trying to kill us, I'm heading for the island in Oregon, if I can still find it. Bob-- call when you get this message and-- be extremely careful... 131. I N T . C O N V E N I E N C E S T O R E - N I G H T START ON-- a thermos full of coffee, foodstuffs, miscellaneous camping supplies as a CLERK holds a credit card, hangs up a phone. He looks up at SCHUYLER and CHRISTINE. CLERK They say I gotta confiscate your card... Schuyler sighs, "of course," Christine fishes in her pocket. CHRISTINE I think I have some cash. 132. E X T . C O N V E N I E N C E S T O R E - N I G H T They emerge from the store with a couple of grocery bags, Christine sucks an ice cream pop. They toss the bags in the trunk. CHRISTINE Money isn't everything, right? Schuyler is seething, clutching the trunk lid for a beat, then SLAMS it hard when she steps back, making her jump. SCHUYLER It might be best if you didn't speak. I very nearly crushed your skull just now. CHRISTINE C'mon chill, what'd they take you for, a couple hundred G's? Chump change for a guy like you, chalk it up to experience. SCHUYLER (quietly, restraining himself) Just under a billion dollars. CHRISTINE A bil--? (nervous laugh) You're kidding, right? SCHUYLER Do I look like I'm kidding? This is about more than my personal lifestyle-- your pals raided pension plans, charitable foundations, company payrolls... CHRISTINE Oh my God-- SCHUYLER I don't know what kind of jerk-off con games you've played in the past, but now you're in the big leagues, hon. You just helped sabotage a small portion of the national economy-- and destroy a whole lotta lives. He stares at her, she looks sick and truly scared. He climbs in the car. For once without a comeback, she gets in the car quietly. CUT TO: 133. E X T . D I R T R O A D - D A W N The Benz ZIPS AROUND a logging truck on a DIRT ROAD. 134. I N T . S C H U Y L E R ' S C A R - D A W N Schuyler, bleary-eyed, drains coffee from the thermos and tosses it aside. He glances over at the sleeping Christine, her head tilted toward his shoulder; she looks pretty sexy. He stares at her for a moment, SIGHS and turns away. CUT TO: 135. E X T . O R E G O N L A K E - D A Y A beautiful Northern lake-- dense forests on the mainland, pines and fall foliage. A STORM coming in, ominous CLOUDS. The Benz is parked at the shoreline. MOVE TO FIND Schuyler and Christine, as they paddle a rowboat toward a small island with a surprisingly humble, somewhat decrepit cabin on it. A FLASH OF LIGHTNING. CUT TO: 136. I N T . O R E G O N C A B I N - D A Y CHRISTINE pours a cup of coffee from a metal pot on a wood-burning stove in which a FIRE CRACKLES. This cabin is genuinely rustic and run-down-- hewn wood, fishing rods, cobwebs, rain damage, dust. WATER DRIPS from the ceiling in a few places. LIGHTNING FLASHES in BG through the scene, the STORM has gotten pretty bad. SCHUYLER finishes taking out his contacts, DROPPING them in cups full of water. He slips on his glasses, then looks at a few framed family photos on the coffee table in front of him. Christine, barefoot, brings him a cup of coffee, which he sips gratefully. SCHUYLER You're not having any? CHRISTINE Never drink it. Makes my tits hurt. Schuyler gives her a sidelong glance, looks back at a photo. ON PHOTO-- he rubs away the dust from a shot showing Schuyler's father, with young Schuyler, on a boat with fishing equipment. CHRISTINE takes a step and CRIES out, clutching her foot and sitting beside Schuyler. A small FISHHOOK protrudes from her foot, SCHUYLER Hold still. He talks while he carefully removes the hook from her foot. SCHUYLER Sorry, this place hasn't been cleaned in a while. My dad built it himself, spent a lot of time here alone. (regards a LEAK) Rotten carpenter... He pulls out the hook, puts it aside; she rubs her foot. CHRISTINE Thank you. SCHUYLER suddenly starts LAUGHING, wipes tears from his eyes. CHRISTINE What's so funny? SCHUYLER Just-- private joke... CHRISTINE Tell me. SCHUYLER Well... I always told myself I wasn't gonna end up like him. And now here I am, running his corporation, living in his house, hiding in the cabin where he went to hide right before he... I even look like the bastard. Christine looks at the photo of MR. VAN ORTON, then at Schuyler. CHRISTINE Not that much. SCHUYLER Mm, plus I'm a helluva lot more gullible than he ever was... THE CELL-PHONE CHIRPS, Schuyler shakes off his self-pity, snatches up the handset. SCHUYLER Yes. CHRISTINE mouths, "Who is it?" PLYMPTON (filter) (careful, worried) It's me, Schuyler... I got your message... I'll admlt, I was very disturbed... SCHUYLER (hand over phone) My, lawyer. (to Plympton) So. What's our next move? During the following, Christine's eyes go wide, she shakes her head frantically, draws a finger across her throat-- PLYMPTON (filter) I've been on the phone all morning... your funds are intact, nothing's changed, there's been no activity whatsoever... SCHUYLER struggles to absorb the import of this as well as Christine's behavior. She shakes her head with a sigh, rises to refill his coffee cup. SCHUYLER Wait-- that's not true-- PLYMPTON (filter) (firmly) It is true, no one is after your money, no one is trying to hurt you-- SCHUYLER looks at Christine with horror. She nods and WHISPERS: CHRISTINE He's in on it. SCHUYLER Oh, God... PLYMPTON (filter) Listen to me, Sky! SCHUYLER What are they paying you, Robert? Piece of the action? PLYMPTON (filter) Schuyler! Look, you've done the right thing going up there, maybe it's best if you just sit tight for a while, forget about everything, it's all under control-- Schuyler HANGS UP, breathing hard, pacing, clutching the phone. SCHUYLER We have to get out of here! Christine approaches him with a fresh cup of coffee, which he sips. The PHONE CHIRPS again, Schuyler THROWS it violently against the wall, it's silenced. He gulps more coffee, rising again, looking at the smashed phone, sickened by his own loss of control. SCHUYLER Well, that was stupid. Christine watches him closely. He keeps balling his hands into fists as he paces, trying to think out his next play. SCHUYLER OK, they've gotten to him. OK. Is there anyone I can trust? CHRISTINE Mm... I wouldn't worry about it. SCHUYLER (a beat) What do you mean? CHRISTINE It's out of your hands. He takes a step, stumbles, shakes his head to clear it. She rises, picks up his half-empty cup and heads for the kitchen area. His gaze follows this, he realizes he's been drugged. SCHUYLER Christine!! CHRISTINE That's not my name. With a CRY OF RAGE he lunges after her, but CRASHES into the wall, clutching at a hanging ROD, which falls when he does-- he KNOCKS OVER the table of photos as he goes down, PANTING for air like a fish out of water, clutching his stomach, nauseated. HIS POV-- SIDEWAYS, LOW ANGLE. SFX, BLOOD POUNDING in his head. Schuyler's eyes FOLLOW the GROOVES of the wet, warped hardwood floor, they lead to-- and almost seem to point to-- Christine. ANOTHER ANGLE, CLOSE-- from the counter she picks up a small vial with a bit of powder at the bottom, slips it into her pocket. SCHUYLER's eyes roll into his head as he struggles against the effects, tries to get to his hands and knees. He gasps: SCHUYLER Why... CHRISTINE approaches, stands a few feet away, lights a cigarette, CHRISTINE We needed you to call your banks. Cellular calls can be intercepted, rerouted, y'know. She crouches by him, flicking ashes a few inches from his nose. CHRISTINE All those calls to Switzerland and Chase Manhattan-- you were talking to our people. See, we were still missing a lotta pieces-- access codes, passwords, stuff even Plyrnpton didn't have-- but now we have I everything. I guess you are pretty fucking stupid-- but thanks. He CLAWS at her helplessly with a GROAN, but misses. His glasses fall off, he collapses again. SCHUYLER'S POV-- everything a BLUR NOW, except in EXTREME FG-- the photo of himself and his father, which now lies on the floor. 137. FLASH-CUT TO: FLASHBACK POV-- THE MOMENT OF IMPACT, as MR. VAN ORTON'S FACE SMASHES into the ground, his GLASSES SHATTERING, BLOOD SPRAYING from his head. 138. CUT BACK TO: SCHUYLER writhes, fighting the drug. 139. FLASH-CUT TO: The moment of his father's jump-- only in this HALLUCINATION, SCHUYLER himself wears the robe, leaps into space. 140. SCHUYLER'S POV-- FROM FLOOR-- Christine moves INTO FOCUS, crouches near him, studying her victim almost clinically. CHRISTINE It's over. Just let go... The SFX POUNDING STOPS, and-- CUT TO BLACK BREATHING... THEN SCREAMING, POUNDING and KICKING... 141. I N T . C R Y P T - D A Y A WOODEN LID SPLINTERS as SCHUYLER pounds his way out of a COFFIN. DIM LIGHT through CRACKS in the walls, this is an old and moldering MAUSOLEUM, other COFFINS nearby. FRESH FLOWERS surround his resting place, otherwise everything is completely DECAYED. By the time SCHUYLER gets out of the coffin, his arms are BLOODIED. He's been dressed in an ALL-WHITE BURIAL SUIT. A RED ROSE is TAPED to his chest. He blinks and stares about wildly-- HIS POV-- BLURRY, can't make out much. SCHUYLER blinks, breathing hard, utterly freaked. He notices the ROSE on his chest, tears it off, SNIFFS it, then THROWS IT aside with a frustrated CRY. He stumbles to the heavy door of the crypt, tugs, then realizes it opens the other way-- he gives it a PUSH-- 142. E X T . C E M E T E R Y - D A Y IT COLLAPSES immediately. SCHUYLER tumbles out of the crypt into the HOT SUNLIGHT. He's in a ramshackle city of the dead, a SPANISH GRAVEYARD. There are endless rows of TOMBS, rioting tropical VEGETATION, many FLOWERS, impossibly bright COLORS. It should be quite beautiful and peaceful... SCHUYLER What? He walks around tentatively, SQUINTING. AN OLD WOMAN in black sits contemplating a grave, fingering her rosary. SCHUYLER slips a hand absently into his pocket, and finds something there, pulls it out-- SCHUYLER'S POV-- BLURRY shot of a NOTE in SPANISH, with a KEY on the stationery... SCHUYLER blinks, slips the note in his pocket. CUT TO: 143. E X T . C E N T R A L A M E R I C A N S T R E E T - D A Y TIGHT SHOT on Schuyler blinking, disoriented, JOSTLED by a sea of HISPANIC PEOPLE on this busy street. SCHUYLER'S POV-- WALKING TENUOUSLY. The world's a BLUR, FACES move in and out of FOCUS. They're dark, foreign, many POOR PEOPLE, poverty-scarred features. Scraps of SPANISH. He grabs a DARK MAN. SCHUYLER Where am I?! The man replies with an EXCLAMATION in SPANISH, pushes Schuyler away, CAMERA TUMBLES-- OBJECTIVE SHOT-- Schuyler's on his knees in the middle of this third-world thoroughfare, utterly disoriented. STREET VENDORS sell weird-looking foods, squads of SQLDIERS march with rifles, MUSICIANS PLAY odd instruments... Schuyler clutches his head, as if trying to wish it all away. A COP IN BEIGE UNIFORM suddenly prods at him with a nightstick, YELLING AT HIM in SPANISH to move on. SCHUYLER'S POV-- the COP looming over him, a BLURRY menace, the end of the nightstick SHARP in FG as it POKES at him. ANOTHER ANGLE-- Schuyler pleads with the man: SCHUYLER Please, help me, I'm an American! I'm lost! Please!! This doesn't seem to help. He tries to get away from the stick, but the cop pursues. He bangs into people as he tries to move quickly, the stick right behind him. Schuyler FALLS over a BEGGAR on the ground, in far worse shape than he is. The cop YELLS at him. Schuyler covers his head, holding out the NOTE WITH THE KEY, which the cop finally snatches away. He studies it for a moment, then BARKS with LAUGHTER. SCHUYLER'S POV-- the cop reaches down to him-- OBJECTIVE ANGLE-- Schuyler cringes, expecting a blow, but the cop just pulls him to his feet. He drags him away with him, speaking more gently IN SPANISH, amused. Schuyler nods thankfully. HIGH ANGLE-- the THRONGS on this crowded street. CUT TO: 144. I N T . F O R E I G N P O L I C E S T A T I O N - D A Y A DESK SERGEANT studies the note, approaching SCHUYLER, whose face is now red, SUNBURNT. He sits on a bench with a VAGRANT or two. SCHUYLER Hello. Where am I? DESK SERGEANT Tegucigalpa. (off Schuyler's blank look) Tegucigalpa. Tegucigalpa? SCHUYLER That's gibberish! DESK SERGEANT (annoyed) It is the capital of Honduras. SCHUYLER buries his face in his hands, nods. He's relieved to have found an English speaker at least. SCHUYLER Right. DESK SERGEANT So-- you have become, lost from, from your father...? SCHUYLER My father's dead, God damn it. I have to get to the United States embassy. The sergeant cocks his head, confused. Indicating the note: DESK SERGEANT Do you know what this says? CUT TO: 145. I N T . A M E R I C A N E M B A S S Y L O B B Y - D A Y An Hispanic embassy WORKER behind a desk with a U. S. flag TRANSLATES THE NOTE aloud in amazed, unaccented English. WORKER "I am an American. I am an idiot. My father is very rich. If I become lost, please take me to the police. There is a reward." ANOTHER ANGLE-- Schuyler, utterly humiliated, sits in a chair on the other side of the desk. WORKER Mr. Van Orton... is this a joke of some sort? What are you doing here? SCHUYLER I don't know. WORKER (a beat) Well, without any identification it will take at least a week to get you a temporary visa-- SCHUYLER (rising) A week?! Christ knows what they can do in a week-- and what the hell am I supposed to, to live on?! What day is it anyway? (squints at his watch, thinks) Where's the nearest pawn shop? CUT TO: 146. I N T . W E I R D B O D E G A - D A Y A middle-aged Latina-- the BODEGA LADY-- counts out a stack of bills on the counter, beside Schuyler's watch. Her store displays JEWELRY, KNIVES, MUSICAL INSTRUMENTS, as well as mystical CANDLES, POTIONS and BOTTLES with DEAD ANIMALS in formaldehyde. PAWN SHOP OWNER This will buy you a plane ticket. On the other side of the counter, SCHUYLER Sorts through A BOX OF EYEGLASSES, trying on different pairs. SCHUYLER Yeah, well I, I seem to have lost my passport... The pawn shop owner nods knowingly. There's one other CUSTOMER, a shabbily-dressed but honest-looking HONDURAN MAN, looking through a BIN full of sports equipment. He seems to have been eavesdropping, the pawn shop owner now exchanges a few words with him IN SPANISH, clearly they're coming to some kind of deal. Meanwhile, Schuyler puts on a rhinestone-studded pair of woman's glasses, looks around. SCHUYLER Huh, close enough... PAWN SHOP OWNER I throw them in. (indicating the man) This man says he can help you... Schuyler narrows his eyes at the Honduran man, who flashes a crooked-toothed smile. CUT TO: 147. E X T . G U A T E M A L A N H I G H W A Y - D A W N A large, covered STAKE TRUCK RUMBLES BY on a hilly jungle highway. 148. I N T . S T A K E T R U C K - D A W N In the back of the truck, Schuyler rides among HUNDREDS OF BAGS of COFFEE BEANS, marked "CAFE, PRODUCTO DE HONDURAS." He wears the silly rhinestone glasses, as well as cheap new clothes-- shorts, a Spanish message T-shirt, sneakers. He munches on a mango, peeks out a hole in the tarp at the passing scenery. HIS POV-- a VISTA of spectacular beauty, ideally jungle-encrusted MAYAN RUINS against the backdrop of the rising sun. SCHUYLER's quite taken with the view, despite his troubles. DISSOLVE TO: 149. E X T . B O R D E R C R O S S I N G - E V E N I N G The stake truck is parked at a U. S. BORDER CROSSING in the desert. The Honduran man-- the truck's driver-- shows his papers to an INSPECTOR as he walks him to the back of the IDLING truck. ANGLE FROM INSIDE TRUCK as a tarp is lifted. The inspector glances inside, examines a couple of COFFEE BAGS. IN FG, Schuyler hides below a bag or two, holding his breath. The tarp falls again, Schuyler exhales with relief in the darkness. CUT TO: 150(NEW). E X T . B U S T E R M I N A L - N I G H T MOS, SCHUYLER has been reduced to pan-handling for bus fare in front of a San Antonio BUS STATION. An OLDER MAN takes pity, gives him a bill, he moves on to a couple who shake their heads and avoid looking at him. He hurries off at the sight of a disapproving COP. DISSOLVE TO: 150B(NEW). I N T . / E X T . B U S - D A Y ANGLE ON BUS WINDOW, ARIZONA/UTAH SCENERY reflected in the glass... POLARIZE to show SCHUYLER through the bus window, exhausted, numbly taking in the glorious view. DISSOLVE TO: 151. E X T . S C H U Y L E R ' S H O U S E - N I G H T All seems quiet, the house dark-- late at night. There's a movement in the bushes near the street-- SCHUYLER emerges, on the lookout for any surveillance. It seems safe. He digs out a hidden KEY from within a FAKE ROCK then goes to the front door, gathers up NEWSPAPERS and a thick stack of MAIL from his box. He flips through it quickly, finds a postcard that interests him and shoves it in his pocket-- the rest of the mail he leaves in the box. He punches in his code on the alarm pad, unlocks the door and enters. CLOSE ON ALARM PAD-- the light goes from GREEN to RED. 152. I N T . S C H U Y L E R ' S H O U S E - N I G H T SCHUYLER blinks as he enters the house-- the graffiti is gone, the mess cleared up, it actually looks cleaner than ever. QUICK SHOTS, JUMP-CUTS, the rhythm jarring. LIGHTS LOW throughout, Schuyler wants to attract as little attention as possible... 152A(NEW). IN THE KITCHEN, SCHUYLER gobbles handfuls of dry cereal, grabs for anything he can find in the refrigerator. 153. IN THE SHOWER, Schuyler scrubs away the grime. 154. IN THE BATHROOM, he inserts a CONTACT LENS. 154A. IN A DESK DRAWER he finds a few $20.00 bills. 154B. IN THE BEDROOM-- Schuyler changes into jeans and a sport jacket, tucking the MONEY and the POSTCARD into the pockets. As he turns to leave, he spots something on his dresser-- A WHITE ENVELOPE, with a handwritten "TO WHOM IT MAY CONCERN..." SCHUYLER frowns at this. tears it open. reacts with fear... 155. IN THE KITCHEN, SCHUYLER holds the handwritten note to the BLUE FLAME. He tosses the BURNING PAGE into the sink. CLOSE SHOTS on the curling, burning note, we make out KEY WORDS: "MY FATHER WAS RIGHT," "NO REASON TO CONTINUE," "TAKE MY OWN LIFE," "I WANT ONLY DEATH..." and finally the signature, "SCHUYLER VAN ORTON..." This suicide note is no joke. SCHUYLER backs away from the sink. Quiet, determined: SCHUYLER No. Fuck you... I'm going to live... 156. I N T . S T U D Y - N I G H T Schuyler moves to a bookshelf, looking for a volume, finds-- CLOSE-- a large, leather-bound BLACK BOOK with no title. SCHUYLER clutches the volume. HEADLIGHTS shine in the window, a VEHICLE in the drive. Schuyler moves for a back door. 157. E X T . V A N O R T O N H O U S E - N I G H T A CAR DOOR CLOSES, we see a UNIFORMED FIGURE MOVE O. S., revealing A POLICE STYLE CREST, the words "CALIFORNIA RESIDENTIAL SECURITY," the initials "CRS" in the center. SCHUYLER, sneaking around the side of the house, takes this in, waiting for the RENT-A-COPS with FLASHLIGHTS and WEAPONS to enter his house. Then he hurries away, book under his arm. 157A(NEW). E X T . P A C I F I C H E I G H T S S T R E E T - D A W N UNDER A STREET LAMP on a hilly street, SCHUYLER reaches into his pocket and squints at THE POSTCARD-- INSERT POSTCARD, the message side: "S - IT'S SAFE HERE - D." An ARROW points to a printed ADDRESS. Schuyler FLIPS the card over-- a PAINTING of a COLONIAL MANSION down a tree-lined DRIVE... DISSOLVE TO: 158. E X T . M A N S I O N G A T E S - D A Y THE SAME VIEW of the same mansion, a very beautiful, peaceful spot. SCHUYLER moves down the drive toward the entrance. He carries the thick book, as he will through following scenes. 159. I N T . S A N I T A R I U M C O R R I D O R - D A Y A NURSE leads Schuyler down a door-lined corridor, no one in sight. This place turns out to be an incredibly ritzy SANITARIUM. NURSE The medication seems to be helping. Unfortunately we're going to have to transfer your brother to a public institution in a few days, his funds are entirely exhausted-- unless you're prepared to take responsibility... She KNOCKS at a door, OPENS IT a crack and lets Schuyler in. 160. I N T . S A N I T A R I U M R O O M - D A Y A pleasant bedroom, and safe-- no sharp objects or primary colors in sight, discreet decorative BARS on the window. DAVID, in pajamas, sits in a chair, eating bland food from a plastic lunch tray. He watches a GOLF MATCH on a tiny WATCHMAN TV, we'll hear it IN BG-- CLAPPING, etc. He doesn't react as Schuyler enters, moves to his side. SCHUYLER David... David turns to him, half-smiles; food particles on his lips. DAVID Hello Sky... Schuyler sits close to David, upset. SCHUYLER What are you doing here? DAVID Sorry, I was just eating... I'm much better. Really. David does seem in control now, if a little hazy. SCHUYLER Thank God... Listen, I know you put them onto me-- but I understand, we're both victims of this thing... They've stolen everything we ever had, they're trying to drive us both crazy-- but we won't let them. We'll find a way. There's gotta be a way to beat these bastards! We're in it together... He clutches his brother's hand. David narrows his eyes, confused. DAVID In what together? SCHUYLER The game. DAVID Oh, Schuyler, there is no game. It was just a fantasy of mine, a self- aggrandizing delusion... I can't believe you took that shit seriously. SCHUYLER (clutching his hand) No, David-- please... DAVID (pulling away) Oh, man, stop fucking with me! You know the game doesn't exist... it never did! It never did... Schuyler stares at him for a beat-- no getting through. David leans forward, turns UP THE TV VOLUME, aiming the set at Schuyler. DAVID Can you see? ON SCREEN-- a golf ball rolls on a green and PLOPS into the cup. CUT TO: 161. I N T . S F P O L I C E S T A T I O N - D A Y Barnett, the detective from earlier, has come out to the reception area to speak with Schuyler, who's trying very hard to be rational. BARNETT So the waitress was in on it-- SCHUYLER She isn't really a waitress. BARNETT --and now you're brother's been institutionalized... is there a history of mental illness in your family? SCHUYLER narrows his eyes at the question. GALLO, beyond a METAL DETECTOR in the rear area of the station, gestures to Barnett, who holds up a finger. BARNETT 'Scuse me. Moving away, Barnett glances at the leatherbound book, which Schuyler clutches very possessively. BARNETT Whatcha reading? SCHUYLER Nothing. Barnett purses his lips, nods, steps around the metal detector to chat with Gallo. WITH GALLO AND BARNETT GALLO I just spoke with his lawyer Plympton, he thinks Van Orton's having a nervous breakdown, we should probably hold onto him till his people can get down here... WITH SCHUYLER as GALLO AND BARNETT glance in his direction, gesture for him to approach. Gallo WINKS casually at Schuyler. SCHUYLER, wary now, moves toward them through the METAL DETECTOR-- which GOES OFF with a WHINE. The ALARM MONITOR woman approaches with a wand-- but Schuyler steps back, wide-eyed. ALARM MONITOR Probably just your keys, sir-- SCHUYLER turns and moves quickly for the exit. BARNETT Yo, Schuyler, wait up-- He's through the door. The WHINE OF THE DETECTOR continues as we-- CUT TO: 162. E X T . B A R T T R A I N - N I G H T THE WHINE dissolves into the SCREECHING of a TRAIN on an EL TRACK. 163. I N T . B A R T T R A I N - N I G H T LIGHTS FLICKER on and off in a moving train car. SCHUYLER scribbles intently in a brand new kid's school notebook, open in his lap. He sits at the end of the moderately crowded train car. Suddenly, he looks up, eyes wild, starts SCANNING the subway car slowly, sensitive to it all. By now he's definitely the sort of person you'd avoid in a public place. INTERCUT POV with his REACTIONS, as everything falls into place in his increasingly febrile mind... SCHUYLER'S POV-- SLOW PAN OVER the assortment of nighttime RIDERS-- a couple of TEENAGERS, an OLDER WOMAN with shopping bags, a DRUNK. CAMERA PAUSES on a patch of GRAFITTI: typically unreadable SCRAWL, but the letters could be CRS. CAMERA MOVES to the overhead ADVERTISEMENTS: one for hemrnorhoids, a seasonal bank ad featuring the EASTER BUNNY... PAUSE ON a PHOTO of an ecstatic CALIFORNIA LOTTERY WINNER holding up a wad of cash with the words "YOU CAN'T WIN IF YOU DON'T PLAY." A MAN READS the SPORTS PAGE: "GAME FINAL 23-2." ON THE FLOOR, a CANDY BAR WRAPPER with A GOLD KEY printed on it, part of a contest. SCHUYLER picks this up, examines and discards it. SCHUYLER' S POV-- an ELDERLY MAN with a clunky HEARING AID is looking at Schuyler with a blank expression. The man suffers from a facial TWITCH that causes one eye to BLINK rapidly. SCHUYLER narrows his eyes at the man, then looks away pointedly. He puts the notebook into A PLASTIC BAG. Beneath it, cradled in his lap, is the mysterious black book. He opens this carefully-- CLOSE, the book is hollow. Inside is an expensive HANDGUN. WIDE SHOT from the next train car-- A FIGURE IN FG is staring through the scratched, fogged window AT SCHUYLER as he puts the leather book into the bag with his notebook... 164. E X T . B A R T T R A C K S - N I G H T The train car SHOOTS into a tunnel. DISSOLVE TO: 165. I N T . B A R T C A R - D A W N Schuyler is using the plastic bag and his jacket as a pillow, his eyes closed. Suddenly there's a KNIFE at his throat. PUNK End of the line, man. SCHUYLER starts; the PUNK keeps the knife on him. He's a young, glassy-eyed junkie. He wears a RADIO EARPLUG in one ear, a wire heading down to his waist. Schuyler nods, starts studying the man's arms, heavily TATTOOED with crude cabalistic SYMBOLS. SCHUYLER Are the tattoos supposed to mean something? PUNK (momentarily thrown) Yeah, they mean you're dead, you don't gimme what you got. SCHUYLER (touches the punk's arm) OK, there's the C... PUNK Give me the fucking bag! SCHUYLER (cold, deadly) Come on, you're not going to put me through all this shit and then kill me on a fucking train, it won't look like a suicide... As Schuyler speaks he sits up, the PUNK grabs the bag-- Schuyler grabs the guy's knife hand, they wrestle on the floor of the car, clawing at each other. The punk drops the knife, it gets knocked beneath the seat, both men reach for it... TRANSIT COP Freeze assholes! Schuyler and the punk look up to see a TRANSIT COP pointing his WEAPON. The punk throws his hands up, scrambles to his feet-- PUNK Psycho pulled a knife on me! The cop has grabbed the still prone Schuyler, flipping him over and slapping a handcuff on him-- SCHUYLER What do you think you're doing, this guy attacked me! The cop has dropped his guard; the punk spins and bolts into the next car, squeezing through the door. The TRANSIT COP hastily cuffs Schuyler to an armrest-- TRANSIT COP Wait here-- He dashes into the next car after the punk. Schuyler looks at the floor of the car, sees-- THE SMALL RADIO and its EARPLUG attached by a WIRE. The radio has a tiny LOOP/RABBIT EAR antenna on it. He snatches it up, then YANKS at the cuff. He spots the knife under the seat, grabs it, starts using the blade to unscrew the armrest from its post. FROM THE NEXT CAR he hears SHOUTS, SCREAMS, a serious commotion going on, he doesn't know who's winning. Schuyler's almost gotten free as the TRAIN SLOWS, when-- --the DOOR at the far end of the car opens, it's the PUNK, bruised and bloody, ready to kill. He lunges at Schuyler just as he PRIES THE ARMREST off the seat and CLOBBERS him with it. The punk reels back. The train has stopped, the doors have opened-- Schuyler grabs his bag and squeezes out onto the platform just before they shut again. 166. I N T . B A R T S T A T I O N - D A Y SCHUYLER locks the free cuff on to the same wrist as the other, sliding his jacket over them, moving briskly up the stairs. 167. E X T . B E R K E L E Y S T R E E T - D A Y SCHUYLER emerges and walks quickly, checking over his shoulder, BLINKING IN THE BRIGHT MORNING SUN. He fiddles with the RADIO, the PLUG to his ear. We hear STATIC, BLEEPING NOISES, FILTERED VOICES. For a few moments the VOICES ON THE RADIO become CLEARER. RADIO VOICE #1 --can't let him get away with this, he's outta control! The next thing you know, he'll push the wrong button and we'll all be dead-- SCHUYLER listens intently, leaning against a wall in the shadows, breathing hard. He stares nervously at a couple of nearby STREET PEOPLE huddled by a shopping cart, they stare back. Another VOICE on the radio talks OVER the first: RADIO VOICE #2 --Whoah whoah whoah-- OK the guy's a moron, sure, but he doesn't have the balls to end the world! Anyway I'm sicka talking politics, let's get back to the business of nipple piercing-- you got a ring, don't ya Robin? We hear the HYSTERICAL GIGGLING of ROBIN QUIVERS. SCHUYLER blinks, recognizing the voice of RADIO DJ HOWARD STERN. RADIO VOICE #2 (HOWARD STERN) Ugh, we gotta do commercials, this is the Howard Stern show... SCHUYLER fiddles frantically with the dial and antennas, calling up RANDOM RADIO MUSIC, COMMERCIALS, etc. CLOSE ON A TRASH CAN-- Schuyler tosses his hollowed leather book into it. It falls open, we see the gun is gone. CUT TO: 168(NEW). I N T . H O S P I C E - D A Y TRACK DOWN an institutional corridor, a few EMACIATED PATIENTS in wheelchairs... they only come here to die. ELIZABETH, Schuyler's ex, 4Oish, fit and attractive, a few months pregnant, READS to a couple of sad PATIENTS in a lounge area. She trails off as she looks up, astonished to see-- SCHUYLER, bruised, frightened, almost looking like he belongs here. SCHUYLER Hello Elizabeth... 168A(NEW). I N T . S P O R T S C A R - D A Y Elizabeth backs out of a parking lot in a 3OO-ZX CONVERTIBLE and pulls into traffic, Schuyler beside her, babbling emotionally. SCHUYLER I'm sorry, I shouldn't be bothering you-- you're a genuinely good person, your work is important, it's real, nothing that happens to me is real anymore-- ELIZABETH What has happened to you, Sky? SCHUYLER I need your help, you're the only one left, the only one I can trust-- not that I deserve your help, God how could you have even married me, I was a shit to you-- ELIZABETH No you weren't-- SCHUYLER Yes I was. Sometimes I think I'm being punished for my sins, I mean, there has to be a reason... CUT TO: 169. I N T . B R E A K F A S T P L A C E - D A Y ELIZABETH FLIPS THE PAGES of Schuyler's notebook-- page after page of psychotic-looking scribbling, dense UNDERLINES, many EXCLAMATION POINTS. ON ONE PAGE-- "CRUEL RANDOM SHIT." WIDER-- a few BUSINESS PEOPLE read papers, pick at eggs; A LARGE- SCREEN TV plays MORNING PROGRAMS. Schuyler stares at Elizabeth, awaiting reaction... she seems incapable of speech. He puts the tiny radio and earplug on the table between them. SCHUYLER This is one of their devices, I pulled it off their assassin in the subway. It's how they communicate with each other. Elizabeth picks the thing up, studies it, puts the plug to her ear. ELIZABETH It's... a radio... Schuyler waves dismissively, "you don't understand," takes the radio back from her and pockets it. SCHUYLER I can't find the right channel... Listen, I may not make it through this-- if anything happens, get that notebook to, to, the press, or the FBI or something. Someone you can trust, I don't know, assuming you can trust anyone. I just want you to know I'm not crazy, and I didn't kill myself, no matter what they say-- She stares at him, trying to be strong, but she's very freaked out. A BARMAID brings their order. Schuyler stares at the barmaid suspiciously as she puts a cup of coffee before Elizabeth, and gives him a bottle of water and a glass. He tests the seal. SCHUYLER Has this been opened? BARMAID No sir. Just like you said. He watches her as she retreats, leans toward Elizabeth, puts his hand on top of her cup. SCHUYLER I don't think coffee is safe. Schuyler opens the bottle and drinks straight from it thirstily. Elizabeth registers the CLINKING HANDCUFFS on his left wrist. ELIZABETH Schuyler, try and listen to me. I love you, I always have, I always will. And maybe this is... good. Maybe this a point you had to reach, before-- SCHUYLER (staring at her) Before what? ELIZABETH Before-- I'm just glad you came to me for help. I don't know if I'm strong enough to, to handle this on my own but I know a lot of excellent crisis people-- SCHUYLER Crisis people. Crisis people? A CELL-PHONE RINGS in her purse, she makes an exasperated noise and pulls it out, with a "one sec" gesture at Schuyler. He rises during her conversation, a new look on his face-- he can't trust her either. ELIZABETH Hello? Hi, hon, I'm OK... um, could I call you back...? Schuyler's distracted by something on the TV... he lets out a STRANGLED CRY. Elizabeth turns her head to see. ON TV SCREEN-- It's JIM FEINGOLD, clutching his head, rubbing his temples with a look of pain. CHEESY MUSIC, THROBBING SPFX. SCHUYLER approaches the set, shouting at it. SCHUYLER You bastard! You fucking bastard! How did you find me here!? Elizabeth gets up, tries to pull him back to the booth, he pushes her away, not taking his eyes from the set. PATRONS react nervously to the deranged man. FEINGOLD (ON TV, filter) Ooof-- my head is killing me! SCHUYLER Fuck you! THE TV IMAGE WIDENS, a COMMERCIAL ACTRESS rubs Feingold's neck. SCHUYLER Who are you? ACTRESS (ON TV, filter) Honey, have you taken anything? FEINGOLD (ON TV, filter) Sure, some aspirin-- The actress CLUCKS her tongue, shakes her head. SCHUYLER's starting to get the picture. SCHUYLER He's an actor... ELIZABETH Of course he's an actor, it's a commercial. SCHUYLER (a revelation) He's just a fucking actor... ON TV-- Feingold holds up a colorfully marked bottle of pills, studies them with a shit-eating grin. SOOTHING MUSIC. FEINGOLD (ON TV, filter) My head feels great! Thanks to Ambutol, I'll never use aspirin again! FEINGOLD gives way to the image of A BOX OF AMBUTOL. SCHUYLER lets Elizabeth escort him back near the booth. He's completely absorbed in his own thoughts. ELIZABETH Have you taken something? SCHUYLER What? ELIZABETH Are you on drugs? He shakes his head, waves his hand dismissively. He's thinking about something else. Elizabeth starts dialing. ELIZABETH Schuyler, I'm calling a friend right now, I want you to wait here with me until-- Schuyler tries to sound normal, claps her on the arm. WHILE HE TALKS, CAMERA FINDS Schuyler's other hand, which slips stealthily into her PURSE, lying on the seat of the booth. SCHUYLER Elizabeth, please... I'm sorry, I'II be alright, it's just been a hard day... Listen, I gotta use the restroom, be right back-- He moves quickly down a corridor marked RESTROOMS and EMERGENCY EXIT. She looks after him, quite puzzled, phone still to her ear. 170. E X T . R E S T A U R A N T P A R K I N G L O T - D A Y Schuyler emerges from a back exit, looking behind him, the EMERGENCY ALARM SOUNDING. He twirls Elizabeth's car keys on his finger as he jogs toward her sports car. He unlocks it and the ALARM SCREAMS for a moment before he figures out how to shut it off, then he starts it and PEELS OUT. SCENE 171-172 DELETED CUT TO: 173. E X T . C H I N A T O W N - D A Y Elizabeth's car zips through traffic in a Chinatown neighborhood full of festive restaurants and shops. SCENE 174 DELETED 175. E X T . T U N G H O Y - D A Y Hanging red ducks in the window, a SIGN with a phone number in the window: "TUNG HOY-- WE DELIVER" in English and Chinese. SCHUYLER argues with an OLD CHINESE WOMAN behind the counter-- 175A(NEW). I N T . T U N G H O Y - D A Y A cramped, funky restaurant, rows of CELEBRITY HEAD SHOTS on a wall behind the delivery counter. SCHUYLER pursues the CHINESE WOMAN as she serves bowls of noodles to a CHINESE FAMILY. SCHUYLER He's an actor, does TV commercials, I know he's ordered from you, he had food delivered to an office building on Mission-- CHINESE WOMAN Many customers, very busy, I don't know, I don't know-- SCHUYLER Damn it! Schuyler stalks away from her, finds himself facing the wall of signed photographs-- ON WALL, old and stained pictures, the most famous being the likes of ED McMAHON and CHARO. Among them is a newer HEAD SHOT of FEINGOLD with a shit-eating grin... below, the name WILLIAM FISHER. SCHUYLER leaps on the counter and tears the photo off the wall-- CHINESE WOMAN Stop that, what you doing?! Schuyler's already leapt off the counter, bolts out the door. 175B(NEW). I N T . E L I Z A B E T H ' S C A R - D A Y SCHUYLER is on the CARPHONE, glances from the road to-- THE OBVERSE OF THE HEAD SHOT in his hand, a PHONE NUMBER before the (short) list of credits, he flips it to show Feingold/Fisher. SCHUYLER (on phone) Yes, Mrs. Fisher, I know it's short notice but we were hoping your husband could come in for an audition today, he's perfect... SCHUYLER looks annoyed at what he's hearing. SCHUYLER Isn't there any way we can get in touch with him now...? I see... He makes a quick U-TURN, the tires SCREECHING. SCENES 176-179 DELETED 180. E X T . Z O O - D A Y Late afternoon. PAN FROM THE ENTRANCE to find SCHUYLER buying a ticket and hurrying in. 181. IN THE ZOO, Schuyler prowls the crowd with manic energy. SCHUYLER'S POV-- ZOO-GOERS gazing at the ANIMALS... CAMERA FINDS Feingold/Fisher, wearing casual clothes, eating a popsicle. He's doing his best to supervise THREE OBNOXIOUS CHILDREN, two boys and an older girl. He's just another dad at the zoo, far from impressive-- the Wizard of Oz after the curtain's been pulled. When he makes eye contact with Schuyler, he pales, trying to herd the children together as Schuyler moves in on him... he can't get away. Schuyler grabs the man's shirt. SCHUYLER Bill Fisher, hi! I really admire your work... FEINGOLD Oh please... I got my kids here... Schuyler releases him, Feingold sheepishly avoids his eyes. Schuyler casually shows him the gun, the man's eyes widen. SCHUYLER Get rid of them. FEINGOLD (to the kids) Hey, everyone-- here's a twenty! Snack time! He dangles the bill over their heads, the KIDS CHEER, leap like dolphins after fish. The girl's tallest, grabs the cash, they run for a nearby concession. Schuyler and Feingold stroll together. FEINGOLD Look, buddy, it was just a job-- nothing personal, y'know? I play my part, improvise a little, that's what I'm good at, I still do a little stand-up-- SCHUYLER I've seen your resume. I'm sick of foot soldiers, I've gotta get to whoever's in charge. FEINGOLD Of CRS? Christ, nobody knows, nobody gets the big picture-- (looking away) Jason, Tommy, cut it out! FEINGOLD'S BOYS ARE THROWING ROCKS at the monkeys. They give their father a look and saunter along. SCHUYLER's not interested in the zoo drama. FEINGOLD Goddammit, why do they do that. SCHUYLER How do I find them!? Their offices were abandoned-- FEINGOLD They own the whole building, they just move from floor to floor. Schuyler takes this in for a moment, thinking. SCHUYLER OK... They know you, you've worked for them. You're going to get me inside. FEINGOLD (shaking his head) Uh-uh, I'm sorry and all, but-- SCHUYLER Tell them anything, tell them the cops are after you, you've gotta talk to someone or you'll blow the whistle. FEINGOLD No way, it's too dangerous. Schuyler cocks his head, steps in front of him. Right in his face: SCHUYLER You don't seem to understand. Right here, right now-- I'm the danger. Feingold gets the message. DISSOLVE TO: 182. E X T . C R S B U I L D I N G - N I G H T LIGHTS OFF in the building. A battered STATION WAGON rounds a corner, PAUSES before the ramp to the garage entrance-- the same garage he and Christine were once tormented in. 183. I N T . S T A T I O N W A G O N - N I G H T FEINGOLD drives, looking very tense; a kiddie seat strapped next to him, junk galore; he's apparently alone. FEINGOLD We're here, Sky. They said they're on the twelfth floor. BEHIND THE SEAT-- Schuyler crouches under a blanket. SCHUYLER Drive in, then. FEINGOLD Look-- what are you gonna do? Really? SCHUYLER Really-- I don't know. Improvise. Go! 183A. I N T . C R S G A R A G E - N I G H T The station wagon stops at the bottom of the ramp. A BEEFY GATE GUARD behind glass glares at Feingold, who waves timidly. The STEEL GATE RISES and the station wagon drives in. THE STATION WAGON parks near an elevator bank; a handful of CARS, a few white CRS SECURITY VEHICLES and VANS parked nearby. Feingold climbs out, trying hard not to look scared. ELEVATOR DOORS OPEN and a beefy, frightening-looking SECURITY MAN in a suit steps out. He looks around carefully as Feingold joins him. He takes Feingold's arm and pulls him toward the elevator. They wait. SCHUYLER'S POV from the back seat-- just as the DOORS OPEN, the Gate Guard steps up behind Feingold, puts a gun in his back. GATE GUARD You're not authorized to be here. HE FIRES-- Schuyler glimpses a SPRAY OF BLOOD, Feingold collapses. The Security Man grabs the body as it falls, starts dragging it out of sight while the Gate Guard puts a hand to his ear, talks into a mini-transmitter in his other hand. He follows the Security Man out of sight. The elevator doors remain open. With the guards out of sight, Schuyler rises slowly. He looks stunned and sickened as he lets himself out cautiously, sneaking behind vehicles. The main gate is sealed, he has no idea how long the guards will be gone. THE OPEN ELEVATOR DOORS beckon. Schuyler crawls on his belly the last few yards, starts, finding-- CLOSE, a RUBBER BUG on its back. SCHUYLER creeps military style, on hands and knees, the rest of the way to the elevator. He puts a hand in some of Feingold's BLOOD, winces, then gets in the elevator. 184. I N T . C R S E L E V A T O R - N I G H T SCHUYLER presses the button for 12-- the top floor. ON PANEL-- nothing happens, the button LIGHTS for an instant but GOES OUT again. The elevator won't move. SCHUYLER's getting exasperated. ON PANEL-- he tries BUTTONS allover, same story. GATE GUARD Yo! ANGLE INTO GARAGE-- the gate guard jogs TOWARD the elevators, pulling his gun. SCHUYLER starts to panic, pulls his own gun and POINTS IT AT THE GUARD, who freezes and raises his hands. Behind him, the Security Man approaches Schuyler from a different angle, his gun out. Schuyler can't get a bead on both of them. SECURITY MAN You're a dead man. Schuyler looks one more time at the elevator panel-- AT BASE OF PANEL, a gold keyhole. CLOSER-- the letters CRS are printed beneath it, very small. SCHUYLER shakes his head-- it couldn't be; but what else can he do? ANGLE INTO GARAGE-- the guards are fanning out and getting closer. SCHUYLER reaches with one hand for his keys, fumbling for the small gold key he received at the start of the game. ON PANEL-- his hand shakes as he tries to insert the gold key... it fits into the hole; he turns it and PUSHES THE BUTTON for 12. WIDER-- as the DOORS CLOSE, both guards train their guns-- but too late. Schuyler's on his way up. 184A. THE GLASS ELEVATOR RISES through completely blackened spaces. SCHUYLER stares at a BULLET HOLE in the back of the glass elevator, a remnant of Feingold's murder. He holds the gun in front of himself in both hands... then he closes his eyes, steeling himself, almost in an attitude of prayer. 185. I N T . A T R I U M - N I G H T PITCH BLACK but for the LIT ELEVATOR ascending swiftly through the darkness... Schuyler, like a solitary spaceship pilot, looks upward toward his unknown destination. 186. I N T . C R S E L E V A T O R - N I G H T The DIGITAL READOUT slows as it comes to 10, 11 and STOPS at 12. SCHUYLER comes out of his trance, slips the revolver back into his jacket pocket, keeps a hand there, and stands against a wall of the elevator as the DOORS OPEN ON-- 187. I N T . 1 2 T H F L O O R C O M M I S S A R Y - N I G H T --A BUSTLING, NOISY COMMISSARY. Schuyler keeps the gun concealed as he steps out of the elevator-- nobody here is paying any attention to him anyway. There's a cafeteria style counter along one wall, people CHATTING and LAUGHING at Formica tables... amongst others, everyone from his game appears to be here... there's the RASTA, the PARAMEDICS with the HEART ATTACK VICTIM, JOHN and PETE from the men's club, the GIRL from the boat, the DESK CLERK and BELLHOP... also the HONDURAN TRUCK DRIVER, the SECURITY PEOPLE from his house, the PUNK and the TRANSIT COP... and a lot of ENGINEERS. SCHUYLER inches into the room, meets the eyes of-- CHRISTINE, who's just come away from the cafeteria counter with a tray of food. She nearly drops it, looks over her shoulder to see if anyone is watching. Suddenly, Schuyler is in front of her, backs her into an alcove-- she holds the tray between them as if to protect herself. CHRISTINE What are you doing here? For a moment, Schuyler's not sure. His voice is flat, monotonal: SCHUYLER I'm back from the dead. CHRISTINE Listen, everything's OK, nobody touched your money, nobody stole a thing, that's impossible-- SCHUYLER I don't give a fuck about the money, I wanna know who's behind this, who did this to me, how, why-- CHRISTINE It's just a game! Even though she's keeping a surface cool, he notices the GLASS and SILVERWARE on her tray RATTLING. She starts to move toward a table, he blocks her path. SCHUYLER You're not going anywhere. Feingold, or or Fisher, was that just a game too? CHRISTINE What are you talking about? SCHUYLER I watched him die... Schuyler shows her his BLOOD-STAINED HAND. Christine looks utterly perplexed, then shrugs, finding a place to put down her tray. SCHUYLER Seemed like a nice guy, actually, father of three-- CHRISTINE Well, look, I'm sure it's just another stunt-- that can't be real, taste it. SCHUYLER You taste it, you fucking vampire. He pushes his palm in her face, she flinches, swipes him away, then puts a finger to her ear as-- THE ELEVATOR DOORS OPEN and the guard and security man from downstairs burst into the commissary. Suddenly the ROOM QUIETS, many others are touching their ears. They all TURN in the direction of Schuyler and Christine. The gate guard gestures at Schuyler, attempting a smile. GATE GUARD Could you come with us, please? You're not authorized to be here. Schuyler grabs Christine, wraps an arm around her throat, puts his GUN to her neck. SCHUYLER Back off. Everybody back off. He uses his knee in the small of her back to push her brutally toward the nearest door, she CHOKES and GASPS. 188. I N T . S T A I R W E L L - N I G H T The door shuts behind them, the stairs only lead UP. SCHUYLER Shit, how do we get out-- Christine STOMPS his foot and ELBOWS his gut, breaks free and bolts up the stairs. Schuyler catches his breath and pursues. Beneath him, the stairwell door opens, GUARDS PURSUE. 189. E X T . C R S R O O F - N I G H T A HIGH LEDGE surrounds the roof on all four sides, a ROOF ENTRANCE at each side as well. The NUMBER "636" is painted large for helicopters; there are air conditioning vents, ducts, etc. A MUFFLED ALARM sounds as Christine bursts through the door, followed by Schuyler. She spins, her back to the EDGE of the atrium, a black pit in the center of the roof with a sunken GLASS SKYLIGHT, a white RAILING around it. Schuyler SLAMS the door, a large number 1 painted on it in BLUE. He throws the HEAVY BOLT. He and Christine circle each other warily, his gun trained on her. POUNDING from the other side, MUFFLED VOICES that can't be heard. For the first time, Christine focuses on the gun in his hand, then clutches the railing. CHRISTINE Wait a minute. What's that? Schuyler addresses her as if speaking to a child: SCHUYLER It's my gun... CHRISTINE We didn't give it to you? Where did it come from? SCHUYLER A gun store. CHRISTINE We searched your house! SCHUYLER Guess you fucked up again. Christine touches her ear, listening to something, then puts her hand to her mouth, speaks urgently. CHRISTINE He's armed, he's got a real gun. Real Situation, real-- Schuyler steps forward and violently wrenches the EAR PIECE and HAND MIKE away from Christine, the wire tears her blouse open. SCHUYLER Yeah, it's real all right. CHRISTINE Schuyler this is all fake, tricks, it's all part of the game-- SCHUYLER Stop it. Every word out of your mouth is a lie-- Christine's desperately panicked, fumbling for words. CHRISTINE The key!! They, we gave you a key to the elevator! Why would we do that?! We wanted you to come up-- SCHUYLER Of course you did. So you could kill me or, or frame me for murder-- CHRISTINE No, no, it's THE GAME!! Blanks, squibs, high-tech special effects, none of it's real! Just open that door and I'll show you! Schuyler hesitates a moment, looking in the direction of the door. SCHUYLER I open the door and I die. ON THE DOOR-- POUNDING DESPERATE, but the ALARM DROWNS out the sounds of VOICES on the other side. SCHUYLER turns quickly as she takes a step towards him. He points the gun at her again. He looks ready to use it. The following DIALOG overlaps and collides, growing AURAL CHAOS-- SCHUYLER You move again I swear I'll kill you, you bitch. CHRISTINE THINK ABOUT IT!! They followed you every step of the way, the cab, in the trunk, we had a diver-- SCHUYLER They? We? CHRISTINE --the guy in Honduras, the cop on the train, there was always a safety net, always-- SCHUYLER Shut up, shut the fuck up!! AXES DENT the metal door, which BULGES. He looks at the monitor in his hand, the one he tore from her body, putting it in his own ear, letting the rest of the device dangle. RADIO VOICE (filter) --just hang in there, keep talking him down, we're on our way-- CHRISTINE We've been trying to end it since you got back, our people came to your house, they tried to bring you in from the subway, you kept running, you weren't supposed to keep getting lost-- SCHUYLER You just said you wanted me to come here-- you're making this up as you go along! CHRISTINE Please Sky, please. Take a breath and think about it! SCHUYLER Stop. Fucking. With my head! Schuyler runs a hand over his sweating forehead, the gun TREMBLING in his hand. Christine's regaining control. Schuyler's mind whirls, he GROANS, almost crying as he considers for the first time that she might be telling the truth. She steps closer. CHRISTINE You're all right, it's OK, just relax... RADIO VOICE (filter) Are you there? How's he doing? CHRISTINE Please... when you open the door, the game ends... just open the door... Bill Fisher's out there, he's fine, nobody got hurt. Why would we do the crazy things we did, if it wasn't part of a game? We thought you knew that... He looks at her, almost ready to lower the gun. He raises his bloody hand to his lips, about to taste it. RADIO VOICE (filter) --we're at the North entrance, Number 2, just a few more seconds and we'll nail him-- Schuyler's eyes dart toward-- ANOTHER DOORWAY, on the other side of the atrium, like the one that's bolted. The number 2 is painted on it in RED. The handle starts to TURN just as-- --CHRISTINE LUNGES AT HIM to wrest the gun away. SCHUYLER comes to his senses, struggling. The GUN GOES OFF, the report should be DEAFENING. He spins, points the gun at Door #2 and FIRES again, several times. THE ALARM STOPS-- SILENCE. Christine STIFFENS, falls backwards onto the ground, clutching her BLOOD-DRENCHED stomach. Schuyler just stares. Dark blood SPILLS from her mouth as she CHOKES in pain... CHRISTINE Oh God. I blew it... we blew it... DOOR #2 OPENS and-- DAVID steps through. He wears a brightly colored, silly looking PARTY HAT, carries a magnum of CHAMPAGNE bearing a huge BOW that reads, "SURPRISE." BLOOD PUMPS from HIS CHEST. He DROPS THE BOTTLE, which SHATTERS... David collapses amidst the broken glass. A BLOW OF THE AXE SEVERS the deadbolt and Door #1 flies open behind Schuyler. FEINGOLD is the first of a group to come charging through, he wears a TUXEDO with a ROSE in the lapel, holds the axe. SCHUYLER spins, points the gun at this axe-wielding man, then, utterly stunned, lowers it in disbelief. FEINGOLD looks from Schuyler to the wounded Christine-- her agony is painful to watch. He drops the axe with a CLATTER and runs to her side, kneels. His voice CRACKS. FEINGOLD You shot her!? No! (looking toward David) Qh God no... THE GUARD and SECURITY MAN come out on the roof looking very disturbed, followed by the RASTA and a few OTHERS. Many are dressed for a party now. Feingold looks to their horrified faces. FEINGOLD He fucking shot them!! RASTA I'll call an ambulance. The Rasta dashes downstairs. Schuyler backs away, drops the gun, staggers over to David. He's GASPING for breath. CRS EMPLOYEES give the brothers a wide berth, move toward Feingold and Christine. SCHUYLER David, David, no, no-- DAVID Oh God, Oh God, Sky, save me, I don't wanna die, I don't wanna-- SCHUYLER You're not gonna die. I'm here, you're not gonna die... David's already DEAD, eyes wide, body limp. WITH FEINGOLD and CHRISTINE. He holds his colorful cummerbund over her stomach to staunch the bleeding. She CHOKES in pain. FEINGOLD Hang on, just hang on, you're gonna make it-- CHRISTINE That stupid... They stare over at Schuyler, registering David's death. Schuyler is now drenched in his brother's blood, rocking him in his arms. Most of the assorted CRS people move to get out of the building before the cops show, MURMURING amongst themselves in fear. FEINGOLD Oh God. I thought you could handle it. All the tests... they said you could handle it... CHRISTINE yells at Schuyler, unable to stand-- CHRISTINE You fucking psycho, you piece of shit, how could you-- SCHUYLER gently lowers his brother and rises, like a zombie now. The big security man picks up his gun and backs away with it, keeping it out of his reach. Schuyler backs away from the body, starts to SHAKE, looks as if he really has lost his mind. Feingold SOBS aloud. FEINGOLD God, why-- there was no point. It was supposed to be fun... Schuyler looks back and forth from the wounded Christine-- who GASPS silent curses, beyond speech-- to David's body... He slowly turns to the Atrium pit directly in front of him. He's strangely calm... SCHUYLER Fun... SHIFT TO SLOW MOTION: SCHUYLER moves for the edge of the atrium pit... THE OTHERS react in HORROR, SHOUT "NO!!", lunging TOWARD HIM... DAVID'S HEAD suddenly MOVES, he BLINKS... SCHUYLER leaps onto the safety barrier around the atrium pit. CHRISTINE jumps to her feet, perfectly alert, a hand extended, SCREAMING, just as-- SCHUYLER CATAPULTS HIMSELF INTO SPACE, and-- DAVID SITS BOLT UPRIGHT. DAVID SKY, NOOOO!! SCHUYLER sees this, too late-- HE AND DAVID make terrified, helpless eye contact across the void, arms outstretched. Schuyler has time to register his irrevocable error as he seems to hang suspended above the glass skylight for an agonizing MOMENT. THEN HE FALLS... LEAVE SLOW MOTION. 190. I N T . A T R I U M - N I G H T SCHUYLER CRASHES through the skylight, TUMBLING-- SPARKLING SHARDS surround him like stars as he PLUNGES, SPINS, SCREAMING. 191. RAPID CUTS-- the CLOWN, CHRISTINE's face, SCHUYLER and DAVID as CHILDREN, HIS FATHER's head striking the landing. These FLASH PAST so rapidly we can't quite process them. 192. INTERCUT WITH: INCREASING DARKNESS, GROUND RUSHING CLOSER... ON SCHUYLER'S FACE as he experiences the epiphany that comes before the end. BRILLIANT ANGELIC LIGHT suddenly illuminates him, his eyes roll into his head, closing-- ANGLE FROM ABOVE-- the LIGHTS are real, they've COME ON to show-- SCHUYLER'S IMPACT-- he LANDS on his back, arms outstretched, eyes squeezed shut-- --and is swallowed by an ENORMOUS INFLATED LIFESAVING CUSHION that covers the floor of the atrium. SCHUYLER BOUNCES in the cushion a few times, gradually coming to a rest, harmless bits of BREAKAWAY GLASS showering down around him. He doesn't move a muscle, his eyes still closed. CLOSER ON HIS FACE... muscles twitch. His eyes open. HIS POV-- UP the now illuminated tunnel formed by the walls of the building around the atrium. THE FULL MOON in the very center through the hole in the glass. All the lighted GLASS ELEVATORS COME TO EARTH, packed with people. SCHUYLER stares upward, mouth open, motionless. DAVID comes running from an elevator, leaps up onto the cushion and bounces over to Schuyler, a huge smile on his face. DAVID Hey, bro, how you doin'? Getting no response, David hops closer, squats by Schuyler's side. DAVID Admit it, you weren't bored... SCHUYLER remains motionless, David's worried now, grabs his arm and starts shaking him. DAVID Jesus. Sky, c'mon Sky-- SCHUYLER begins to LAUGH, a tremendous catharsis. DAVID laughs too, greatly relieved as he helps Schuyler to his feet. THE TWO BROTHERS clutch each other for support on the BOUNCING surface, LAUGHING. CRS EMPLOYEES have gathered around the cushion, CHEERING and APPLAUDING. SCHUYLER wipes his eyes, shaking his head with amazement. Then he hauls back and SLUGS DAVID in the jaw, sending him flying onto his back on the cushion. MORE CHEERS from the crowd, as if they were watching a boxing match. CUT TO: 193. I N T . C R S L O B B Y - N I G H T THE HALLELUJAH CHORUS from Handel's "Messiah" plays. SCHUYLER and DAVID enter together from the atrium, the CUSHION deflates behind them. David licks blood from his lips, rubs his jaw. DAVID You've been wanting to do that for a long, long time, haven't you? Schuyler half-smiles. The SECURITY MAN unlocks Schuyler's handcuffs, giving him back his gun, which Schuyler stares at. DAVID Like they'd really leave a loaded gun lying around. They went over the whole place with a metal detector, then packed that thing with blanks. They turn a corner into the main lobby, Schuyler absently pockets the gun, looks up in wonder... SCHUYLER'S POV-- a SURPRISE PARTY: A STEREO, STREAMERS and BALLOONS, a CHAMPAGNE FOUNTAIN, CAKE and FOOD. CRS EMPLOYEES (mostly ordinary-looking office workers) CLAP and CHEER for Schuyler. They wear PARTY HATS, blow PLASTIC HORNS. SMILING PEOPLE eager to offer CONGRATULATIONS surround him. He's pretty shaky, like a newborn calf. JOHN and PETE shake his hand. JOHN Good one, buddy, really had you going, didn't we? PETE Wait'll you try level two... (a wink) Joke. The RASTA SLAPS his back, Schuyler instinctively looks over his shoulder for a gag message. RASTA That look on your face up there? Shit, man, I almost lost it. The RECEPTIONIST POPS a bottle of Dom Perignon, hands it to Sky. RECEPTIONIST Awesome game-- best I've seen. Not knowing what else to do, Schuyler takes a slug. The GIRL from the boat KISSES his cheek. TECHNICIANS, men with STUNTS UNLIMITED T-SHIRTS, the NURSE from the asylum, the SECURITY PEOPLE, CRS GUARDS, AGENTS, all want a piece of him at once. The "MESSIAH" FADES and an R & B BAND breaks into ROUSING MUSIC as Feingold approaches and sticks a CIGAR in his mouth, LIGHTS it. FEINGOLD Sure glad you jumped, compadre. Otherwise I was supposed to throw you off. (whispering) It's not strictly legal, so don't tell anyone... (a beat, off Schuyler's look) The cigar. It's a Monte Cristo, straight from Havana. Christine approaches, wobbly and dazed herself; she touches his arm. Her voice is soft for the first time, accents gone. CHRISTINE Hey... you all right? SCHUYLER (nods slowly) I think so. You? CHRISTINE Little shook. I'm pretty much a method actress, y'know? SCHUYLER What's your name? CHRISTINE Susan. Susan Waters. SCHUYLER Nice to meet you, Susan... CHRISTINE Can I have a puff? He gives her a DRAG on his cigar. SCHUYLER Look, I have to know. Who's really in charge? She shrugs, blows a SMOKE RING and sticks her finger through it. CHRISTINE God? She winks and strolls off. Schuyler smiles, looking after her. DANCING is starting up IN BG. A clutch of non-CRS people approach tentatively-- including PLYMPTON, ELIZABETH, MARIA and JACK. They all look very confused. PLYMPTON What is this, Sky? We got a call from your brother, said there was a surprise party... ELIZABETH Kind of late for your birthday, isn't it? Schuyler LAUGHS, gives her a hug, surprising her. He still has a giddy smile plastered on his face. ELIZABETH If you wanted to borrow my car, you could've just asked-- SCHUYLER I know, Liz, I've been an idiot, and I'm sorry... PLYMPTON You OK? SCHUYLER Yeah-- I'm good, really. Happy to be alive... Listen, it's great to see all of you, thanks for coming-- but there's something I have to do. Excuse me. He moves away quickly. SCENES 194-197 DELETED 198(NEW). I N T . M E N ' S R O O M - N I G H T SCHUYLER FLUSHES and moves away from a urinal. David waits a few feet away by the sinks and mirrors; Schuyler starts slightly. DAVID So what's the object of the game? SCHUYLER (a beat) What game? DAVID Very good... SCHUYLER (rinsing his hands) Is it always like this? DAVID Mine was a little weirder. Tell you about it sometime. David pulls out A COLORED ENVELOPE, slips it into Schuyler's shirt. Schuyler looks at him curiously as he dries his hands. DAVID The bill. It's itemized. Don't bother opening it now... SCHUYLER (opening it) I thought it was a gift. DAVID Well, no, the card was the gift, the rest was up to you. CAMERA FOLLOWS as David hurries out of the rest room, Schuyler behind him, flipping pages of a long, long bill-- 199(NEW). I N T . C R S L O B B Y - N I G H T --we rejoin the PARTY, which is now in full swing. Schuyler stands alone at the periphery of the dance floor with the bill. He hits the bottom line... he blinks and GASPS. CHRISTINE appears, taking his hand and pulling him away. SCHUYLER What? Where are we going? CHRISTINE Does it matter? They move into a stairwell and start climbing O. S., their hands all over each other. We hear the MUSIC and FESTIVITIES continuing in BG. CAMERA HOLDS for a beat on a SIGN painted on the wall with an arrow upward: "LEVEL 2..." CUT TO BLACK \ No newline at end of file diff --git a/unformated_scripts/Script_Gamer.txt b/unformated_scripts/Script_Gamer.txt new file mode 100644 index 0000000000000000000000000000000000000000..ec7d7d1da6f2b08b35e7a45161acc773b82b868f --- /dev/null +++ b/unformated_scripts/Script_Gamer.txt @@ -0,0 +1 @@ + GAMER Written by Mark Neveldine & Brian Taylor September 2007 Some of them want to use you Some of them want to get used by you Some of them want to abuse you Some of them want to be abused - Eurythmics Some years from this exact moment...1 INT. TRAIN - DAY 1 DARKNESS - NOW The beautiful CHIMING SOUNDS OF SPACE TRAVEL through the COSMOS... DOTS OF LIGHT whiz past our face. They could be stars at lightspeed, or... SUBWAY LIGHTS FLICKER ON - in a flash we see PALE, SULLEN FACES, riding into a bleak future, and hear the INDUSTRIAL CLATTER. It's dark, claustrophobic, obscure... the rhythmic beat of track and wheel-clicks engulf us. The lights flicker back on and hold as we see a half dozen SOLDIERS in BROWN CAMO, steel- eyed, prepared for whatever may be at the end of the TUNNEL. ZERO IN on TWO: KABLE, 30-something, roughneck... focused, determined; eyes burning with internalized emotion... ... and SANDRA, late 20s, undeniably hot but tough as hell - both are in shackles & cuffs, being roughly transported through underground tunnels, knocked and shoved around. Uniformed GUARDS roam the train, looking pissed off - their swagger seems to mask FEAR. KABLE is meditating, or exhausted - hard to tell. The GIRL makes eye contact w/ him. SANDRA Sandra. KABLE says nothing, just stares at her, stoic. SANDRA (cont'd) My name is Sandra. GUARD Shut the fuck up. Because he can, the GUARD takes a swing at KABLE'S head with a BILLY CLUB... CRACK! (CONTINUED) 2. WHITE KABLE SCRIPT - 9/19/20071 CONTINUED: 1 KABLE'S skull snaps back into the window. The GUARD swings again, this time nailing KABLE square in the stomach. SANDRA (to the GUARD, a snarl) Putcher dick away... GUARD Get some. CRACKK!! CRACK!! CRACKK!! ... CRACK!! SANDRA is buckled over, awkwardly, hands behind her back tethered to the seat, head dripping blood. KABLE jerks against his restraints, every inch of him wanting to RIP THE MOTHERFUCKER APART... He uses his elbow to help her back up, but SANDRA fights through it, sits back up and spits blood - she can handle herself. The CAMERA holds TIGHT on KABLE and SANDRA... KABLE lets a glob of blood dangle from his mouth, biting his lip, bearing it... we hear the CRUNCHING SOUND of the CLUB working on the others... and the METALLIC RUMBLE and CLATTER of the TRAIN - growing louder, POUNDING, slamming into our brains, blotting out all thought... until...2 INT. TUNNEL #1 - DAY 2 POV: we are RUNNING, ragged, full sprint, down a TUNNEL towards dirty white DAYLIGHT... NO MUSIC - just heavy breath, KABLE'S HEARTBEAT and the sound of his boots bouncing off the concrete... Others are running with us - SOLDIERS with weapons... at the tunnel's end: vaguely defined shapes of buildings, smoke, sky... Our POV WHITES OUT as we...3 EXT. SPAWN POINT #1 - CONTINUOUS 3 ... smash into the DAYLIGHT. Smoke plumes hang from a recent skirmish. KABLE climbs over burning debris, gun raised, as SANDRA and the other soldiers disappear into the grey mist.4 EXT. SLAYERS BATTLEGROUND #1 4 KABLE emerges from the smoke into... (CONTINUED) 3. WHITE KABLE SCRIPT - 9/19/20074 CONTINUED: 4 ... a DESTROYED CITY - PHILLY? DETROIT? NY? Seemingly out of character, he LEAPS THROUGH THE AIR SLO-MO and lands in an OVERDRAMATIC, ROCKSTAR POSE (Nine Inch Nails, Coachella 2005). In sequence, multicolored LEDs on his weapon COME TO LIFE - accompanied by a low frequency hum that seems to pierce somewhere below human hearing. The MULTIPLE TURRETS spin, then snap into place. GO TIME.5 OTHER SPAWN POINTS 5 Other BROWN SOLDIERS emerge like SNAKES out of DIRT HOLES and INTO THE LIGHT. They crouch and spread out.6 SLAYERS BATTLEGROUND #1 6 What appear like BUZZING FLIES swarm thru the grey air - at a closer look, they are like tiny BALL BEARINGS that move like hummingbirds, magnetically controlled. The swarm splits apart - each FLY connects with a different SOLDIER - they hover one foot above and two feet behind the SOLDIER'S head.7 SLAYERS BATTLEGROUND #1 - COVER 7 KABLE slides behind a shredded telephone pole and TAKES COVER. The sound of trains, weapons, soldiers all fade away... until... NOTHING. DEAD QUIET. SUDDENLY - A BULLET WHIZZES by KABLE's face - a pause - THEN we hear a GUNSHOT. Another BULLET WHIRS by his leg and another by his shoulder - after the bullets pass, we hear the GUNSHOTS. See the lightning, wait for the thunder. In the peripheral a SOLDIER in DEEP BLUE CAMO runs from behind an old car to a brick staircase. Then another BLUE runs the opposite way, closer in the foreground. BROWNS VS. BLUES?? The SILENCE is crawling, deafening, and then... BOOM. ALL HELL BREAKS LOOSE. Suddenly we are in IRAQ TIMES TEN... KABLE'S eyes glance down at his WEAPON - the turrets quickly shift and rotate - he whips it up in a flash and RETURNS FIRE into the mist: THOOM! THOOM! The shells puncture air and connect distantly... (CONTINUED) 4. WHITE KABLE SCRIPT - 9/19/20077 CONTINUED: 7 The air ripples all around him, his world closing in... he breaks free and runs toward an open street - THE TURRETS READJUST - he efficiently wastes two BLUES with automatic fire.8 SLAYERS BATTLEGROUND #1 - OPEN STREET 8 A couple of PEDESTRIANS walk across the street, totally IGNORING THE VIOLENCE. KABLE makes a perfect 90 degree cut and wraps around a street-lamp and into the alley. A BUM holds out a can with a couple of coins and SHAKES it. From an aerial POV we see the area swarming with BROWN & BLUE combatants and a dozen CIVILIANS. In the top right corner of our frame we see the DULL REFLECTION of a FACE, somewhat transparent, watching the battle, tungsten red (similar to your own reflection on a TV). We SNAP BACK to the ground - the whole area is a BATTLEZONE. KABLE lines up another BLUE climbing the fire-escape to the third floor window - and then, coming from the REAR SURROUND SPEAKERS, behind us: A VOICE - almost a whisper, too clean and distinct to be outdoors in this environment... and TOO YOUNG to possibly belong to KABLE. VOICE (O.S.) (clean, disconnected) Eat shit please. THWIPPP!! The BLUE drops like a sack. KABLE perfectly cuts back another 90 degrees and runs for an old store front. Inside a CLERK "air" bags groceries for an empty store. A BROWN SOLDIER sets up a TRIPOD MACHINE GUN and aims for a bunker a hundred yards north. The distant BLUE targets seem almost robotically unaware. The BROWN SOLDIER plants his left hand on the ground for stability, right hand twisting the grip-lock - and squeezing the trigger: TAT TAT TAT TAT TAT TAT!!!! TATATATATATATATATA TAT!! The BLUES fall, some clumsily colliding into each other before they crash to the ground, dead. Another team of BLUES rock their heads around to focus on him. Uh oh... BOOOOOSH!!!! The BROWN TRIPOD GUNNER is vaporized from the knees up... the FOREARM that supported him is standing straight up, cleanly severed at the elbow. It slowly wobbles over and connects with the TWO LEGS severed at the knees. The THREE LIMBS fall into each other, forming a flesh and bone TRIPOD. (CONTINUED) 5. WHITE KABLE SCRIPT - 9/19/20078 CONTINUED: 8 VROOOOOOSH!!! CHUKUNK, CHUKUNK!! A SNOWPLOW BARRELS THROUGH THE DESTRUCTION, pushing the bodies and debris out of the way and clearing a path, one streaked with crimson red and burnt flesh. It moves fast and vanishes into the smoke clouds.9 SLAYERS BATTLEGROUND #1 - STREET 9 Down the road, KABLE saves an EAST-INDIAN WOMAN from getting obliterated by shoving her out of the way of the blazing truck. As KABLE turns to waste another BLUE, the EAST-INDIAN WOMAN gets right back up... walking into and getting obliterated by another TRUCK. It's creepy - robotic, but violent and too real - like a programmed suicide. VOICE (O.S.) Can't say I didn't try... We sense emotion in KABLE'S cold eyes - then they flicker to the peripheral.10 SLAYERS BATTLEGROUND #1 - 2ND FLOOR BUILDING 10 Tracking along a row of blown out windows a BLUE is taking aim; we SNAP ZOOM in... SUPERIMPOSED OVER THE IMAGE: The transparent GHOST OF A FACE, as though projected on glass. The LIPS MOVE in sync with: VOICE (O.S.) Shit! Shit! KABLE spins, TOO LATE - BUT: from the level directly below the SNIPER - through an open doorway - we see a BROWN SOLDIER, BLASTING STRAIGHT UP THROUGH THE CEILING! The BLUE is BLOWN TO CHUNKS.11 SLAYERS BATTLEGROUND #1 - STREET 11 The BROWN runs out and hits the curb; CONCRETE AND MEAT collapse on the spot where she stood... it's SANDRA. KABLE gives her covering fire as she heads his way. They bolt for a corner - KABLE reaches protection first. He stops to let SANDRA catch up, and in that instant - HER BRAINS GET BLOWN TO JELL-O. Blood and particles splatter over KABLE's gear. VOICE (O.S.) Suckage. (CONTINUED) 6. WHITE KABLE SCRIPT - 9/19/200711 CONTINUED: 11 Without hesitation KABLE turns and wastes two more BLUES. Up ahead HE SEES IT: an OCTAGON STEEL SHED with small GLOWING EMERALD GREEN WINDOWS. He makes for it. The little FLY following him is picked out of the air by a stray shot - PLINK! VOICE (O.S.) (cont'd) ... what the...! Bullets and shells chop up everything around KABLE, but he's QUICK... A SHELL smacks his shoulder HARD, almost knocking him off his feet - shredding the BROWN CAMO and revealing the FLEXIBLE BODY ARMOR UNDERNEATH. He scrambles to the octagon's entrance and BAILS IN.12 INT. SAVE POINT #1 12 KABLE steps into the middle of the vacant steel room. The second he breaks the GREEN LASER, FLOOD LIGHTS blast on all around the BATTLEFIELD. A SUBMARINE ALARM sounds from loudspeakers everywhere, echoing through the streets, CYCLING DOWN. The battle is over - session complete.13 EXT. SAVE POINT #1 13 KABLE steps out. The LEDS on his weapon blink off in sequence... ARMED GUARDS are EVERYWHERE, rounding up the I-Con's. [I-CONs (I-Convicts) are the combatants -- death row inmates/lifers, of which there are never a shortage. GENERI-CON's (Generic Convicts) are the street traffic that lend unpredictability and realism to the battlefield... they are computer controlled NPCs (non player characters)... petty thiefs and criminals who are risking their lives by participating to commute their sentences] A DOZEN GUARDS collect weapons - TWO approach KABLE. His eyes are pure MURDER; SANDRA'S brain matter still drips from him. HE WHIPS UP THE WEAPON, POINTS IT AT A GUARD'S HEAD AND PULLS THE TRIGGER - (CONTINUED) 7. WHITE KABLE SCRIPT - 9/19/200713 CONTINUED: 13 NOTHING. The GUARD doesn't even flinch. The WEAPON is DEAD, dormant; they all knew it. The GUARDS have a good LAUGH... KABLE is CLUBBED from behind - we... FADE TO BLACK.14 INT. TRAIN - LATER 14 Back on the rattling TRAIN, where we started. The SURVIVING SOLDIERS - both BROWN and BLUE - are shackled to the rail - wounded, exhausted, hollow eyed. BLUE SOLDIER 1 Good run, Kable. KABLE only looks to the floor. KABLE (quietly) My name's Tillman. BROWN SOLDIER 1 Whatever your name is. You got to the save point fast. BROWN SOLDIER 2 So the fuck what? No one's getting out of here alive. BLUE SOLDIER 1 I am. I'm going to make it. The cynical BROWN just shakes his head. BROWN SOLDIER 2 Sure you will. BLUE SOLDIER 1 (tuning the BROWN out, turning his attention to KABLE) They say you only got three battles left til you get out... KABLE says nothing. The CAMERA pushes in on a TATTOO on his forearm: a simple outline of a black box with the words inside: I AM RIGHT HERE WITH YOU. [MUSIC: Aldo Nova, "LIFE IS JUST A FANTASY" kicks in...] 8. WHITE KABLE SCRIPT - 9/19/200715 INT. LAB - TIME INDETERMINATE 15 A spartan, underground LAB. A PLAIN-CLOTHES TECH sits on a stool holding a simple REMOTE; on the table next to him is a SMALL METAL DISH. In front of him, floating in the air, is one of the little metallic FLIES. He pokes at it - it instantly jukes left; again - it jukes right... almost faster than the eye can follow. No way he could ever touch it. Semi-satisfied, he holds out the metal dish and clicks the remote. The FLY drops into the dish - CLINK. CLOSE-UP: the little gunmetal ball is black and dented on one side - probably the one we saw get knocked out of the air. There is a PINHOLE GLASS LENS on the other end. The TECH picks it up with thumb and forefinger and holds the lens up to his eyes. Switch to: POV of the FLY CAM: the TECH'S face, extreme wide angle, examining. The image flickers, glitches - then CUTS TO: WHITE NOISE. MATCH CUT TO:16 INT. TELNET CONTROL ROOM - DAY 16 A CONSOLE of MONITORS cut from FUZZ to GRAPHICS. TECH GUYS and PRODUCERS scramble... it's SHOWTIME. OFFSCREEN VOICE Counting down five... four... three... two... SWISH PAN and SNAP ZOOM across the room, through an open door, to the CORRIDOR, where...17 INT. TELNET NEWSROOM, CORRIDOR - CONTINUOUS 17 [END: "LIFE IS JUST A FANTASY"] A REPORTER - GINA PARKER SMITH, sexy eager-beaver, focused - a NEWS EXEC, 40s, and a CHIEF OF STAFF, 60s are walking briskly along in a heated discussion. CHIEF OF STAFF Do we have the damn interview or don't we? (CONTINUED) 9. WHITE KABLE SCRIPT - 9/19/200717 CONTINUED: 17 PRODUCER We're cunt hair close - CHIEF OF STAFF I can't blow off the Three-Asian War for "close". PRODUCER All respect, Bob, nobody cares about dead Orientals... they care about Ken Castle - CHIEF OF STAFF May I hear from Gina please? GINA spins on him, looks CHIEF straight in the eyeballs. GINA PARKER SMITH OK, Bob? Bob. You realize Castle has clocked exactly - one - media appearance to date and that was Walters' last interview before she died - NINE FUCKING YEARS AGO! CHIEF OF STAFF Stop menstruating, just tell me we fucking have it - GINA PARKER SMITH We fucking have it! The CHIEF OF STAFF bangs open a conference room door with his fist as they blow by - veers off and disappears. GINA rolls her eyes in disgust, keeps moving. GINA PARKER SMITH (cont'd) Palindromes. (she STOPS) Hold on. Focus: let's get lunch. Sushi, Iranian, or Mexican? PRODUCER Burger chili fry? GINA PARKER SMITH (considering) I'll freak a burger. FREEZE FRAME on GINA - ZOOM and...18 INT. NEWSCAST 18 TV GRAPHIC: (CONTINUED) 10. WHITE KABLE SCRIPT - 9/19/200718 CONTINUED: 18 GINA'S BURGER-FREAKING face becomes part of an ANIMATED TITLE SEQUENCE. A LIVE WORLDLINK TONIGHT EXCLUSIVE with GINA PARKER SMITH In this context it looks like she's freaking serious world affairs. NOTE: this telecast will play much faster than the page count indicates - hyped up, quick cutting, overlapping dialog, A.D.D. and hyper-caffeinated. VOICEOVER First... there was society... Shots of several dozen young, trendily dressed people (we're talking trends that haven't yet been invented) wandering robotically around a BACKLOT-LOOKING CITY STREET, occasionally bumping into one another... the graphic society LOGO superimposed. VOICEOVER (cont'd) The ultimate SIM environment - where players don't control virtual animated characters - but actual, living, breathing human beings. People are dancing, MAKING OUT on street corners... someone tries to eat an ICE CREAM CONE, misses his mouth and pokes it into his eye. VOICEOVER (cont'd) (quoting) They walked them, they talked them. They juiced them... A HOT YOUNG GIRL in a WET T-SHIRT is SLAMMING a BOTTLE of JAGER. VOICEOVER (cont'd) They rocked them. A MIDDLE-AGED GUY in a shirt and tie is HEADBANGING FURIOUSLY like an extra in a TWISTED SISTER VIDEO. VOICEOVER (cont'd) We all remember the slogan. (CONTINUED) 11. WHITE KABLE SCRIPT - 9/19/200718 CONTINUED: (2) 18 SWITCH TO: ROWS OF PEOPLE in front of wall-sized VIDEO MONITORS, transfixed, doing a kind of sign language with their hands... JAPANESE lining up around the block... COLLEGE STUDENTS and OFFICE WORKERS glued to screens... VOICEOVER (cont'd) The creation of reclusive genius Ken Castle, society took the world by storm, becoming the number one guilty pleasure of billions, either playing or watching... and generating one of the world's largest private fortunes, surpassing Steve Jobs and Bill Gates practically overnight. A FILE-FOOTAGE CLIP of KEN CASTLE - 30s, fresh and boyish, Southern molasses accent - being interviewed on a news show: KEN CASTLE I ain't complainin'! FREEZE on CASTLE... the IMAGE DISTORTS in THREE DIMENSIONS, offset red and blue channels shifting. VOICEOVER Nine months ago, Castle unveiled a new simulation - one that would take gaming to new heights of thrilling excess... and controversy - SLAYERS. SLAYERS LOGO over a slo-mo shot of BROWN and BLUE soldiers walking towards CAMERA - BADASS, with BIG MOTHERFUCKING WEAPONS slung at their sides... VOICEOVER (cont'd) If society let us live thru others... SLAYERS would let us die thru others. Slick edited COMBAT FOOTAGE from the BATTLEFIELD. Explosions, flame throwers, bullet hits... DUDES screaming, unloading MASS ROUNDS... VOICEOVER (cont'd) Slayers gives the gamer full control of a flesh and blood human being in full scale, kill-or-be- killed combat. And when we say flesh and blood, we mean flesh - A QUICK CUT of a BROWN'S ARM BEING BLOWN OFF. (CONTINUED) 12. WHITE KABLE SCRIPT - 9/19/200718 CONTINUED: (3) 18 VOICEOVER (cont'd) ... and blood. An RPG EXPLODES - CHUNKS smack the lens and OOZE DOWN. SWITCH TO:19 INT. TELNET - INTERVIEW STUDIO LIVE - CONTINUOUS 19 CASTLE is opposite GINA PARKER SMITH, both identified by translucent animated CHYRONS. CASTLE is older now than in the earlier clip; early 40s - his body is more solid; hair cut shorter, conservative. But the eyes still SPARKLE. GINA PARKER SMITH Slayers. KEN CASTLE (big smile) Slayers. CASTLE'S accent is like pure Georgia honey. He's a rock- ribbed charmer. GINA PARKER SMITH (down to business) Why isn't it murder? She leans in, playing the role of hard-hitting reporter to a T. KEN CASTLE Gina, when was the last time you saw someone volunteer to be murdered? I'm sure you know that every last one of our Slayers is a bona fide death row inmate - (points for emphasis) ...each one offered a chance to participate as an alternative to their sentence. Stay alive for thirty sessions and get set free... that's not a bad God damned deal. GINA PARKER SMITH I see - and has any one of these men or women ever actually survived long enough to be set free? KEN just smiles, locks in on her eyes. (CONTINUED) 13. WHITE KABLE SCRIPT - 9/19/200719 CONTINUED: 19 KEN CASTLE I'd remind your audience that Slayers was put together with the full cooperation and approval of the United States federal government... that the revenue it produces is responsible for funding our entire prison system - keeping the bad guys behind bars... and that the prop was voted for by a cock solid 68% of the American public.20 INT. STUDIO BOOTH, OFF CAMERA - SIMULTANEOUS 20 PRODUCER (to BOARD OP) What'd he say?21 INT. TELNET - INTERVIEW STUDIO LIVE - CONTINUOUS 21 GINA PARKER SMITH ... in an election tainted by suspected digital fraud... (changing gears) let's talk about the so-called generi-cons. VIDEO: a montage of slayers "civilians" - the bum shaking a can in the midst of chaos, a group of pedestrians walking robotically into a wall of flame, store clerks "air-bagging" groceries... GINA PARKER SMITH (cont'd) Sent into the slayers environment with a set of pre-programmed actions, with no way to react and no one controlling them - their chances of survival are next to nil. KEN CASTLE There's a lot of men and women in prison that could never cut it as slayers... shouldn't they have the same opportunity to roll the dice for a ticket out? Besides - they only need to survive one session. VIDEO: the East Indian Female generi-con from the first battle gets smeared by a truck. (CONTINUED) 14. WHITE KABLE SCRIPT - 9/19/200721 CONTINUED: 21 GINA PARKER SMITH Right... SUPERNOVA FLARE TO:22 EXT SLAYERS BATTLEGROUND 22 BULLET-CAM IMAGES of a SLAYERS SOLDIER leaping into action and freezing in MID-AIR, a GRAPHIC SUPERIMPOSED: HOW DOES IT WORK?23 INT. TELNET - INTERVIEW STUDIO LIVE 23 THROW TO the LIVE STUDIO BROADCAST - GINA PARKER SMITH (leaning in) Mr. Castle - how the hell does it work? KEN CASTLE Simple. A 3-D ANIMATED GRAPHIC accompanies his explanation - the VIRTUAL CAMERA zooms in to the FROZEN SOLDIER'S head - and then INSIDE, passing thru transparent layers. KEN CASTLE (cont'd) It begins with a single nano-cell planted in the motor cortex of the brain -- this cell can replicate, replacing the cells `round it with perfect copies... We see a cartoon image of a tiny nano-cell - labeled with a bold, block letter N. The nano-cell approaches a normal cell next to it... there is a flash; now the cell next to it has turned into an exact copy of the nano. This continues, multiplying exponentially, until we zoom back to reveal that the entire brain has been converted to nano-cells. KEN CASTLE (cont'd) ... these copied cells contain remote access functionality. Therefore, nano plus cortex equals the nanex. The graphic zooms back further to show a pair of hands working a retro ATARI-style joystick... animated waves indicate a wireless transmission from the joystick to the Slayer, who unfreezes and flies into action. (CONTINUED) 15. WHITE KABLE SCRIPT - 9/19/200723 CONTINUED: 23 GINA PARKER SMITH Geek, geek, geek - come on, Castle, you promised us a demonstration. CASTLE smiles broadly. KEN CASTLE (coy) Did I? You know I seem to recall that - let's just see... CASTLE waves in his PERSONAL SECURITY: A half dozen GEEKS in BLACK JEANS, BLACK T-SHIRTS w/ WHITE SOCKS and SNEAKERS; BACKPACKS... yes, even FANNY PACKS. A full range of GEEK VARIATIONS: beard/mustache combos, thick glasses, pony tails, etc. One GEEK brings out the CUTEST, SOFTEST little SPANIEL PUPPY in the world and places it in CASTLE'S LAP. Meanwhile several OTHERS are directing HANDHELD SENSORS at GINA and thumb-clicking to establish TRACKING POINTS - her slightest movements are scanned and interpreted as data in real time. GINA PARKER SMITH (fighting it) Oh... my god. So cute. KEN CASTLE You like her? Her name is Gina. She's a good little bitch. Somehow, in his sweet southern drawl this rolls off almost acceptable. The CREW has a laugh off-screen; GINA blushes. GINA PARKER SMITH I beg your pardon?24 INT. STUDIO BOOTH, OFF CAMERA - SIMULTANEOUS 24 PRODUCER This motherfucker is off the charts. CHIEF OF STAFF You realize he could buy our network. PRODUCER (shrugs) Why would he? (MORE) (CONTINUED) 16. WHITE KABLE SCRIPT - 9/19/200724 CONTINUED: 24 PRODUCER (cont'd) Son of a bitch can pull 650 million pay-per-views for a single broadcast. ON the MONITORS: CASTLE is showing GINA how to make the dog roll over, sit up, etc. GINA has her hands up, limp in front of her chin, like a submissive puppy begging, and she is PANTING; she's clearly getting into it... her every movement is MIRRORED by the adorable dog. BOARD OP That's fuckin scary.25 INT. TELNET - INTERVIEW STUDIO LIVE, CONTINUOUS 25 More COMBAT FOOTAGE, this time focusing on KABLE HIGHLIGHTS. GINA PARKER SMITH Isn't it true that each human that undergoes the procedure will have a distinct IP address -- like a notebook computer or mobile device? KEN CASTLE Similar, yep. But control is strictly localized to the parameters of our gaming environments. BACK TO THE STUDIO. KEN CASTLE (cont'd) You take Society for instance: once a cast member leaves the workplace they are completely free from the control and monitoring of their player. GINA PARKER SMITH (incredulous) That's a relief. KEN CASTLE (teasing) To some, maybe... to some... don't you suspect a good many folks wouldn't mind an itty bit of control? GINA PARKER SMITH I don't... um... (CONTINUED) 17. WHITE KABLE SCRIPT - 9/19/200725 CONTINUED: 25 KEN CASTLE Someone else making all the decisions for you... no responsibilities, no tough choices... think about it. GINA PARKER SMITH (tough) We will, Mr. Castle. We will. A SUPERNOVA FLARE throws to MUSIC and GRAPHICS: YOU ARE EXPERIENCING a LIVE WORLDLINK TONIGHT EXCLUSIVE26 INT. THE INTERVIEW STUDIO, CONTINUOUS 26 Back to handheld, non-broadcast REALITY. KEN has GINA's hand in his hand, beaming. Her demeanor has changed; she's like a LITTLE GIRL with her DAD at the fair. KEN CASTLE Good little talk. GINA PARKER SMITH My pleasure. Shit, can I tell you? I CAN. NOT. wait for the next Slayers. Kable has been unbelievable. His arms are just so... well, I know it's awful.27 INT. STUDIO BOOTH, OFF CAMERA - SIMULTANEOUS 27 PRODUCER What the hell is that? The WORLDLINK GRAPHIC GLITCHES OUT, replaced by a BLUE SCREEN - like an old school COMPUTER CRASH. THEN - One letter at a time, in retro Apple chicago font, accompanied by the exaggerated sound of COMPUTER KEYSTROKE CLICKS: HUMANZ (CONTINUED) 18. WHITE KABLE SCRIPT - 9/19/200727 CONTINUED: 27 Then a VOICE - deep, but speaking ARTIFICIALLY QUICKLY - like in radio commercials, where they use time-compression software to remove the silences between the words. HUMANZ BROTHER Ken Castle wants you to believe that you are living in a safer, better world. He's a liar. Mind control is slavery. We will all be his dog if we allow this evolution to continue. Everyone in the STUDIO is speechless, watching the monitors - including CASTLE; actually, he LOVES it... he's laughing his ass off. PRODUCER Mr. Castle, we have no idea... KEN CASTLE Shush! ON THE SCREEN, the humanz logo dissolves, 8-bit ARCADE STYLE, replaced by: THE EVOLUTION OF MAN ACCORDING TO CASTLE Underneath is the CLASSIC ILLUSTRATION showing the progression from primitive EARLY MAN to the erect MODERN HUMAN. In a crude ANIMATION the progression CONTINUES: MODERN MAN bends back over on his hands and knees; in the final stage he's wearing a DOG COLLAR, getting fucked in the ass - then fed through a MEAT GRINDER, packaged & sold as HAMBURGER. KEN looks over at the PRODUCER. KEN CASTLE (cont'd) That's a God damn hoot. PRODUCER (to his techies) Bypass orbital, reroute from the backup servers, NOW, for Christ sake, you dirty apes... (to CASTLE) Sorry, Mr. Castle, we can't hard- line a live broadcast. It's impossible to stop every virus that sneaks in. (CONTINUED) 19. WHITE KABLE SCRIPT - 9/19/200727 CONTINUED: (2) 27 KEN CASTLE Uh huh. You might wanna oughta let my boys take a look at your firewall. The screen CUTS TO BLACK, COLOR-BARS blink, then an advertisement streams in. KEN stands, holding GINA'S hand, kisses it. KEN CASTLE (cont'd) (to GINA) What about your firewall, sugar - wonder if I might breach it one of these sunny days. He gives her a ROGUISH WINK. GINA PARKER SMITH You're bad. BOARD OP He's good. On the monitors, we transition back into a paid commercial: a VICTORIA'S SECRET PORN-looking GIRL in HANDCUFFS turns to CAMERA. PORN GIRL Wanna blow off a little steam? CUT TO:28 EXT. PRISON YARD - DAY 28 A PRISONER - shirtless, his upper body smeared with WHITE POWDER, screaming, SLAMS HIS FIST DOWN INTO FACE. Blood sprays on white. We see that he is beating down a uniformed GUARD. The GUARD wears a black gas mask, shattered and pouring blood. Other prisoners, shackled together, stand by watching, forming a half circle around the fight. They are shirtless, covered in the same white powder - they look like tribesmen. One of the prisoners, very distinctive, nods grimly, clearly * enjoying the show. DISTINCTIVE PRISONER * Fuck him up. The prison yard is a vast expanse of white - it could be a chalk mine, or the surface of a strange planet. Distant towers mark the perimeter. (CONTINUED) 20. WHITE KABLE SCRIPT - 9/19/200728 CONTINUED: 28 Other groups of shackled prisoners can be seen in the distance, trotting along in lines. Trails of thick magenta smoke snake across the yard, sucked by the wind. The ROGUE PRISONER stomps down on the GUARD'S face one last time - his shoes are made of cloth. CRUNCH. The GUARD stops moving. The PRISONER starts to run for it across the white terrain. A group of GUARDS appear to round up the remaining prisoners. They club them down with the butts of rifles but pay no mind to the fleeing ROGUE... they merely watch him go, impassive. In a moment, we see why - when the ROGUE PRISONER crosses between the two distant towers he is jerked to the ground by an invisible field. Sound? Light? Magnetism? His body goes into spasms; blood foams from his ears, mouth, eyes. CUT TO:29 EXT. PRISON REC AREA - DAY 29 Fingers run through white powder, making patterns. A black shadow crosses the frame, accompanied by a low hum; some sort of aircraft. KABLE looks up as the shadow tracks across him; we never see the craft. He looks out across the yard. KABLE is sitting in what seems to be a minimal REC AREA cut out of the white terrain. He sits by himself wearing a white cloth hoodie, eyes dark, head down, silent. Across the yard a group of prisoners are playing basketball; EVERY SINGLE PLAYER is SKYING for dunks. We focus in on KABLE'S TATTOO: I Am Right Here With You... In the yard a CRIPPLE, his two legs stiff with braces, walks ROBOTICALLY along on crutches. KABLE watches him, expressionless. It triggers a memory... FLASH TO:30 EXT. SUN-SOAKED EXTERIOR 30 A LITTLE GIRL, no more than two, walks along on her DADDY'S feet... giggling, trusting... her hands grip his big fingers... taking each big ROBOT STEP with him... FLASH TO: 21. WHITE KABLE SCRIPT - 9/19/200731 EXT. PRISON YARD - DAY 31 A BASKETBALL comes out of nowhere and KNOCKS THE CRUTCH OUT from under the CRIPPLE, sending him ass-up on the asphalt. Prisoners JEER. FREEK (quiet, conspiratorial) Kable. Kable. We see that KABLE has drawn the pattern in his tattoo with his finger in the white powder; at the sound of the voice he runs his hand through it, wiping it away. A wiry, jittery dude of indeterminate age is sitting next to KABLE. KABLE doesn't even turn to look. KABLE My name is Tillman, freak. FREEK Tillmans, yeah, Tillmans, I knew that, they said you name's was Tillmans... just sittin, always sittin, always lookin, just lookin... like me, I keep my holes down... you got to, man... a dude inevitably start to break up, start to crack and break up everyday, never know you gonna die today or live another two, three. You never do know. All these niggaz gonna snap, snap, snap, one by one, every last one, all of em. Yeah but not you. Twenty seven battles and three to go... no one ever got that close before, no one even done ten games without gettin they brains shot... but Kable, Kable, Kable, he just sittin, lookin, like he got a plan, he already somewhere else, he on a mission, nothin' get in his way, never break, never snap, never say shit, just take care of his business, niggaz get spooked by that shit. You spooky. KABLE turns slowly to look him in the eye, says nothing. FREEK (cont'd) Spooky. KABLE looks away. (CONTINUED) 22. WHITE KABLE SCRIPT - 9/19/200731 CONTINUED: 31 FREEK (cont'd) Why they put you in here, Tillmans? KABLE waits a good long beat. KABLE I killed my best friend.32 INT. PRISON - NIGHT 32 A prisoner sings Metallica off key, but balls to the walls: PRISONER Master! Master! Master of Puppets I'm pulling your strings - Twisting your mind and smashing your dreams... KABLE is alone in his cell. At the base of the single door is a SLIDING COMPARTMENT to push food through - it opens. But instead of a tray, someone pushes through a wrinkled photograph. KABLE picks it up and looks - a WOMAN, just a blur of golden hair, laughing, and a LITTLE GIRL... the same one in KABLE'S vision. WOMAN (O.S.) You want to get back to them. KABLE is stunned, silent. He sits on the ground, shoulder leaning against the heavy door, staring at the girl in the picture. WOMAN (O.S.) (cont'd) It's all you think about. It's the only thing that keeps you alive. Her words are like hammer blows to his guts; he wants to weep but he's too strong, too internalized. He steels himself. KABLE Who's talking? She pushes through a white NOTECARD and PEN. WOMAN (O.S.) Sign it. KABLE What? (CONTINUED) 23. WHITE KABLE SCRIPT - 9/19/200732 CONTINUED: 32 KABLE doesn't take it. WOMAN (O.S.) Sign it... please, Tillman. My son David is your biggest fan. He prays for you. This takes KABLE by surprise; he reluctantly takes the pen and card. He writes something on it and sticks it back through the slider. PFFHHT. The WOMAN stabs KABLE'S hand with a LANCET - she draws out a little blood. KABLE yanks his hand back out. WOMAN (O.S.) (cont'd) Need to prove it's authentic. Makes it worth more. KABLE Why would anyone want my name? WOMAN (O.S.) You don't even know what's going on out there, do you? (beat) Damn... At the far end of the solitary block a BUZZER sounds - then the SLIDE and SLAM of heavy steel. WOMAN (O.S.) (cont'd) Gotta go. KABLE jumps up and pulls himself against the door - a lifeline is slipping away... KABLE Wait. (he holds the wrinkled photo to the window) How did you get this picture? Have you seen them? He peers through the little window at the top of the door, but she's GONE... Instead, a group of PRISONERS are being led down the corridor to their NEW CELLS. We recognize grim, battered faces from the yard - these are the men that stood by as the GUARD was being beaten down. (CONTINUED) 24. WHITE KABLE SCRIPT - 9/19/200732 CONTINUED: (2) 32 DISTINCTIVE PRISONER - hands cuffed behind his back, makes * eye contact with KABLE as he walks by. * FADE TO BLACK.33 EXT. PRISON RUNNING TRACK - DAY 33 A desolate white RUNNING TRACK; a guard TOWER overlooks... the field is empty but for ONE MAN: KABLE. He's busting ass around the track, pouring sweat. We're right there with him, CLOSE-UP - profile, full speed... we hear the HARD BREATHING, the feet pounding dirt, like we're INSIDE HIS HEAD. CUT TO:34 EXT. URBAN DOWNTOWN #1 - SIMULTANEOUS 34 WIDE LOCK OFF - KABLE, 90 feet high, a MURAL painted on the side of a BUILDING. It's an AD for SLAYERS: KABLE in FULL COMBAT MODE, cutting loose with a FLAME THROWER.35 EXT. PRISON RUNNING TRACK - SIMULTANEOUS 35 KABLE, running - we're even CLOSER NOW... he's pushing himself beyond exhaustion, pure focus...36 EXT. URBAN DOWNTOWN #2 - DAY 36 Different city, same story - KABLE, a towering BILLBOARD PROJECTION... endless lanes of FREEWAY GRIDLOCK sprawling beneath...37 EXT. PRISON RUNNING TRACK - SIMULTANEOUS 37 KABLE, staggering, near collapse, lungs burning...38 EXT. TIMES SQUARE - DAY 38 The ICONIC IMAGE of KABLE on the famous TIMES SQUARE VIDEO WALL, now even more massive... the STOCK TICKERS reeling off disaster... he's like GODZILLA frozen amongst the SKYSCRAPERS...39 EXT. PRISON RUNNING TRACK - SIMULTANEOUS 39 KABLE finally flames out... he breaks down to a jog, then doubles over, hands on his knees, gasping for breath. CUT OUT WIDE: KABLE is ant-size and insignificant on the long, barren field, under a vast grey sky... ALONE. (CONTINUED) 25. WHITE KABLE SCRIPT - 9/19/200739 CONTINUED: 39 Hold for a long beat, and... FADE TO BLACK.40 INT. A DOZEN DARK ROOMS - DAY 40 MONTAGE of GAMERS' FACES, preparing to GET IT ON... All shapes, colors and styles, but all RICH AND POWERFUL-looking. Some are sweating, some calm, some beat red, others have guitar-playing twitch faces...41 EXT. SLAYERS BATTLEGROUND #2 - DAY 41 SHOCK CUT into the HEAT OF BATTLE. CHAOS, CONFUSION... KABLE blasts through a cloud of exploding debris... A BROWN to his left is BLOWN IN HALF - the LEGS KEEP RUNNING...42 EXT. SLAYER BATTLEGROUND #2 - STREET 42 TED NUGENT, in BROWN camo, lines up a BLUE SNIPER in a 3rd story window with a CROSS-BOW. He releases the arrow and pins the BLUE's HEAD to the window sill. TED NUGENT Damn, I gonna have to eat you now, son. An UPSIDE-DOWN CAR comes SLIDING down the street on it's hood and slams into TED NUGENT, VAPORIZING him...43 EXT SLAYER BATTLEGROUND #2 43 Another five BLUE SOLDIERS are taken out. Their bodies drop to the ground, gruesome goodness. The FIVE BALL BEARING CAMERAS quickly flock together and check out each body as a swarming unit. From a wider shot, they look like flies on shit... after checking out the recently deleted, they zip off towards the closest save point... CUT TO: * SCENE 44 DELETED *45 INT. FRAT HOUSE - SIMULTANEOUS 45 FIFTY beer slamming COLLEGE STUDENTS are going BERSERK... they've got SLAYERS on a wall-sized screen, pay-per-view... they're high fiving, SMASHING up the place... * 26. WHITE KABLE SCRIPT - 9/19/200746 EXT. SLAYERS BATTLEGROUND #2 - DRAINAGE DITCH - CONTINUOUS 46 KABLE LEAPS for a drainage trench, makes it, and hustles around the back of a burnt out building...47 INT. SLAYERS BATTLEGROUND #2 - STAIRWAY 47 Up a stairway - the GHOST FACE on GLASS superimposed on the image - the face is LAUGHING, GIDDY... VOICE Oh shit... oh shit...48 INT. SLAYERS BATTLEGROUND #2 - 2ND FLOOR 48 KABLE takes up a spot from a second level vantage point - from here we see a small group of BLUES moving down the block, scanning for survivors. VOICE Wul hello thar... KABLE watches himself SWITCH TURRETS on his WEAPON. He brings up a SNIPER SIGHT and locks in on a target. VOICE (cont'd) Wait for it... CLOSE-UP of KABLE'S EAR: just then he hears the SUBTLEST OF SOUNDS creeping up behind. Whoever's controlling him doesn't seem to have noticed - he's too focused on the enemies in the sights. We can see the tension in KABLE'S FACE - he's helpless, trying to fight it, willing his player to take notice. KABLE (whispering) Turn me around God damn it... VOICE What'd he say? A trickle of sweat runs down into KABLE'S EYE. The SOUND is more distinct now, CLOSER... he's practically shaking from the struggle to overcome the control. POV: someone has reached the top of the stairs... KABLE, seen from behind, comes into view crouched by the blown out window. VOICE (cont'd) My boy gotta take a piss or something? (CONTINUED) 27. WHITE KABLE SCRIPT - 9/19/200748 CONTINUED: 48 FINALLY: SNAP ZOOM on a reflection in a shard of HANGING WINDOW GLASS - the outline of a BLUE, raising his gun... VOICE (cont'd) D'oh. KABLE SPINS - FAST. The TURRET is ALREADY REVOLVING when he squeezes the trigger... The ARMOR-PIERCING SHELL takes SNEAKY BLUE by surprise, blowing him out the back of the building... The BLUES in the street take notice. It's a matter of seconds... KABLE makes a run for it as the floor starts to DISINTEGRATE behind him in a shitstorm of bullets. SHRAPNEL drills his back, absorbed by the BODY ARMOR.49 EXT. SLAYERS BATTLEGROUND #2 49 He hits daylight and turns a corner in time to see a group of * BROWNS scattering... a live ARTILLERY SHELL skitters across * the pavement, belching smoke. * BOOM. KABLE is running... he looks to his right - A FROZEN MOMENT: The SAVE POINT up ahead on the SPINNING RAILROAD. * The MOMENT passes; KABLE looks back over his shoulder - a rush of ROARING FLAME is COMING - FAST... at the moment of IMPACT we - * SMASH TO BLACK50 INT. THE TRAIN - TIME INDETERMINATE 50 SOLDIERS are charred, bleeding, wasted. A BROWN is sobbing uncontrollably. BROWN SOLDIER Who are they... who the fuck are they... who's playing us? KABLE watches him, wondering the same damn thing.51 INT. SIMON'S HOUSE - DAY 51 MONTAGE, CLOSE UP: Two fat slices of WHOLE GRAIN BREAD, check. (CONTINUED) 28. WHITE KABLE SCRIPT - 9/19/200751 CONTINUED: 51 Big sloppy spoonfuls of lumpy green ORGANIC PISTACHIO BUTTER, spread on SLICE A, check. Welch's PURPLE GRAPE JELLY spread on SLICE B, check. Combine; CONSUME.52 INT. SIMON'S HOUSE - HALLWAY 52 SIMON - 18, pale and lanky, unkempt shaggy hair; wearing a vintage Guns `n' Roses T-shirt from the Appetite For Destruction Tour - walks down a long, high ceilinged crystal hall with marble floors, macking on the sandwich... passes through a glass tunnel running through the interior of a massive, exotic aquarium - he's alone in what appears to be a vast, cold mansion.53 INT. SIMON'S ROOM - CONTINUOUS 53 SIMON'S ROOM is simple - FOUR WALLS and a CEILING, each one a 3-D, corner-to-corner VIDEO SCREEN. The HD level of the screens is virtually ABSOLUTE - the flesh and blood SIMON himself is just another element in a HIGH-DOLLAR/HIGH-TECH SPACE. The FLOOR is ALL BED. SIMON PADS IN, takes a spinning STUNT JUMP and ROLLS onto his back in a big ass pile of pillows, sandwich intact. The SCREENS are a jumble of floating frames, competing for prominence in the 3-D space... muted VID CHATS, STOCK TICKERS, SPORTS SCORES, ultraviolent SLAYERS playback, etc. Everything dynamic, everything moving. One whole wall is apparently a REAL TIME monitor of the SLAYERS BATTLEGROUND, with updated statistics... POINTS LEADER, FRAG COUNT - we notice that KABLE leads these categories; a video loop of KABLE in action beside his name illustrates the point. In the FOREFRONT of SIMON'S attention: KABLE EARNS 800 UPGRADE POINTS A set of dynamic frames allow him to scroll through a series of revolving images - WEAPONS, EQUIPMENT, BODY ARMOR. SIMON interacts with the 3-D environment using HAND GESTURES - he can SLIDE, SQUEEZE, PULL AND SCROLL the images just by moving his fingers in the air. He flips past various TRANSFORMERS-looking SUPER GUNS... (CONTINUED) 29. WHITE KABLE SCRIPT - 9/19/200753 CONTINUED: 53 SIMON Gay... gay... gay... super gay... hm. He stops on an animated graphic. A SEXY FEMALE VOICE breaks it all down for us: FEMALE VOICE Swarmers. The latest innovation from Browning, this self detonating cartridge offers the widest and deadliest spray available from a full tracking, cornering ordnance. A VIDEO DEMO shows the fired cartridge SPLIT into two-dozen smaller shells that FLASH OUT like a swarm of bees, wind around a corner and utterly SHRED a TEST DUMMY. SIMON Daddy like... An ANNOYING GIRL'S VOICE pops in, along with a VID CHAT SCREEN that takes over the MAIN WALL. She looks about 16 - skinny, skanky, kind of hot. ANNOYING GIRL Simon! SIMON Fan-girl, stop hacking. If I want you unmuted I'll unmute you. ANNOYING GIRL You suck, Simon - you're going to get my boyfriend killed before he can get out of jail and fill me up with his hot seed. SIMON Uh huh. Another GIRL - 17, cute, stoned - chimes in. CUTE STONED GIRL Simon, I just wanna play you. Forget about that star-fucker. ANNOYING GIRL Shut up bitch. SIMON casually waves his hand at the frame, like flicking at a fly; ANNOYING GIRL is wiped away, bringing CUTE STONED GIRL to the forefront. (CONTINUED) 30. WHITE KABLE SCRIPT - 9/19/200753 CONTINUED: (2) 53 CUTE STONED GIRL Thanks baby. When can I meet you for like reals? SIMON notices a metallic sparkle from the GIRL'S TONGUE. SIMON What is that? (like a dentist) Aaaa. He reaches out and "pinches" the screen, ZOOMING IN close as she sticks out her tongue - it fills the wall... a dozen wicked looking BLACK TONGUE RINGS stud the wet pink flesh, TEN FEET HIGH. SIMON (cont'd) Woah. He quickly unsqueezes, zooming back out. The GIRL'S eyes are rolled back in her head, euphoric; she's WASTED. CUTE STONED GIRL You like me? A THIRD GIRL pops in, filling the opposite wall. SHELLY What's up, loser? SIMON Hey sissy. This is SIMON'S SISTER, SHELLY, 14. Frosted up lips, eyes and hair like a Tokyo hooker. SHELLY Mom says - let me see, go to college, move the fuck out, and... oh yeah, you're a sick retard, you're pathetic, and you smell like Jeffrey Dahmer. SIMON Wanna make out? SHELLY You wish. I can't wait til they cut you off, Simian. With a wave of his hand he wipes her image off the screen. TWO MORE video chats pop up - TWIN 21-YEAR OLD GIRLS, stupidly hot. (CONTINUED) 31. WHITE KABLE SCRIPT - 9/19/200753 CONTINUED: (3) 53 TWINS Simon? SIMON Maybe. TWINS (star struck) Oh my god, it's really you!!! Suddenly all of SIMON's screens are filled with the TWINS. SIMON Nice. TWINS (in unison) Do you wanna see our tits, Simon? SIMON (shrugs) Uh, sure. They lift their shirts, GIRLS GONE WILD style. Perfect perky C's with silver-dollar nipples. TWIN 1 Mmmmm, now that we have your attention, here's another offer you can't refuse. SIMON Here we go. When TWIN 2 speaks, it is with a MAN'S VOICE. The accent is EASTERN EUROPEAN. TWIN 2 Fifty million euros for control of Kable, instant transfer to the account of your choice. SIMON Question: do I look like I need the money? We've discussed this before - Kable is not for sale. TWIN 1 (feeling herself up) Baby... make it a hundred. SIMON It's been real. (CONTINUED) 32. WHITE KABLE SCRIPT - 9/19/200753 CONTINUED: (4) 53 SIMON snaps his fingers; all the windows close simultaneously. SIMON makes a clicking sound with his tongue in the new silence. Peace at last. BY THEMSELVES, the screens come BACK TO LIFE. SIMON (cont'd) D'oh. The instant chat boxes are gone, replaced by a soundless, GRAINY VIDEO LOOP - there is something sinister about the lo- fi image... it looks like the feed from an old SURVEILLANCE CAM: Two men are sitting in a room... it's silent, but one of them seems to be SCREAMING - he lifts a gun... SIMON (cont'd) What the fuh...? ... waits a beat... and SHOOTS THE OTHER MAN IN THE HEAD. Black blood pools. This is REAL. The loop repeats. When the SHOOTER turns his face toward the camera, SIMON freezes the frame with a gesture and ZOOMS IN. It's KABLE. A MESSAGE is typed across the screen one letter at a time - we may recognize the retro chicago font from the HUMANZ video prank earlier: want to talk to him? Then, blinking, lo-fi in the lower right corner of the wall: WALKIETALKIE.exe SIMON (cont'd) Um. CUT TO:54 EXT. SOCIETY - DAY 54 MUSIC: Bloodhound Gang, The Bad Touch: Ha-ha, well now, we call this the act of mating But there are several other very important differences Between human beings and animals That you should know about... (CONTINUED) 33. WHITE KABLE SCRIPT - 9/19/200754 CONTINUED: 54 You and me baby ain't nothin' but mammals So let's do it like they do on the Discovery Channel... PAVEMENT flies by... sun SLAMS rainbow flares into the lens... ROLLER SKATES break frame, outpacing us... We're cruising along with a group of YOUNG, BEAUTIFUL PEOPLE, skating like ROBOTS through a CITY PARK... Roller-Dolly follows HOT GIRLS in DAISY DUKES, knee socks and tube tops, belly rings and tatoos in the small of their backs... ATHLETIC DUDES, shirtless, gun racks and six packs... They SWING THEIR ARMS mechanically, identically... synced with each other and the beat of the soundtrack... each face plastered with an absurd, exaggerated GRIN... let's FUCKING PARTY!!! We are in a super-saturated world... NOT virtual/animated, but absolutely real - yet the color and immediacy of it is heightened, off-kilter. On the GRASS, a gang of TOKYO POP PUNK ROCKERS are having a WATER BATTLE, blasting and soaking each other with big plastic WATER CANNONS like something out of SLAYERS... A REDHEAD, soaking wet, is FEELING UP HER OWN BREASTS, totally OBLIVIOUS to her surroundings... One of the SKATERS, out of control, PLOWS RIGHT INTO HER at full speed... The SKATER takes a ride on concrete, grinding flesh off her bare legs... she wobbles to her feet, EYES STREAMING TEARS but STILL GRINNING ecstatically... A guy in a PRIEST OUTFIT holding brightly colored helium balloons looks on impassively; then spots something of interest and breaks off SPRINTING FULL SPEED... People are DANCING - the corniest moves ever... MAKING OUT on the ground... and in the middle of it all...55 EXT. SOCIETY 55 CLOSE-UP: a SPARROW is pecking at a hunk of orange and yellow CANDY CORN. POP OUT WIDE to reveal that the BIRD is EATING OUT OF A GIRL'S HAND... This is ANGIE: 25, BLONDE/black roots... micro mini skirt, fishnets, boots... green-eyes, haunted, with sadness behind them; pretty - the clothes don't quite match her; it's like someone dressed her up as a hooker.... She doesn't seem to notice the little bird munching away; she stands in the middle of the PARK, looking around, lost. (CONTINUED) 34. WHITE KABLE SCRIPT - 9/19/200755 CONTINUED: 55 She spots a GUY standing by himself near a giant sculpture. She walks over to him; the BIRD flutters away. The GUY is young and attractive, dressed in casual business attire. He is wearing a PLASTIC PIG SNOUT on his face, tied with an elastic band. GUY Hey. He smiles like a Driver's License photo. CUT TO:56 INT. GORGE'S LIVING ROOM - CONTINUOUS 56 CLOSE-UP of LIPS, profile - by the looks of it, an OVERWEIGHT MALE... sweat, stubble. The ROOM is DARK - lit by the AMBIENT GLOW of a VIDEO SCREEN. GORGE Hi.57 EXT. SOCIETY - DAY 57 ANGIE echoes, practically overlapping. ANGIE Hi. We will continue to CUT between the two locations. GUY So what's your damage? He WINKS. ANGIE strikes an exaggeratedly DEMURE, FLIRTATIOUS POSE - then immediately snaps back to NEUTRALITY. GORGE/ANGIE You know, just hanging out. (beat) Looking to meet people. GUY Lucky you... CUT TO: 35. WHITE KABLE SCRIPT - 9/19/200758 INT. DALE'S PLACE - CONTINUOUS 58 A CLOSE-UP of LIPS to match GORGE'S, but facing the OPPOSITE DIRECTION. An extremely butch, masculine FEMALE; trace of a mustache. DALE You met me.59 EXT. SOCIETY - DAY 59 GUY (echoing) You met me. ANGIE laughs, a beat LATE. Across the street a WOMAN has hiked up her skirt, squatted down and is TAKING A PEE on the sidewalk. GORGE/ANGIE I'm Nika. DALE/GUY I'm Dale. (looks her up and down) I like your fur. GORGE/ANGIE Do you want to go somewhere? She strikes the same FLIRTY POSE for the second time. DALE/GUY We are somewhere. He WINKS; reaches out and puts a hand on her WAIST. They start to make out like TEENAGERS at the PROM. DALE/GUY LIFTS UP HER SKIRT with one hand and SQUEEZES A BOOB with the other. He turns her around and presses ANGIE'S back up against the base of the sculpture, ROUGH, hands all over her/inside her; SLOBBERING down her neck and shoulders... ANGIE just looks straight ahead... her EYES move to a nearby building - the side is an ANIMATED BILLBOARD that has switched to a promo for SLAYERS, with KABLE featured prominently. She watches KABLE'S face move... she lets out an involuntary MOAN that is more like a whimper... DALE/GUY (cont'd) Thanks for vagina. (CONTINUED) 36. WHITE KABLE SCRIPT - 9/19/200759 CONTINUED: 59 A SLAM OF AUDIO WITH THE SHOCK IMAGE OF A BLOODY, DEMONIC FACE - (recreating an internet-style video SHOCK PRANK) ... the SCREEN GOES DEAD - ... and another BLUE SCREEN OF DEATH, another MESSAGE: SOCIETY is RAPE SLAYERS is MuRder - humanz60 INT. GORGE'S LIVING ROOM - CONTINUOUS 60 We get our first wider view of the room. Much more cramped than SIMON'S ROOM... like SIMON'S, the room is dominated by a GIANT VIDEO SCREEN, but just the front wall... there are other - smaller, paper thin - screens mounted in various spots and leaning against walls; GARBAGE and TECH GEAR all over the floor. GORGE - late 30s, MORBIDLY OBESE - is contained by a massive automated rolling chair, like the Escalade of Rascals. The HUMANZ message has taken over his screen and he's GOING FUCKING BALLISTIC, throwing shit at it and gesturing crazily to the wall-mounted MOTION SENSORS with his hands, trying to get the image back. It's NOT HAPPENING. FEMALE NEWS HOST (V.O.) ... a new video prank by the subversive group humanz caused a nationwide stir today...61 INT. CASTLE'S STATIONARY BIKE ROOM - CONTINUOUS 61 The TV REPORT continues on screen, where a NEWS HOST is backed by a graphic showing the "society is rape" screen with footage of exaggeratedly CONFUSED, FRUSTRATED PLAYERS - they're like the actors in INFOMERCIALS who can't manage to peel a potato without losing their shit. FEMALE NEWS HOST All contact between Society City and an estimated quarter of a million players was shut down for over three hours while Castle techs worked to remove what they described as a "Satellite Infection"... A TREE LINED, SUN DAPPLED MOUNTAINSIDE whisks by as feet work the pedals of a MOUNTAIN-BIKE; we're moving around 20 mph. (CONTINUED) 37. WHITE KABLE SCRIPT - 9/19/200761 CONTINUED: 61 SOUND: SLUUURRRRRRRP. CASTLE is cruising downhill in a 360 degree THREE-DIMENSIONAL ENVIRONMENT that looks ABSOLUTELY REAL - except that he is on a STATIONARY BIKE, and the NEWS REPORT is floating in the air as a 3D WINDOW. He is wearing skintight Tour de France-style gear and SLURPING A SMOOTHIE, one hand on the handlebar, the other holding the cup. FEMALE NEWS HOST (cont'd) Experts estimate that the service interruption may end up costing K- Soft billions in lost revenue. NEWS CO-HOST Don't cry for Castle, he can cover that with the change under his couch cushions... FEMALE NEWS HOST On a personal note - that shit was fucking freaky. NEWS CO-HOST Oh - I literally pissed myself. FEMALE NEWS HOST Sounds like fun. NEWS CO-HOST Serious, these humanz cocksuckers are getting out of control, and someone should do something. FEMALE NEWS HOST Moving on to international headlines... CASTLE closes the WINDOW in his FIST. SLUUURRRRRRP. FADE TO BLACK.62 INT. PRISON, WEIGHT ROOM - NIGHT 62 The SCREAM would be comical if it weren't so HORRIFIC. With a dozen CONS looking on: an ASIAN PRISONER is on his knees, FINGERS DEEP into the back of his own skull. ASIAN PRISONER GET IT OUT OF ME...! (CONTINUED) 38. WHITE KABLE SCRIPT - 9/19/200762 CONTINUED: 62 He rips into his BRAIN STEM with a tiny piece of busted RAZOR, hoping to pull out a chip, a wire, anything. He pulls out something, and drops like a sack of potatoes to the floor - FRIED POTATOES. He lands on a couple of dumbbells, his head smashing into the weight bench, spinal cord SEVERED. KABLE looks on, impassive, emotion internalized. GUARDS push through. GUARD What the hell happened to this one? An old black dude - LIFER - answers. LIFER Look like he escaped. The GUARDS roll their eyes; drag away the body. GUARD Back to your Jazzercise, girls... Across the room KABLE notices a NEW GUY - a mean-looking sunofabitch... in fact, if murder were personified it would look exactly like HACKMAN. HACKMAN stares straight at KABLE. There is something in his ghost of a smile that says he'd be more than happy to eviscerate you... it's off-putting to say the least. KABLE Freak. FREEK is there. FREEK Tillmans. KABLE Who the hell is that? FREEK New dude, new dude... that's Hackman. They say he killed a whole mess of people, all kind of people... one day he just walk up and turn himself in, like he wanna be inside or some shit... never gonna run out of slayers long as they got that kind of motherfucka run around kill a mess of people... (CONTINUED) 39. WHITE KABLE SCRIPT - 9/19/200762 CONTINUED: (2) 62 Now HACKMAN is looking at KABLE dead blank. A GUARD comes up behind HACKMAN and SHOVES HIM. HACKMAN turns; the GUARD gestures him to follow. HISPANIC GUARD (O.C.) Hey Kable. KABLE turns to look. HISPANIC GUARD (cont'd) Let's go. Upgrades. CUT TO:63 EXT. PRISON, TRAINING RANGE - NIGHT 63 KABLE and the GUARD are ANT-SIZED in what looks like a massive driving range. VIRTUAL TARGETS are holographically projected in mid-air at various heights and distances. Other PRISONERS are there too, a ways off; well out of earshot. KABLE looks over a Swarmer cartridge, slams it into his weapon; switches turrets, takes a bead on a VIRTUAL TARGET... We see him intentionally PAN THE SIGHT OFF to the left of target; he pulls the trigger - CLICK. The TARGET - and several others close by - turns RED, BLINKS - a HIT. This thing doesn't just take out individuals; it takes out VICINITIES. HISPANIC GUARD Who aims? KABLE (caught off guard) What? HISPANIC GUARD Who aims... the slayer? Or the player? KABLE narrows his eyes, focuses across the field, where other PRISONERS are being briefed and UPGRADED... he spots HACKMAN. KABLE Not much to aiming... it's just hand/eye coordination. I'm the hand... someone, somewhere else is the eye. HISPANIC GUARD That's tripped. (CONTINUED) 40. WHITE KABLE SCRIPT - 9/19/200763 CONTINUED: 63 KABLE glances at the GUARD... he struggles - part of him feels like he's talking too much; but he can't help being grateful for the human interaction. KABLE Sometimes... they take over - you know, completely. They move you. Like a robot. (beat) But it doesn't work so good... that part's just for show. You can't really fight that way. HISPANIC GUARD Why? KABLE There's a delay... HISPANIC GUARD Yeah, the ping... they talk about that. The time it takes the slayer to respond to the command... it's like, five millisecond ping, eight millisecond ping... KABLE gets a bead for a headshot on HACKMAN. KABLE Whatever you call it. A slice of a second is the difference between living and dying out there. When the trigger pulls - He pulls the trigger: a meaty CLICK. KABLE (cont'd) It's just me.64 INT. PRISON LOCKER ROOM, NIGHT 64 KABLE is ALONE, toweling off - privilege of being a TOP SLAYER. We see now the DAMAGE his body has taken - he is covered in dark, ugly BRUISES from BULLET HITS the body armor has absorbed - including a flinch-inducing cluster of BLACK, BLUE AND YELLOW from the most recent session. From down the row of lockers, a WHISPER: HACKMAN Hey. Kable. (CONTINUED) 41. WHITE KABLE SCRIPT - 9/19/200764 CONTINUED: 64 KABLE turns to look. HACKMAN'S head is POKED OUT sideways from around the corner; he's maybe 20 feet away. KABLE Not interested. HACKMAN No. Wait. Look. He brings his HANDS out where KABLE can see them - they are SLICK WITH FRESH BLOOD. HACKMAN (CONT'D) (cont'd) I just deleted someone. HACKMAN is almost GIGGLING, high on it. HACKMAN (CONT'D) (cont'd) This is the blood. Look. HACKMAN rubs his SLIPPERY HANDS together, relishing it; he nods his head toward the area behind the lockers... to call the situation CREEPY would be a serious understatement. HACKMAN (cont'd) He's back here. Want to see? KABLE Your head ain't on straight. HACKMAN cracks his neck. Maybe not. KABLE pulls on his PRISON GREYS quickly, refusing to make EYE CONTACT. HACKMAN I'm going to delete you too. On Sunday. KABLE Yeah, probably. HACKMAN That's why they put me here. KABLE'S eyes narrow - What? HACKMAN disappears; he starts to move along an ADJACENT ROW OF LOCKERS, slamming the doors - SINGING fucking PINOCCHIO: HACKMAN (cont'd) I've got no strings... So I have fun... I'm not tied up to anyone... They've got strings But you can see There are no strings on me... (CONTINUED) 42. WHITE KABLE SCRIPT - 9/19/200764 CONTINUED: (2) 64 KABLE tenses up, ready for INSTANT VIOLENCE. HACKMAN (cont'd) You got two whores, Kable... If he didn't have KABLE'S attention before, THIS GOT IT. KABLE - the fuck did you say? HACKMAN On the outside... oh, I'm sorry - I meant your pretty girls... You want to get back to them but I'm going to visit them first... KABLE is instantly ALL BUSINESS - he's going to make HACKMAN disappear RIGHT THE FUCK NOW... He JAMS around the corner but HACKMAN is NOWHERE TO BE SEEN... past another row of lockers - NOTHING... another... another... WHERE THE HELL IS HE? NOWHERE. KABLE SLAMS a FIST into a locker, BUSTING it off it's hinges. TRANSITION TO:65 INT. CASTLE ESTATE - TIME INDETERMINATE 65 The CAMERA ANGLE on HACKMAN begins to switch perspectives and spin around, as though someone is manipulating it in three dimensions. CASTLE He's so perfect. Snap out to reveal CASTLE in a dark lounge; the walls and ceiling are pure black, making it impossible to tell the dimensions of the room. Minimalist, expensive looking furniture is scattered around. THERE'S NO ONE ELSE IN THE ROOM. CASTLE is standing, bare feet on white shag carpet. He is manipulating the image of HACKMAN in the air by pulling, squeezing, twisting with his hands - the interface is similar to the one in SIMON'S room. CASTLE is as pumped as a kid on Christmas morning. Then, from behind him: CASTLE 2 He's scary. (CONTINUED) 43. WHITE KABLE SCRIPT - 9/19/200765 CONTINUED: 65 We see that a perfect double of CASTLE himself has appeared in the room behind him. CASTLE Yeah... He changes the angle on HACKMAN'S mug to give a better view - then turns to face his DOUBLE... CASTLE (cont'd) (proudly) The new face of Slayers. Pure crystallized horror, two stories tall and covered in bloody red... (beat) He's so what they want. CASTLE 2 (playing dumb) But they love Kable. Another CASTLE appears to CASTLE'S left. CASTLE 3 He's right. CASTLE faces them. CASTLE (unaffected) They do now. But when my boy kills their hero right there in front of their eyeballs, so vivid it's like you can reach out and feel the wet flesh - Trust me, they'll change their point of view. CASTLE 2 How can you be sure? CASTLE It's human nature. They'll be seduced by the power, the violence... the dominance... CASTLE 3 (shaking his head) Guess we never figured on Kable blowing up as big as he did. (CONTINUED) 44. WHITE KABLE SCRIPT - 9/19/200765 CONTINUED: (2) 65 CASTLE Bigger than the game? No. Then again, who ever would've imagined a player could last over a dozen sessions with the same I-con... CASTLE 2 Tillman is a perfect soldier, a tactical killing computer - you dropped him in with common murderers. What did you expect? CASTLE 3 (musing) His instincts give him an edge. CASTLE 2 And in the hands of a talented player... CASTLE 3 Of course we can never let him out. Not after what we did to him. CASTLE 2 Tell me again why we don't just get rid of the problem... (makes a throat slashing motion) You know, off camera? CASTLE pokes a finger at CASTLE 2. CASTLE YOU - lack a flair for marketing. The people would never accept that. They need to SEE their gladiators brought down. CASTLE 3 One thing I know is what makes people tick. Suddenly the room has gone dead silent. We swing the camera around to reveal that CASTLE 3 is all alone in the room. He stares into the void, calm and utterly in control. The CAMERA moves past his head into PURE BLACK... DISSOLVE TO: 45. WHITE KABLE SCRIPT - 9/19/200766 INT. TUNNEL #2 - DAY 66 The black of the underground tunnel... the TUNNEL LIGHTS streak past like vanishing stars... TRAIN TRACKS blur by...67 INT. TUNNEL #2 - DAY 67 KABLE is SPRINTING down the TUNNEL towards DAYLIGHT. The VOICE comes from the rear surrounds: VOICE (O.S.) Kable, dude. It's me. KABLE shakes his head, thinking he's HEARING THINGS. KABLE Who? SIMON (O.S.) Simon. (beat) I'm playing you, dummy. KABLE knifes through the tunnel EXIT...68 EXT. SPAWN POINT #3 - CONTINUOUS 68 We are in the OVER-THE-SHOULDER POV of the FLY CAM as KABLE breaks daylight and slides down the hillside... superimposed over the IMAGE: SIMON'S REFLECTED FACE... the CAMERA pans, centers and FOCUSES IN on the REFLECTION... SNIPER BULLETS whistle by; KABLE DUCKS, ROLLS... the CAMERA PULLS BACK... OUT OF THE SCREEN...69 INT. SIMON'S ROOM - CONTINUOUS 69 ... past the flesh and blood SIMON into an OVER-THE-SHOULDER - SIMON controlling KABLE, PLAYING HIM - as... KABLE LANDS in the ROCKSTAR POSE. SIMON mirrors him in front of the GIANT SCREEN - whatever SIMON does, KABLE echoes.70 EXT. BATTLEGROUND #3/COVER - CONTINUOUS 70 KABLE makes it to cover, HEART SLAMMING. We hear the distant THUMPS of MORTARS LAUNCHING. KABLE How come I can hear you? SIMON (O.S.) It's a mod. (CONTINUED) 46. WHITE KABLE SCRIPT - 9/19/200770 CONTINUED: 70 KABLE Gamers can't talk to cons. SIMON (O.S.) I know.71 INT. SIMON'S ROOM - SIMULTANEOUS 71 SIMON POP-LOCKS - the breakdance arm wave. SIMON It's cool, yeah?72 EXT. BATTLEGROUND #3/COVER - CONTINUOUS 72 KABLE finishes the POP-LOCK - it's goofy. A SHELL impacts the dirt nearby and BLOWS A MASSIVE CRATER in the firma; KABLE shields himself from the raining DEBRIS and scrambles for better cover. KABLE No. Pay attention to the game. They spot another BROWN advancing toward a group of BUILDINGS; SIMON moves KABLE to join him. Just as KABLE gets there a BLUE KICKS OUT A DOOR and opens up with an ASSAULT SHOTGUN, shredding the BROWN. Two more BLUES POP OUT of a DITCH on the OPPOSITE SIDE, TRIANGULATING. KABLE ROLLS - BIG AMMO displacing the air just inches above his head and BLOWING OUT the windows/tires of an ABANDONED CAR behind him - switches TURRETS and comes up FIRING... armor-piercing shells: BOOM. BOOM. A 180 spin... BOOM. MINUS three BLUES.73 INT. SIMON'S ROOM - SIMULTANEOUS 73 In QUICK CUTS we see SIMON striking BADASS poses; on the 3D screen KABLE ECHOES THEM - it's like a SYNCHRONIZED DANCE. CUT TO:74 EXT. BATTLEGROUND #3/COVER - CONTINUOUS 74 KABLE keeps moving - he passes a BLUE, on his knees in the mud; The BLUE has completely LOST HIS SHIT. BLUE SOLDIER 4 This is real, this is real, this is real!!!! (CONTINUED) 47. WHITE KABLE SCRIPT - 9/19/200774 CONTINUED: 74 KABLE doesn't bother to shoot him; he's UNARMED. But... SHHHTUNK. A 50 CALIBER SHELL connects from somewhere distant and the BLUE is VAPORIZED, a smear on the pavement. SIMON (O.S.) That was sick. KABLE Wait a minute... are you twelve? SIMON (O.S.) I'm nineteen. KABLE Bullshit. This is unbelievable. How am I not dead yet? SIMON (O.S.) Cause I'm a badass motherfucker. KABLE doesn't even register this. His darting eyes pick up a familiar face in the chaos: FREEK. FREEK has apparently volunteered as a generi-con - he is dressed as a postman, pulling a cart of mail behind him as he walks across the street. FREEK (mumbling) Gotta keep my holes down... keep `em down. Freek's gonna make it, gonna cut, gonna scatter... gonna burn this joint... It all happens too quickly: A BROWN scrambles behind FREEK and ducks down, using him as a moving human shield; squeezes off a few shots - FREEK is chopped up by incoming gunfire - the BROWN keeps running... there's nothing KABLE can do. An explosion nearby pushes them forward. SIMON (O.S.) Gibs. KABLE What? SIMON (O.S.) Like, giblets. Kibbles and bits. Chunks. Pieces. (CONTINUED) 48. WHITE KABLE SCRIPT - 9/19/200774 CONTINUED: (2) 74 KABLE (burning) These are real humans, fucker. SIMON (O.S.) Death row psychos, so what? They had it coming. An exposed concrete stairwell leads into the bowels of a collapsed building; it looks like it must've gotten the OKLAHOMA CITY treatment in the early 2000s.75 INT. UNDERGROUND PARKING - STAIRWELL 75 But there's still juice feeding the dim FLUORESCENTS... KABLE makes his way DOWN. A distant voyeur's POV - maybe a sniper's telescopic sight? - observes KABLE disappearing underground. KABLE Guess that goes for me too. SIMON (O.S.) Yeah, but you're different. KABLE Different how? SIMON (O.S.) Dude, I don't know. Cause you're MY psycho.76 INT. UNDERGROUND PARKING LEVEL - CONTINUOUS 76 He emerges in an UNDERGROUND PARKING LEVEL. Forty or fifty cars and SUVs, 2000-2009, lie dormant, covered in dirt, dust, and debris. KABLE switches on a LIGHT built in to his weapon. The FLY CAM scans 360 degrees, independent of KABLE, giving them two sets of eyes. SIMON (O.S.) Damn, new area. KABLE nods toward an EXIT at the opposite end, marked P-4. KABLE That way. They make for it. (CONTINUED) 49. WHITE KABLE SCRIPT - 9/19/200776 CONTINUED: 76 SIMON (O.S.) Think about it, Kable: all the shit we've been through together. What an epic run. (beat) It's going to suck to see it end. KABLE Are you kidding me? SIMON Well, yeah - I get that for you it's different.77 EXT. SLAYERS BATTLEGROUND #3/NEAR RESTRICTED AREA - MOMENTS 77 LATER KABLE emerges several blocks from where he started, on a narrow block that seems distant from the heat of combat. Buildings shelter the street on either side... several blocks down a LOW WALL BLOCKS THE ROAD - marked with RED DIAGONAL STRIPES and a warning: RESTRICTED. KABLE We should go that way. SIMON (O.S.) There's nothing there. KABLE Kid, trust me - I was going house to house in Tehran while you were still sucking mommy's nipple. SIMON (O.S.) (sarcastic) Uh, yeah dude, thanks for the visual, but it's a restricted area. It's beyond the borders of the game. I couldn't put you there if I tried. KABLE just grunts; his eyes steal a last look down the block. They head the other way... THOOM. CLOSE RANGE: a big ass armor piercing MORTAR SHELL PASSES IN FRONT OF KABLE'S FACE... Time STOPS; KABLE sees the shell moving through the air an inch from his nose in ULTRA SLO-MO... his cheeks ripple from the displaced air... (CONTINUED) 50. WHITE KABLE SCRIPT - 9/19/200777 CONTINUED: 77 then, REAL TIME - we whip around to follow the mortar as it whistles into concrete and BLOWS OUT the front of a building. KABLE is running.78 EXT. BATTLEGROUND #3 - CRUSHED RIOT VAN 78 SIMON (O.S.) ... shit shit shit! He rolls behind a CRUSHED RIOT VAN and OPENS UP in the direction the shell came from, ash and debris from the impact still raining down... and then: From behind, he's NAILED IN THE BACK by a SWUNG length of IRON PIPE. He half crumples, spins - HACKMAN. HACKMAN SWINGS AGAIN, knocking the WEAPON out of KABLE'S hand; it skitters across the concrete. SIMON is completely freaked - it's happening too fast, no time to react... he tries to engage HAND-TO-HAND but every move pings a step late... KABLE swings a fist; HACKMAN dodges easily. HACKMAN is moving too naturally - as if he's under his own control. HACKMAN slams the pipe off the side of KABLE'S head, DROPPING HIM - then tosses the pipe away... and pulls out a nasty, high tech-looking SHOTGUN. He stands over KABLE and points the barrel at his FACE. HACKMAN (friendly) Bye Kable. He SQUEEZES the TRIGGER... The SUBMARINE ALARM SOUNDS. FLOODLIGHTS CRANK UP. The LEDs on HACKMAN'S gun POWER DOWN with an audible down- cycle... a shell, undetonated, drops from the barrel and plops onto KABLE'S FOREHEAD. HACKMAN (cont'd) What happened? CUT TO:79 EXT. SAVE POINT #3 - SIMULTANEOUS 79 A BROWN CON walks slowly, on unsteady legs, out of the OCTAGONAL SAVE SHACK - profile... (CONTINUED) 51. WHITE KABLE SCRIPT - 9/19/200779 CONTINUED: 79 dudes look at him and back away... when he turns toward us we see why: half his head, shoulder and one arm are blown off... CUT BACK TO:80 EXT. SLAYERS BATTLEGROUND #3/CRUSHED RIOT VAN - SIMULTANEOUS 80 KABLE seizes the opportunity to jam a foot up into HACKMAN'S BALLS, buckling him. He twists HACKMAN'S LEGS into a pretzel and throws him off. KABLE (to himself) Kid's gonna get me killed. SIMON (O.S.) (offended) Hey. KABLE sees GUARDS appearing and BLUES hurrying away from ambush positions - including the one who likely fired the mortar... session complete. KABLE cups a hand over his mouth, conspiratorially, and speaks directly into SIMON'S ear: KABLE Listen to me. I don't know who's behind it, or why, but I was supposed to die today. They're gunning for us. I can beat them, but not with you controlling me. SIMON What the hell...? This is unthinkable, dangerous talk. KABLE Turn me loose, kid. You want to win, turn me loose. SIMON But- KABLE Find a way. A GUARD grabs KABLE and the LINK BREAKS - we... SMASH TO BLACK: 52. WHITE KABLE SCRIPT - 9/19/200781 INT. ANGIE'S APARTMENT - DAY 81 A drab brownstone apartment. Shades block out the oppressive nicotine sunlight; the interior is mute, faded - claustrophobic. KABLE has his cell; even though ANGIE is on the outside, and free, her environment seems to parallel his. A worn-out photo is taped to the fridge: the same little girl in KABLE'S picture.82 INT. ANGIE'S APARTMENT - BEDROOM 82 She stands in front of a closet mirror in the bedroom, looking herself over. She's FULLY DRESSED... but not like we saw her in society. Conservative. Pretty. NORMAL. She rehearses a friendly smile, but has difficulty not breaking into tears. ANIMATED, COLORED LIGHT leaks in from outside through the dark window blinds behind her - some sort of projected advertising?83 INT. ANGIE'S APARTMENT - BEDROOM 83 CUT TO: same room, later. ANGIE sits on the unmade bed. She searches through her purse for a PILL JAR, rattles a few into her hand... she DRY SWALLOWS them... leans forward, eyes shut, struggling NOT TO PASS OUT... she has to pull herself together somehow... the CAMERA pushes past her, toward the window, where the ANIMATED COLORS play 24-7... CUT TO:84 EXT. ANGIE'S APARTMENT - DAY 84 ... the CAMERA pulls away, continuing the motion: we are on a wide view of the outside of the building, a rundown brownstone on a rundown street - animated advertising covers half the side of the structure... An ad for slayers is running - KABLE, in cinematic slo-mo, and superimposed in wall-height block letters: FREE And then: ORDER NOW! CUT TO: 53. WHITE KABLE SCRIPT - 9/19/200785 INT. SOCIAL SERVICES INTERVIEW ROOM - DAY 85 ANGIE sits uncomfortably in a hard plastic chair; the light is flat, fluorescent... in front of her, behind a desk, is a no-nonsense Social Services CASEWORKER, late 30s, CUBAN. CASEWORKER (looks over her paperwork) So... Miss Roth. ANGIE delivers the smile we saw her rehearse with all the warmth she can muster; it's not convincing. CASEWORKER (cont'd) Why are we here today... says you'd like to apply for custody of your child- ANGIE Delia. Her name is Delia. The CASEWORKER looks over the paperwork while ANGIE shifts in her seat... torture. CASEWORKER Spouse incarcerated, life without possibility of parole. You use your maiden name. ANGIE My husband - he... it's not entirely true, regarding his sentence. In fact, he's due to be released soon... She makes brief eye contact with ANGIE. CASEWORKER Your husband was charged and convicted of first degree murder, Miss Roth. I can hardly consider his release, if it was to occur, to be a positive. This is not going well. ANGIE holds her tongue with all of her will, not wanting to make it worse. The CASEWORKER holds all the cards. CASEWORKER (cont'd) (changes subject, back at the paperwork) You're... an actor? ANGIE nods. (CONTINUED) 54. WHITE KABLE SCRIPT - 9/19/200785 CONTINUED: 85 CASEWORKER (cont'd) Not sure if I've seen you in anything. ANGIE I work in society. CASEWORKER Acting, is that what they call it? ANGIE It's a job. ANGIE is hanging on... be pleasant, be friendly, breathe... but INSIDE she wants to cry, to scream, to fucking EXPLODE. CASEWORKER Miss Roth. Your child has been... exceedingly well placed. The new family is very wealthy. She'll never want for anything. (leans in) I understand you love your little girl, but... do you really think she'd be better off with people like you? ANGIE Yes, I do. I'm her mother. The CASEWORKER presses a buzzer, unlocking the door behind ANGIE. CASEWORKER We will give your application all the consideration that it merits. The words burn into ANGIE like battery acid, but there's not a thing she can say.86 INT. SIMON'S ROOM - NIGHT 86 SIMON is lying on his bed, staring at the ceiling - a GIANT VIDEO SCREEN playing back key moments of that day's Slayers session in an endless loop. SIMON holds his fingers up in front of his face, zooming and rewinding the video with little fluid movements of his hands. Suddenly the screen GLITCHES OUT, goes dead for a second - and when it comes back the battle images are replaced by a GIANT FACE, surrounded by black, STARING DOWN AT HIM: HUMANZ BROTHER, early 30's; a savvy leader with an unforgettable presence. (CONTINUED) 55. WHITE KABLE SCRIPT - 9/19/200786 CONTINUED: 86 His style is a throwback to another era; like a 70s Black Panther Soul Brother transplanted into the high tech future. HUMANZ BROTHER You like the software? SIMON (confused) Software... HUMANZ BROTHER The walkie talkie, playa. SIMON puts it all together. SIMON No shit... you're the guy from TV. The HUMANZ. HUMANZ BROTHER That's right, baby. You think about what the brotha said? SIMON To what, um, brotha do you refer... brotha? HUMANZ BROTHER Kable wants the freedom to ass- kick. Do shit his way. You gonna give it to him? SIMON You were listening. HUMANZ BROTHER We see and hear everything that goes on inside the so-called game. SIMON Alright, then. (considering) Kable said we got lucky - that they were gunning for us - what was that all about? HUMANZ BROTHER Kable got a past... he knows things. Things he don't even know he know. SIMON Huh? What things? (CONTINUED) 56. WHITE KABLE SCRIPT - 9/19/200786 CONTINUED: (2) 86 HUMANZ BROTHER Things Castle's afraid of. As long as your boy stay on the inside Castle know he can keep him quiet - but if ever got out... (shakes his head) Uh uh. Castle will never let that happen. SIMON One battle left, I think I can handle my bidness. HUMANZ BROTHER just shakes his head. HUMANZ BROTHER You're not hearing me - this is not something you can control. They gonna kill his ass, Simon. In the eyes of the world. And then what? You just another poor little rich honky. No Kable, no pussy, no shit. SIMON can't deal. SIMON This is, come on... too heavy... I don't know what the hell you're talking about... I just play games, man. Games. HUMANZ BROTHER Mm hm. That's right, it's a game. (changing gears) You want to win it, don't you? SIMON Yeah, dude, I intend to. HUMANZ BROTHER Then you need to cutcho strings, puppet-massa. HUMANZ BROTHER slowly ZOOMS HIMSELF IN. HUMANZ BROTHER (cont'd) Imagine a slayer that don't got to wait to be told what to do. No ping, you dig? A trained killing machine... operating in real time, on pure instinct. (CONTINUED) 57. WHITE KABLE SCRIPT - 9/19/200786 CONTINUED: (3) 86 SIMON can't help but consider it, mind reeling. It's obvious KABLE would royally fucking dominate, but... SIMON shakes it off. SIMON That... would be cheating. HUMANZ BROTHER A mod, that's all. Like that guidance system you hacked on three weeks ago lets you track motherfuckers around corners and shit. SIMON (nervous) Uhhh... HUMANZ BROTHER The game got to mutate, after all. It got to evolve, you feel me? SIMON I do. I do feel you. HUMANZ BROTHER leans back - he has him. HUMANZ BROTHER Then let's rock, baby. [MUSIC: TWISTED SISTER, "I WANNA ROCK" kicks in] A WINDOW pops up on the screen: FreeNigga.exe CUT TO:87 INT. PRISON - HACKMAN'S CELL - NIGHT 87 [ "I WANNA ROCK" continues...] One light... HACKMAN'S FACE, glistening with sweat, is the only thing partially visible in the inky black... the CAMERA slowly ZOOMS into his EYES... twin pools of MADNESS... of MURDER... CUT TO:88 INT. PRISON, KABLE'S CELL - LATER 88 CLOSE-UP of the FADED PHOTO... gold hair, innocent laughter... KABLE runs his thumb across it tenderly, caressing the lines... (CONTINUED) 58. WHITE KABLE SCRIPT - 9/19/200788 CONTINUED: 88 WOMAN (O.S.) (whispering) Tillman. KABLE looks up. It's the SAME VOICE as before - the one that gave him the photo. KABLE You. WOMAN (O.S.) We know you talked to him... your Player. KABLE You're not a guard... who are you? WOMAN (O.S.) A friend. KABLE I don't have any. WOMAN (O.S.) Listen to me: Simon's going to give you what you want. What you asked him for. KABLE How do you know that? WOMAN (O.S.) I know something else: whether or not he's controlling you, you will never reach the save point. Castle won't allow it. KABLE We'll see. WOMAN (O.S.) No. Listen to me, Tillman - the game is unwinnable - they will not let you live. If you're want to get out and see the people in the picture you'll have to find another way. KABLE doesn't answer; he absorbs her words, wondering if he can believe them... finally: KABLE I need you to get me something. (CONTINUED) 59. WHITE KABLE SCRIPT - 9/19/200788 CONTINUED: (2) 88 WOMAN (O.S.) What, Kable... what can I get you? KABLE stares into the DARK, turning it over in his head, then looks up at the WINDOW in the door, a simple black rectangle - and on the other side, his only LIFELINE. KABLE Drunk. FADE TO BLACK.89 INT. STAGING ROOM - TIME INDETERMINATE 89 BLACK. Overhead fluorescents shock and hum to life, revealing a CLAUSTROPHOBIC ROOM - four walls, metal grating underfoot - and A LOCKER. KABLE is in his COMBAT BROWN. He PRINT ACTIVATES the locker. The WEAPON is there... and something else: a wrinkled BROWN PAPER BAG. What the hell? He takes it out, trying not to glance too obviously at the overhead SURVEILLANCE CAMERA. CUT TO the POV from the CAM: KABLE is opening the bag... VOICE (O.C.) What's he got there? BACK in the room. Inside the brown bag is a FIFTH OF VODKA. KABLE quickly slips it into his side cargo-pocket. VOICE (cont'd) Kable, what the hell is that?! Behind KABLE a DOOR SLIDES OPEN automatically, revealing a CONCRETE TUNNEL, like the PLAYERS' entrance to a FOOTBALL STADIUM... the WHITE LIGHT is BLINKING ON and OFF... SOLDIERS sprint for the daylight, trying to escape the TORTURE... it's CHAOS. VOICE (cont'd) Fuck-face - remove the `molotov' from your pants and discard into the recycle bin, now! KABLE grabs the bottle from his pocket, struggling to maintain as the LIGHT slams into his brain, AGONY. VOICE (cont'd) PUT IT DOWN! (CONTINUED) 60. WHITE KABLE SCRIPT - 9/19/200789 CONTINUED: 89 ALL SURVEILLANCE CAMERAS POINT AT KABLE. KABLE - no choice - makes the decision, twists the cap, tilts his head back, and SLAMS THE ENTIRE BOTTLE. He wails the BOTTLE at one of the CAMERAS, shattering it - and joins the others rushing into combat.90 EXT. SPAWN POINT #4 - MOMENTS LATER 90 KABLE breaks the DAYLIGHT - but without a smooth LEAP AND ROLL, and no ROCKSTAR POSE - instead, he TRIPS and tumbles ASS OVER END down an embankment, landing in a heap at the bottom. SIMON (O.S.) (sarcastic) I can see turning you loose was a great idea. KABLE (woozy) What happened. SIMON (O.S.) YOU happened, jackass. You wanted control, you got it. KABLE tests his hands, clenching and unclenching - THE KID WASN'T LYING ... while starting to trip hard on the VODKA, which is kicking in INSTANTLY... KABLE No shit... SIMON (O.S.) Yeah, that's right. So please don't fuck up... An EXPLOSION ROCKS THE DIRT just a few feet away, BLINDING, DEAFENING - and KABLE shifts into ANOTHER WORLD...91 EXT. SLAYERS BATTLEGROUND #4 91 He's MOVING FAST... SOUND is just an idea, disconnected from reality... BODIES AND BULLETS drift by without gravity... his vision doubles and bleeds... SIMON (O.S.) What's the matter with you Kable? Kill something! BLUES. Lots of them. KABLE starts shooting wildly - HITTING NOTHING. (CONTINUED) 61. WHITE KABLE SCRIPT - 9/19/200791 CONTINUED: 91 SIMON (O.S.) (cont'd) This is unbelievable.92 EXT. SLAYERS BATTLEGROUND #4 92 KABLE is running erratically at least... hard to HIT... but definitely HEADED SOMEWHERE. A SHELL SMACKS KABLE'S shoulder, knocking him off his feet; the armor absorbs it, but he's out of time... he's shooting air... SIMON (O.S.) (frustrated) Fuck it. We see SIMON'S fingers glide, dial up the SWARMER... KABLE is still firing randomly as the turret shifts - the SWARMER goes STRAIGHT UP, then locks on BLUE and swerves down on them like HELL FROM THE SKY, turning skulls to swiss cheese. Too close. SIMON (O.S.) (cont'd) (the voice of reason) Kable. Listen: it's the last game. You're going to be dead and I'm going to look like a total asshole if you don't pull your balls together! KABLE Blow me. He scrambles to his feet and charges for the entrance to the UNDERGROUND GARAGE. SIMON (O.S.) Dammit!93 INT. UNDERGROUND PARKING LEVEL - MOMENTS LATER 93 KABLE slams open a door marked P4 and stumbles into the CAR GRAVEYARD... Reality is ROARING, SPINNING... KABLE slams into the side of a parked car, legs rubber... he looks it over - TIRES FLAT, NO GOOD... he stumbles to the next, then another... another... his head hits a passenger side window, SPIDERWEBBING IT... (CONTINUED) 62. WHITE KABLE SCRIPT - 9/19/200793 CONTINUED: 93 FINALLY, the ONE: A FORD F-250 SUPER CHIEF... GUN METAL GREY, PRISTINE. Note: the F-250 is a CONCEPT TRUCK - a future design for FORD'S F-line. In our world this is a 2009 factory model, which makes it old, but not antique. The truck is about as BADASS as you could want, with dark, narrow windows, big ass wheels and a FRONT END that looks like it could PUNCH THROUGH A BUILDING OR TWO. KABLE gets to the FUEL CAP DOOR and pries it open... ENGRAVED under the cap is a prominent WARNING: Ethanol Only SIMON (O.S.) Kable. Dude. What are you doing? KABLE unscrews the cap and sticks his finger down his throat. Dry heave. He does it again - this time puts his mouth on the hole and PUKES PURE LIQUID INTO THE TANK. SIMON (O.S.) (cont'd) What the hell? He stops, doubled over, gasping for breath... then the feeling hits him again - and he heaves another fountain down the hole. A BLUE shows up in the opposite stairwell - KABLE brings his WEAPON up to hip level and BLOWS HIM AWAY WITHOUT LOOKING. His head is clearing. KABLE looks around, unzips his pants and PISSES INTO THE TANK. SIMON is slack-jawed, speechless. KABLE shakes out his head; we can see in his eyes that he's regaining his senses; focusing in. He busts out the DRIVER'S SIDE WINDOW, gets in; tears open the steering column - A BLUE SLAYER shows up in the mirror - fuck! - He CRANKS THE IGNITION... VRUUUUMM, KACHUNK, KACHUNK... BOOOM! A 50mm SHATTERS the back window and punches a hole into the dashboard. KABLE checks what's left of the mirror. HACKMAN and six other BLUE SLAYERS are coming fast. SIMON (O.S.) (cont'd) GO, GO, GO! KABLE Yeah? Anything else ya fuckin cheerleader? (CONTINUED) 63. WHITE KABLE SCRIPT - 9/19/200793 CONTINUED: (2) 93 VRUUUUUM, VRUUUM... KABLE hammers on the pedal again, knocking out the old ghosts - VRROOOOOOMM!! He SLAMS it into gear and PEELS OUT. HACKMAN leaps onto the side of the moving truck and points 50mm directly at the side of KABLE'S head. In a split instant KABLE grabs the nose of the weapon and points it up - BOOM! A close range shell blows through the roof of the truck. KABLE slams the brakes, spinning the truck, and launches HACKMAN into a row of parked cars. HACKMAN gets in one last shot as KABLE punches it out of the garage, disintegrating a concrete column. HACKMAN Fuuuuck!!!! He slams his head into the windshield of a parked car, caving it in.94 EXT. SLAYERS BATTLEGROUND #4/F250 (DRIVING) - MOMENTS LATER 94 KABLE DRIFTS the F-250 onto the street, sideways, tires shrieking... wiping out two unlucky BLUES... pops it and TAKES OFF... He is headed STRAIGHT INTO THE RESTRICTED AREA.95 INT/EXT. SLAYERS BATTLEGROUND #4/F250 (DRIVING) 95 The FLY CAM is right there, taking the hot turn right on the truck's tail, giving SIMON the POV of a classic 3D DRIVING GAME. He activates DYNAMIC CAMERA CONTROL with a gesture - now he can manually choose his view... he pushes the CAMERA forward, next to the driver's window... The CAMERA looks to the side at KABLE, driving like he's on a mission to HELL. SIMON barks in his head. SIMON (O.S.) Kable, PLEASE... get back in the game! YOU'RE SCREWING MY ASS, KABLE!!! KABLE ignores him; he picks up his WEAPON, points it out the window at the FLY and FIRES... the FLY jukes out of the way, barely... it spins off OUT OF CONTROL and SMASHES through the window of a building. Bye, FLY. CUT TO: 64. WHITE KABLE SCRIPT - 9/19/200796 INT. SIMON'S ROOM - CONTINUOUS 96 SIMON'S screen is filled with a GLITCHED OUT view of NOTHING, under a pile of glass and concrete. SIMON Um.97 EXT. SLAYERS RESTRICTED AREA - CONTINUOUS 97 The SUBMARINE ALARM is sounding across the BATTLEGROUND. KABLE is heading deep into RESTRICTED TERRITORY, slamming through and swerving around obstacles.98 INT/EXT. RESTRICTED AREA/F250 (DRIVING) 98 WITHOUT WARNING: a SNOWPLOW comes blasting out of nowhere going 80, trying to ram the driver's side... it's a tick late, clipping the back end instead, sending KABLE into a SPIN... KABLE is knocked around in the cab and PUKES all over the passenger seat. He recovers, straightens out and keeps going. KABLE (relieved) Ughh, that was the one.99 INT. SIMON'S ROOM - SIMULTANEOUS 99 SIMON is switching from CAMERA to CAMERA, trying to pick up a view of KABLE... finally he comes across a RUMBLING CHASE CAM, coming up on KABLE'S truck from behind...100 EXT. RESTRICTED AREA/F250 (DRIVING) - SIMULTANEOUS 100 The CAMERA is mounted on a SNOWPLOW, one of a pair gaining on KABLE, slamming through rubble and debris.101 INT. RESTRICTED AREA/F250 (DRIVING) 101 KABLE spots them in the REAR VIEW MIRROR. He SLAMS HIS HEAD against the steering wheel to clear it - despite the purge he's still pretty FUCKED UP. KABLE pops the driver's door and leans out, GETTING A BEAD on the nearest PLOW...102 INT. SIMON'S ROOM - CONTINUOUS 102 From the SNOWPLOW'S POV we see KABLE leaning out, POINTING THE WEAPON AT US. Then big ass MUZZLE FLASHES: THOOM! THOOM! (CONTINUED) 65. WHITE KABLE SCRIPT - 9/19/2007102 CONTINUED: 102 SIMON Shit, shit, SHIT! A shell comes RIGHT AT US - the screen GLITCHES, FREEZES - and goes BLACK. SIMON (cont'd) I'm dead.103 EXT. RESTRICTED AREA/F250 (DRIVING) - CONTINUOUS 103 In KABLE'S REAR VIEW: The LEAD SNOWPLOW SPINS OUT, hemorrhaging black smoke; then SLAMS into the SECOND, sending it into the side of a building.104 INT. F250 104 KABLE'S TRUCK HICCUPS - FUEL is on EMPTY, but still charging ahead.105 INT/EXT. RESTRICTED AREA/F250 (DRIVING) 105 A LOW CONCRETE WALL surrounds the perimeter, and it's COMING UP FAST; beyond it: more abandoned urban wasteland. KABLE has got too much speed at this point to do anything but slam the thing SIDEWAYS into a SICK POWER SLIDE - the TRUCK hits the barrier and FLIPS OVER IT, CORKSCREWING four times before GRINDING TO A STOP on it's hood. The AIRBAGS DEPLOY, smashing KABLE into his seat...106 EXT. RESTRICTED AREA - SUBWAY ENTRANCE 106 KABLE scrambles out of the vehicle; he spots a half collapsed SUBWAY ENTRANCE and runs for it...107 EXT. RESTRICTED AREA - SKY 107 Behind him, two SMART MISSILES are streaking high across the grey sky... they change direction and DOUBLE THEIR SPEED - it's fucking HORRIFIC... and CONVERGE on the downed TRUCK in an EYEBLINK. BOOM.108 EXT. RESTRICTED AREA - SUBWAY ENTRANCE 108 KABLE is LIFTED OFF HIS FEET and blown into the SUBWAY ENTRANCE, which COLLAPSES BEHIND HIM. FADE TO BLACK. 66. WHITE KABLE SCRIPT - 9/19/2007109 INT. FRAT HOUSE - DAY 109 The FRAT GUYS are standing there with their beers, frozen, mouths hanging open. On screen is a THREE DIMENSIONAL TEST PATTERN accompanied by a SEXY FEMALE VOICE: FEMALE VOICE Please stand by... Please stand by... Please stand by... FRAT GUY What just happened?110 EXT. MONTAGE, NEWS REPORT - DAY 110 The REPORT plays on a variety of PUBLIC SCREENS: FEMALE NEWS HOST To recap: initial reports are that Kable, the most recognizable face of the Slayers phenomenon next to Ken Castle himself - is officially listed as fragged... NEWS CO-HOST (bitter) That's bullshit. FEMALE NEWS HOST ... just one session away from being the first slayer ever to win a full pardon and release. CUT TO:111 INT. COMMUTER TRAIN - DAY 111 A drab, above ground commuter train; somehow reminiscent of the train to the slayers battleground - except the population here is strictly civilian: young, eccentric, mostly attractive, but their eyes are burned out, dead... lost. Dishwater daylight filters through the windows. The news broadcast continues, fed over video monitors that line the ceiling of the train. The passengers' eyes are glued to the screens... (CONTINUED) 67. WHITE KABLE SCRIPT - 9/19/2007111 CONTINUED: 111 FEMALE NEWS HOST In a NETCAST plagued by technical difficulties and dead spots the report could NOT be confirmed - however KABLE - born John Tillman of Albany, New York and convicted of murder just four years ago - has been removed from Slayers rosters and upcoming events listings. ... including, we reveal: ANGIE. She is stunned; her eyes well up with tears. No one notices. FEMALE NEWS HOST (cont'd) His player, gaming megastar Simon Silverton - could not be reached for comment.112 EXT. BROOKLYN/BROWNSTONE - DAY 112 GRAFFITI on concrete, stenciled: slayers is bad tv - humanz KABLE is standing across the street from a BEAT DOWN BROWNSTONE, watching the second floor window. A funky OFF-ROAD MOTOCROSS BIKE buzzes by him and up onto the sidewalk, FARTING SMOKE. KABLE IGNORES the RIDER, who parks, gets off, loses the brain bucket and steps up to his side. TRACE She's not home. KABLE turns - the RIDER is a green-eyed 22 year-old girl w/ black rimmed WEEZER glasses; SMART AND CUTE as hell... this is TRACE. TRACE (cont'd) But Castle's personal security will be, soon enough - trust me, you don't want to meet them. (beat) You know, it's pretty obvious that you'd come here first. KABLE Who are you? TRACE smiles. TRACE You asked me that once before. (CONTINUED) 68. WHITE KABLE SCRIPT - 9/19/2007112 CONTINUED: 112 KABLE Your voice... We might recognize it too - it's the VOICE from the other side of the CELL DOOR. TRACE You should really come with me... She glances skyward toward the SOUND OF HELICOPTERS. TRACE (cont'd) ... like, NOW. KABLE considers his options... They TAKE OFF on the MOTO, TRACE driving.113 EXT. STREETS OF NEW YORK - DAY 113 TRACE darts nimbly thru traffic and pedestrians, finally ZAGGING up onto the sidewalk and down a side alley...114 EXT. ALLEY - ADULT STORE ENTRANCE 114 There's an open doorway to the left - NEON SIGN above: adult xxx video 3D-ID novelty toy She CUTS HARD 90 degrees, straight into it, leaving tread on the concrete - through hanging black rubber strip curtains...115 INT. ADULT STORE - NARROW STAIRWELL 115 and STRAIGHT DOWN A NARROW STAIRWELL, taking the stairs MOTOCROSS... She cuts HARD RIGHT at the bottom...116 INT. FREIGHT ELEVATOR 116 ...down a concrete corridor and onto a minimal FREIGHT ELEVATOR - open on the sides... punches the down button, BIKE still idling... KABLE coughs from the fumes... Halfway down there is a SQUARE OPENING in the wall of the elevator shaft - a TUNNEL TO BLACK. TRACE Hang on. (CONTINUED) 69. WHITE KABLE SCRIPT - 9/19/2007116 CONTINUED: 116 TRACE REVS up the bike - and as they pass the tunnel, she POPS IT. They're GONE.117 INT. HUMANZ HEADQUARTERS - MOMENTS LATER 117 A DARK, underground VIDEO ARCADE... low ceilings, concrete; OLD SCHOOL - sort of a graveyard of lost games... the classics of the 80s - MISSILE COMMAND, DEFENDER, ROBOTRON, CRANK, etc. The dimensions of the room are impossible to determine. A dozen or so PEOPLE - just BLACK SILHOUETTES in the CATHODE RAY GLOW - are scattered around, banging buttons, giving it body english, racking up scores. TRACE leads KABLE through, toward the one BRIGHTLY LIT SPOT: at the center of the arcade, an AIR HOCKEY table is blasted with WHITE LIGHT from above. HUMANZ BROTHER, who we recognize from SIMON'S vid screen, and HUMANZ DUDE - mid 20s, long hair - are playing: CLACKCLACK, CLICK, CLACKCLUNK, CLACK... They are so wrapped up in their game that they don't appear to notice KABLE. HUMANZ BROTHER smacks a random 3-bank WINNER. HUMANZ BROTHER You a fool. HUMANZ DUDE Stop playing that freaky shit off the rail. HUMANZ BROTHER It's a game of deception. HUMANZ DUDE Whatever, that's cuz you got no power... HUMANZ DUDE measures a shot, rolling the paddle with one finger - then LETS IT RIP - slamming the GAME WINNER in a STRAIGHT LINE past HUMANZ BROTHER'S frozen paddle - SCORE: 7- 5. HUMANZ DUDE (cont'd) (getting in his face) Huh? What? HUMANZ BROTHER Bullshit. KABLE You guys suck. (CONTINUED) 70. WHITE KABLE SCRIPT - 9/19/2007117 CONTINUED: 117 They turn, suddenly aware of him. HUMANZ DUDE'S paddle hand goes limp; the puck limps in and scores, meaninglessly. HUMANZ DUDE (impressed) Kable. Holy shit. HUMANZ BROTHER His name's Tillman. HUMANZ DUDE Whatever. (to KABLE) You made it. You're really here. KABLE looks them over - he's not sure what he expected, but it wasn't this. KABLE You're the ones who broke me out? TRACE We only freed your mind. HUMANZ BROTHER Your ass followed. HUMANZ DUDE Hey, Kable... DUDE seems to be the most affected by KABLE'S presence - BROTHER is calm, in the moment; TRACE is focused, all business... DUDE is pure FANBOY. HUMANZ DUDE (cont'd) You're... great. HUMANZ BROTHER gives HUMANZ DUDE a look and shakes his head. HUMANZ BROTHER (to Kable) You got questions. KABLE A few. He glances over at TRACE. KABLE (cont'd) She took my blood. Why? HUMANZ DUDE The nanex modifies the actual cell structure of your brain... (MORE) (CONTINUED) 71. WHITE KABLE SCRIPT - 9/19/2007117 CONTINUED: (2) 117 HUMANZ DUDE (cont'd) we can crack it, but it's not one size fits all; we needed your DNA to generate custom code. KABLE Alright. Why me? HUMANZ DUDE Because Castle's scared of you. HUMANZ BROTHER It ain't just a game, you know, Tillman. Everyday there's more people steppin forward, wanna be a part of Castle's world. Throwing away everything it means to be human. TRACE Right now it's the desperate ones... convicts, addicts... the sick, the poor... the ones that fell through the cracks... they have no choice. HUMANZ DUDE But this is only the beginning. HUMANZ BROTHER Think about it: the federal prison system is growing out of control, set to bankrupt the whole damn USA... Castle rides in on a white horse, says he got a plan to bail us out and everyone just fall in line. TRACE So what's next? The health care system is collapsing - Castle comes to the rescue again... HUMANZ BROTHER This time he's pushin total control of genetic disease... birth defects a thing of the past... all we gotta do is exchange our cells for the ones he wanna give us. TRACE The promise of a longer life and a fatter wallet - you think people will refuse? (CONTINUED) 72. WHITE KABLE SCRIPT - 9/19/2007117 CONTINUED: (3) 117 HUMANZ DUDE Hell no. HUMANZ BROTHER They'll be standing in line to hand their babies over to him. Next thing you know, we all slaves. TRACE We can't let that happen. HUMANZ DUDE Gotta bring the man down. TRACE You can help us, Tillman. (with urgency) You have to help us. KABLE takes this in, and starts to WALK AWAY. KABLE I can't help you. HUMANZ BROTHER Tillman. KABLE ignores him - he's OUT. But HUMANZ BROTHER FREEZES him in his tracks: HUMANZ BROTHER (cont'd) We know where she is.118 INT. FBI INTERROGATION - TIME INDETERMINATE 118 SIMON is in a stark interrogation room, alone, drumming his fingers on the table - thumb-to-pinky, pinky-to-thumb. Trying not to show how scared he is. The door clicks open and SEVERAL MEN enter. One SITS. We only see them from behind, not their faces; SIMON nods waddup. The SEATED MAN pushes several PHOTOS across the table to SIMON. SIMON glances at the top photo as casually as he can manage - it shows SIMON in an MTV TRL-type setting, being interviewed in front of a live audience of teenage girls. When AGENT KEITH speaks, he is calm, conversational. AGENT KEITH Guess you remember that day. SIMON nods, noncommitally. (CONTINUED) 73. WHITE KABLE SCRIPT - 9/19/2007118 CONTINUED: 118 AGENT KEITH (cont'd) You'd just gotten Kable through his tenth consecutive session alive... no one ever thought an I-con could last that long. Another photo shows SIMON on a JUMBOTRON posing with his fingers in the camera's face, throwing the motion control hand signal for FIRE and KILL... in another, he's being mobbed at an event, signing an amazing pair of breasts with a black marker. AGENT KEITH (cont'd) Pretty hot shit, aren't you? King Player. SIMON Good times. AGENT KEITH Sure. On the outside. Now look at these. A new series of graphic photos show bloody, mangled remains - the aftermath of a slayers session. AGENT KEITH (cont'd) This is what it's like on the inside. (beat) Wonder how long you'd last on the other side of the screen. This SITS IN THE ROOM for a BEAT - SIMON considers several responses, chooses NONE OF THEM. AGENT KEITH (cont'd) Simon, you're being held today suspected of aiding in the escape of a convicted murderer from a maximum security penitentiary. The charge is... beyond serious. Your hard drives have been seized - forensics is decrypting the contents as we speak. Your internet activity over the last ten years is being scrutinized and catalogued in minute, vivid detail... SIMON FLINCHES at this one. (CONTINUED) 74. WHITE KABLE SCRIPT - 9/19/2007118 CONTINUED: (2) 118 AGENT KEITH (cont'd) In addition, your father's bank accounts have been frozen pending further investigation - naturally, seeing it was his money that essentially funded Mr. Tillman's escape. (beat) I'm going to need you to tell me everything that happened leading up to yesterday afternoon. Everyone you talked to, everything you heard, everything you did. I need you to do that... right now. SIMON Yeah, um... I need something too. AGENT KEITH (ice cold) Do you now? And what might that be? SIMON swallows hard. SIMON Could you dudes do a sandwich like: peanut butter, almond butter, walnut butter... pecan butter, pistachio butter... pretty much any kind of, you know, nut butter. And Welch's grape. Dead silence. SIMON chews a HANGING CHAD off of a FINGERNAIL. AGENT KEITH Pistachio. They make that? SIMON It's awesome. FADE TO BLACK.119 INT. GORGE'S LIVING ROOM - DAY 119 FAT FINGERS squeeze air. ANGIE, in a white tank top and panties, is pulled to 3-D LIFE- SIZE DIMENSIONS on GORGE'S video wall, standing impassively in space. A FAT TONGUE wets FAT LIPS. (CONTINUED) 75. WHITE KABLE SCRIPT - 9/19/2007119 CONTINUED: 119 GORGE scrolls through options... hair, clothes, makeup... from slutty to sci-fi to quirky to casual, and back to slutty... as he SELECTS OPTIONS they appear on ANGIE, ROTATING HER in three dimensions to model; she's a living, breathing BARBIE DOLL. ORANGE SHERBET HAIR, then a PLATINUM WHITE Judy JETSON PONYTAIL... black CAT-SUIT, DAISY DUKE, Darryl Hannah's PUNK REPLICANT from Blade Runner... he chooses a LOOK and LOCKS IT IN... GORGE lifts an OXYGEN MASK to his face and breathes deep... he GOES LIMP in his chair - eyes rolled up in his head, head clocked back to face the ceiling... bathed in sweat... the MASK falls away... and we... FADE TO BLACK.120 EXT. SOCIETY - DAY 120 ANGIE is on the sidewalk, a little unsteady on high heels - wearing the outfit GORGE CHOSE. OTHER PEOPLE are wandering around everywhere. A DEBUTANTE- type in a pink ensemble has a poofy SHITZU on a leash; the SHITZU is PISSING ON IT'S OWNER'S LEG, but she doesn't seem to notice. A TAXI speeds by with FOUR PEOPLE crushed in the back seat having CRAZY ANIMAL SEX. ANGIE starts walking. She passes a FAMILIAR FACE, who turns to watch her go, without expression - is that GINA PARKER SMITH? ANGIE walks around the corner to a BAR and goes in.121 INT. THORAX BAR - CONTINUOUS 121 The THORAX BAR is small, intimate, but ULTRA-STYLED... the theme is insect. All manner of exotic bug preserved in glass, suspended in ice... one wall is a giant, black-lit ANT FARM... green, glowing FIREFLIES dart through the air... people lounge on plush seating, gobbling up creatively prepared bug delicacies - FRIED PINK GRASSHOPPERS, fat yellow GRUBS with red chili oil... ANGIE takes a seat at the BAR. BARTENDER The usual? She just WINKS, flirtatious. The BARTENDER returns a smile and shakes up an AQUA BLUE MARTINI... to finish, he plops in a LIVE, WHITE LARVA... (CONTINUED) 76. WHITE KABLE SCRIPT - 9/19/2007121 CONTINUED: 121 it curls and twists in the liquid, soaking the alcohol into it's pulp... She takes a SIP, letting the LARVA curl around her tongue... swallows it down... as a GUY takes a seat to her left - his hair is shiny, slick black licorice. RICK RAPE Hi Nika. ANGIE Oh. Hi. Rick Rape, right? In GORGE'S apartment his lips move, ANGIE'S echoing to match. ANGIE (cont'd) I thought you weren't allowed to come here anymore. RICK RAPE laughs, throwing his head back and slapping his knee - EXAGGERATED. RICK RAPE That was just last month. I was a bad boy. ANGIE yawns. ANGIE Are you still a bad boy?122 INT. ANGIE'S BUILDING, HALLWAY - DAY 122 ANGIE EXITS the ELEVATOR on the 3rd floor - a modern, minimalist building... RICK RAPE is with her, close behind. They come to an apartment door; RICK RAPE pushes her, from behind, up against the door - VIOLENT... her right hand SLAPS a PALM IDENTIFICATION SENSOR alongside the door and it WHISPERS OPEN. ANGIE snaps a heel; they stumble in.123 INT. ANGIE'S APARTMENT - CONTINUOUS 123 ANGIE'S place is some kind of overdecorated, SCHITZOPHRENIC blend of GIRLIE/GEEKY/PORN. Shafts of NICOTINE SUNLIGHT filter through patterned curtains. She crawls along a plush WHITE FUR RUG... RICK RAPE follows... he licks his lips - an automatic gesture - and begins to UNBUTTON HIS PANTS. ANGIE, on her hands and knees, back to him, doesn't even bother to look, until... (CONTINUED) 77. WHITE KABLE SCRIPT - 9/19/2007123 CONTINUED: 123 RICK RAPE Urkk. She TURNS. KABLE has RICK RAPE up in the air, holding him like a BARBELL - with one hand CRUSHING HIS THROAT, the other his BALLS. He brings him down over his knee, SNAPPING HIM like a BROKEN BAT - KKRRUNCH. ANGIE'S FACE is passive, neutral... but her EYES are NUCLEAR with EMOTION. KABLE tosses RICK RAPE'S broken body into the bedroom... then falls to his knees in front of ANGIE and takes her face in his palms, gently - EYES LOCKED INTO HERS. GORGE is paralyzed. GORGE/ANGIE Please don't kill me. ANGIE says the words, but they don't match her eyes. KABLE just shakes his head, trying to grasp the situation. GORGE/ANGIE (cont'd) I'll do anything. KABLE Don't say that. GORGE holds out his hands; ANGIE'S fingers caress KABLE'S chest and move toward his crotch... KABLE (cont'd) Stop. He pushes her hands away, gently. KABLE (cont'd) This isn't you. ANGIE'S eyes WELL UP with TEARS. KABLE (cont'd) (trying to contain his RAGE) God damn it... YOU - in there... controlling her... let her talk, motherfucker. GORGE swallows; KABLE is staring straight into his eyeballs. (CONTINUED) 78. WHITE KABLE SCRIPT - 9/19/2007123 CONTINUED: (2) 123 GORGE/ANGIE I can't. KABLE buries his face in his hands; it's TEARING HIM UP. GORGE/ANGIE (cont'd) She has to say what I tell her. KABLE looks deep into ANGIE'S eyes. KABLE (almost whispering) You can hear me, baby. I know you can. He WIPES AWAY A TEAR from her cheek with his thumb. After all he's been through he begins to BREAK DOWN. KABLE (cont'd) I love you... love you... GORGE/ANGIE I love you too. KABLE (snapping) SHUT UP!!! He's SCREAMING directly at GORGE, who cowers in his chair as if KABLE were in the room with him. KABLE (cont'd) Say anything else and I'll find you... I'll rip you TO FUCKING PIECES, do you understand me? GORGE/ANGIE nods. KABLE (cont'd) (to ANGIE) I'm getting you out of here.124 INT. ANGIE'S BUILDING, HALLWAY - DAY 124 KABLE pulls ANGIE out the door and down the hall, in tactical mode, WEAPON ready... he heads to the ELEVATOR, punches up a ride. No sign of trouble. KABLE (quiet) I'm going to take you someplace where they can turn it off... the program... (CONTINUED) 79. WHITE KABLE SCRIPT - 9/19/2007124 CONTINUED: 124 GORGE/ANGIE says NOTHING. The ELEVATOR DOOR whispers open - HACKMAN is standing there with an ASSAULT SHOTGUN. HACKMAN (friendly) Hi, Kable. BOOM. KABLE TAKES IT IN THE CHEST; he's BLOWN OFF HIS FEET, through a wall and into an apartment opposite the ELEVATOR. HACKMAN grabs ANGIE'S wrist, drags her onto the ELEVATOR and waits a BEAT, smiling pleasantly. The ELEVATOR DOOR CLOSES.125 INT. APARTMENT - DAY 125 KABLE is ON HIS BACK in rubble. His chest is a BLACK, SMOKING HOLE... but as the smoke clears we see that his BODY ARMOR has ABSORBED THE BLAST. He's groggy, in excruciating pain, wind knocked out of him - but ALIVE. TWO GUYS in GAS MASKS and RUBBER SUITS are watching him from the next room as he attempts to STRUGGLE TO HIS KNEES; KABLE has obviously interrupted something.126 INT. ELEVATOR - SIMULTANEOUS 126 HACKMAN and ANGIE are having a pleasant ride down, HACKMAN'S hands folded in front of him, patiently; the SHOTGUN - still smoking - shoulder strapped. HACKMAN (to ANGIE) Anybody in there? The ELEVATOR stops and picks up TWO PASSENGERS: a GIGGLING, NECKING COUPLE. The doors CLOSE. HACKMAN gives GORGE/ANGIE a wink and flashes a NINE INCH BOWIE KNIFE, carbon steel, nasty. ANGIE'S eyes go wide with TERROR. The COUPLE is oblivious. GORGE can't hold back, the SICK FUCK; he squirms in his chair, sweating buckets, feeling himself up. And when he speaks, ANGIE echoes: GORGE/ANGIE Come on... do it... HACKMAN raises his eyebrows - he wasn't expecting that one... but he OBLIGES. A flex of his shoulder; the NECKING GIRL'S legs buckle under her and she goes down without a peep. (CONTINUED) 80. WHITE KABLE SCRIPT - 9/19/2007126 CONTINUED: 126 The GUY is confused - where'd she go? He looks to ANGIE. HACKMAN headlocks him from behind, and slowly - making eye contact with GORGE/ANGIE the entire time - SNAPS HIS NECK. ANGIE'S eyes stream tears; GORGE is in ECSTASY. HACKMAN lets the second body DROP, chuckling, as the ELEVATOR DOOR OPENS... KABLE is waiting.127 INT. ANGIE'S BUILDING, LOBBY - CONTINUOUS 127 KABLE grabs HACKMAN with both hands, RIPS HIM OUT OF THE ELEVATOR and SLAMS HIM into a WALL. A BRUTAL HEAD-BUTT to the FACE, smashing bone... ANOTHER. HACKMAN'S FACE erupts with BLOOD. HACKMAN SWINGS BLIND with the BOWIE KNIFE, once, twice - the blade misses KABLE, backpedaling, by fractions of inches; displacing some SERIOUS AIR... HACKMAN lets it FLY. The BOWIE whistles past KABLE'S FACE and THUNKS into the wall behind him, four inches deep. HACKMAN smears the BLOOD from his eyes and brings up the SHOTGUN, but KABLE is quick - instead of trying to move away, HE STEPS IN, pushing the barrel STRAIGHT DOWN as HACKMAN FIRES. The BIG HIT puts a CRATER in the floor and takes out a set of HACKMAN'S toes. KABLE kicks the SHOTGUN from HACKMAN'S hands and brings up his own WEAPON to close the deal... ... as the GLASS WALLS of the LOBBY EXPLODE. MORE SLAYERS are MOVING IN. KABLE releases a barrage of cover fire, grabs ANGIE and breaks for the BACK EXIT.128 EXT. SOCIETY - DAY 128 KABLE and ANGIE hit WHITE HOT DAYLIGHT. A BLUE SLAYER breaks the corner of the building and KABLE FRAGS HIM. KABLE grabs ANGIE by the shoulders and yells directly at GORGE: KABLE YOU! WHERE THE HELL DO WE GO? CONTINUOUS SHOT: GORGE/ANGIE starts running across the street, leading the way; (CONTINUED) 81. WHITE KABLE SCRIPT - 9/19/2007128 CONTINUED: 128 KABLE takes out another BLUE at a distance, following close behind her. They run into a GENERIC, UNMARKED BUILDING...129 INT. SOCIETY BUILDING - CONTINUOUS 129 ... the SHOT CONTINUES, across the LOBBY, through an anonymous grey door...130 INT. STAIRS/PINK CORRIDOR 130 ...and down a FLIGHT OF STAIRS... MUFFLED MUSIC is THUMPING, getting LOUDER... down a PINK CORRIDOR and into...131 INT. UNDERGROUND RAVE - CONTINUOUS 131 ... a 24 HOUR UNDERGROUND RAVE, in full effect. This thing is FUCKING HUGE... in the DARK it's impossible to tell just how big... hundreds of writhing SOCIETY DUDES, CHICKS and OTHER... DAY-GLO, moving spotlights, strobes... the BUBBLE GIRLS from CRANK make an appearance... along with the DISCOVERY CHANNEL SKATERS from the PARK, now in GOTHED-UP GEAR... KABLE gathers it all... he takes ANGIE'S arm and begins to wade through the CHAOS... the BLOOD SPATTERS on his face POP in sharp, inverse DAY-GLO, like HARTIGAN'S SCAR in SIN CITY... A SKATER GIRL takes a hold of the glowing, smoking barrel of KABLE'S WEAPON and starts to SKATE CIRCLES around him, ring- around-the-rosie... he wrenches it hard, sending her flying into a crowd that goes down like BOWLING PINS. They continue MOVING... KABLE happens to notice RED LASERS moving through the DARK... probing... RAVE LIGHTS? No... THOOM. THOOM THOOM. LIGHTNING FLASHES, EXPLOSIONS... a RAVER nearby disintegrates, BLOOD and GUTS a DAY GLO VOLCANO. DANCERS slip and FALL ON THEIR ASSES in the viscera. The SLAYERS are moving thru the RAVE, hunting. Everyone but KABLE and ANGIE are so out of it they don't even notice. KABLE (to GORGE) You. Run. ANGIE runs. KABLE goes COMMANDO, evading the HUNTERS, ducking under EXPLODING SHIT... he moves to FLANK them... (CONTINUED) 82. WHITE KABLE SCRIPT - 9/19/2007131 CONTINUED: 131 the DJ is DECAPITATED by a stray 50 caliber round but the GROOVE DON'T STOP... LIGHTNING STRIKES FREEZE the ACTION as KABLE engages the BLUES, one by one... he takes out THREE of them with CLOSE RANGE BLASTS and another HAND-TO-HAND-TO-HEADSNAP - then notices more BLUES moving in... too many... He catches up to ANGIE and they make for an EXIT, any EXIT...132 INT. RAVE - LOUNGE AREA 132 They find CURTAINS, run past freaky CHILL LOUNGES and SMOKE OUT ROOMS... KABLE blows a hole in a locked maintenance door and they duck out of RAVE WORLD into...133 INT. RAVE - INDUSTRIAL CONCRETE CORRIDOR 133 ...an industrial CONCRETE CORRIDOR... MUFFLED BLASTS, SCREAMING in the REAR SURROUNDS tell KABLE the BLUES are close behind... up more stairs, they SLAM through a SERVICE DOOR and back into...134 EXT. SOCIETY - DAY, CONTINUOUS 134 ... blinding DAYLIGHT. A SCOOBY DOO-looking VAN pulls up to the CURB in front of them; the back doors SWING OPEN. GINA PARKER SMITH I can get you out. Not much choice. KABLE and ANGIE climb in. The ELECTRIC VAN drives quietly away, attracting no attention.135 INT. VAN - CONTINUOUS 135 KABLE slumps against the wall of the VAN, cradling ANGIE in his arms - exhausted. ANGIE'S eyes are POST-TRAUMATIC, searching. GINA is PUMPED. GINA PARKER SMITH I can't believe it's you. This is... (gathering herself) Listen: you can trust me, Kable. KABLE (quietly) If not... (CONTINUED) 83. WHITE KABLE SCRIPT - 9/19/2007135 CONTINUED: 135 He looks her straight in the eye. KABLE (cont'd) You're dead. GINA pales. He's not lying. FADE TO BLACK.136 INT. HUMANZ HEADQUARTERS, BACK ROOM - TIME INDETERMINATE 136 CLOSE-UP: a LANCET is prepared... it PUNCTURES SKIN and SUCKS. ANGIE is lying on a black leather couch, unconscious - breathing deeply... TRACE pops the LANCET out of ANGIE'S fingertip and plops a RED DROP into a glass tube of liquid. KABLE kneels beside ANGIE, stroking her hair. HUMANZ DUDE, HUMANZ BROTHER and GINA PARKER SMITH are all there. KABLE Now what? HUMANZ DUDE (shrugs) The crack works - you're the proof... we put the DNA in the soup, light it up, extract it - then feed my girl's sequence into the code and we're good to go. GINA PARKER SMITH (thinking out loud) It's an anti-spyware program. HUMANZ DUDE Basically. We can't quarantine the foreign cells per se but we can disable their ability to transmit and receive. GINA'S not buying this I.T. GUY shit. GINA PARKER SMITH Fuck that. I'd make you cut it out of me. TRACE gives her a glance: dumb bitch. TRACE That would be like cutting out part of your brain. (MORE) (CONTINUED) 84. WHITE KABLE SCRIPT - 9/19/2007136 CONTINUED: 136 TRACE (cont'd) The nanocells replace the cells they replicate... they become you. GINA has no answer. KABLE How long will she sleep? TRACE We're going to have to keep her sedated until we can kill the link... otherwise she's broadcasting everything she sees or hears. HUMANZ DUDE Thirty minutes... you give us a robot, we give you back a super hot human. TRACE rolls her eyes. HUMANZ BROTHER Tillman. KABLE looks. HUMANZ BROTHER (cont'd) We need to talk, my man. KABLE So talk. HUMANZ BROTHER Come on. CUT TO:137 INT. HUMANZ HEADQUARTERS - MOMENTS LATER 137 Primitive, 8-BIT ARCADE DEMO SCREENS: missiles obliterate a city in MISSILE COMMAND, line-vector TANKS track 3D targets in BATTLEZONE, etc. HUMANZ BROTHER (V.O.) Ken Castle made his first billion designing virtual reality simulators for the US military. Six years ago he brought them something new - a breakthrough so profound, he said, that history would be divided up between everything before and everything that came after. (CONTINUED) 85. WHITE KABLE SCRIPT - 9/19/2007137 CONTINUED: 137 HUMANZ BROTHER and KABLE walk through the DARK ARCADE, past rows of machines... the lights and patterns of 8-BIT DEMO SEQUENCES and HI SCORE SCREENS flash across their faces. HUMANZ BROTHER (cont'd) They tested it on soldiers... the first volunteer was Corporal Travis Scotch - a friend of yours, I believe. They stop. KABLE Yeah. He was. HUMANZ BROTHER The second was you. KABLE fights difficult memories. KABLE The idea was to replace your brain, bit by bit, cell by cell, gradual... the new tissue would never break down, never deteriorate. (bitter) A new era in human longevity is what they told us. We were doing the world a favor. HUMANZ BROTHER (nods) Nine weeks later Scotch was dead and you were serving life in maximum. Castle's project was shut down... but the shit wasn't a total loss: the same technology resurfaced within a year... in a game. Castle called it society. KABLE Thank you for the history lesson. HUMANZ BROTHER Dig me, Tillman. Whatever happened in that project is something Castle wanna be buried. We need that shit, baby: what you saw, what you know. KABLE I don't know what to tell you. (CONTINUED) 86. WHITE KABLE SCRIPT - 9/19/2007137 CONTINUED: (2) 137 HUMANZ BROTHER You ain't gotta tell me shit, Tillman. (beat) I want you to show me.138 INT. HUMANZ HEADQUARTERS, BACK ROOM - TIME INDETERMINATE 138 Slow PUSH IN on unconscious ANGIE. We hear TRACE interacting with HUMANZ TECHS off-CAMERA as a heart monitor BEEPS steadily. TRACE (O.C.) Alright. We're ready to rock. A sequence is punched in on a keyboard. TRACE (O.C.),(cont'd) Let's transmit in three... two... one... CLICK. With a GASP, ANGIE'S EYES SNAP OPEN. MATCH CUT TO:139 INT. GORGE'S LIVING ROOM - NIGHT, SIMULTANEOUS 139 GORGE'S EYES SNAP OPEN. He SPAZZES OUT like a turtle on it's shell, a moment of panic - he's been PASSED OUT in his chair and doesn't immediately know where he is. He looks around the DARK ROOM nervously; takes a hit of OXYGEN. On the SCREEN, society is gone - there is only a nebulous TEST PATTERN. Behind him, a SOUND. GORGE Hooz there? He runs his hand along the CHAIR'S TRACKBALL CONTROL, it SPINS around and rolls forward a bit. CASTLE'S GEEK SQUAD is standing in the room, silhouettes in the dark - scary. GORGE (cont'd) (freaked) What are you doing here? Who are you? (CONTINUED) 87. WHITE KABLE SCRIPT - 9/19/2007139 CONTINUED: 139 GEEK LEADER Tech support. FADE TO BLACK.140 INT. HUMANZ HEADQUARTERS, TECH ROOM - NIGHT 140 A screen glitches - pixellated, fucked up, highly compressed, like an internet feed through a busted satellite. We begin to make out a coherent image: It is a POV, walking, of an industrial corridor. Cameras mounted and doors with square glass windows. We back away from the screen to reveal - HUMANZ DUDE, HUMANZ BROTHER and GINA PARKER SMITH are watching the image on a LO-FI computer monitor. HUMANZ DUDE runs his fingers along a touchpad, MOVING FREQUENCIES around on a WAVEFORM MONITOR, trying to dial the picture in better. We see KABLE through an OBSERVATION WINDOW, slumped over in a chair... DREAMING? Or just CONCENTRATING? GINA PARKER SMITH What are we looking at? HUMANZ BROTHER His memories... translated as raw audiovisual data. GINA PARKER SMITH I read something about this. But that tech is supposed to be a decade away... HUMANZ DUDE smirks, shakes his head. HUMANZ DUDE Current exponential rate of growth, I can't imagine a piece of tech that will take that long to come around. He bangs on a key, beating up the interface. HUMANZ DUDE (cont'd) They'll have better shit than this in Best Buy within 18 months.141 INT. MILITARY FACILITY - TIME INDETERMINATE 141 KABLE - younger, in UNIFORM - walks down a sterile corridor. He is dead calm, emotionless. (CONTINUED) 88. WHITE KABLE SCRIPT - 9/19/2007141 CONTINUED: 141 Tiny SURVEILLANCE CAMERAS track his movements. He comes to a DOOR; it whispers open and he STEPS IN.142 INT. MILITARY FACILITY, DEBRIEFING ROOM - CONTINUOUS 142 A WHITE, MINIMAL ROOM - TABLE, TWO CHAIRS. We may recognize it from the VIDEO the humanz sent to SIMON. In one chair: a MAN, 30s, beard and mustache grown out thick; in UNIFORM. KABLE sits down in the other. SCOTCH Tillman. Never thought I'd be so glad to see your ugly grille. KABLE Scotch. SCOTCH (mimicking him) Scotch. (back in character) I'll tell you what man: this place sucks. CUT TO:143 INT. HUMANZ HEADQUARTERS, TECH ROOM - SIMULTANEOUS 143 On the COMPUTER SCREEN: SCOTCH gestures to indicate the WHITE ROOM, the FACILITY... SCOTCH (to KABLE, grinning) They got me hooked up to computers five hours a day... nurses feeding me vitamins, giving me shots, wiping my butt - male nurses, I might add... CUT BACK TO:144 INT. MILITARY FACILITY, DEBRIEFING ROOM - CONTINUOUS 144 SCOTCH chuckles, conspiratorial. SCOTCH What about you? You're dressed like a semi-human being... they let you out already? KABLE'S response doesn't match SCOTCH'S energy - he's bland, generic. (CONTINUED) 89. WHITE KABLE SCRIPT - 9/19/2007144 CONTINUED: 144 KABLE I'm not getting out. SCOTCH (confused) OK. (beat) Tillman... dude. Are you good? KABLE I'm fine. SCOTCH Uh huh. You don't look good. KABLE I'm sorry. KABLE'S "sorry" seems to refer to something only KABLE knows. SCOTCH (hesitant, making light) Well, it's not like you ever looked that good... A BEAT. SCOTCH is suddenly conscious of the SURVEILLANCE. KABLE'S eyes flicker away from SCOTCH'S. He calmly removes his military issue .45 from it's holster and lets it rest on the table between them. He stares at it intensely, emotion starting to seep through the icy lines of his face. SCOTCH (cont'd) (quietly) Tillman, what did they do to you?145 INT. HUMANZ HEADQUARTERS, TECH ROOM - CONTINUOUS 145 The IMAGE on the SCREEN begins to BREAK UP. Hard to make out... GINA PARKER SMITH What's happening? HUMANZ BROTHER holds up a finger: shhh. Through the OBSERVATION WINDOW we see present-day KABLE jerk and spasm in the chair.146 INT. MILITARY FACILITY, DEBRIEFING ROOM - CONTINUOUS 146 KABLE starts to shake; the gun rattles on the table top. A bead of sweat creeps down his forehead. It's apparent that he is locked in a paralyzing internal struggle... (CONTINUED) 90. WHITE KABLE SCRIPT - 9/19/2007146 CONTINUED: 146 A low hum in the room starts to swell and throb, numbing, disorienting... SCOTCH (freaked) Tillman... It seems to take all of KABLE'S strength to answer. His voice is halting, human - not robotic like before. KABLE I can't stop it... can't... KABLE'S eyes meet SCOTCH'S; they are red, rimmed with tears. SCOTCH Who are you? CUT TO:147 INT. SURVEILLANCE ROOM - SAME TIME 147 We punch in on a wall of TWO WAY GLASS behind SCOTCH, pixellated visual noise resolving to murky detail as we move in - we punch through the glass to reveal a familiar silhouette - CASTLE brings up his hand, miming a gun. He smiles. CUT TO:148 INT. MILITARY FACILITY, DEBRIEFING ROOM - SAME TIME 148 KABLE BRINGS UP THE GUN, points it at SCOTCH'S forehead... SCOTCH is too stunned to react. KABLE I'm sorry... KABLE SCREAMS - CUT TO the SILENT, fixed SURVEILLANCE CAM FOOTAGE that humanz sent to SIMON: KABLE pulls the trigger, SOUNDLESS. SCOTCH falls over. Black blood pools.149 INT. HUMANZ HEADQUARTERS, TECH ROOM - CONTINUOUS 149 The humanz monitor GOES DEAD. HUMANZ DUDE Not the best commercial for K-soft technology. (CONTINUED) 91. WHITE KABLE SCRIPT - 9/19/2007149 CONTINUED: 149 GINA PARKER SMITH is practically moist, visions of monster ratings dancing in her head. GINA PARKER SMITH You can say that again. TRACE (bitter) He made him do it. Castle made him do it. HUMANZ BROTHER A test. Everyone's eyes had been glued to it - now they look up, through the OBSERVATION WINDOW... The room is empty. The CHAIR is knocked over on the floor; KABLE is gone.150 INT. HUMANZ HEADQUARTERS - MOMENTS LATER 150 KABLE is slumped against concrete, on his knees... RELIVING THE MURDER has knocked the hell out of him, but he's DEALING WITH IT. A pair of SKINNY LEGS walk up and kneel next to him: ANGIE. He touches her face, looks deep into her EYES - they are wet with emotion. KABLE It's you. She just NODS. They embrace... finally, for real. ANGIE I missed you... so much... KABLE (softly) Delia. ANGIE says nothing, just holds him tighter. KABLE pushes her * hair back - he searches her eyes, desperate with emotion. * KABLE (cont'd) Baby... what did they do? * ANGIE * I couldn't stop them. * ANGIE shakes her head, won't meet his eyes. (CONTINUED) 92. WHITE KABLE SCRIPT - 9/19/2007150 CONTINUED: 150 TRACE (O.C.) Nobody could. * KABLE turns to FACE HER. * TRACE (cont'd) Your daughter was taken into foster care by the state two years ago. KABLE tries to understand... * TRACE (cont'd) The foster parent paid good money to remain anonymous... to make sure the girl would be untraceable. But there's always a data trail, if you know where to look. (shrugs) We do. KABLE is gathering himself, focusing... a FURY building. KABLE Where is she? TRACE I'm sorry, Tillman. Guess he needed an insurance policy. (long BEAT) She's with Castle. CUT TO:151 EXT. NYC STREET - NEAR HUMANZ ALLEY - NIGHT 151 KABLE slams through CROWDS - he's on a mission. The ALLEY leading to the UNDERGROUND HEADQUARTERS is right around the corner. GINA PARKER SMITH Tillman! GINA fights to catch up to him. She gets a hand on his shoulder... he SPINS. GINA PARKER SMITH (cont'd) (out of breath) Wait. I want to come with you. KABLE'S eyes leave no room for doubt: not a chance. KABLE That's all the story you're going to get. (CONTINUED) 93. WHITE KABLE SCRIPT - 9/19/2007151 CONTINUED: 151 He BAILS, leaving her there. JUST THEN: matching BLACK SUVs pull up to the curb just TEN FEET from where she stands. CASTLE'S GEEK SQUAD piles out... GINA sees them, recognizes them from the interview with CASTLE; she TURNS AWAY just in time to avoid being recognized by a GEEK as he scans the crowd. But they're not after her... they head straight for the ALLEY. CUT TO:152 INT. CELL - TIME INDETERMINATE 152 BLACK. A door opens, a switch is thrown... and SIMON is blinded by harsh fluorescent light. He sits up on a cot, wearing a white T-shirt and pajama pants; fucked up hair, groggy. He BELCHES. AGENT KEITH (O.C.) Alright, Silverton. Get up and get out. SIMON Cool. AGENT KEITH (sarcastic) Yeah, ain't it? Looks like someone up the chain decided you're no longer a threat. CUT TO:153 INT. SIMON'S ROOM - TIME INDETERMINATE 153 SIMON slides open the door to his room, peaks inside hesitantly. It's TRASHED. The FLOOR is littered with busted up electronics and garbage. The wall-sized screens are all running the same thing - a SINGLE WORD, repeated in columns, by the thousands - scrolling fast, a digital waterfall of words, white on black: CHEATER It's over. SIMON sits down in the middle of the detritus, in a state of mild SHOCK - he's LOST EVERYTHING. (CONTINUED) 94. WHITE KABLE SCRIPT - 9/19/2007153 CONTINUED: 153 He gestures at the screen and closes out the SCROLLING LOOP... then once again, attempting to activate SLAYERS control; the screen shows the same nebulous TEST PATTERN we last saw on GORGE'S screen. FEMALE VOICE No link... no link. SIMON slumps against the wall, DEFEATED. FADE TO BLACK.154 EXT. CASTLE ESTATE - NIGHT 154 CASTLE'S ESTATE is like a DESERTED CITY. Balconies, underlit DOMES, lush landscaping, abstract statues, waterfalls... tiny cameras everywhere... and not a soul in sight. KABLE drops over a wall and onto grass. Wind in the leaves, cricket music - otherwise DEAD SILENCE. He keeps to the trees, making his way toward the central MANSION. THEN: the sound of DOGS... they come in a PACK, loping across the lawn - grey, more like WOLVES... KABLE readies his gun to take them out - but the DOGS run RIGHT PAST HIM. They round a corner and DISAPPEAR. Weird. KABLE looks up, spots a CAMERA... and another, and another... stands to reason he's been MARKED already. He walks out INTO THE OPEN.155 INT. CASTLE'S MANSION - NIGHT 155 The GIANT FRONT DOORS of the MANSION are OPEN. KABLE walks right in. The interior is HUGE... and EMPTY. NO FURNITURE, no art; no people of course. Could anyone possibly live here? He explores...156 INT. CASTLE'S MANSION - EMPTY HALL - NIGHT 156 AND THEN - at the FAR END of a large, empty HALL: A LITTLE GIRL, 5 - is sitting on the floor by herself, playing with DOLLS, making them walk and talk. (CONTINUED) 95. WHITE KABLE SCRIPT - 9/19/2007156 CONTINUED: 156 KABLE'S eyes go wide. He starts to walk toward her, slowly at first... KABLE Delia... ... and finally breaking into a run - until: He SLAMS into what seems to be an INVISIBLE WALL, crumpling to the ground. The GIRL doesn't react. KABLE pounds on the glass... KABLE (cont'd) DELIA! ... then looks closer, running his fingers across the SMOOTH SURFACE. KEN CASTLE (O.S.) Not bad for video, eh? The VOICE comes from UNSEEN SPEAKERS; it seems to be everywhere at once, intimate. KEN CASTLE (O.S.) (cont'd) The latest and greatest... defy you to tell it from real life. You imagine porn on this thing? KABLE wants to EXPLODE - but he contains himself. He's playing CASTLE'S GAME, and the RULES are still UNDEFINED. Then - MUSIC: The SOUND of a SWINGIN' HI-HAT from down a long corridor - t - t - tssss, t - t - tssss, t - t - tsss... KABLE walks toward the source; a bass and piano pick up the groove.157 INT. CASTLE'S MANSION, BALLROOM - CONTINUOUS 157 He comes to a BALLROOM - empty, like everything else; shiny hardwood floor for DANCING. A SPOTLIGHT pops on from above, illuminating KEN CASTLE. He's wearing a T-SHIRT and JEANS. Every instinct tells KABLE to go after him - but he holds back. Who knows if it's even real? And then CASTLE starts to SING... ... or more precisely, LIP SYNC - the VOICE is SINATRA, I've Got You Under My Skin... CASTLE is doing a spot-on KARAOKE: I've got you under my skin (CONTINUED) 96. WHITE KABLE SCRIPT - 9/19/2007157 CONTINUED: 157 I've got you deep in the heart of me So deep in my heart, that you're really a part of me I've got you under my skin... He's snapping his fingers, putting on the moves... THEN - from behind curtains - a half dozen SLAYERS appear. We RECOGNIZE THE SCARRED, BATTLE-TOUGH FACES from the prison, the game, the pursuit... only instead of BLUE, they are wearing TUXEDOES with BLUE BOW-TIES. KABLE grips his weapon, but the men are UNARMED; instead, they fall in on the beat and go into a CHOREOGRAPHED DANCE behind CASTLE... I'd sacrifice anything come what might For the sake of having you near In spite of a warning voice that comes in the night And repeats, and repeats in my ear... KABLE notices SHADOWY FIGURES around the perimeter of the room... glasses, beards, pony tails - silently, the GEEK SQUAD has moved in and taken position. They move their hands in rhythm, synchronized... each one seems to control a DANCER: they TWIRL A FINGER and the SLAYER SPINS... kick with TWO FINGERS FOR LEGS and the SLAYER KICKS like a ROCKETTE. Suddenly, ON A MUSICAL HIT, everyone - CASTLE, the GEEKS, the SLAYERS - points dramatically up at the wall, where a VIDEO SCREEN BEGINS TO PLAY: it is footage of the GEEK SQUAD busting into humanz headquarters and EFFICIENTLY KILLING EVERYONE. ANGIE is tasered unconscious and dragged away. Don't you know, little fool, you never can win? Use your mentality, wake up to reality... But each time I do just the thought of you makes me STOP - before I give in Cause I've got you, under my skin... KABLE hits his breaking point. He brings up his WEAPON to open up on the SLAYERS... CLICK. It's DEAD. The GEEKS have taken care of that. KABLE tosses it aside and sprints for CASTLE, but the SLAYERS break off from the choreography to ENGAGE HIM; turns out they're flesh and blood after all. CASTLE backs away, whistling the melody, and continues his SOFTSHOE to the music as KABLE wades into brutal hand-to-hand combat... breaking necks, snapping arms, smashing faces... it's a full-on BALLET OF DEATH... finally, THE MUSIC ENDS, right on cue: KABLE is finishing off the last of the men, blood on his hands. (CONTINUED) 97. WHITE KABLE SCRIPT - 9/19/2007157 CONTINUED: (2) 157 CASTLE applauds; the GEEKS follow suit. KEN CASTLE (genuinely stoked) You're awesome. KABLE Castle. KEN CASTLE Kable. They speak simultaneously: KABLE KEN CASTLE I don't care about you. You don't care about me. KEN CASTLE (cont'd) ... you just want your little sugar pie, I know. So don't do anything stupido. My house, my rules. CASTLE walks away, leaving his back open to KABLE seemingly without concern, toward a side door. KEN CASTLE (cont'd) Come on, I want to show you something.158 INT. CASTLE'S MANSION, HALLWAY - CONTINUOUS 158 Tracking along the hallway, MEDIUM CLOSE, profile: CASTLE walks along, confidently, KABLE following. The background is a black, glittering STARSCAPE. KEN CASTLE I've got to thank you for leading me to them, by the by - the human- zuzz that is... Snap out WIDE: the hallway seems to run along the SURFACE OF THE MOON - another 3-D projection, no doubt. CRATERS and LUNAR DEBRIS stretch to the horizon. The GEEK SQUAD walks along behind CASTLE and KABLE at a distance... they are all tiny MOON ANTS in the vast lunar panorama... the PLANET EARTH rising majestically in the dark heavens. KEN CASTLE (cont'd) Of course, soon enough they'd be whistling my tune like everybody else... but meantime it was that little cracker program they dreamed up that got my attention... (MORE) (CONTINUED) 98. WHITE KABLE SCRIPT - 9/19/2007158 CONTINUED: 158 KEN CASTLE (cont'd) that was a genuine nuisance, no doubt about it... One thing even they didn't know, though: I'm wired too. SNAP back to CASTLE, MEDIUM CLOSE. His eyes are FUCKING CRAZY. KEN CASTLE (cont'd) I replaced 98% of my own noodle with nano-tissue years ago...159 INT. CASTLE'S COURT - CONTINUOUS 159 They leave the hallway and step on to an indoor, NBA regulation BASKETBALL COURT; electronic scoreboard, bleachers, the whole nine. It's dark, moody - only one bank of OVERHEAD FLOODS is turned on. At the FAR END of the COURT, HACKMAN is in WARM-UPS, shooting baskets. ONE leg - the one with the ABBREVIATED TOES - is in a FLEX BRACE. The GEEK SQUAD grabs seats in the BLEACHERS. KEN CASTLE But mine's different. (taps his FOREHEAD) Built to send - to transmit . Whereas every other K-soft cell out there - including the ones in... (taps KABLE'S forehead ) your head, Kable - is designed to receive. I think it, you do it. CASTLE looks across the court at HACKMAN; nods toward him... HACKMAN drops the ball and begins to POP LOCK. KEN CASTLE (cont'd) We're talking every Slayer, everyone in Society City... I believe your better half would fall under that category... provided they're within range of my transmitters... CASTLE chuckles at HACKMAN; HACKMAN stops dancing, jogs over, picks up the ball and resumes shooting. KABLE (sarcastic) Very nice, Castle. So you've got an army of psychotics and deviants to dance around for you. (CONTINUED) 99. WHITE KABLE SCRIPT - 9/19/2007159 CONTINUED: 159 CASTLE narrows his eyes, amusement edging out irritation; he walks over to a bin of GRIP POWDER. KEN CASTLE You're thinking small, Kable. But not as small as me. He sinks his hands into the POWDER, brings them out and CLAPS, making WHITE DUST CLOUDS. KABLE waves the dust AWAY FROM HIS FACE. KEN CASTLE (cont'd) See, nano cells are real small, a thousand times smaller than even these dust particulates... (KABLE coughs) Inhale it and they go to work: replicating, spreading... like a virus, multiplying in exponentials... six months time I could have 100 million people converted - ditch diggers, porn stars, presidents - and not one would be the wiser. Behind KABLE, HACKMAN lets the ball roll away and silently TURNS TOWARD US. KEN CASTLE (cont'd) A hundred million folks that will buy what I want them to buy, vote how I want them to vote, do pretty much damn well anything I figure they ought to do. HACKMAN comes running at KABLE from behind, eyes burning, at a full charge... running into FOCUS... holding the BOWIE KNIFE... KEN CASTLE(cont'd) For instance. KABLE hears HACKMAN at the last second, spins and ABSORBS THE TACKLE. The men GO TO THE GROUND, grappling, UFC-style. KABLE has HACKMAN'S KNIFE HAND by the wrist, stopping it - but leaving his face UNPROTECTED... HACKMAN brings his free ELBOW down on KABLE'S face, connecting and opening a CUT under his eye; then AGAIN - this time KABLE catches the elbow with his own free hand and WRENCHES IT IN SIDEWAYS, dislocating HACKMAN'S shoulder with a sickening POP. (CONTINUED) 100. WHITE KABLE SCRIPT - 9/19/2007159 CONTINUED: (2) 159 KABLE works around HACKMAN, gets him in a HEADLOCK and SQUEEZES... still gripping the knife hand, immobilizing it... HACKMAN is choking, BEAT RED... for long, brutal seconds the life drains out of him... finally, HACKMAN'S eyes roll back; he GOES LIMP. KABLE takes the BOWIE KNIFE from HACKMAN'S dead fingers. He struggles to his feet, dripping sweat and blood. KABLE You should've let him fight for himself, Castle - he might've had a shot. KEN CASTLE (pleasant) I think you're missing the point, my man. KABLE No, I get it - you're pulling the strings on all of this... (starts to move toward CASTLE with BAD INTENT) ... which makes my next move pretty easy to figure. KABLE comes at CASTLE FAST, bringing the KNIFE around to open his throat like a PEZ DISPENSER... His arm FREEZES IN MID AIR, the BLADE inches from contact. KEN CASTLE Neglected to mention: my smart boys reversed that hack those fellas worked for you - easy breezy, once we had access to their drives... This is gut-wrenching for KABLE -- after tasting freedom, he feels his will ripped away from him... HE'S BEING PUPPETED BY THE MAN HE HATES THE MOST. KEN CASTLE (cont'd) You're mine, boy. With a twitch of CASTLE'S eyes KABLE brings the KNIFE down and SLICES OPEN HIS OWN LEG. CUT TO:160 INT. SIMON'S ROOM - SIMULTANEOUS 160 SIMON is sitting on the floor, head hung low, in front of the dead wall... a glitch, a flicker... the screen comes to life: (CONTINUED) 101. WHITE KABLE SCRIPT - 9/19/2007160 CONTINUED: 160 It's KABLE'S POV of KEN CASTLE. CASTLE is stripping off his shirt. KEN CASTLE (on SCREEN) Come on, lets boogie woogie rock and roll. SIMON Ummm. CUT BACK TO:161 INT. CASTLE'S COURT - CONTINUOUS 161 CASTLE throws a funky KARATE KICK and nails KABLE in the jaw... then a haymaker to the GUT, doubling KABLE over. He lets KABLE swing the KNIFE just short of his face as he backs away. KEN CASTLE Biggest, baddest Slayer in the game... don't seem like much, does he? CASTLE is enjoying the hell out of himself. He uppercuts KABLE, snapping his head back... then shakes out his knuckles. KEN CASTLE (cont'd) Oww! KABLE swings his OPEN HAND around - CASTLE choreographs it perfectly: KABLE'S nails rake across CASTLE'S STOMACH, MARKING HIM UP like BRUCE LEE in Enter The Dragon. CASTLE strikes a pose to match. KEN CASTLE (cont'd) Lucky shot. (grins) OK, not really. He brings a passable REVERSE CRESCENT KICK that drops KABLE to the floor. KEN CASTLE (cont'd) I need an audience, boys. A DOOR OPENS at the far end of the court; KABLE looks up slowly, afraid of what he knows he'll see: ANGIE and DELIA are led into the room. ANGIE presses herself * close to DELIA, holding her shoulders protectively. * (CONTINUED) 102. WHITE KABLE SCRIPT - 9/19/2007161 CONTINUED: 161 She keeps her distance from the GEEK SQUAD escorts and tries * to block DELIA from them - there is raw fear and anger in her * eyes; the GEEK SQUAD are not overtly violent or menacing, but * ANGIE seems acutely aware that they are lethal. DELIA seems * oddly neutral and unaffected by the entire situation. * CASTLE kicks KABLE across the floor, toward them. KEN CASTLE (cont'd) That's right, you crawl on your belly like a toad... (he looks to the GEEK SQUAD, sheepish) Is this bad? I'm really bad. He gives KABLE a last kick; KABLE collapses in front of his DAUGHTER... she looks down at him, curiously. * He looks up at DELIA, eyes soaked with emotion... then to * ANGIE. They share a moment of intense eye contact - we feel * that ANGIE wants desperately to go to him but is unsure of * what is the best action to take strategically; she is looking * to KABLE for a clue. * KABLE'S eyes go back to DELIA; he tries to reach up and * gently touch her face... KEN CASTLE (cont'd) That's sweet. CASTLE steps on KABLE'S hand, pinning it to the floor. KEN CASTLE (cont'd) Alright boys, you ready? A true test. He steels his eyes on KABLE and concentrates. KABLE slowly brings up the KNIFE toward DELIA'S THROAT. ANGIE moves to pull DELIA away - CASTLE merely glances up at * her and she FREEZES, paralyzed. We can see her body strain * against invisible control, raw panic in her eyes... * KABLE (desperate) No. KEN CASTLE Just like last time. Remember? KABLE is FIGHTING IT with all his will, his whole body shaking... (CONTINUED) 103. WHITE KABLE SCRIPT - 9/19/2007161 CONTINUED: (2) 161 KEN CASTLE (cont'd) You're stronger now... a little more fight in you... but I think the end result will be about the same... * KEN CASTLE (cont'd) Shh. The GEEKS look on, impassive. The BLADE is inches away... He * looks into ANGIE'S eyes - she and KABLE are like one; he * seems to draw strength from her... finally, KABLE WILLS * EVERYTHING HE HAS and STABS THE KNIFE INTO THE FLOORBOARDS. * Suddenly: KABLE's head SNAPS around, his eyes confused... and in one quick, smooth movement, KABLE YANKS THE KNIFE out of the floor, RISES TO HIS FEET AND SPINS ON CASTLE. He claps a hand around CASTLE'S neck and tries to jam the knife up into his GUT - but CASTLE is able to FREEZE HIM just short... KEN CASTLE (cont'd) (freaked) What the hell was that? The GEEKS break out tiny devices and start quickly scanning. Not even KABLE understands this. PONYTAIL GEEK There are 2 networks accessing the same IP address. GEEK LEADER Someone on the outside is sending him commands... CUT TO:162 INT. SIMON'S ROOM - SIMULTANEOUS 162 SIMON is on his feet, in full BADASS GAMER MODE. His body is positioned exactly like KABLE'S - right hand gripping the virtual blade for an underhand thrust; left hand clutching CASTLE'S THROAT... he FORCES HIS RIGHT HAND FORWARD... CUT BACK TO: 104. WHITE KABLE SCRIPT - 9/19/2007163 INT. CASTLE'S COURT - CONTINUOUS 163 ... KABLE'S KNIFE HAND begins to inch forward. Now CASTLE is the one struggling for control; he claws weakly at KABLE'S hand, trying to loosen it off his neck... KEN CASTLE (panicking) JAM THE SIGNAL YOU GOD DAMN RETARDS! GEEK (irritated) Working on it... KABLE'S eyes are locked in on CASTLE'S... straining with everything he has... his strength and will overpowering CASTLE, but- KEN CASTLE (like he's explaining the obvious to a child) I think it. KABLE, succumbing to CASTLE'S control, begins to move the knife away from CASTLE'S belly. KEN CASTLE (cont'd) You... fucking... do it... CASTLE delivers a CRUNCHING HEADBUTT to his NOSE, KABLE loses his footing, sweat pouring down his face, bloody, drained... CASTLE pushes the KNIFE back towards KABLE. He fights back - every muscle in his arm fighting against another like Yin & Yang, veins rising in his neck... Then KABLE senses an opportunity: KABLE Look at this knife... imagine me sticking it into your gut... think about it... make it real. CASTLE laughs... BUT HIS EYES FLICKER TO THE KNIFE - of course he can't help but picture it... ... and in that instant KABLE JAMS IN THE BLADE... GEEK LEADER (blank) Oops. (CONTINUED) 105. WHITE KABLE SCRIPT - 9/19/2007163 CONTINUED: 163 ... CASTLE focuses, trying to pull it back out, but KABLE shoves it in deeper - CASTLE'S EYES BULGE. Finally KABLE TWISTS the KNIFE and lifts CASTLE OFF THE GROUND. The paralysis breaks from ANGIE - she lunges forward to throw * her arms around her daughter. *164 INT. SIMON'S ROOM - CONTINUOUS 164 SIMON (triumphant) YES!!! He drops down into the badass, ROCKSTAR pose...165 INT. CASTLE'S COURT - SIMULTANEOUS 165 ... and KABLE does the same. * KABLE Damn it, kid... CASTLE collapses to his knees in front of KABLE, glass-eyed, draining life... they are FACE to FACE. KABLE (cont'd) ... is the fuckin pose really necessary? CASTLE face-plants on the COURT. SIMON Sorry. KABLE'S body relaxes; he tosses the knife across the floor... then turns to face his family. When DELIA finally speaks there is a trace of CASTLE'S Georgia peach accent. DELIA Are you my Daddy Tillman? He gathers DELIA in his arms and lifts her off her feet, squeezing her close; she SQUEEZES BACK. KABLE grabs ANGIE with his other arm and pulls her in. The GEEKS look at one another - realize that their employment contract with CASTLE has just been terminated... shrug; pocket their shit, zip up their backpacks and fanny packs, get up and start to file out. KABLE Wait. (CONTINUED) 106. WHITE KABLE SCRIPT - 9/19/2007165 CONTINUED: 165 GEEK LEADER stops. KABLE (cont'd) Shut it off. GEEK Pardon? KABLE The nanex. Set us free. The GEEKS look at one another. KABLE (cont'd) It's nothing to you. A mouse- click. GEEK LEADER shrugs. GEEK LEADER True dat. He nods to PONYTAIL GEEK: do it. The GEEK LEADER betrays a ghost of a smile. GEEK LEADER (cont'd) Well played, Kable. KABLE doesn't answer; but his eyes say: how was any of this a fucking game? DELIA Mommy. Why did Daddy Tillman hurt Daddy Ken? FADE TO BLACK.166 INT. BATHROOM - TIME INDETERMINATE 166 A VIDEO PLAYER WINDOW POPS UP: It's TRACE, filming herself. TRACE This is for you, you dumb bitch. I hope you do the right thing with it. The IMAGE switches to the CAPTURED FOOTAGE of KABLE in the military facility... leading up to SCOTCH'S murder. The light from the screen reflects on GINA PARKER SMITH'S face - she's wide-eyed, stunned. (CONTINUED) 107. WHITE KABLE SCRIPT - 9/19/2007166 CONTINUED: 166 GINA PARKER SMITH Oh, baby... FADE TO BLACK.167 INT. KABLE'S CAR - DAY 167 SHOOTING STARS fly past us in the dark... the SAME IMAGE WE STARTED WITH... only instead of an underground train carrying SOLDIERS to battle... The TUNNEL ENDS; we break from the side of a mountain into BLUE SKY AND SUNLIGHT. KABLE is driving on the open highway... ANGIE is in the passenger seat, asleep, head pressed up against the window glass. KABLE checks the rear view window; makes eye contact with DELIA, who is suspended in a lightweight car seat in the back seat. KABLE You good, sweetheart? DELIA nods. KABLE allows himself a smile, puts his eyes back on the road. ANGIE slowly reaches for KABLE'S hand, she rubs her thumb on his tattoo - "I am right here with you" - and falls back asleep. The CAMERA tilts up, stares out the front window and moves into the giant sun. SMASH TO BLACK. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Gandhi.txt b/unformated_scripts/Script_Gandhi.txt new file mode 100644 index 0000000000000000000000000000000000000000..40479bfb7f16d111ac54a0a5b4d41ba520f3d2a1 --- /dev/null +++ b/unformated_scripts/Script_Gandhi.txt @@ -0,0 +1 @@ + GANDHI Written by John Briley Final Draft EXTERIOR - SKY - DAY The camera is moving toward an Indian city. We are high and far away, only the sound of the wind as we grow nearer and nearer, and through the passing clouds these words appear: "No man's life can be encompassed in one telling. There is no way to give each year its allotted weight, to include each event, each person who helped to shape a lifetime. What can be done is to be faithful in spirit to the record, and to try to find one's way to the heart of the man..." And now we are approaching the city, the squalor of the little shanty dwellings around the outskirts, the shadows of large factories... And as we move nearer, coursing over the parched terrain, the tiny fields of cultivation, strands of sound are woven through the main titles, borne on the wind, images from the life we are seeking: British: "Who the hell is he?!", lower class British: "I don't know, sir."... "My name is Gandhi. Mohandas K. Gandhi."... A woman's voice, tender, soft: "You are my best friend, my highest guru... and my sovereign lord."... A man (Gandhi): "I am asking you to fight!"... An angry aristocratic English voice: "At home children are writing 'essays' about him!"... the sound of massed rifle fire, screams... EXTERIOR - CITY - DAY And now we are over the city, coming in toward a particular street in the affluent suburbs of New Delhi... there are a few cars (it is 1948), and we are closing on a milling crowd near the entrance to one of the larger homes. We see saris, Indian tunics, a sprinkling of "Gandhi" caps, several tongas (two-wheeled, horse-drawn taxis)... the shreds of sound continue -- American woman, flirtatious, intimate: "You're the only man I know who makes his own clothes." Gandhi's laugh... The sound of rioting, women's cries and screams of terror... An American voice: "This man of peace"... And as the titles end we begin to pick up the sounds of the street... an Australian and his wife, a BBC correspondent... all in passing, as the camera finally closes and holds on one young man: Godse. BIRLA HOUSE - EXTERIOR - DAY Godse steps from a tonga as the crowd begins to move toward an entrance-way at the back of a long wall. HOUSE SERVANT'S VOICE He will be saying prayers in the garden -- just follow the others. In contrast to those about him, there is tension in Godse's face, an air of danger in his movements. He glances at two policemen who are talking casually, absorbed in their own gossip -- then he looks back at another tonga that pulls up just behind his. Two young men (Apte and Karkare) meet Godse's gaze, and again we get the sense of imminent danger. They descend and pay their driver absently, their eyes watching the crowd. Sitting along in the shadows of a stationary tonga a little distance down the street an elderly man (Prakash) with a short, close-cropped beard and the taut, sunken flesh of a cadaver is watching... Apte and Karkare look back at him. There is just the slightest acknowledgment and then Prakash lifts his eyes to the gate, as though to tell them to be about their business. THE GATE AT BIRLA HOUSE - EXTERIOR - DAY Godse hesitates before approaching the two gardeners who nonchalantly flank the entrance. He stiffens himself, cautiously touches something under his khaki jacket, then glances back at the stoic face of Prakash. Prakash's gaze is as firm and unrelenting as a death's head. Godse turns back, wetting his lips nervously, then moves into the middle of a group going through the gate. GARDEN - BIRLA HOUSE - EXTERIOR - TWILIGHT A fairly numerous crowd is gathering here, informally filling the area on one side of a walk that leads to a little pavilion -- some devout, some curious, some just eager to be near the great man. Godse moves forward through them toward the front just as hushed voices begin to remark -- "I see him." "Here he comes!" "Which one is Manu?"... Apte and Karkare move to different sides of Godse, staying a little behind, their movements sly and wary, aware of people watching. Featuring Gandhi. We see him distantly through the crowd. The brown, wiry figure cloaked only in loincloth and shawl, still weak from his last fast and moving without his customary spring and energy as he is supported by his two grand nieces, his "walking sticks," Manu and Abha. We do not see him clearly until the very last moment -- only glimpses of him as he smiles, and exchanges little jokes with some of the crowd and the two young women who support him, occasionally joining his hands together in greeting to someone in particular, then once more proceeding with a hand on the shoulder of each of the girls. The camera keeps moving closer, and the point of view is always Godse's, but Gandhi is always in profile or half obscured by the heads and shoulders of those in front. We hear the occasional click of a camera, and we intercut with shots of Godse moving tensely up through the crowd, of Apte and Karkare on the periphery of the crowd, watching with sudden fear and apprehension, like men paralysed by the presence of danger. Featuring Godse. He slides through to the very front rank. His breathing is short and there is perspiration around the sides of his temples. And now, for an instant we see Gandhi close from his point of view. He is only a few steps away, but turned to speak to someone on the other side, and Manu half obscures him. Godse swallows dryly, tension lining his face -- then he moves boldly out into Gandhi's path, bumping Manu, knocking a vessel for incense from her hands. MANU (gently) Brother -- Bapu is already late for prayers. Ignoring her, his nerves even more taut, Godse joins his hands together and bows in greeting to the Mahatma. And now we see Gandhi in full shot. The cheap glasses, the nut-brown head, the warm, eager eyes. He smiles and joins his hands together to exchange Godse's greeting. Godse moves his right hand rapidly from the stance of prayer to his jacket, in an instant -- it holds a gun, and he fires point blank at Gandhi -- loud, startling -- once, twice... thrice. Gandhi's white shawl is stained with blood as he falls. GANDHI Oh, God... oh, God... Amid the screams and sounds of chaos we dissolve through to KINGSWAY - NEW DELHI - EXTERIOR - DAY Close shot. Soldier's feet moving in the slow step, half- step, step of the requiem march... Full shot. The huge funeral procession -- crowds such as have never been seen on the screen massed along the route. People everywhere, clinging to monuments, lamp standards, trees -- and as the camera pulls back from the funeral cortege it reveals more and more... and more. All are silent. We only hear a strange, rhythmic shuffling, pierced by an occasional wail of grief. We see the soldiers and sailors lining the route, their hands locked together in one seemingly endless chain. We see the two hundred men of the Army, Navy and Air Force drawing the Army weapon-carrier that bears the body of Gandhi. And finally we see Gandhi lying on the weapon-carrier, surrounded by flowers, a tiny figure in this ocean of grief and reverence. THE COMMENTATORS' ROSTRUM - KINGSWAY - NEW DELHI - EXTERIOR - DAY Commentators from all over the world are covering the ceremony. We concentrate on one, let us say the most distinguished American broadcaster of the time, Edward R. Murrow, who sits on the makeshift platform, a microphone marked "CBS" before him, describing the procession as technicians and staff move quietly around him. MURROW (clipped, weighted) ...The object of this massive tribute died as he had always lived -- a private man without wealth, without property, without official title or office... KINGSWAY - NEW DELHI - EXTERIOR - DAY As the cortege continues on its way, we get shots of the marching soldiers, of the faces of Sikhs, and Tamils, Anglo- Indians, Moslems from the north, Marathas from the south, blue-eyed Parsees, dark-skinned Keralans... MURROW'S VOICE-OVER Mahatma Gandhi was not a commander of great armies nor ruler of vast lands, he could boast no scientific achievements, no artistic gift... Yet men, governments and dignitaries from all over the world have joined hands today to pay homage to this little brown man in the loincloth who led his country to freedom... We see the throng, following the weapon-carrier bier of Gandhi as it slowly inches its way along the Kingsway. Mountbatten, tall, handsome, bemedalled, walks at the head of dignitaries from many lands... and behind them a broad mass of Indians. For a moment we see their sandalled feet moving along the roadway and realize their quiet, rhythmic shuffling is the only noise this vast assemblage has produced. MURROW'S VOICE-OVER Pope Pius, the Archbishop of Canterbury, President Truman, Chiang Kai-shek, The Foreign Minister of Russia, the President of France... are among the millions here and abroad who have lamented his passing. In the words of General George C. Marshall, the American Secretary of State, "Mahatma Gandhi had become the spokesman for the conscience of mankind..." In the crowd following the bier we pick out the tall, English figure of Mirabehn, dressed in a sari, her face taut in a grief that seems ready to break like the Ganges in flood. Near her a tall, heavy-set man, Germanic, still powerful of build and mien though his white hair and deep lines suggest a man well into his sixties (Kallenbach). He too marches with a kind of numb air of loss that is too personal for national mourning. On the edge of the street an American newspaperman (Walker) watches as the bier passes him. He has been making notes, but his hand stops now and we see the profile of Gandhi from his point of view as the weapon-carrier silently rolls by. It is personal, close. Walker clenches his teeth and there is moisture in his eyes as he looks down. He tries to bring his attention to his pad again, but his heart is not in it and he stares with hollow emptiness at the street and the horde of passing feet following the bier. MURROW'S VOICE-OVER ...a man who made humility and simple truth more powerful than empires." And Albert Einstein added, "Generations to come will scarce believe that such a one as this ever in flesh and blood walked upon this earth." The camera picks out those who ride on the weapon-carrier with Gandhi's body... the stout, blunt, but now shattered Patel, Gandhi's son, Devadas, the strong, almost fierce face of Maulana Azad, now angry at the Gods themselves... and finally Pandit Nehru -- a face with the strength of a hero, the sensitivity of a poet, and now wounded like the son of a loving father. MURROW'S VOICE-OVER ... but perhaps to this man of peace, to this fighter who fought without malice or falsehood or hate, the tribute he would value most has come from General Douglas McArthur: "If civilization is to survive," the General said this morning, "all men cannot fail to adopt Gandhi's belief that the use of force to resolve conflict is not only wrong but contains within itself the germ of our own self-destruction."... A news truck is parked in the mass of the crowd. As the cortege nears, the photographers on it stand to snap their pictures. There is a newsreel crew center. The camera features a woman photographer (Margaret Bourke-White) who sits with her legs dangling over the side of the truck, her famous camera held loosely in her hand, un-regarded, as she watches the body of Gandhi approach. The intelligent features are betrayed by the emotion in her eyes. For an instant we see Gandhi from her point of view, and read the personal impact it has on her. MURROW'S VOICE-OVER Perhaps for the rest of us, the most satisfying comment on this tragedy comes from the impudent New York PM which today wrote, "There is still hope for a world which reacts as reverently as ours has to the death of a man like Gandhi."... The camera is high and we see the cortege from the rear, moving off down the vast esplanade, its narrowing path parting the sea of humanity like a long trail across a weaving plain... and as the shuffling sound of sandalled feet fades in the distance we dissolve through to RAILROAD - SOUTH AFRICA - EXTERIOR - NIGHT With the camera high we see a railroad track stretching out across a darkly verdant plain, and suddenly the whistle of a train as its engine and light sweep under the camera, startling us as it sweeps across the moonlit landscape. Tracking with the train. We begin at the guard's van, dwelling for a moment on the words "South African Railways," then pass on to the dimly lit Third Class coaches in the rear of the train, moving past the crowded Blacks and Indians in the spare wooden accommodation... There are two or three such coaches, then a Second Class coach... cushioned seats, better lighting, a smattering of Europeans: farmers, clerks, young families. Their clothes indicate the date: the early 1890s. The conductor is working his way through this coach, checking tickets... The track continues to the First Class coach -- linen over the seats, well-lit luxurious compartments. We pass a single European, and then come to rest on the back of a young Indian dressed in a rather dandified Victorian attire, and reading as a Black porter stows his luggage. FIRST CLASS COACH - SOUTH AFRICAN RAILWAYS - INTERIOR - NIGHT Featuring the young Indian. It is the young Gandhi -- a full head of hair, a somewhat sensuous face, only the eyes help us to identify him as the man we saw at Birla House, the figure on the bier in Delhi. He is lost in his book and there is a slight smile on his face as though what he reads intrigues and surprises him. He grins suddenly at some insight, then looks out of the window, weighing the idea. As he does the European passes the compartment and stops dead on seeing an Indian face in the First Class section. The porter glances at the European nervously. Gandhi pivots to the porter, holding his place in the book, missing the European, who has moved on down the corridor, altogether. We see the cover of the book: The Kingdom of God is Within You, by Leo Tolstoy. GANDHI Tell me -- do you think about hell? PORTER (stares at him blankly) "Hell!" GANDHI (the eternal, earnest sophomore) No -- neither do I. But... (he points abruptly to the book) but this man is a Christian and he has written -- The porter has glanced down the corridor, where from his point of view we can just glimpse the European talking with the conductor. PORTER Excuse me, baas, but how long have you been in South Africa? GANDHI (puzzled) A -- a week. PORTER Well, I don't know how you got a ticket for -- He looks up suddenly then turns back quickly to his work. Gandhi glances at the door to see what has frightened him so. The European and the conductor push open the door and stride in. CONDUCTOR Here -- coolie, just what are you doing in this car? Gandhi is incredulous that he is being addressed in such a manner. GANDHI Why -- I -- I have a ticket. A First Class ticket. CONDUCTOR How did you get hold of it? GANDHI I sent for it in the post. I'm an attorney, and I didn't have time to -- He's taken out the ticket but there is a bit of bluster in his attitude and it is cut off by a cold rebuff from the European. EUROPEAN There are no colored attorneys in South Africa. Go and sit where you belong. He gestures to the back of the train. Gandhi is nonplussed and beginning to feel a little less sure of himself. The porter, wanting to avoid trouble, reaches for Gandhi's suitcases. PORTER I'll take your luggage back, baas. GANDHI No, no -- just a moment, please. He reaches into this waistcoat and produces a card which he presents to the conductor. GANDHI You see, Mohandas K. Gandhi, Attorney at Law. I am going to Pretoria to conduct a case for an Indian trading firm. EUROPEAN Didn't you hear me? There are no colored attorneys in South Africa! Gandhi is still puzzled by his belligerence, but is beginning to react to it, this time with a touch of irony. GANDHI Sir, I was called to the bar in London and enrolled in the High Court of Chancery -- I am therefore an attorney, and since I am -- in your eyes -- colored -- I think we can deduce that there is at least one colored attorney in South Africa. The Porter stares -- amazed! EUROPEAN Smart bloody kaffir -- throw him out! He turns and walks out of the compartment. CONDUCTOR You move your damn sammy carcass back to third class or I'll have you thrown off at the next station. GANDHI (anger, a touch of panic) I always go First Class! I have traveled all over England and I've never... MARITZBURG STATION - EXTERIOR - NIGHT Gandhi's luggage is thrown onto the station platform. A blast of steam from the engine. A policeman and the conductor are pulling Gandhi from the First Class car. Gandhi is clinging to the safety rails by the door, a briefcase clutched firmly in one hand. The European cracks on Gandhi's hands with his fist, breaking Gandhi's grip and the policeman and conductor push him across the platform. It is ugly and demeaning. Disgustedly, the conductor shakes himself and signals for the train to start. Gandhi rights himself on the platform, picking up his briefcase, his face a mixture of rage, humiliation, impotence. The conductor hurls Gandhi's book at his feet as the train starts to move. Gandhi picks up the book, looking off at the departing train. A lamp swinging in the wind alternately throws his face into light and darkness. His point of view. The Black porter stares out of a window at him, then we see the European taking his seat again, righteously. The conductor standing in the door, watching Gandhi even as the train pulls out. Then the Second Class coach, with people standing at the window to stare at Gandhi -- then the Third Class coaches, again with Blacks and a few Indians looking at Gandhi with mystification and a touch of fear. Gandhi stands with a studied air of defiance as the train pulls away -- but when it is gone he is suddenly very aware of his isolation and looks around the cold, dark platform with self-conscious embarrassment. A Black railway worker looks as if he would like to express sympathy, but he cannot find the courage and turns away from Gandhi's gaze, pulling his collar up against the piercing wind. The policeman who pulled Gandhi from the train talks with the ticket-taker under the gas-lit entrance gate, both of them staring off at Gandhi. An Indian woman near the entrance sits in a woolen sari, her face half-veiled. A small child sleeps in her arms, and there is a tattered bundle of clothing at her feet. She turns away from Gandhi's gaze as though it brought the plague itself. MR. BAKER'S LIVING ROOM - INTERIOR - NIGHT Featuring Gandhi. As if a reverse angle from the previous shot, he is angry, baffled, defiant. GANDHI But you're a rich man -- why do you put up with it? We are in a large Victorian parlor in a well-to-do home. Facing Gandhi are Khan, a tall, impressive Indian. Singh, slighter and older than Khan, but wiry and looking capable of physical as well as intellectual strength, and Khan's twenty-year-old son, Tyeb Mohammed. KHAN (a shrug) I'm rich -- but I'm Indian. I therefore do not expect to travel First Class. It is said with a dignity and strength that makes the statement all the more bewildering. Gandhi looks around helplessly. We see Mr. Baker, a wealthy white lawyer, whose home this is, poking at the fire, slightly amused at Gandhi's naÔvetÈ. GANDHI In England, I was a poor student but I -- KHAN That was England. Gandhi is holding a British legal document; he lifts it pointedly. GANDHI This part of "England's" Empire! SINGH Mr. Gandhi, you look at Mr. Khan and see a successful Muslim trader. The South Africans see him simply as an Indian. And the vast majority of Indians -- mostly Hindu like yourself -- (there is a moment of blinking embarrassment from Gandhi at this mention of his own religion) were brought here to work the mines and harvest the crops -- and the Europeans don't want them doing anything else. Gandhi looks at Mr. Baker almost in disbelief. GANDHI But that is very un-Christian. Mr. Baker smothers a smile. TYEB MOHAMMED Mr. Gandhi, in this country Indians are not allowed to walk along a pavement with a "Christian"! Gandhi looks at Khan incredulously. GANDHI You mean you employ Mr. Baker as your attorney, but you can't walk down the street with him? KHAN I can. But I risk being kicked into the gutter by someone less "holy" than Mr. Baker. He smiles, but his eyes show that it is no joke. Gandhi glances from one to the other them -- absorbing the inconceivable. And then almost before our eyes his innocence of the world fuses with his anger at the injustice of it all. GANDHI Well, then, it must be fought. We are children of God like everyone else. KHAN (dryly) Allah be praised. And what battalions will you call upon? GANDHI I -- I will write to the press -- here -- and in England. (He turns to Baker firmly) And I will use the courts. He lifts the documents threateningly. SINGH You will make a lot of trouble. Its tone is chilling, and Gandhi's firmness is shaken a little. GANDHI We are members of the Empire. And we come from an ancient civilization. Why should we not walk on the pavements like other men? The sturdy Khan is studying him with a look of wry interest. KHAN I rather like the idea of an Indian barrister in South Africa. I'm sure our community could keep you in work for some time, Mr. Gandhi -- even if you caused a good deal of trouble. (Gandhi reacts uncertainly.) Especially if you caused a good deal of trouble. Gandhi glances at Tyeb Mohammed and Baker, then stiffens, plainly frightened by the challenge, but just as plainly determined to take it. MOSQUE - EXTERIOR - DAY We see a rather crudely stitched sign: "Indian Congress Party of South Africa." Gandhi, now sporting a moustache, stands with Khan and Singh near a fire that has been started in the open area before the Mosque. A wire basket has been placed on supports over the fire. Before them, a small crowd, mostly Indian (Hindus, Sikhs, Muslims), but with a few Whites drawn by curiosity. Gandhi whispers, trying to ignore the crowd. GANDHI There's the English reporter. I told you he'd come. We see the English reporter waiting skeptically. Near him, trying to be inconspicuous on the edge of the small crowd, are five policemen (one sergeant and four constables). A horse-drawn paddy wagon is drawn up beside them. KHAN You also said your article would draw a thousand people. (If the crowd numbers 100 they're lucky.) At least some of the Hindus brought their wives. We see five or six women in saris standing together. GANDHI No. I asked my wife to organize that. We feature Gandhi's wife, Ba, standing at the front of the women. She possesses a surprising delicacy of feature, with large expressive eyes and a beautiful mouth -- but at this moment she is ill at ease and uncertain, forcing herself to do that which she would rather not. SINGH (alarmed) Some of them are leaving... Gandhi wets his lips nervously. He glances with a little apprehension at the police, then takes his notes from his pocket and moves to the front of the fire. He holds up his hand for attention. He forces a smile -- then starts reading -- GANDHI Ladies and Gentlemen, we have asked you to gather here to help us proclaim our right to be treated as equal citizens of the Empire. It is flat and dull, like someone reading a speech to themselves, and those in the crowd who had hesitated before wandering off shrug and continue on their way. Gandhi is unnerved by it a little but he struggles on -- louder, but just as colorlessly. GANDHI We do not seek conflict. We know the strength of the forces arrayed against us, know that because of them we can only use peaceful means -- but we are determined that justice will be done! This last has come more firmly, and he lifts his head to the crowd, as though expecting a reaction. Three or four committed supporters applaud as on cue, but his technique is so inexpert that it draws nothing but blank faces from the bulk of them. He glances nervously at Ba, who is embarrassed for them both now. She wraps her sari more closely around her and her expression is a wife's "I told you so" -- sufferance, mortification and loyalty, all in one. Gandhi wets his lips again -- and takes a square of cardboard from his pocket -- his "pass." GANDHI The symbol of our status is embodied in this pass -- which we must carry at all times, but no European even has to have. He holds it up. A constable glances at the police sergeant. GANDHI And the first step to changing our status is to eliminate this difference between us. And he turns and drops his pass in the wire basket over the fire. The flames engulf it. The police sergeant's eyes go wide with disbelief. The crowd murmurs in shock. At last Gandhi has got a reaction, but the dropping of the card has been as matter-of-fact as his speaking, with none of the drama one might expect from so startling a gesture. Even so, a constable glances at the police sergeant again, "Do we take him?". The sergeant just shakes his head, "Wait." Khan moves up to Gandhi as the tremor of reaction ripples through the crowd. KHAN (quietly) You write brilliantly, but you have much to learn about handling men. He takes Gandhi's notes from him, and faces the crowd. KHAN (the reading not fluent, but firm and pointed) We do not want to ignite... the fear or hatred of anyone. But we ask you -- Hindu, Muslim and Sikh -- to help us light up the sky... and the minds of the British authorities -- with our defiance of this injustice. It is the end of the speech. He looks at the crowd. No one knows quite what to do. Gandhi harumphs -- gesturing to a shallow box Singh holds. Kahn turns back, extemporizing rather lamely. KHAN We will now burn the passes of our committee and its supporters. We ask you to put your passes on the fire with -- POLICE SERGEANT Oh, no, you bloody well don't! He has stepped forward with his constables, who have faced the crowd, halting the tentative movements of the few committed supporters toward the fire. POLICE SERGEANT Those passes are government property! And I will arrest the first man who tries to burn one! He is facing the crowd. Behind him, Khan holds himself erect and slowly takes his own card from his pocket. He holds it aloft and then lowers it resolutely into the wire basket. The crowd reacts and the sergeant turns just in time to see it dropped in the flame. POLICE SERGEANT Take him away! He gestures to a constable, who turns from the crowd and marches to Khan, seizing him by the arm and marching him to the paddy wagon. As he passes the sergeant, the sergeant takes his billy club, and faces the crowd, rapping the club menacingly against his hand. POLICE SERGEANT Now -- are there any more?! Behind him, Gandhi wavers indecisively a moment, then takes the box from Singh and moves to the fire. Ba holds her hand to her mouth -- terrified. Again the crowd's reaction turns the sergeant. Gandhi is at the fire. For a second, his eyes lock with the sergeant's -- and then nervously, he takes a card and drops it in the wire basket, and another. POLICE SERGEANT You little sammy bastard -- I -- He has leapt across the distance between them, knocking the box from Gandhi's hands, sending the cards flying and shoving Gandhi to the ground. He turns and faces the crowd angrily, pointing the billy club threateningly. POLICE SERGEANT You want that kind of trouble -- you can have it! Again, a murmur from the crowd turns him. Gandhi, on his hands and knees, blood trickling from his abraded cheek, has picked up a card from the ground and he leans forward apprehensively, his eyes fearfully on the sergeant, but he drops it defiantly in the basket. The sergeant's fury bursts -- and he slams the billy club down on Gandhi's head. Gandhi sags to the ground. Ba screams. She starts to run to him, but the other women seize her. BA Let me go! She fights loose, but one of the constables takes her firmly. The sergeant turns from the commotion to see that Gandhi, his head oozing blood, has crawled to his knees again and is picking up another card. The crowd watches. The newspaper reporter watches. Ba stares in anguish. Gandhi lifts the card. The sergeant stares at him, angry but his emotions somewhat in control after the first blow. SERGEANT Stop! An instant of hesitation, then Gandhi drops the card into the basket. The sergeant almost stops, but he strikes again. A quiver of distaste at his own act crosses his face as Gandhi sags. Ba's anguished face is wet with tears. The newspaper reporter stares without making notes. Khan, at the paddy wagon, watches in wonder. Gandhi, his head bleeding badly now, rises to his knees -- a breath and he gropes around the ground for another card. His fingers finally clutch one. The sergeant stares, his face wracked with uncertainty and confusion. Gandhi lifts the card and painfully holds it over the fire, then drops it in the basket. The sergeant slams the billy club down again -- firmly, but with a manifest reluctance. The crowd watches breathlessly, the newspaper reporter stares. The sergeant draws a breath, grasping the club, but he bites his lip as he sees Gandhi lift his head feebly, his shaking hands, stained with his own blood, groping for another card... GANDHI'S BEDROOM - SOUTH AFRICA - INTERIOR - NIGHT Ba is gently removing Gandhi's suit coat, staring fearfully at a bandage on his head, another along the side of his face. The room is gaslit, overfurnished in the Victorian manner. Middle class. Gandhi sits carefully on the bed, where some newspapers are spread out, English-language ones among them. GANDHI You saved the papers. Ba reaches forth, gently touching the bandages on his head. BA I wish you were still struggling for work in Bombay. Gandhi doesn't take his eyes from the papers, but he shakes his head. GANDHI I hated that -- all the pettiness, the little corruptions. (A reflective grin.) And I was more laughing stock than lawyer. He smiles whimsically, then turns back to the papers. GANDHI But they needed me here. If I'd never been thrown off that train, perhaps no one would ever have needed me. Ba stares at the back of his head, wounded by that remark, bearing it as stoically as he bore the blows against him. GANDHI (reading) "A high court judge has confirmed that Mr. Gandhi would have been within his rights to prosecute for assault since neither he nor Mr. Khan resisted arrest." -- I told you about English law. BA As I told you about English policemen. Before Gandhi can retort there is a knock on the door. GANDHI Yes? A small, round ayah (an Indian nursemaid) pushes open the door and proudly admits her charges, Gandhi's sons: Harilal (ten), Manilal (six) and Ramdas (two). They are all dressed in European suits, ties and stiff collars. They step forward, one by one, making the pranam (the Hindu gesture of greeting), then bending and touching the hands and lips to Gandhi's feet in the traditional obeisance of child to father. HARILAL We are glad to have you back, Bapu. Gandhi smiles. GANDHI And I am glad to be back. (He holds his hands out to Ramdas.) Come... And Ramdas runs to him and Gandhi bends to kiss him as Ramdas put his arms around his neck. BA Be careful! Gandhi pats him indulgently, then carefully stands erect, looking at them all with satisfaction. GANDHI Tomorrow I will tell you what it feels like to be a jailbird. The two older boys show the expected apprehension -- and interest. Gandhi nods to the ayah. She claps her hands smartly. AYAH Come. Come. The boys bow and leave like boys used to household discipline. The ayah closes the door and we hear their chatter at they go down the hall. GANDHI Just like proper English gentlemen. I'm proud of them. BA They are boys. -- And they're Indian. Gandhi is stretching out on the bed, taking up another paper. GANDHI Hm. Will you take this off? (he touches the bandage on his cheek) It pinches every time I speak. Ba comes and sits down on the bed beside him, maneuvering so that she can get at the bandage. GANDHI Here, you see? Even the South African papers apologize -- "a monstrous attack." BA (of the tape, as she is about to pull it) Are you sure? GANDHI (impatiently) Yes -- I can't talk like this. Ba pauses and looks at him mischievously, as though that's not a bad idea. He scowls at her, then recognizes her "joke" and grins. GANDHI Pull! Ba pulls one of the strands of tape and Gandhi flinches. GANDHI Oww! BA (mockingly) Mr. Khan said they called you brave. Gandhi is nursing the moustache; he looks at her wryly. GANDHI If you would let me teach you to read, you could see for yourself. She leans forward to pull at the remaining piece. BA I could have told them you were merely foolish. Gandhi is watching her as she leans across him, her beauty and proximity obviously stirring him. GANDHI It proves what I told you. If I had prosecuted him as everyone advised -- even you -- they would have hated me -- by showing forgiveness I -- ouch! She has pulled the other piece. BA There... And she slowly pries the gauze free from the strands of hair above his lip. As she does Gandhi watches her more and more intently, and slips his arms around her back. GANDHI (as though continuing the argument) You see there is such a thing as moral force -- and it can be harnessed. Ba examines the bandage and gently touches the wound, but she is aware of his burning eyes and arms around her back. BA Not always. You have told me twice now that you were giving up the pleasures of the flesh. It slows Gandhi uneasily for a moment and Ba must grin at his discomfiture. He leans back -- still holding her, but looking at the ceiling. GANDHI I am. I am convinced the holy men are right. When you give up, you gain. The simpler your life the better. Ba makes a moue of acceptance and starts to pull free of him -- but his arms still hold her. She smothers a smile and lies down, her face next to his, but neither of them looking at each other. A long beat... and then Gandhi turns his head. She is aware of his eyes on her, but she doesn't move. Gandhi leans forward and touches his lips to her neck. GANDHI I will fast tomorrow -- as a penance. Ba smiles. Still not looking at him, she places her hand behind his head, gently. BA If you enjoy it a great deal you must fast for two days. Gandhi laughs... and buries her in love. STREET AND COURTYARD OF GOVERNMENT BUILDING - JOHANNESBURG - EXTERIOR - MORNING General Smuts -- sitting erect and imposing on a beautiful chestnut horse -- rides down a tree-lined street. He wears civilian clothes with riding boots and breeches. Behind him, a junior British officer rides as escort. He turns into the entrance-way of an imposing building. The hooves of Smuts's horse clatter on the cobblestones as the General rides into the courtyard. Two sentries come smartly to attention. A stable boy rushes to take the horse, and a tall civil servant approaches the General busily as he dismounts. TALL CIVIL SERVANT The London papers have arrived from the Cape, sir. SMUTS Yes -- ? The tall civil servant checks his notes. TALL CIVIL SERVANT The worst was the Daily Mail, sir. They said, "The burning of passes by Mr. Gandhi was the most significant act in colonial affairs since the Declaration of Independence." Smuts has given the reins to the stable boy. SMUTS Did they? Well, they'll find we're a little better prepared this time. Mr. Gandhi will find he's on a long hiding to nothing. And he strides into the building, past the smartly saluting sentries. GANDHI'S HOUSE - JOHANNESBURG - EXTERIOR - MORNING Gandhi comes from the house door. He carries a briefcase and is still dressed in European clothes, though far less elegant than we have seen him in before. His mien, the cut of his hair, all suggest a passage of time. As he turns, he stops because he is face to face with Charlie Andrews, a very tall, thin Englishman, who wears a rumpled white suit and a clerical collar. He has descended from a horse-drawn taxi that carries his luggage. He too has stopped. For a moment they both appraise each other, neither speaking. Then CHARLIE You'd be Gandhi -- (Gandhi nods.) ...I thought you'd be bigger. GANDHI I'm sorry. CHARLIE I -- I mean it's all right. It doesn't matter. (He suddenly steps forward and thrusts out his hand.) I'm -- my name is Andrews, Charlie Andrews. I've come from India -- I've read a great deal about you. GANDHI Some of it good, I hope. He turns and waves to the parlor window. The three boys are there -- all bigger -- and Ba holds a new addition; they all wave. And Gandhi turns back, and starts down the long, hilly street. GANDHI (to Charlie) Would you care to walk? He gestures Charlie on and starts walking. Charlie nods uncertainly. He looks back at the cab in confusion, then signals the driver to follow and hurries on to match strides with Gandhi's brisk pace. GANDHI (noting Charlie's collar) You're a clergyman. CHARLIE Yes. I've -- I've met some very remarkable people in India... and -- and when I read what you've been doing here, I -- I wanted to help. (He looks at Gandhi, then smiles awkwardly.) Does that surprise you? GANDHI Not anymore. (And now he smiles.) At first I was amazed... but when you are fighting in a just cause, people seem to pop up -- like you -- right out of the pavement. Even when it is dangerous or -- JOHANNESBURG SUBURB - EXTERIOR - MORNING They have come to a turning, nearer to town, the area poorer, run-down. Ahead of them three youths (twenty, twenty-one) in working clothes, carrying lunch boxes, lean indolently against a building directly in their path. They react to the sight of Gandhi -- fun. Then stride the pavement menacingly. One of them tosses aside his cigarette. FIRST YOUTH Hey -- look what's comin'! SECOND YOUTH A white shepherd leading a brown sammy! CHARLIE Perhaps I should -- Gandhi restrains him and shakes his head. GANDHI Doesn't the New Testament say, "If your enemy strikes you on the right cheek, offer him the left"? He starts to move forward. Charlie hesitates, then follows nervously, more nervous for Gandhi than himself. CHARLIE I think perhaps the phrase was used metaphorically... I don't think our Lord meant -- They are getting closer. The youths laughing, whispering. GANDHI I'm not so certain. I have thought about it a great deal. I suspect he meant you must show courage -- be willing to take a blow -- several blows -- to show you will not strike back -- nor will you be turned aside... And when -- One youth has flicked his cigarette -- hard. It lands at Gandhi's feet. He pauses, looking at the youth. GANDHI ...and when you do that it calls upon something in human nature -- something that makes his hate for you diminish and his respect increase. I think Christ grasped that and I -- I have seen it work. He starts forward again, he is almost on the youths -- clearly frightened, but... GANDHI Good morning. FIRST YOUTH Get off the pavement, you bloody -- And he reaches forth to haul Gandhi from the pavement, but -- A WOMAN'S VOICE Colin! Colin! What are you doing? A woman is leaning out of an upstairs window, looking down at the fracas disconcertedly. It is the first youth's mother and her presence reduces the pitch of his hostility considerably. FIRST YOUTH Nuthing... nuthing. We were just cleaning up the neighborhood a little. A snickering response from the other youths -- but they are embarrassed by the questioning disapproval of Colin's mother's attitude. There's no note of apology in her cold stare at Gandhi, but she clearly believes her son should not be doing what he is doing. COLIN'S MOTHER You're already late for work. I thought you'd gone ten minutes ago. The moment of crisis has passed. Nothing will happen while she is there. Gandhi steps back on the pavement, addressing the first youth. GANDHI You'll find there's room for us both. And he steps around him, Charlie trailing, as the first youth stares at them sullenly. As they stride on, Charlie glancing back -- CHARLIE (relieved) That was lucky. GANDHI I thought you were a man of God. CHARLIE (wittily, but making his point) I am. But I'm not so egotistical as to think He plans His day around my dilemmas. Gandhi laughs as they turn the corner. BUSY STREET - JOHANNESBURG - EXTERIOR - MORNING A busy street in the center of the town. Gandhi and Charlie come around the corner into it. GANDHI ...you could call it a "communal farm," I suppose. But we've all come to the same conclusion -- our Gita, the Muslim's Koran or your Bible -- it's always the simple things that catch your breath -- "Love thy neighbor as thyself" -- (He smiles, thinking back at the youths.) not always practiced -- but it's something we Hindus could learn a lot from. He has paused before an office and a young girl (Sonja) has come from it to speak to him about something of urgency, but she hovers, not interrupting. CHARLIE That's the sort of thing you'll be seeking on this "farm"... GANDHI (a smile) Well, we shall try. And now he turns to Sonja. Behind her we see the small office "M.K. Gandhi/Attorney." Several clients waits, most of them conspicuously poor. Sonja's tone is loaded with foreboding. SONJA They're going to change the pass laws. Gandhi absorbs the news stiffly. SMUTS'S OFFICE - INTERIOR - DAY A strong masculine hand scrawls a signature across a document. SMUTS'S VOICE-OVER It's taken time, but it needed to be done fairly. We didn't want to create an injustice simply because Mr. Gandhi was abusing our existing legislation. Beneath the signature we see the boldly printed identification: Jan Christian Smuts. SECOND VOICE Just one second, sir, please. Another angle. A cameraman records the moment with a flash photo. General Smuts, whose presence is equal to his office, addresses someone out of shot as a male secretary removes the document. SMUTS But on a short trip, I wouldn't spend too much time on the Indian question, Mr. Walker. It's a tiny factor in South African life. The reporter who stands opposite him is Walker, much, much younger, almost boyish compared to the way we saw him at the funeral. WALKER (a helpless shrug) It's news at the moment. I will certainly report on your mines and the economy -- but I would like to meet this Mr. Gandhi. Smuts has risen. He knows how to concede with grace. SMUTS Of course. We Westerners have a weakness for these -- these spiritually inclined men of India. But as an old lawyer, let me warn you, Mr. Gandhi is as shrewd a man as you will ever meet, however "otherworldly" he may seem. But I'm sure you're enough of a reporter to see that. The gaze is firm, strong, cynical... TENT - THE FARM - EXTERIOR - DAY The sides are half up, but it is dusty and hot. This is where the magazine Indian Opinion is printed and we see stacks of it lying around. A short Westerner (Albert West) is running the simple printing press which is powered by a crude generator. A small staff helping him. A Sikh, a Muslim, a couple of Hindus, two young boys. Gandhi and Walker are approaching the tent from the river, Gandhi discoursing earnestly. GANDHI ...so it's not "spiritualism" or "nationalism" -- we're not against anything but the idea that people can't live together. They've reached the entrance to the tent, and he gestures in. GANDHI You see -- Hindus, Muslims, Sikhs, Jews -- even Christians. This last remark has been directed toward Charlie Andrews, who sits near them at a cluttered table, typing on an old typewriter. He waves, and Gandhi shouts out to them all over the putt-putt of the generator: GANDHI Mr. Walker! Of The New York Times! They nod. One of the Hindus bows with his hands clasped together. Gandhi hands Walker a copy of Indian Opinion and they start across the relatively barren field toward some other tents, Walker glancing at the paper. Gandhi watches him, grinning. GANDHI Without a paper -- a journal of some kind -- you cannot unite a community. (A teasing smile.) You belong to a very important profession. WALKER Hm. And what should an "important professional" write about your response to General Smuts's new legislation? GANDHI I don't know... I'm still searching for a "response." WALKER (a leading question) You will respect the law. GANDHI (a beat) There are unjust laws -- as there are unjust men. This carries a weight and apprehension that none of the rest of the conversation has. Walker measures Gandhi with a little surprise. WALKER You're a very small minority to take on the Government -- and the Empire. Gandhi seems trapped by an ineluctable fact. GANDHI If you are a minority of one, the truth is the truth. Reluctant as it is, it too carries commitment and Walker senses it. But they have come by a site where a building is being erected, and a European (Kallenbach) is perched above a doorway on the half-completed structure, getting a level. Some Indians are working below him. Gandhi turns to him, light-hearted again. GANDHI This is Mr. Kallenbach. He is our chief carpenter -- and also our chief benefactor. He has made this experiment possible. Walker waves his notebook at him and Kallenbach lifts his level in greeting. On his bronzed chest there is a Star of David. Walker looks around, grinning, shaking his head. We see two women in saris trying to quell some squabbling children in the background. WALKER Well, it's quite a place, your "ashram" -- is that right? GANDHI That's right. The word only means "community." But it could stand for "village"... or the world. Walker looks at him appraisingly. WALKER You're an ambitious man. GANDHI (uncertainly) I hope not. A moment of embarrassed doubt, then he starts toward a half- finished building -- wooden sides, door, but canvas still covering the roof. It has an awning spread before it. Walker's carriage is tethered nearby, a Black driver standing in the sun, waiting. In the background we see two women cleaning a latrine. Walker glances at the latrine. WALKER They tell me you also take your turn at peeling potatoes and cleaning the "outhouse" -- is that part of the experiment? As we have approached we see a table set for tea under the awning. There are two places. Having set the places, Ba is walking along the side of the building, away from them. She glances at Gandhi tautly and deliberately avoids speaking or acknowledging him. GANDHI (a little surprised, a little annoyed) Ba -- we will need another place set for Mr. Walker's driver. Ba looks at him coldly. BA I will tell Sora. She turns back and walks into the building by the rear entrance. Gandhi is disconcerted by her attitude, but he tries to answer Walker. GANDHI It's one way to learn that each man's labor is as important as another's. In fact when you're doing it, "cleaning the outhouse" seems far more important than the law. A grin -- but forced. When a girl (Sora) comes from the building bringing another cup and place setting, Gandhi calls to the driver. GANDHI Please come and join us -- you'll need something before your journey back. (He nods to Walker.) Excuse me a moment. And he goes into the building, determined to find the source of Ba's aloofness. GANDHI'S HUT - INTERIOR - DAY Ba is sitting sullenly on a carpet near the rear entrance to the building. She does not look up at Gandhi, but she is aware of his presence. He crosses and stands in front of her with all the irritation of a husband. It is hushed, aware that Walker might overhear them, but bristling with suppressed anger. GANDHI What is it? Now Ba looks at him hostilely. BA Sora was sent to tell me I -- I must rake and cover the latrine. GANDHI Everyone takes his turn. BA It is the work of untouchables. GANDHI In this place there are no untouchables -- and no work is beneath any of us! BA (she looks up at him) I am your wife. GANDHI All the more reason. He holds her gaze as angrily as she holds his. BA (finally, scornfully) As you command. As she starts to rise he grabs her arm, but she pulls free. BA The others may follow you -- but you forget, I knew you when you were a boy! She says it derisively and it stings, but Gandhi is aware of Walker and he fights to hold his temper. GANDHI It's not me. It's the principle. And you will do it with joy or not do it at all! Ba settles back defiantly. BA Not at all then... For a moment Gandhi stares at her, and she back at him, resentfully. He suddenly reaches down and grabs her arm, pulling her roughly to her feet. GANDHI All right, go! You don't belong here! Go! Leave the ashram! Get out altogether! We don't want you! It is hushed but violent as he pulls her toward the rear door, opening it to push her out as she struggles against him. BA Stop it! Stop it! What are you doing!? She lurches free of his grip, glaring at him angrily. For a moment they both stare at each other, shattered by their violence. BA (bitterly) Have you no shame? I'm your wife... (Like lead) Where do you expect me to go? Gandhi stares at her breathlessly, his temper subsiding into a dazed remorse. He sinks numbly to a stool, sitting, holding his head in his hands. Ba studies him for a moment -- and she sighs, her temper and breathing subsiding too. She moves and kneels before him. GANDHI What is the matter with me...? A moment, then she soothes the top of his head -- like the mother-wife she is. BA (a beat) You are human -- only human. Gandhi looks up at her, blankly, abjectly. BA And it is even harder for those of us who do not even want to be as good as you do. And Gandhi grins weakly. Ba catches it and sends it back, warmer, less complicated by doubts. Gandhi sighs, putting his arms around her and she leans into him so that their heads are touching. GANDHI I apologize... Ba mutters "Hm" and holds him a little firmer. A moment. GANDHI I must go back to that reporter. Ba nods. BA ...And I must rake and cover the latrine. Gandhi holds her back so that he can look at her. She looks at him evenly -- no smile, but the warmth still in her eyes. IMPERIAL THEATER - INTERIOR - NIGHT The theater is packed. The front rows near the stage are held by rich Muslim merchants, the back of the stalls with small traders, peddlers, artisans -- Muslim, Hindu, Parsee, Sikh. The gallery is bulging with indentured laborers -- largely Hindu. The mood is restless, belligerent. On the stage. Gandhi moves forward and he holds up his hand for silence. Seated on the stage are Khan, Singh, three more leaders of the Indian community. Charlie Andrews and Herman Kallenbach sit at the very end of the line of chairs. Gandhi looks around the audience and we see the packed house from his point of view, ending with two plainclothes European policemen conspicuous in seats at the end of the front row. A uniformed policeman stands near them. GANDHI (to the house) I want to welcome you all! A buzz, then applause -- loud and defiant. When is subsides Gandhi looks down at the plainclothes policemen, fixing his gaze on them. GANDHI Every one of you. (Then, still at them) We -- have -- no -- secrets. And again the audience bursts into applause. The policemen just sit like stone -- confident, sure, immune to rhetoric. GANDHI Let us begin by being clear about General Smuts's new law. All Indians must now be fingerprinted -- like criminals. Men and women. (A rising, angry response; Gandhi just waits.) No marriage other than a Christian marriage is considered valid. Under this Act our wives and mothers are whores... And every man here a bastard. In the gallery a rhythmic pounding signals the anger and protest and is taken up around the hall. The police stare imperturbably. Khan leans towards Singh, nodding to Gandhi. KHAN He's become quite good at this. Singh smiles at the understatement. Gandhi holds up his hand, silencing the hall. GANDHI And a policeman passing an Indian dwelling -- I will not call them homes -- may enter and demand the card or any Indian woman whose dwelling it is. A VOICE God damn them! Gandhi just waits. GANDHI Understand! He does not have to stand at the door -- he may enter. Now a violent response -- a large, powerful merchant rises in the third row. MERCHANT I swear to Allah I will kill the man who offers that insult to my home and my wife! (A guttural cheer; he glares at the police.) And let them hang me! Another cheer. When it subsides, Tyeb Mohammed rises near the back, where he is seated with a number of other young men. TYEB MOHAMMED I say talk means nothing. Kill a few officials before they disgrace one Indian woman -- then they might think twice about such laws! The police half rise to look back at him, but there is a smattering of applause and several stand to look back. TYEB MOHAMMED'S FRIEND In that cause, I would be willing to die! And now there is general applause. Gandhi waits, then GANDHI I praise such courage. I need such courage -- because in this cause, I too am prepared to die... (A response; he looks at Tyeb Mohammed) But, my friend, there is no cause for which I am prepared to kill. He looks at the audience. This is the more sober Gandhi they have come to know. GANDHI I have asked you here tonight because despite all their troops and police, I think there is a way to defeat this law. Whatever they do to us we will attack no one, kill no one... But we will not (the climatic point) give our fingerprints -- not one of us. He looks down at the police, making the point stick. There is a tentative reaction from the audience, but uncertain. GANDHI They will imprison us, they will fine us. They will seize our possessions. But they cannot take away our self-respect if we do not give it to them. VOICE FROM THE GALLERY Have you been to prison? They'll beat us and torture us! I say -- GANDHI I am asking you to fight -- ! (It catches the audience a little, holds them.) To fight against their anger -- not to provoke it! He has their attention now. GANDHI We will not strike a blow -- but we will receive them. And through our pain we will make them see their injustice (quickly) and it will hurt, as all fighting hurts! (Utter silence.) ...But we cannot lose. We cannot. (He looks down at the police.) Because they may torture my body, may break my bones, even kill me... (Up to the house) They will then have my dead body -- not my obedience. And now he gets the response he has wanted. Firm, mature, determined. Gandhi holds up his hand. GANDHI We are Hindu and Muslim -- children of God, each of us. Let us take a solemn oath in His name that -- come what may -- we will not submit to this law. He looks at the audience. A second, then a merchant stands, signifying his pledge. And then another. Then Tyeb Mohammed and the youths about him. Then all over the theater they begin to stand and on the stage until everyone is standing. It is all done is silence. Gandhi looks at the full theater -- all standing. He takes a step forward. GANDHI (a coarse singing) God save our gracious King... Long live our (the audience takes it up) ...noble King. (And their voices fill the auditorium) God save the King!! A prison door slams: we are close on one face, another slam, another face, and again and again in the rhythm of marching feet... MINE AREA - EXTERIOR - DAY Gandhi, Singh and Tyeb Mohammed are leading a large procession of Indian mine workers along a dirt road from a mining complex -- sheds, elevator platforms, pulleys -- toward a distant city. We see crude, handworked banners: "We are Citizens of the Empire," "Justice for All," "One King -- One Law"... Tyeb Mohammed suddenly touches Gandhi's arm and nods ahead. Their point of view. A canvas-topped open touring car (circa 1910) pulls out from a turning between two factory buildings and comes towards them. Resume Gandhi. There is a little hesitation in the ranks as the car approaches. In it we can see two uniformed policemen and a civilian. The car swings across the center of the road and stops right in front of Gandhi. CIVILIAN These men are contracted laborers. They belong in the mines. GANDHI You have put their comrades in jail. When you free them they will go back to work. The civilian smiles slowly. He looks from Gandhi to the miners. CIVILIAN I've warned you. GANDHI We have warned each other. The civilian looks at him sharply, then smiles derisively, signaling the car off. As it pulls away, Tyeb Mohammed and Singh come up to Gandhi, both made wary by the man's evident satisfaction with what has transpired. SINGH I don't think that is very good. Gandhi watches the disappearing car worriedly, then turns and signals the miners on. They start forward. Their point of view. The car rides on past the factory building out of which it turned, and suddenly mounted police come swinging out from the buildings and face the procession. Tracking back before Gandhi, Singh and Tyeb Mohammed as they move forward, fear suddenly making their pace more labored. Tracking back before the mounted police. SERGEANT At the canter -- for-ward! They come on fast, batons at the ready. Gandhi screws up his courage, marching on. Tyeb Mohammed sets his jaw in defiance. Singh forces himself along at Gandhi's side. The mounted police riding on, batons at the ready. Featuring an Indian miner. He is in the front rank of the procession, watching the horses approach. He has a blunt farmer's face. MINER (half to Gandhi) We should lie down -- the horses won't tramp on us. (Then shouting out) Down! Down! Everyone lie down! He starts to go down, and others around him, convinced by the authority of his voice. The sense of the idea seizes Gandhi, and as the sound of the galloping horses nears, he turns and shouts too. GANDHI Lie down! Lie down! And the miners begin to go down, some face up, shielding their faces with their hands, some burying their faces in the earth and covering their heads with their hands. Close fast traveling, the sergeant's point of view. We arrive at the prone miners. Close on Gandhi, his arms crossed in front of his face, staring up, frightened, but determined to bear it. Wide angle. The horses cannot bring themselves to gallop over the human carpet; they rear, plunge, swerve. Close shot -- miner who shouted "down." He is peering through his crossed hands, a tight smile of satisfaction at knowledge confirmed. He turns to see: The sergeant thrown off his horse. He lands heavily, scrambles up, furious, darts after it. Mounting, he is enraged to hear laughter. Close shot. Singh and the miner who shouted "Down" kneeling, grinning at the chaos. MINER The horses have more mercy than the men. Singh smiles, but suddenly looks up fearfully. The sergeant looms over them. SERGEANT You're right! And without taking his booted foot from the stirrup he swings it into the miner's face. The man goes down, bleeding. An angry roar from the miners. Several stand and shake their fists. "Bastard!," "God damn you, Englishman!," "Jackal!" The wounded miner himself starts to stagger up. The sergeant sweeps them, his eyes glittering -- this he can deal with. But -- GANDHI Lie down! Lie down! It is a command, and angry in its own way, but it carries all the weight of his influence on them. They begin to go down again and the sergeant wheels his horse and rides at Gandhi. With deliberate, almost fatalistic pace, Gandhi goes first to his knees and then sprawls down flat, his hands over the top of his head, awaiting the blow of the horse's hoof. Close shot, the horse's head, its eyes rolling as it swerves again. Close shot, the sergeant controlling it, cursing, but unable to make it plunge down on the man. Full shot, the sergeant wheeling his horse, angrily -- surveying the whole of the procession as they lie sprawled on the ground, his mounted police circling in front of them, not knowing what to do. SERGEANT Follow me! He turns his horse angrily and gallops back toward the factories. Gandhi, Singh and Tyeb Mohammed are looking off at the retreating horses. The car with the civilian has returned in the distance. Gandhi looks at the miner who first shouted "Down" -- a smile, a nod of recognition and thanks. The miner grins, rubbing at the blood on his face, shrugging off Gandhi's implied praise. Featuring the police. The sergeant wheels by the car with the civilian; his police turn their horses, lining up across the road again. Their point of view. Gandhi and the miners coming on once more, chanting forcefully. "One King! One Law! One King! One Law!" SERGEANT What the hell are we supposed to do now? CIVILIAN (watching the procession narrowly) Let them march... In our own sweet time, in our own sweet way -- we'll get them. SMALL CHURCH - SOUTH AFRICA - INTERIOR - DAY We are close on Charlie Andrews. CHARLIE Some of you may be rejoicing that Mr. Gandhi has at last been put into prison. The congregation is listening to him stiffly, unsympathetically, and there is more than one murmur of assent at his words. The clergyman who has given Charlie the use of his pulpit sits beneath it, embarrassed, but sticking resolutely to his decision to give Charlie a hearing. CHARLIE But I would ask you -- assembled here in this house of God -- to recognize that we are witnessing something new, something so unexpected, so unusual that it is not surprising the Government is at a loss. What Mr. Gandhi has forced us to do is ask questions about ourselves. A few men in the congregation rise and pointedly escort their families from the church. Charlie struggles on. CHARLIE As Christians, those are difficult questions to answer. How do we treat men who defy an unjust law -- men who will not fight, but will not comply? More of the congregation rise and march from the church... though a few pointedly do not. PRISON YARD - EXTERIOR - DAY Small, packed. Gandhi is threading his way in a line for soup. But it is a line that winds through masses of prisoners, some with bowls, eating, some not yet in the line. As Gandhi near the two stone blocks that hold the large barrels of soup, he sees that Khan is serving from one of them. He too wears a prison uniform and there is a bandage on his head. When he turns and reacts to the sight of Gandhi -- GANDHI They're sparing no one, I see. KHAN No. You were the surprise. It's been all over the prison. We thought they'd be too afraid of the English press. GANDHI So did I. He takes his soup from Khan. KHAN (acidly) Don't worry about the meat -- it's Hindu (referring to the soup) -- there's not a trace. Gandhi smiles, but they turn as the gate opens and a paddy wagon is backed into the press of prisoners. Khan shakes his head. KHAN I don't know who they've left out there to do the work. There can't be one mine left open. Have they touched the women? GANDHI My wife publicly defied the law. They've arrested her and four others. KHAN (angrily) The fools! (He spills some soup.) Sorry... GANDHI It's split the Government. KHAN Well, that's one victory. Gandhi looks around the crowded yard at the soiled bandages, the defiant, determined faces. GANDHI If we hold firm, it won't be the last. KHAN Don't worry -- I've never seen men so determined. You've given them a way to fight... And I don't think -- He is distracted by a phalanx of guards (an officer and four men) pushing their way through the prisoners. PRISON OFFICER Gandhi! I want Gandhi! Which sammy is it? The prisoners are moving back from them resentfully but their glances reveal who Gandhi is. The prison officer's eyes fall on him. CITY STREET - JOHANNESBURG - EXTERIOR - DAY A side street, but active. Gandhi -- now manacled -- is being marched down the pavement before two guards. The prison officer strides in front of them. People in the street stop and turn, staring. That part of Gandhi that is still the dandy is discomfited, but there is a growing part of him that defies appearances. Featuring a doorway. It is the side door of a large imposing building. The prison officer leads his little procession toward it. He knocks and the door opens. The tall civil servant has been waiting for them. The prison officer reaches forward and undoes Gandhi's manacles. GOVERNMENT BUILDING - INTERIOR - DAY The tall civil servant, moving with aloof distaste for his assignment, walks ahead of Gandhi, who in turn is followed by one of the prison guards, toward a grand staircase that is at right angles to them (i.e. facing the front of the building). People working in offices pause to stare at Gandhi as he moves along, more uncomfortably aware of his prison garb than ever. The grand staircase. The tall civil servant turns and starts up the staircase. Gandhi is even more exposed to everyone's surveillance on the wide, white expanse of the stairway. He hesitates, looking around in discomfort, then follows the tall civil servant on toward the large, white doors at the top of the staircase. SMUTS'S ANTEROOM - INTERIOR - DAY The tall white doors open, the tall civil servant indicates that Gandhi enter. Gandhi passes two male secretaries, and the tall civil servant scoots decorously around him to knock once on the inner doors. Then he pushes them open and gestures Gandhi in. SMUTS'S OFFICE - INTERIOR - DAY We have seen it before when Walker spoke to Smuts, but now we see its full breadth -- and the imposing figure Smuts makes as he stands behind the grand desk. SMUTS Ah, Mr. Gandhi. I thought we might have a little talk. He nods to the tall civil servant, who bows and closes the door. Smuts crosses the room toward a small cabinet. SMUTS Will you have a glass of sherry? GANDHI Thank you. No. Smuts looks at Gandhi, a little surprised at the frigid tone of that refusal. SMUTS Perhaps some tea? GANDHI (a shake of the head) I dined at the prison. SMUTS Ahh. He appraises Gandhi, measuring the irony of his words, his determination. Then with a little sigh at the lost opportunity he replaces the stopper on the sherry, turns and gestures Gandhi on into the room. SMUTS Please -- please do come and sit down. It's prison I wanted to talk to you about. He has indicated a chair near his desk, but as Gandhi goes forward he pauses by a spread of papers from England on a long table near the middle of the room. We see one headline in close shot: "Thousands Imprisoned in South Africa/Mines Close. Crops Unharvested," a subhead, "Gandhi Leads Non- Violent Campaign." He looks at Smuts. Smuts smiles, a passing nod at the papers. SMUTS Mr. Gandhi, I've more or less decided to ask the House to repeal the Act that you have taken such "exception" to. GANDHI (a beat) Well, if you ask, General Smuts, I'm sure it will be done. Smuts smiles. SMUTS Hm. Of course it is not quite that simple. GANDHI Somehow I expected not. A wry smile, and he sits on the edge of the chair Smuts has directed him to. Smuts measures him again, not absolutely certain how to deal with him. A pause, and he affects to take Gandhi's irony at face value. SMUTS I'm glad to hear you say that... very glad. You see if we repeal the Act under pressure (a nod at the papers again) under this kind of pressure it will create a great deal of resentment. Can you understand that? GANDHI Very well. And Gandhi does understand it -- as a guiding principle. Never humiliate your enemy. And his tone conveys it. SMUTS (a bit surprised) Good. Good. (The bland politician: the compromise.) I have thought of calling for a Royal Commission to "investigate" the new legislation. (He gestures, implying they'll do what they're told.) I think I could guarantee they would recommend the Act be repealed. GANDHI (waiting for the catch) I congratulate them. Smuts does a slight double take, a smile, then the "tough" politician. SMUTS But they might also recommend that future Indian immigration be severely restricted -- even stopped. He measures Gandhi challengingly, obviously expecting some contest. Gandhi mulls it, then GANDHI Immigration was not an issue on which we fought. It would be wrong of us to make it one now that we -- we are in a position of advantage. Smuts stares at him... a moment, then SMUTS You're an extraordinary man. GANDHI (his grin; he brushes at his prison garb) I assure you I feel a very ordinary man at this moment. And now Smuts smiles with him. He bends suddenly and signs a group of documents. SMUTS I'm ordering the release of all prisoners within the next twenty- four hours. You yourself are free from this moment. Gandhi stands, a little uncertain about the sudden change in his status. Smuts signs the last document, then sees Gandhi's doubt -- and misreads it. SMUTS Assuming we are in agreement? GANDHI Yes -- yes. It's just that... in these clothes I'd -- I'd prefer to go by taxi. SMUTS (confused by his hesitation) All right. Fine. GANDHI I'm -- I'm afraid I have no money. SMUTS Oh! (He quickly feels in his waistcoat pockets -- and realizes he has no money!) Neither have I. (He reaches forth and touches a buzzer.) I'm awfully sorry. The tall civil servant (Daniels) enters. SMUTS Daniels, would you lend Mr. Gandhi a shilling for a taxi? Daniel stares. DANIELS I beg your pardon, sir? SMUTS (a second thought) How far will you be going, Mr. Gandhi? GANDHI (a mischievous smile) Well -- now that this is settled -- I had thought seriously of going back to India (he faces the startled Daniel) but a shilling will do splendidly for the moment. Still a little confused, Daniels reaches in his pocket and produces a shilling. He hands it to Gandhi. GANDHI Thank you. (To Smuts) Thank you both for a very enlightening experience. He bows slightly and starts out the door. Daniels immediately starts to accompany him, but Gandhi stops. A beat. GANDHI (ice) I'm obliged, Mr. Daniels, but I will find my own way out. And his own steel shows in the oblique reference to the ignominy of his way in. Daniel bows, and he and Smuts just stare as the uniformed "prisoner" goes out through the grand doors, past the stunned men in the office to the outer doors and on to the grand staircase. The prison guard appears in the doorway, looking off in confusion at Gandhi, then back at the office for guidance. Daniels simply shakes his head "Let him be." Finally, when Gandhi has disappeared down the stairs, Daniels turns to Smuts. SMUTS (a shake of the head) He's either a great man or a colossal fraud... Either way, I shall be glad to see the last of him. THE PIER AT BOMBAY - EXTERIOR - DAY Ship's siren, military band... a jubilant crowd on the pier, passengers waving to the receiving crowd. A group of First Class passengers, ninety percent English, look down from the upper deck. From their point of view. We see the main section of the pier, a crowd of mostly European civilians on one side. A mass of military on the other: European officers, topees and swagger sticks, Indian cavalry, Gurkha infantry, Sikh lanoers -- turbans, rifles, bugles, an Indian military band -- a showy awe-inspiring display. Featuring two Englishmen. First Class passengers, white suits, Oxbridge accents; one quite young, the other a bit older, both civil servants coming to "administer" India. YOUNG ENGLISHMAN By God, he loves it... Their point of view. A British general is coming down the gangplank accompanied by his ADC. The officer commanding and the Guard of Honor await him. SECOND ENGLISHMAN I'm sure he hates it. The young Englishman glances at him quizzically. The General has taken the salute and moves to inspect the troops to the accompaniment of the military band. SECOND ENGLISHMAN Generals' reputations are being made in France today, fighting on the Western Front. Not as Military Governors in India. He is suddenly aware of a well-dressed Indian half-listening to their conversation. He glances at him and the well-dressed Indian simply nods slightly and moves off a little. The second Englishman grimaces at the young Englishman and looks down again. SECOND ENGLISHMAN What the devil's going on back there? He is looking aft. His point of view. Another far less elaborate gangplank extends from the aft section of the ship. Third Class passengers are disembarking here, and on shore, separated by a wire fence from the rest of the pier. A large crowd of Indians is reacting excitedly to someone coming down the gangplank but we can't yet see that person. The young Englishman glances back at the well-dressed Indian to make sure of his distance, then speaks quietly. YOUNG ENGLISHMAN It must be that Indian that made all that fuss back in Africa. My cabin boy told me he was on board. SECOND ENGLISHMAN Why haven't we seen him? (Finding the name) Gandhi? YOUNG ENGLISHMAN Yes. That's it. He was traveling Third Class. There he is. Their point of view. There has been a little hiatus in those disembarking but now Gandhi has appeared, coming down the gangplank with Ba and the children (grown-up sons now), and three or four people behind them, including the tall figure of Charlie Andrews. But Gandhi is wearing an Indian tunic and sandals and he has shaved his hair except for a central section on the top. SECOND ENGLISHMAN'S VOICE-OVER God -- he's dressed like a coolie! I thought he was a lawyer. The young Englishman glances back cautiously toward the well- dressed Indian again, then YOUNG ENGLISHMAN After he came out of jail he refused to wear European clothes. THE PIER - THIRD CLASS AREA - EXTERIOR - DAY Gandhi is smiling, trying to move on, but answering the questions of an Indian journalist. GANDHI No, no, I haven't "refused"... I -- I simply wanted to dress the way my comrades in prison dressed. He speaks with an uncertainty and tentativeness that he had lost in South Africa, patently overwhelmed by the reception. An English journalist catches him as he turns. ENGLISH JOURNALIST Will you support the war effort, Mr. Gandhi? An exuberant woman puts a garland over his shoulders. GANDHI I -- I have demanded rights as a British citizen, it is therefore my duty to help in the defense of the British Empire. He smiles uncertainly again. As he turns he is face to face with an American reporter. AMERICAN REPORTER What are you going to do now that you're back in India? GANDHI I don't know... I don't know... An Indian reporter has cornered Ba behind him. SECOND INDIAN REPORTER As an Indian woman how could you accept the indignity of prison? Gandhi half-twists to hear Ba's answer, but his arm is taken by a young Indian (Nehru) in elegant European clothes. Another garland is thrown over his shoulders. NEHRU Please, Mr. Gandhi. Featuring Ba. Offhand, her eyes on Gandhi ahead. BA My dignity comes from following my husband. She joins her hands, acknowledging a garland placed around her shoulders, and pushes on after Gandhi. Charlie helps to guide her. Featuring Gandhi. The young Nehru, somewhat amused by all the excitement, leads Gandhi through the crowd to a little flower-covered platform. We see a banner: THE CONGRESS PARTY WELCOMES GANDHI. NEHRU (he too speaks with an Oxbridge accent) Just a few words -- then we'll get you to civilization. He grins. He has guided Gandhi to the first step of the platform. Another garland is wrapped around Gandhi's shoulders, and in some embarrassment, he mounts the platform. There is a great cheer, but in the silence that follows we hear the military band from across the way as the troops prepare to march off. Gandhi looks around at the crowd. Finally he speaks out. GANDHI I -- I am glad to be home. (A little round of applause.) I -- I thank you for your greeting. He makes the pranam and starts for the steps. The crowd is a little disappointed, but they manage a cheer and applause. Nehru is standing next to a heavy-set, well-dressed man (Patel). They exchange a wry glance, "Not exactly a world- beater." A car door slams. The camera pulls back. Nehru has slammed the door of a gleaming Rolls Royce touring car, the top down. He has seated Gandhi in it beside Patel, taking Gandhi's knapsack. An Indian chauffeur rides in front. The crowd still surges around and Gandhi is looking apprehensively back for Ba. NEHRU We'll follow with your wife -- don't worry, everything's arranged. He grins boyishly, in part to comfort, in part unable to contain his amusement at Gandhi and his evident confusion. PATEL'S CAR - STREETS OF BOMBAY - EXTERIOR - DAY With Gandhi still looking back anxiously, the car pulls off. He finally turns to Patel. GANDHI Who is that young man? PATEL That's young Nehru. He's got his father's intellect, his mother's looks and the devil's charm. If they don't ruin him at Cambridge -- Wave! Wave! -- he may amount to something. There are crowds along the street, and Gandhi -- in surprise that they are for him -- waves tentatively. Patel waves too but he eyes Gandhi rather critically. PATEL I must say when I first saw you as a bumbling lawyer here in Bombay I never thought I'd be greeting you as a national hero. GANDHI I'm hardly that, Mr. Patel. PATEL Oh, yes, you are. It's been two hundred years since an Indian has cocked a snoot at the British Empire and got away with it. And stop calling me Mr. Patel, you're not a junior clerk anymore. GANDHI (a beat; still hesitant) No. They have come to a main thoroughfare. A crowd still lines the streets but it is thin and around and between we see groups of desperate poor, parked on the pavement, staring with blank curiosity at the passing car, but too listless and too out of touch to move from their little squatters' patches. Patel looks at Gandhi's clothes rather disapprovingly. PATEL The new Military Governor of the North West Province was on that ship. Too bad you came back Third Class -- he might have been impressed by a successful barrister who had outmaneuvered General Smuts. Gandhi is staring at the street. From his point of view we hold on a gaunt young, aged woman holding a baby wrapped in rags as threadbare as her sari. Another hollow-faced child leans against her. GANDHI (leadenly) Yes... I'm sure... PATEL'S GARDEN - EXTERIOR - DAY A splendid peacock, its tail fanned in brilliant display, lords it on a velvet lawn. A woman in a sumptuous silk sari is trying to feed it crumbs. Behind her, Gandhi's reception is in full spate -- silver trays, tables covered in fine linen, Indian servants, a swimming pool, a small fountain, the grounds filled with Indian millionaires and dignitaries gathered with their wives to meet the new hero from South Africa. A beautiful and beautifully dressed woman (Mrs. Nehru) stands next to her distinguished husband (Motilal Nehru). MRS. NEHRU (wittily) No, I leave practical matters to my husband and revolution to my son... She nods lightly toward Nehru. Featuring Nehru who is introducing Gandhi to two men, one tall, slender, ascetic looking, but dressed impeccably (Jinnah). The other with a haunting face -- beard, flowing dark hair, the air of a poet or a ruthlessly dedicated radical (Prakash -- whom we recognize from the opening sequence in Delhi at Gandhi's assassination). NEHRU Mr. Jinnah, our joint host, member of Congress, and the leader of the Muslim League and Mr. Prakash, who I fear is awaiting trial for sedition and inducement to murder. Gandhi has bowed to Jinnah, now he looks a little startled at Prakash. Prakash grins and makes the pranam to Gandhi. PRAKASH I have not actually pulled a trigger, Mr. Gandhi, I have simply written that if an Englishman kills an Indian for disobeying his law, then it is an Indian's duty to kill an Englishman for enforcing his law in a land that is not his. Gandhi nods... GANDHI It is a clever argument; I am not sure it will produce the end you desire. He meets Prakash's gaze firmly, the first moment we have seen any sign of the Gandhi of South Africa. JINNAH (testingly) We hope you intend to join us in the struggle for Home Rule, Mr. Gandhi. GANDHI (a pause) I -- Charlie Andrews touches Gandhi's arm, excusing himself to the others. CHARLIE May I? Mohan -- I would like you to meet someone. Gandhi bows to the others and is led off to an Indian bishop in full clerical robes. Behind him we see Patel regaling a small group with some story of court or society. As Gandhi leaves, Jinnah, Nehru and Prakash watch him clinically. Except for the servants, Gandhi is the only Indian male not in European clothes. NEHRU He told the press he would support the British in the war. PRAKASH (acidly) That's non-violence for you. JINNAH Is he a fool? Nehru grins slowly, thoughtfully. NEHRU I'm not certain... But I wouldn't be surprised. We get a shot of Ba in a gathering of Indian women. She stands listening, seemingly tongue-tied in the sophisticated patter. And we cut to Charlie introducing Gandhi to a man in obvious ill health, but well dressed, looking like the professor, philosopher and elder statesman he is (Gokhale). CHARLIE I lied to you, Mohan, when I told you I decided to come to South Africa to meet you. Professor Gokhale sent me. Gokhale is pleased, Gandhi amused. He bows very respectfully. GOKHALE We're trying to make a nation, Gandhi -- and the British keep trying to break us up into religions and principalities and "provinces." What you were writing in South Africa -- that's what we need here. He has offered his hand during this, and Gandhi has helped him from the garden chair he has been seated on, handing him the cane that is resting against it. GANDHI (a smile) I have much to learn about India. And I have to begin my practice again -- one needs money to run a journal. Another grin. Gokhale has started to walk with him, looking at him intently, penetratingly. GOKHALE Nonsense. (He turns to Charlie) Go on, Charlie. This is Indian talk -- we want none of you imperialists. It is brusque but affectionate; we know he regards Charlie as Gandhi does... and Charlie does too. CHARLIE (a mock threat) All right -- I'll go and write my report to the Viceroy. GOKHALE Go and find a pretty Hindu woman and convert her to Christianity -- that's as much mischief as you're allowed. He still hasn't smiled, but Gandhi and Charlie have. ANOTHER PART OF THE GARDEN This is private -- beautiful and still. Gandhi walks along slowly, taking the pace of the ailing Gokhale. GOKHALE Forget your practice. India has many men with too much wealth -- it is their privilege to nourish the efforts of the few who can raise India from servitude and apathy. I will see to it -- you begin your journal. GANDHI I have little to say. India is an "alien" country to me. He grins self-deprecatingly but Gokhale persists. GOKHALE Well, change that. Go and find India. Not what you see here, but the real India. You'll see what needs to be said. What we need to hear. He pauses and looks at Gandhi -- and for the first time he smiles. When he speaks his voice is thick with feeling. GOKHALE When I saw you in that tunic I knew... I knew I could die in peace. (A dying man's command) Make India proud of herself. His eyes are watery with emotion, but he stares at Gandhi rigidly. CUT TO: TRAIN - EXTERIOR - NIGHT Indian. Steam. A breed of its own. THIRD CLASS COACH - INTERIOR - NIGHT Gandhi sits by a window in the dimly lit coach. Ba sleeps on the seat next to him, another member of the party next to her. Gandhi's solemn eyes are studying the huddled humanity in the rocking coach. People are sleeping everywhere, some half-erect on the benches, many on the floor among the bundles and trunks and bedrolls and baskets. Some have children, some are very old. One old man, sleepless like Gandhi, stares back at him across the shadowed squalor of the coach; somewhere unseen a crying baby is soothed by his mother. Gandhi looks at the bench across from him. Charlie Andrews, his tall frame cramped in a tiny space between the window looks at Gandhi dozily, a little smile of sufferance, then he closes his eyes again, leaning his head against the rocking window frame. NARROW STREET - A SMALL TOWN - EXTERIOR - DAY Gandhi is carried along in a ceremonial chair borne on the shoulders of some trotting men. The chair is swathed in flowers, and flowers are being showered on Gandhi by the running children and the crowd lining the narrow street. Ba and Charlie and two others are following in a flower-bedecked ox-cart, lost in the mass of people that are swirling around Gandhi. On a building top a British officer watches emotionlessly as Gandhi and the crowd pass below him. On this building and others we see some on his Indian soldiers watching with their rifles beside them. INDIAN VILLAGES - EXTERIOR - DAY As from a train... but the shots are varied; some close of farmers and water buffalo, and ragged children and women in colorful saris carrying pots on their heads, and some distant of villages as units, one and another and another. INTERCUT ALWAYS WITH: TRAIN - INTERIOR - DAY Gandhi's face in the window, he and Ba standing, looking out together, neither speaking. Gandhi writing in the cramped chaos of the Third Class coaches. Gandhi sweeping part of the carriage, making disgruntled passengers move as he tries to bring some cleanliness to their surroundings. RIVER VISTA - EXTERIOR - DAY A broad alluvial plain, the river threading through it, purple and gold in the rising sun. The camera races with the train along the river's edge, the reflected sun glimmering on the windows. RIVER BANK - EXTERIOR - DAY The sun is high and the train is stopped by the river. People have come out of the coaches to cool their heads with the touch of water, to stretch their legs. We see an English clergyman from the Second Class coaches, dipping a toe cautiously into the water, children of some British enlisted soldiers wading, splashing, faces alight with fun. And, farther along, the parasols of one or two of the English First Class passengers, a woman dousing her neck delicately with perfume. A British officer, tunic unbuttoned, smoking a long cigar as he walks along in a few inches of water, his trousers rolled up, his shoes off. Across the river down from the Third Class coaches a small group of Indian women is squatted by the river's edge, washing clothes. Some carry infants on their backs. Some small children stand near them. Their ritual of washing goes on, but they are all watching the passengers of the train. Gandhi stands with Ba and Charlie among the Third Class passengers. Ba cools her face with water. Charlie, his trousers rolled up, plays a tentative splashing game with a skinny little Indian boy. Gandhi is holding a large white head cloth which he is soaking in the water, but his eyes have been arrested by the sight of the women across the river. And now we see the women closely from his point of view, the camera panning slowly along them. Their bodies are skin and bone. The clothes they wear, which looked normal from the distance, are rags -- literally, shredded rages, one hung on another. The children are hollow-eyed and gaunt, staring listlessly at the train. One boy, with a stump for an arm, aimlessly pushes at the flies that buzz around him. Gandhi stands erect, lost now in the revelation of their poverty. His eyes hold on one woman at the river bank. Though her frail face is almost skeletal, it is beautiful but scarred by a severe rash down her cheek and neck. The cloth she is washing is a shredded piece of muslin. Her eyes have met Gandhi's as he watches her. Gandhi stares for a moment, a long beat. Then he slowly moves his arm out into the water and, without taking his eyes from her, releases the head cloth he has been rinsing. It floats along on the water down toward the woman. She looks from Gandhi to it with sudden excitement, a sense of incredulity. As the cloth nears her, she rises and moves almost greedily out into the water to take it. Her hands snatch at it quickly. Then she stands, looking at Gandhi. The infant on her back shifts, its huge hollow eyes reacting to the movement. Gandhi smiles slowly, tilting his head just slightly to her. And now that she has possession of the cloth, her manner calms again. And she looks back at him, and her lips almost part with a tiny smile of thanks. Hold Gandhi, staring at her, fighting the pain in his eyes... TRAIN - EXTERIOR - NIGHT Threading like a lighted necklace across the darkness of a vast plain. TRAIN IN HILLS - EXTERIOR - DAY Climbing green hills -- a totally different terrain -- and again we intercut, this time the train climbing: a boy and buffalo running a huge, crude grinding wheel, train climbing; farmers in terraced fields, train climbing faster and faster... until suddenly with a hoot of the whistle and the screech of brakes it stops! TRAIN - EXTERIOR - DAY Gandhi is leaning out of a window in a Third Class coach. Ahead of him other passengers are looking too; some have jumped down. Gandhi and Charlie jump down too. As they come clear they can see that a military train of an engine and two cars has been derailed ahead of them. A small troop of cavalry are coming slowly along the line of Gandhi's train toward them. Featuring the cavalry. They are British and their troop leader is viciously angry. TROOP LEADER Clear the way! Get out of the way! He is swinging his sword, not lethally, but threateningly at the Indian passengers from the train. His British NCOs are equally angry and deliberately ride close to the passengers, forcing them back against the train. Gandhi and Charlie step back. And as the troop goes past we see from their point of view a group of Indian bearers, trotting in the middle of the horsemen, carrying two litters -- covered, each hanging by straps from a long pole -- and each bearing a badly wounded British soldier; one appears to be dead. OUTSKIRTS OF VILLAGE - EXTERIOR - DAY The shadow of a train moves slowly along the ground, a sense of tension and foreboding. We hear the engine chugging slowly. The camera lifts. Gandhi and Charlie stand at a window, staring out grimly. Other passengers are looking off too. Ba is seated, staring straight ahead, her face taut, deliberately not seeing what the others are seeing. GALLOWS - EXTERIOR - DAY Their point of view: On a hill across from the railroad track part of a prison wall is visible. In front of it a thick pole is straddled across two others. From this crude gallows two Indian men hang by the neck. One is in turban and dhoti, the other in a tunic. The sound of the train stopping. VILLAGE - EXTERIOR - DAY Close shot. Incense rising in shot. The camera pulls back and back. The incense is burning in a bowl sitting before Gandhi on a make-shift platform set in the little valley between the train line and the little hill where the Indian men have been hanged. A small crowd sits in a crescent before him, Ba and Charlie are bent in prayer on the platform behind him. When the camera comes to rest, the edge of the gallows and a portion of one of the hanged men is in the frame. We know we are looking from someone's point of view near the prison wall. Finally, Gandhi lifts his head. GANDHI (at first distant, as from the hill) I ask you to pray for those who died. (Closer) For the English soldiers... (a murmur) who were doing what they thought was right. (Closer) And for the brave terrorists whose patriotism led them to do what was wrong. The murmur of resistance from the crowd is louder at this. Gandhi shakes his head at the dissent. GANDHI It is not my law, it is the law of creation. We reap what we sow. Out there in the fields -- and in our hearts. Violence sows hatred, and the will to revenge. In them. And in us. He looks up. HILLSIDE - HIS POINT OF VIEW The troop leader, on horseback, is on the hill beside the gallows. The first view of Gandhi on the platform was his. Some of his troops are lined up beside him. He stares down at Gandhi coldly. PATEL'S SWIMMING POOL - EXTERIOR - DAY Patel lounges in the water on his back, supported by a large air pillow. Nehru sits at the side of the pool in a swimming suit, his feet dangling in the water. Jinnah sits under an umbrella in an elegant white suit, being served tea by one of three or four servants around. Patel spews a fountain of water. PATEL I agree with Jinnah. Now that the Americans are in, the war will end soon. The Germans are worn out as it is... (he rolls over, facing Nehru) and our first act should be to convene a Congress Party convention and demand independence. Nehru takes an iced drunk from a servant. JINNAH And we must speak with one voice -- united. The others assent. Nehru shakes his head wistfully. PATEL (it reminds him) Ah -- we should invite Gandhi. What the devil has happened to him anyway? NEHRU He's "discovering" India. JINNAH (cynically) Which is a lot better than causing trouble where it matters. Invite him -- let him say his piece about South Africa -- and then let him slip into oblivion. CUT TO: TRAIN - EXTERIOR - DAY A fireman heaps coal into an engine's boiler. The train passes camera to the Third Class section, which seems besieged by humanity. People cling to the outside of each door and many more are seated on the central wooden planks on the roofs of the two coaches. THIRD CLASS COACH - EXTERIOR - DAY Gandhi and Charlie are riding on the outside of the coach, hanging on through the door, and both enjoying it immensely. Ba, inside the jammed coach, finds it very unfunny. She has a grip on one of Gandhi's arms. BA (quietly, private) Please! You're being foolish! GANDHI There's no room! And the air is lovely. She grimaces severely and tugs at him. CHARLIE No violence, please. GANDHI Let me hang on with two hands or I will fall. Featuring the roof. And Indian squats right on the edge of the roof above Charlie. He is looking down, offering a hand. INDIAN (over the sound of the engine) Englishman Sahib! Charlie, who has been grinning, suddenly looks baffled, not to say appalled. INDIAN Come! Come! There is room! His hand still dangles in offering to the tall Charlie. Another angle. Two other Indians on the roof move to where they can grip the first Indian's other arm, as counterforce to the weight of Charlie. FIRST INDIAN (to Charlie) Place the foot on the window. Featuring Charlie. Hesitatingly, he grips the inside of the window higher, and starts to swing one foot onto the window ledge. GANDHI (amused, but disconcerted) What are you doing? CHARLIE (grimly) Going nearer to God! Gandhi, baffled a second, sees the outstretched hand above them, and in puckish complicity, helps boost Charlie up. Long shot. As Charlie reaches up, his hand is grasped and he starts to scramble and be pulled up to the roof. Featuring Gandhi and Ba. As Charlie's leg, assisted by Gandhi, starts to leave its lodging on the window ledge Ba suddenly turns, sees it, and grabs for it in alarm. BA Charlie! Be careful!! Close shot. Charlie. His face flat on the roof of the train as his arm is still gripped by the Indian, but his leg is being pulled from behind. CHARLIE (desperately) Mohan -- !! Resume Gandhi and Ba. Gandhi quickly moves to free Ba's hand from Charlie's leg and almost loses his own grip. He grabs the window again. GANDHI Let go! You'll kill him! Ba is confused. GANDHI Let go! Let go! With one hand he pries at her grip. In the chaos of instructions others in the coach are helping Gandhi, and Ba senses she is doing something wrong, but is still not sure what. She lets go. Close shot. Charlie. A desperate sigh of relief. Long shot. Charlie is pulled on up to the top of the coach. Featuring Charlie as he sits, puffing and recovering from the fright. FIRST INDIAN You see -- most comfortable. Charlie nods grimly. Featuring Gandhi and Ba. Gandhi, smiling, goes on the tips of his toes to get a better view. Ba grabs him desperately. BA Please, God, no! Featuring Charlie. He looks around at the rest of the passengers on the roof, their bundles and baskets clutched beside them. Their poverty is appalling, but they are all smiling at him, a sense of gaiety made in part by his Englishman's participation in their experience. They must shout over the train. SECOND INDIAN (grinning) Are you Christian, Sahib? CHARLIE (nods) Yes, yes, I'm a Christian. SECOND INDIAN (proudly) I know a Christian. (Charlie acknowledges it politely.) She drinks blood. Charlie stares at him in surprise. SECOND INDIAN (explaining -- obvious) The blood of Christ -- every Sunday! He is nodding, smiling, expecting Charlie's understanding. And Charlie gives it -- somewhat bleakly. Suddenly GANDHI'S VOICE (alarmed) Charlie!! The Indians turn. Charlie turns. TRAIN AND TUNNEL - EXTERIOR - DAY Resume Charlie and the Indians. FIRST INDIAN It's all right, Sahib! Very safe -- bend -- bend! All the Indians are crouching. Charlie closes his eyes ruefully -- he's had better ideas than this -- and he gets as flat as he can. TRAIN AND TUNNEL - EXTERIOR - DAY The train, with passengers clinging to the sides and riding on the top, steams into the tunnel, its whistle sounding. THE TUNNEL Black. A glimmer of light, through steam, the whistle echoing. INDIAN'S VOICE Pray to God, Sahib! Now is when it is best to be Hindu! Close shot. Charlie. In a flash of steamy light, staring wide-eyed at the Indian. Black, and sudden silence. AND WE DISSOLVE THROUGH TO: CONVENTION TENT - INTERIOR - DAY High. Coming into focus is a lighted platform, and as the scene becomes clearer we see figures on the platform and the banner which reads INDIAN NATIONAL CONGRESS, and we hear the emotional voice of Jinnah at the microphone. JINNAH (gradually fading in) We were asked for toleration. We were asked for patience. Some gave it and some did not. Well, their war is over! And those of us who supported it, and those of us who refused must forget our differences! The camera has been moving in; now it jumps to Jinnah in close shot and intercuts with the impact of his fervid delivery on the audience. JINNAH And there can be no excuses from the British now! India wants Home Rule! India demands Home Rule!! And the audience cheers him. Newspaper cameramen crowded around the platform photograph him. Patel comes forward from the back of the platform, clapping. He is chairing the Congress. Jinnah bows, taking his notes, gesturing to the auditorium. A man made for the spotlight, a man loving the spotlight. At last he moves back to his place on the platform. Nehru clasps his hand in congratulation. Others crowd around him. And fleetingly, just in the edge of picture, we see Gandhi -- again, the only one in an Indian tunic -- sitting at the end of the second row on the platform. He is just watching the flood of enthusiasm for Jinnah. Featuring Patel approaching the microphone, stilling the house with upraised hands. PATEL And let no one question that Mr. Jinnah speaks not just for the Muslims -- but for all India! And again the audience cheers and applauds his little coda. He raises his hands, stilling them again. PATEL And now I'm going to introduce to you a man whose writings we are all becoming familiar with... a man who stood high in the esteem of our beloved Professor Gokhale... a man whose accomplishment in South Africa will always be remembered. Mr. Mohandas Gandhi. Gandhi has already started to come toward the podium. He is greeted with mild applause, but already the convention is performing like a convention now that the spell of Jinnah's major speech has dissipated. As Gandhi reaches the podium, Patel gestures him to it. PATEL (politely) Your journal has made a great impact. Gandhi nods to him and acknowledges the residue of applause. GANDHI I am flattered by Mr. Patel (His grin.) I would be even more flattered if what he said were true. He means about the journal. Patel has wandered back toward the others, his mind already on them. But he has half heard Gandhi's comment and turns -- a smile, a politician's flexibility -- PATEL (loudly; he is away from the mike) But it's true! I -- I read it... often. Again Gandhi grins -- and takes glasses from his sleeve. This is the first time we have seen them. He has one slip of paper with notes on it which he has put on the podium. He puts his glasses on and faces the convention. GANDHI Since I returned from South Africa, I have traveled over much of India. And I know I could travel many more years and still only see a small part of it. On the platform, the whispered politics go on. On the floor of the convention, some listen, some talk of other things. GANDHI ...and yet already I know what we say here means nothing to the masses of our country. Nehru has turned, having caught that last remark. He touches Patel on the shoulder "Listen." GANDHI Here we make speeches for each other -- and those English liberal magazines that may grant us a few lines. And now they are beginning to pay attention on the floor of the hall too. GANDHI But the people of India are untouched. Their politics are confined to bread and salt. Jinnah too is listening now -- aloofly, challengingly. GANDHI Illiterate they may be, but they are not blind. They see no reason to give their loyalty to rich and powerful men who simply want to take over the role of the British in the name of freedom. There is dissent on the floor and on the platform -- but it is muttered and English "polite." Gandhi goes on. GANDHI This Congress tells the world it represents India. My brothers, India is seven hundred thousand "villages" not a few hundred lawyers in Delhi and Bombay. Until we stand in the fields with the millions who toil each day under the hot sun, we will not represent India -- nor will we ever be able to challenge the British as one nation. He takes off his glasses and folds them and in silence starts back toward his place on the platform. A cameraman flashes a picture, and someone begins to applaud; it is taken up here and there, tepidly. On the platform, the leaders join in perfunctorily. We see one peasant face (Shukla) -- which we will come to know -- watching from the crowd of outsiders who stand in the doorways. Nehru, who has been looking at Gandhi with interest and some surprise turns to Patel. NEHRU Have you read his magazine? PATEL No -- but I think I'm going to. THE TRAIL TO GANDHI'S ASHRAM - EXTERIOR - DAY An open touring car struggling along the bumpy trail. Nehru drives, four friends as young as he with him, all dressed in the same expensive, British manner. FIRST FRIEND This can't be the way! Nehru is looking a little harassed, from the ragging he is taking and from the ride. The ashram is only half-finished, the ground unworked, the buildings only partially completed and the whole looking like some primitive frontier outpost. They are finally brought to a halt by a goat that is tethered right across the path. SECOND FRIEND (a mocking quote) Yes, I'm sure this is the direction India is taking. The others laugh; Nehru suffers. SECOND FRIEND To think I almost got excited by Mr. Jinnah when all this was awaiting me. ASHRAM - EXTERIOR - DAY Nehru has half risen in his seat to address Charlie Andrews, who, walking from one somnolent building to another, has stopped dead at the sight of the car. He carries sheaves of page proofs. NEHRU We're looking for Mr. Gandhi! CHARLIE Ah, you'll find him under the tree by the river. (He points off, then glances at the car.) You'd better leave the car -- the ground is rather soft. NEHRU Thank you . . . He looks around the ashram a little dismally. FIRST FRIEND (drolly, as he climbs out) Come on! I'm anxious to meet this new "force"! ASHRAM - TREE BY RIVER - EXTERIOR - DAY Gandhi sits under a tree, peeling potatoes. Nehru and his friends are sprawled out around him. Beside them, the river; in the background the business of the ashram goes on. GANDHI I try to live like an Indian, as you see... it is stupid of course, because in our country it is the British who decide how an Indian lives -- what he may buy, what he may sell. And from their luxury in the midst of our terrible poverty they instruct us on what is justice and what is sedition. (He looks at them, a teasing but mordant grin.) So it is only natural that our best young minds assume an air of Eastern dignity, while greedily assimilating every Western weakness as quickly as they can acquire it. His smile is sardonic, but genuine, theirs embarrassed and self-conscious. NEHRU (defensively) If we have Home Rule that will change. Gandhi has finished the last potato. He glances at Nehru then drops the potato in the bowl. He lifts the pail of peelings to Nehru. GANDHI Would you, please? Nehru in his fine linen suit takes the pail awkwardly. His friends watch with amusement, but they too rise to follow as they head for the kitchen. GANDHI And why should the English grant us Home Rule? Here, we must take the peelings to the goats. He re-directs Nehru toward a trough where two or three goats are tethered, but he keeps right on talking. GANDHI We only make wild speeches, or perform even wilder acts of terrorism. We've bred an army of anarchists but not one single group that can really fight the British anywhere. NEHRU (surprised) I thought you were against fighting. They have reached the trough. GANDHI Just spread it around -- they like the new peelings mixed with the rotting ones. Nehru has carefully walked around something distasteful on the ground, now he dumps the peelings along the trough and spreads them "delicately." Gandhi scoops some peelings from the trough to feed a goat that nudges him. GANDHI Where there is injustice, I've always believed in fighting. (He looks at Nehru.) The question is do you fight to change things, or do you fight to punish. (His smile.) For myself, I have found that we are all such sinners we should leave punishment to God. And if we really want to change things there are better ways of doing it than by derailing trains or slashing someone with a sword. He meets Nehru's gaze, and for a moment something deeper than argument passes between them. Then something catches Gandhi's eye. He looks off. Ba stands, watching him, waiting. BA The fire is ready. Gandhi turns. The goat is reaching for his bowl of potatoes. He pushes it away and starts for the kitchen. GANDHI You see, even here we live under tyranny. Nehru grins, captured by Gandhi's seriousness, and his humor. He hasn't moved, and neither have his friends. They watch Gandhi as he carries his bowl of potatoes to Ba. NEHRU (reflectively) I told you... FIRST FRIEND Hm... but look at him. Some "fighter"! I can see the British shaking now. Gandhi plods on toward the kitchen, carrying the bowl of potatoes. THE RIVER BED AT THE ASHRAM - EXTERIOR - DAY Clothes are dipped in the brownish water. Ba and an ashramite woman squat by the river, washing clothes. It is long past the monsoons and they have had to come far out in the riverbed to the water. But they are laughing at their task. BA But it's the ink that is the most diffic -- She stops, because coming along the riverbed toward them is a man (Shukla) who looks as though he has come a long, weary way. His face is gaunt, his little bundle of belongings pathetic. As he nears them, he pauses. SHUKLA I am looking for Mr. Gandhi... GANDHI'S HUT - ASHRAM - INTERIOR - DUSK Shadowed, the end of the day. Gandhi sits cross-legged, watching solemnly as Shukla reaches with his fingers into a bowl to eat. The fingers are thin, half-starved, like the man himself. SHUKLA ...I've wanted to speak to you for a long time. He looks up at Gandhi almost sheepishly. He does not eat yet, but his hunger is evident. Ba sits at one side in the shadows watching him as intently as Gandhi. SHUKLA ...our crops... we can't sell them... We have no money... but the landlords take the same rent. His voice is choked and near to tears, resonant with the unspoken agony his words mean for him and the others like him. He looks at Gandhi nervously for a moment, then puts the food to his mouth like a man who is starving, and trying desperately not to show it. Close shot. Ba. The solemn intensity of her gaze reflects her identification with the man's agony. She glances up at Gandhi... TRAIN STATION - CHAMPARAN - EXTERIOR - NIGHT The camera is low, shooting along the track toward the light of an approaching train. From its distant glow we can see that people line the platform of the small station, waiting, but we cannot tell how thick the crowd may be. The station house. An open staff car pulls up through the press of the crowd. An English captain leaps out and pushes aggressively through the mass of bodies toward the platform. Again the darkness of the ill-lit station and the angle of the camera limit our vision. ENGLISH CAPTAIN Clear the way there! Get out of the way! A detail of British troops, already on the station, moves in his wake, just as aggressive toward the crowd as he is. SERGEANT PUTNAM Sir! Up here! The sergeant is on the low sloping roof of the station. The captain turns briskly to two of his detail. ENGLISH CAPTAIN Give me a leg up, will you! The two men join hands and the captain is hoisted up with an assist from Sergeant Putnam. We hear the train stop in the background. On the roof. The captain stands erect. ENGLISH CAPTAIN What the hell is it, Sergeant? He is now standing and his face has frozen. It needs no answer from Putnam. ENGLISH CAPTAIN Jesus...! He turns his head slowly, his mouth agape at His point of view. The whole of the obscurely lit platform is covered thick with waiting crowds. They engulf the station house, back and front, and on the other side of the train more people are packed all along its length, and beyond them along the narrow street that stretches through the little collection of houses adjoining the station, every rooftop is covered -- men, women with babes in arms, children. There is no excitement, hardly any movement -- just a vast congregation of people, waiting silently is the darkness -- and as the camera pans we see that the crowd extends, indiscernible, even beyond the range of light. ENGLISH CAPTAIN (awed, a little frightened) What the hell is going on? SERGEANT PUTNAM I don't know, sir. The agent says they got a telegram and it just said, he is coming... and gave the time of the train. ENGLISH CAPTAIN Who the hell is he? SERGEANT PUTNAM I don't know, sir. Featuring Gandhi. He has stepped down from the train. Shukla guides him, Ba and Charlie a step or two behind. Gandhi moves through the silent crowd, his hands in the pranam, bowing a little to either side. As he advances, the crowd parts -- it is almost eerily silent. As their clothes indicate, the area is Muslim, so some salaam (a touch of the hand to the forehead) and a few tentatively make the pranam back to Gandhi as he moves through them. Most of the faces are gaunt and lean. A destitute people. And suddenly there is a commotion and the sound of boots on the concrete platform, and the English captain shoves his way through to confront Gandhi down the little aisle that was being made for him. The sergeant and part of the detail and behind the captain. The captain stares. Then he looks around at the crowd, suspiciously, a touch of inner fear, then back to Gandhi. ENGLISH CAPTAIN Who the devil are you? GANDHI My name is Gandhi. Mohandas K. Gandhi. There is a flicker of recognition, but uncertain. The captain stiffens; a steeling of the will. Another glance at the crowd, this time with an air of outraged authority. ENGLISH CAPTAIN Well, whoever you are, we don't want you here. I suggest you get back on that train before it leaves the station. GANDHI (calmly, a glance at the crowd) They seem to want me. ENGLISH CAPTAIN Now look here. I'll put you under arrest if you'd prefer? GANDHI On what charge? It has the cold assurance of a lawyer, and the Captain is a little shaken by it. He glances at Charlie who stands behind Gandhi now, and it makes him all the more uncertain. ENGLISH CAPTAIN I don't want any trouble. He tries to make it severe, but it is a comedown. GANDHI I am an Indian traveling in my own country. I see no reason for trouble. It is firm and there is an edge of assertiveness to it that the Captain doesn't like, but Gandhi's unrelenting stare unnerves him. He glances at Charlie again. ENGLISH CAPTAIN Well, there'd better not be. Again, the empty severity of weakness. He looks around, then turns and marches off briskly shoving his way through the crowd. "Out of my way, there! Come on, move!" Gandhi smiles reflectively, and the crowd suddenly begins to buzz. Where all was silence before there is now the hum of excitement. Already he has scored a victory -- and as he moves forward again, making the pranam, they return it with flushed greetings. "Gandhi -- Gandhi -- Bapu -- Gandhiji"... PEASANT'S DWELLING - INTERIOR - DAY The early light of the sun illumines the dwelling. We feature a man in middle age, but one who looks ill and drawn (Meha). He lies on a straw mat. MEHA For years the landlords have ordered us to grow indigo, for dyeing the cloth. Always they took part of the crop as rent. Gandhi sits cross-legged, listening. It is the kind of listening that opens the heart. Behind him a mass of villagers sits stoically, outside the dwelling, waiting while their case is heard. Meha tries to speak unemotionally but under Gandhi's sympathetic gaze his despair keeps cracking through. MEHA But now the English factories make cloth for everyone. No one wants our indigo. And the landlords won't take their share. They say we must pay our rent in cash. Near to breakdown, he gestures around the empty house. MEHA What we could, we sold... The police have taken the rest. There is no food, we -- He cannot go on. GANDHI I understand. (He examines his hands a moment.) The landlords are British? It's a rhetorical question. Meha nods. Gandhi looks around the crude dwelling, almost nothing remains. We see two young men, one seventeen perhaps, the other older, and a girl, sixteen. And finally Meha's wife, sitting near Ba, the two women listening together but Meha's wife looks like a woman who has given up, her hair is dead and hardly combed, her sari dirty. Meha looks at Gandhi and shakes his head hopelessly. Gandhi nods... He stands slowly. GANDHI What we can do... we will try to do. The words are said bleakly, not to raise false hopes. He glances at Meha's wife. Water comes to her eyes, and she lowers her head. Ba puts her hands on her shoulders and clasps her to her, and the woman breaks, and sobs and sobs... TILLED FIELD - CHAMPARAN - EXTERIOR - DAY Gandhi rides on an open howdah on an elephant, his mind locked in sober reflection. Shukla shares the howdah with him, but does not dare break Gandhi's black mood. GANDHI Is all Champaran like this, Shukla? SHUKLA Yes, Bapu... (He looks across the field.) The whole province... hundreds -- thousands. It registers with Gandhi -- but inside. A moment. CHARLIE'S VOICE Mohan -- ! Gandhi shakes himself from his absorption and looks back. Ba and Charlie are mounted on a similar howdah on another elephant, both being led by peasant boys. Charlie is pointing behind them. Coming along the path is a tall Indian policeman on a bicycle. He rides right past Charlie and Ba and comes alongside Gandhi. His attitude is superficially polite, but he is full of righteous authority. POLICEMAN (he knows) Are you Mr. M. K. Gandhi? GANDHI Yes. POLICEMAN I'm sorry but you are under arrest. GANDHI I am not sorry at all. It contains more anger than we have seen him display to anyone but Ba. CHAMPARAN CRICKET CLUB - EXTERIOR - DAY A ball is hit. The camera pulls back to reveal a lush, verdant pitch, white-garbed players, English, a few ladies dressed in First World War fashion watching under parasols near the clubhouse and in the shade of trees with a few officers and civil servants, while Indian servants discreetly serve cool drinks. The batsman has hit a four and we see him run down the pitch with his partner until the four is certain, then BATSMAN (to the wicket keeper) Who did you say would be buying the drinks? The wicket keeper makes a rude, facetious gesture, but as the batsman turns to settle in his crease again BATSMAN Oh, no -- He has looked up. A car is pulling hurriedly in near the clubhouse, an officer in it, and people are streaming toward it. The car. A major is standing on the back seat. An Indian corporal drives. MAJOR ...I've got no idea. All I know is there's a riot or something at Motihari in Champaran, and the whole company is ordered out. A VOICE It's two days' march! MAJOR That's why the match is off. It's mostly Muslim territory and the old man's taking no chances. Featuring the batsman and some of the players as they walk across the field toward the car. They know something's up. BATSMAN (disgusted) God, and it's the best innings I've had since Oxford. WICKET KEEPER (dryly) India's full of grief, old man. The batsman "takes" on him facetiously, and we cut to: THE COURTHOUSE AND JAIL - MOTIHARI - EXTERIOR - DAY A small building on a little Anglicized square. It is surrounded by a milling angry throng of peasants. Featuring the front entrance. The English captain who was at the station when Gandhi arrived is on the top step, looking harried and tense. A small detachment of Indian troops lines the step below him. Charlie Andrews is pushing through the crowd toward the captain. As he approaches, the Indian sergeant holds up his hand. CHARLIE (firmly) I wish to see the prisoner, please. The captain looks at his clerical collar, his English face, his determination. CAPTAIN (reluctantly) All right, Sergeant. Charlie moves through the Indian soldiers and up toward the entrance. The captain stares out worriedly over the unruly crowd. COURTHOUSE JAIL - INTERIOR - DAY A basement chamber -- dark, thick-walled and poorly lit. The camera has panned off a close shot of Gandhi as he turns in his cell at the sound of a door opening and approaching footsteps. We have seen only his head and shoulders, which are covered in a shawl. A police guard leads Charlie across the rough, unfinished floor. As he comes to Gandhi's cell we get a fleeting glimpse of Gandhi sitting on a low pallet bed. Close shot. Gandhi as he recognizes his visitor. GANDHI Charlie-- Reverse on Charlie. He looks down at Gandhi and shakes his head. CHARLIE (a somber grin) ...Shades of South Africa. Close shot. Gandhi. Head and shoulders. He returns the grin, but anger and determination still dominate his mood. GANDHI Not quite. They're only "holding me" until the Magistrate's hearing. Then it will be prison. CHARLIE (sympathetically) Did they take your clothes? And now we see Gandhi in full shot for the first time. He is wearing only a white loincloth, the shawl over his shoulders and sandals -- the costume he will wear for the rest of his life. GANDHI These are my clothes now. Charlie studies him a moment, and being Charlie, he understands. CHARLIE (affectionately) You always had a puritanical streak, Mohan. He grins, and it elicits a little grin from Gandhi. GANDHI (in a tone of defensiveness) If I want to be one with them, I have to live like them. CHARLIE I think you do. (A smile.) But I thank God we all don't. And Gandhi laughs. GANDHI I'm sure your legs are quite as handsome as mine. CHARLIE Ah, but my puritanism runs the another way. I'm far too modest for such a display. And again Gandhi laughs. Charlie turns to the guard. CHARLIE Couldn't I be let in with the prisoner? I am a clergyman. The police guard hesitates, and then unlocks the cell. Charlie enters and sits on a little wooden stool opposite Gandhi, his long legs awkwardly filling most of the space between them. Gandhi has remained seated, pensive. Charlie studies him a moment. CHARLIE (a bit puzzled) They're calling you "Bapu." I thought it meant father. GANDHI (wistfully) It does. We must be getting old, Charlie. A little grin, but his mood remains pensive -- and remote. CHARLIE What do you want me to do? Gandhi looks up -- his anger, his determination there, but then broken by a hopeless sigh. GANDHI I think, Charlie, that you can help us most by taking that assignment you've been offered in Fiji. Charlie is stunned, and obviously hurt. Gandhi proceeds more gently. GANDHI I have to be sure -- they have to be sure -- that what we do can be done by Indians... alone. And now Charlie understands. Gandhi smiles; warmth, and sadness. Then he speaks with a determined purposefulness, a friend's trust. GANDHI But you know the strategy. The world is full of people who will despise what's happening here. It is their strength we need. Before you go, you could start us in the right direction. He has taken some scratched notes from under the bedding and handed them to Charlie. Charlie nods. He sighs, and rises slowly. CHARLIE I must leave from Calcutta, and soon. You'll have to say goodbye to Ba for me. Gandhi rises, glancing wryly at the prison walls. He nods. GANDHI When I get the chance. And now he faces Charlie; this is the moment of farewell. CHARLIE Well, I -- He doesn't know what to say, how to say it. Gandhi meets his eyes -- a smile that shelters Charlie's vulnerability, returns his love. GANDHI There are no goodbyes for us, Charlie. Wherever you are, you will always be in my heart... The very English, very steadfast Charlie fights to contain his emotions. THE COURTROOM - MOTIHARI - INTERIOR - DAY It is packed to overflowing; restless. Gandhi sits in the dock. One or two sergeants-at-arms are trying to keep order, but it the uneven and menacing chanting of "Gandhi... Gandhi" coming from the mobs outside the courtroom that fills the atmosphere with threat. The magistrate (English) is surveying the courtroom; he signals his clerk (English) to him. MAGISTRATE (whispered conference) I am going to clear the courtroom. CLERK (politely) I'm not sure we'd be able to. And it is a first hearing, it's supposed to be public. And he's a lawyer. The magistrate frowns. MAGISTRATE (worried, angry) I don't know where they found the nerve for all this. CLERK I'm sure I don't either, but the troops won't be here until tomorrow. MAGISTRATE How the press get here before the military? We see the front row from his point of view. Two or three Indian journalists and one European. CLERK That English clergyman sent a number of telegrams yesterday afternoon. I understand one of them even went to the Viceroy. The magistrate receives that news with some alarm. He indicates that the clerk take his place. Gandhi stands. The courtroom is silent, but we can still hear the sound of the chanting outside. MAGISTRATE You have been ordered out of the province on the grounds of disturbing the peace. GANDHI (defiantly) With respect, I refuse to go. The magistrate stares. The journalists write. The clerk swallows. The magistrate looks around the courtroom and is only too aware of the mob outside. MAGISTRATE (sternly) Do you want to go to jail? GANDHI (not giving him an inch) As you wish. The clerk lowers his eyes to his pad. The magistrate searches the distant wall, the top of his desk, his twitching hands for an answer. Finally MAGISTRATE (as much sternness as he can muster) All right. I will release you on bail of one hundred rupees until I reach a sentence. GANDHI I refuse to pay one hundred rupees. Again the magistrate stares. And so do the journalists. The magistrate wets his lips -- MAGISTRATE Then I -- I will grant release without bail -- until I reach a decision. And now the court explodes. In the chaos of cheering and delight, the magistrate rises, looks around the room and heads for his chambers. The journalists are scribbling furiously. Gandhi turns and starts out of the courtroom. We hear cries of "Gandhi! -- Gandhi! -- Bapu!" THE COURTHOUSE BALCONY Gandhi steps down from the courtroom to the balcony. A huge cheer comes up from the massed peasants below. As he smiles down at them, he is turned by A VOICE Gandhiji! -- Gandhiji! Mr. Gandhi! Four young Indians -- elegantly dressed in English clothes -- are following him, having plunged through the crowd in the courtroom. A beat -- and the first young man addresses him over the chaos. FIRST YOUNG MAN (his accent is as refined as his clothes) Gandhiji -- we are from Bihar. We received a cable this morning from an old friend who was at Cambridge with us. (A smile.) His name is Nehru and I believe you know him. Gandhi reacts -- with surprise and caution. GANDHI Indeed. FIRST YOUNG MAN He tells us you need help. And we have come to give it. Again Gandhi is surprised -- but even more cautious. Behind him, the crowd begins to chant "Gandhi -- Gandhi." GANDHI I want to document, coldly, rationally, what is being done here. It may take months -- many, many months. FIRST YOUNG MAN (they're eager, impressed) We have no pressing engagements. It sounds casually ironic, but they look determined, even angry. GANDHI You will have to live with the peasants. (They nod.) I have nothing to pay you. (They only smile.) Hmm. He is looking at them with a soupÁon of skepticism but he is beginning to smell victory. His name echoes around him and is taken up even louder as the news spreads to the street. GOVERNOR'S OFFICE - CHAMPARAN - INTERIOR - DAY Almost total silence. The room is long, large and imposing -- hardwood floors, overhead fans, an aura of wealth and permanence. Footsteps pace its acres of space... and Sir George Hodge comes into frame. He is rich, middle-aged, Tory -- and at the moment feeling impotent and harried. SIR GEORGE I don't know what this country is coming to! The Governor, Sir Edward Gait -- the portrait of the King prominent behind him -- is feeling as cornered as Sir George but for different reasons. His desk is arrayed with several tall stacks of folders -- all with exactly the same covers -- and on one corner of the desk, some folded newspapers. We can just read "Gandhi" in a headline. He taps one of the folders irritably with his hand. SIR EDWARD But good God, man, you yourself raised the rent simply to finance a hunting expedition! Sir George looks at him -- half defensive, half defiant. They are old friends -- the same school, the same social class, long together in India -- and their argument is an argument between friend who accept the same premises. But even so the Governor feels the game has not quite been played fairly. SIR EDWARD And some of these others -- (he gestures to the folders again) beatings, illegal seizures, demanding services without pay, even refusing them water! In India!... Sir George is staring out of the window, vexed, bristling but defensive. SIR GEORGE Nobody knows what it is to try to get these people to work! SIR EDWARD Well, you've make this half-naked whatever-he-is into an international hero. He picks up one of the papers irritatedly, the London Daily Chronicle. SIR EDWARD "One lone man marching dusty roads armed only with honesty and a bamboo shaft doing battle with the British Empire." (He lowers the paper dismally; then the ultimate bitterness) At home children are writing "essays" about him. Sir George looks at him and sighs heavily. Sir Edward stares back, then drops the paper back on his desk. SIR EDWARD I couldn't take another two years of him to save my life. Sir George turns, and paces back toward him. For the first time we see Sir Edward's personal secretary (a male civil servant) sitting at a small desk and listening with highly developed unobtrusiveness. SIR GEORGE What do they want? It is the first sign of concession. Sir Edward lifts his eyes to his personal secretary. PERSONAL SECRETARY (reading precisely from a document) A rebate on rents paid. (Sir George huffs.) They are to be free to grow crops of their own choice. A commission -- part Indian -- to hear grievances. Sir George looks from him to Sir Edward. A beat. SIR GEORGE (wearily) That would satisfy him?... SIR EDWARD (a nod; then pointedly) And His Majesty's Government. It only needs your signature for the landlords. Sir George looks at the document on the secretary's desk. A moment. The secretary turns it slowly so it is facing him. Sir George looks at it like a snake. The secretary picks up a pen and offers it. A second, then Sir George takes the pen and signs angrily. SIR GEORGE It will be worth it to see the back of him. (A flourish at the end of his signature, then he stands.) We're too damn liberal. Sir Edward is at the liquor cabinet. SIR EDWARD Perhaps. But at least all this has made the Government see some sense about what men like Mr. Gandhi should be allowed, and what they should be denied. He turns, offering Sir George a whiskey in a finely cut glass of crystal. SIR EDWARD (firmly) Things are going to change. JINNAH'S RESIDENCE - BOMBAY - EXTERIOR - DAY Jinnah moves from under the portico. His shining, expensive car is coming in the drive and stops by him. He opens the back door, but only the chauffeur is in the car. JINNAH (in annoyance) Where is Mr. Gandhi? CHAUFFEUR (distastefully) He said he preferred to walk, sir. I followed him most of the way. He's just turned the corner. Jinnah closes the door and looks across at the entrance in exasperation. JINNAH The Prophet give me patience. CHAUFFEUR He came Third Class. It's a disdainful comment and he drives the car off toward the garage. Gandhi comes around the corner of the wall into the entrance. He is carrying a bedroll and a bamboo walking stick. Herman Kallenbach is with him, dressed informally, also carrying a bedroll. Jinnah makes a "sophisticated" salaam. JINNAH (with effort) My house is honored. Gandhi grins, dismissing the formality. GANDHI (he makes the pranam) The honor is ours. May I introduce Mr. Kallenbach. He's an old friend (anticipating Jinnah's objection) and his interest is in flowers. I presumed to tell him he could wander your gardens while we talked. JINNAH (the suave, but slightly ironic host) I'll send my gardener. I'm sure you'll have much to discuss. JINNAH'S DRAWING ROOM - INTERIOR - DAY It is spacious, "English." At the door, Jinnah introduces Gandhi to the room. JINNAH Gentlemen -- the hero of Champaran. Again Gandhi grins at the extravagance. GANDHI Only the stubborn man of Champaran. A polite little laugh; Jinnah introduces him. JINNAH Mr. Patel you know. (Patel bows.) Mr. Maulana Azad -- a fellow Muslim... recently released from prison. Gandhi makes the pranam, studying him with interest after that comment. Azad gives a gentle salaam. JINNAH Mr. Kripalani. (A bow -- we have seen him at the Congress Conference.) And of course you know Mr. Nehru. Gandhi turns. Featuring Nehru. He stands, awaiting Gandhi's attention. All the others have been dressed in European clothes. The handsome Europeanized Nehru now wears an Indian tunic -- much like the one that Gandhi once wore. For a moment Gandhi studies the costume, then a broad smile. GANDHI (a play on Jinnah's introduction) I am beginning to know Mr. Nehru. PATEL (to business: Gandhi has been admitted to the power circle, he is not the power) Well, I've called you here because I've had a chance to see the new legislation. It's exactly what was rumored. Arrest without warrant. Automatic imprisonment for possession of materials considered seditious... He looks at Gandhi. PATEL Your writings are specifically listed. Gandhi nods at the "compliment," but they are all angered by the severity of it. KRIPALANI So much for helping them in the Great War... JINNAH (fire) There is only one answer to that. Direct action -- on a scale they can never handle! Again the temper of it produces a little silence. Then NEHRU I don't think so. He moves to a servant who stands, holding a large tray with a silver service of tea. Of them all, Nehru's manner is the most naturally patrician and Jinnah watches him with a somewhat envious awareness of it. NEHRU Terrorism would only justify their repression. And what kinds of leaders would it throw up? Are they likely to be the men we would want at the head of our country? His stand has produced a little shock of surprise. Holding his tea, he turns to Gandhi with a little smile. NEHRU I've been catching up on my reading. He means Gandhi's of course. Jinnah looks at the two of them. Gandhi has removed his sandals and is sitting cross-legged on a fine upholstered chair. Jinnah's eyes rake him with anger and distaste. JINNAH (coldly) I too have read Mr. Gandhi's writings, but I'd rather be ruled by an Indian terrorist than an English one. And I don't want to submit to that kind of law. PATEL (to Nehru -- diplomatically -- but with a trace of condescension) I must say, Panditji, it seems to me it's gone beyond remedies like passive resistance. GANDHI (in the silence) If I may -- I, for one, have never advocated passive anything. They all look at him with some surprise. As he speaks, he rises and walks to the servant. GANDHI I am with Mr. Jinnah. We must never submit to such laws -- ever. And I think our resistance must be active and provocative. They all stare at him, startled by his words and the fervor with which he speaks to them. GANDHI I want to embarrass all those who wish to treat us as slaves. All of them. He holds their gaze, then turns to the immobile servant and with a little smile, takes the tray from him and places it on the table next to him. It makes them all aware that the servant, standing there like an insensate ornament, has been treated like a "thing," a slave. As it sinks in, Gandhi pours some tea then looks up at them with a pleading warmth -- first to Jinnah. GANDHI Forgive my stupid illustration. But I want to change their minds -- not kill them for weaknesses we all possess. It impresses each one of them. But for all his impact, they still take the measure of him with caution. AZAD And what "resistance" would you offer? GANDHI The law is due to take effect from April sixth. I want to call on the nation to make that a day of prayer and fasting. "Prayer and fasting"? They are not overwhelmed. JINNAH You mean a general strike? GANDHI (his grin) I mean a day of prayer and fasting. But of course no work could be done -- no buses, no trains, no factories, no administration. The country would stop. Patel is the first to recognize the implications. PATEL My God, it would terrify them... AZAD (a wry smile) Three hundred fifty million people at prayer. Even the English newspapers would have to report that. And explain why. KRIPALANI But could we get people to do it? NEHRU (he is half sold already) Champaran stirred the whole country. (To Gandhi) They are calling you Mahatma -- the Great Soul. GANDHI Fortunately such news comes very slowly where I live. NEHRU (continuing, to the others) I think if we all worked to publicize it... all of the Congress... every avenue we know. The idea has caught hold. As the others talk of "papers," "telegrams," "speeches," Jinnah looks over his cup at Gandhi with an air of bitter resignation, but he tries to make light of it. JINNAH Perhaps I should have stayed in the garden and talked about the flowers. THE GARDEN - VICEROY'S PALACE - EXTERIOR - DAY A garden party in full imperial splendor. A military band plays discreetly in the background. Princes, maharajahs, generals, ranking British civil servants and their ladies taking tea on the manicured lawns among the exotic flowers. But over all there is a thread of anxiety, we pick up one or two nervous phrases: "At the West Gate there were no taxis at all!," "Of course, the Army will always be loyal." And the camera picks out a civil servant stepping from a door of the palace carrying a sheaf of telegrams and cable forms. He searches the assembled guests, then heads with almost indecorous haste toward his target. It is the Viceroy, Lord Chelmsford. With him, talking quietly, are his aide-de-camp, the Governor of the province and his ADC, and the commanding general of the Army in India. Lord Chelmsford's ADC is the first to react to the civil servant's arrival and his impatient attendance. ADC Sir -- it's Mr. Kinnoch. Lord Chelmsford turns expectantly. CHELMSFORD Yes? KINNOCH (hesitant, stunned) Nothing... nothing is working, sir -- buses... trains... the markets... (Personal, incredulous) There's not even any civilian staff here, sir... Everything has stopped. CHELMSFORD (curt, firm) Is it simply Delhi and Bombay? His firmness doesn't restore Kinnoch's normal aplomb. He holds the telegrams forward. KINNOCH No, sir -- Karachi, Calcutta, Madras, Bangalore. It's, it's total. He glances at the general. KINNOCH (the ultimate) The Army had to take over the telegraph or we'd be cut off from the world. That takes the wind out of all of them. Grimly, Lord Chelmsford looks out across the palace's ordered lawns and gardens. CHELMSFORD I can't believe it... KINNOCH He's going to sell his own paper tomorrow in Bombay. They've called for a parade -- on Victoria Road. CHELMSFORD (clenches his jaw and turns to the General) Arrest him! THE JAIL - BOMBAY - INTERIOR - DAY A prison door opens. Gandhi, in prison clothes, is led along a small corridor to a room. The door is held open by a prison guard. ROOM - THE JAIL - BOMBAY - INTERIOR - DAY Nehru waits for Gandhi. He rises when Gandhi enters. The guard signals Gandhi to a chair across a small wooden table from Nehru. The guard closes the door, but remains in the room. Nehru's face is a map of concern, but he manages a small smile of greeting. NEHRU Bapu... Gandhi, who also looks worn, rises his eyebrows whimsically at the use of that name. GANDHI You too... He means "Bapu" -- "Father." NEHRU (a real smile, but the same affection) It seems less formal than "Mahatma." Gandhi sighs, and their faces and minds go to more somber matters. NEHRU Since your arrest the riots have hardly stopped. Not big --; but they keep breaking out. I run to stop them... and Patel and Kripalani -- they are never at rest. But some English civilians have been killed, and the Army is attacking crowds with clubs -- and sometimes worse. Gandhi has listened to it all with a growing sense of despair. GANDHI Maybe I'm wrong... maybe we're not ready yet. In South Africa the numbers were small... NEHRU The Government's afraid, and they don't know what to do. But they're more afraid of terrorists than of you. The Viceroy has agreed to your release if you will speak for non- violence. GANDHI (a sad smile) I've never spoken for anything else. THE STREETS OF AMRITSAR - EXTERIOR - DAY The golden dome of the Temple fills the screen, shimmering. The sound of a car, and marching feet. The camera pulls back from the dome, revealing the rooftops, the trees and then suddenly, center of frame, the face of General Dyer -- blunt, cold, isolated in a cocoon of vengeful military righteousness. He is traveling slowly, steadily in an armored car at the head of fifty armed sepoys -- Gurkhas and Baluchis -- immaculate, precise, awesome. Behind them a staff car with Dyer's English ADC and a British police officer. It is a relentless, determined procession, filling the dusty street with a sense of menace and foreboding. JALLIANWALLAH BAGH - AMRITSAR - EXTERIOR - DAY A large public garden, enclosed by a thick, old, crumbling wall. A large crowd is gathered around a speaker on a platform at one side of the park. It is political, but the crowd is mixed. We see Muslims and Hindus, many of them Sikhs, old men, little children, women with babes in arms. Some donkey carts, a sense of fair-time gaiety. We close in on the speaker -- a Muslim. He clutches a copy (we need not see the title) of Gandhi's journal. SPEAKER ...England is so powerful -- its army and its navy, all its modern weapons -- but when a great power like that strikes defenseless people it shows it brutality, its own weakness! Especially when those people do not strike back. (He holds aloft the clenched journal.) That is why the Mahatma begs us to take the course of non-violence! THE ENTRANCE OF THE JALLIANWALLAH BAGH - EXTERIOR - DAY General Dyer, his armored car, his sepoys, moving toward the gate. Dyer looks ahead calmly. His point of view. The Gate of the Bagh. A rickety double gate in the high crumbling wall. On each pillar, poster notices for the meeting: "For Congress -- For Gandhi." In the distance the speaker and the assembled crowd. Nearer, a few vendors, loiterers and children. At the sound of the armored car and marching feet, a few turn in curiosity. Another angle. The armored car grinds forward. It won't go through the gates, one fender scraping against the gate post. Dyer gives a quiet order, the car backs away. Dyer jumps down lightly -- a man in splendid condition. He walks through the gate and stands quietly in the at-ease position, hands clasping his swagger stick behind his back. looking off at The speaker -- medium shot. SPEAKER ...If we riot, if we fight back, we become the vandals and they become the law! If we bear their blows, they are the vandals -- God and His law are on our... (He glances up.) side. Long shot -- his point of view. The two platoons of sepoys, rifles at the port, trot smartly through the gate and fan out on either side of the motionless and dominant figure of Dyer. Resume the speaker. SPEAKER (soldiering on) ...We must have the courage to take their anger... Medium close -- the sepoys and Dyer. He issues his commands in a quiet and unemotional voice, as though they were on maneuvers. DYER Port arms, Sergeant Major. The sergeant major issues the command. The troops port arms. DYER Load. Again, the sergeant major barks the command, the bolts slam back and forth, the magazines clatter. Featuring the platform and the front of the crowd. They have all turned now to watch, frozen in incredulity and fascination. The sound of the sergeant major's orders and the sinister rattle of breeches and bolts drifting to them. SPEAKER (almost to himself as he too is riveted) ...Our pain will be our victory. Their point of view. The distant figures facing them. Resume the crowd. Numbly they begin to back away, pressing against the speaker's stand, themselves. A man picks up a child. Their point of view. The small, distant figures of the sepoys again. A word of command. One platoon kneels and takes aim. Another command. The second platoon, standing behind the first, takes aim. Featuring Dyer. His ADC approaches. The British police officer stands off to one side. ADC Do we issue a warning, sir? DYER (stiffly) They've had their warning -- no meetings. It is final. Resume the crowd. A ripple of panic now, everyone pressing back, but still they cannot credit what they see. Only one or two have the presence of mind to push clear and seek shelter. It is too late. Close shot Dyer, still calm. DYER Sergeant Major -- SERGEANT MAJOR Take aim! Long shot over the sepoys and their sights, the wavering crowd distant. DYER Fire! Flash shot along the line of sepoys; the rifles jerk and bang. The crowd, running, screaming. SERGEANT MAJOR Reload! A dreadful press of panic-stricken people flying toward the walls. And again the crash of rifles. Some fall. Others run off-screen in an aimless, irresistible wave. Dyer is walking behind his men, telling them, with a view to maximum accuracy, what he has told them on the firing range (it makes him a little irritable to have to repeat it). DYER Take your time. Take your time. He looks off at the crowd. His eyes narrow. A group of men are hurling themselves at a breach in the top of the wall, hanging there, scrabbling for a purchase, some disappearing, a few heroic individuals astride the wall reaching down to assist their women and children in the swirling crowd below. DYER Corporal! CORPORAL Sir! DYER Over there. He nods. The corporal looks. CORPORAL Sir. He directs the attention of his neighbors in the firing line toward the new target; they shift their aim. A man reaching for a child -- who is also propelled upward by its mother from below -- is hit, falls, so that he and the child crash into the crowd below. Sepoys firing ad lib. Dyer watching the effect, careful and conscientious. Swift tracking a man running through the staggering crowd, over the litter of bodies, his mouth open, his eyes wild. He arrives at a well, throws down the rope and slides down it. Others seize the idea and in panic throw themselves into the well, dropping out of sight. Featuring Dyer. Meticulously, he taps a corporal on the shoulder with his swagger stick and indicates the well. The corporal signals his line of men. At the well. The gathering crowd -- men, women -- and laced with rifle fire. From behind the sepoys we see the whole Bagh, littered with dead and dying, a thick ruck around the well, the walls hanging with wounded and dying, the firing continuing, loud, loud, louder... until -- CUT TO: THE ARMORY HALL - THE FORT OF LAHORE - INTERIOR - DAY Silence. The camera is close as it crosses a table with legal documents. Gradually we hear a muffled cough, whispers, shuffled papers, and it at last comes to a large close shot of General Dyer. Another angle. A Commission of Inquiry sits in the large Armory Hall of the Old Fort. Dyer faces a panel of Commissioners: Lord Hunter, presiding, Mr. Justice Rankin, General Barrow, a British civil servant, and an Indian barrister. The Commission functions like a public parliamentary committee -- little ceremony, no judicial robes, a small group of public and press, who sit on wooden chairs behind a barrier that isolates the Commission's business. Much of that public is English -- fellow officers and civilians. A Government Advocate (English) turns to face Dyer. ADVOCATE General Dyer, is it correct that you ordered your troops to fire at the thickest part of the crowd? Dyer glances woodenly at the panel -- a man in some shock at the consequences of what he assumed was an act worthy of praise. DYER (righteously) That is so. The Advocate looks at him with a degree of disbelief -- more at his attitude than his statement. ADVOCATE One thousand five hundred and sixteen casualties with one thousand six hundred and fifty bullets. A slight reaction from the public section. Dyer's jaw tightens. DYER My intention was to inflict a lesson that would have an impact throughout all India. He stares at the panel like a reasonable man making a reasonable point. The evasiveness, the only half-buried embarrassment of their response only deepens his own withdrawal into himself. INDIAN BARRISTER General, had you been able to take in the armored car, would you have opened fire with the machine gun? Dyer thinks about it. Then unashamedly -- DYER I think, probably -- yes. A muted reaction from the public section. The Indian barrister stares at him a moment, then simply lowers his eyes to his notes. HUNTER General, did you realize there were children -- and women -- in the crowd? DYER (a beat) I did. For the first time there is the hint of uncertainty in his manner. ADVOCATE But that was irrelevant to the point you were making? DYER That is correct. There is just a tremor of distaste quickly suppressed among the panel. Not so quickly in the public section. ADVOCATE Could I ask you what provision you made for the wounded? Dyer looks at him quickly. The question is unexpected, even a little "clever." The officers listening clearly resent it. DYER (a moment, then firmly) I was ready to help any who applied. And that answer stops the Advocate. He smiles dryly. ADVOCATE General... how does a child shot with a 3-0-3 Enfield "apply" for help? Dyer faces him stonily, a seed of panic taking root deep in his gut. JALLIANWALLAH BAGH - EXTERIOR - DAY Quiet: the same silence as at the Court of Inquiry. The camera is panning slowly along a section of the wall. We are close and see the bullet holes, the patches of splashed blood, the scratches where fingers have dug at the surface of the wall to claw a path to safety... And finally the camera comes to a close shot of Gandhi, matching that of Dyer, whom we have just left. He is surveying the wall in the now empty park numbly, desolately. Nehru stands a few feet away from him, his mood the same, the same benumbed grief and incredulity. Resume the wall -- Gandhi's point of view. The camera continues its pan -- bits of human hair matted in the dried blood, and the bullet-ripped foliage, the well, trampled ground around it, little pieces of clothing. Flies buzz around the debris. Abstractedly, Gandhi touches the bucket rope that lies across the surround. Nehru has moved to the other side of the well. Gandhi lifts his eyes to him... FADE OUT: FADE IN: THE VICE-REGAL PALACE - NEW DELHI - EXTERIOR - DAY The imposing capitol building of the British Raj in India. We establish then cut into GOVERNMENT COUNCIL ROOM - INTERIOR - DAY Featuring the Viceroy, Lord Chelmsford. CHELMSFORD You must understand, gentlemen, that His Majesty's Government -- and the British people -- repudiate both the massacre and the philosophy that prompted it. Chelmsford is pacing along one side of a large conference table. Just in front of this is the "British" side -- two generals (a full general and a brigadier), a naval officer, two senior civil servants, a senior police officer. Across from them is the "Indian" side: Gandhi, Nehru, Patel, Jinnah, Azad. This time Gandhi is in the middle and speaks with the full authority of a leader. The Indian side acknowledges Chelmsford's disclaimer -- coolly, but accepting it. That lifts Chelmsford's hopes a little. CHELMSFORD What I would like to do is to come to some compromise over the new civil legis -- GANDHI If you will excuse me, Your Excellency, it is our view that matters have gone beyond "legislation." It is spoken with the cold determination of a man still angry. It stops Chelmsford in mid-pace. GANDHI We think it is time you recognized that you are masters in someone else's home. (It chills, stiffens; Gandhi proceeds only an iota softer) Despite the best intentions of the best of you, you must, in the nature of things, humiliate us to control us. General Dyer is but an extreme example of the principle. It is time you left. The British are stunned almost to speechlessness -- the audacity, the impossibility of it -- and from Gandhi of all people. The senior civil servant, Kinnoch, is the first to recover. KINNOCH With respect, Mr. Gandhi, without British administration, this country would be reduced to chaos. GANDHI (patient, ironic) Mr. Kinnoch, I beg you to accept that there is no people on earth who would not prefer their own bad government to the "good" government of an alien power. BRIGADIER (indignantly, choked) My dear sir -- India is British! We're hardly an alien power! Gandhi and the others just look at him. Chelmsford is realist enough to recognize that a faux pas has been made, and he strives to get the meeting back on the course he intends. CHELMSFORD Even if His Majesty could waive all other considerations, he has a duty to the millions of his Muslim subjects who are a minority in this realm. And experience has taught that his troops and his administration are essential in order to keep the peace. He has deliberately if delicately caught the eye of both Jinnah and Maulana Azad during this. Gandhi knows the trouble this can cause and he answers more for those on his side than the Viceroy's. GANDHI All nations contain religious minorities. Like other countries, ours will have its problems. (Flat, irrevocable) But they will be ours -- not yours. Its finality is such that for a moment there is no response at all, but then the General smiles. GENERAL And how do you propose to make them yours? You don't think we're just going to walk out of India. His smile flitters cynically on the mouths of the others on his side. GANDHI Yes... in the end you will walk out. Because one hundred thousand Englishmen simply cannot control three hundred fifty million Indians if the Indians refuse to co-operate. And that is what we intend to achieve -- peaceful, non-violent, non-co- operation. He looks at them all, then up at Lord Chelmsford behind them. GANDHI Until you yourself see the wisdom of leaving... your Excellency. LATER - THE SAME GOVERNMENT COUNCIL ROOM Close shot -- a crystal decanter. The top is lifted, whiskey pours. The camera pulls back. We are still in the Council Room, but time has passed. The Indian delegation has gone, and the British are relaxing as a servant pours. GENERAL (mocking his exchange with Gandhi) "You don't just expect us to walk out?" "Yes." And they all laugh. BRIGADIER Extraordinary little man! "Nonviolent, non-co-operation" -- for a moment I almost thought they were actually going to do something. There are some smiles, but not all of them are quite so amused. CHELMSFORD (thoughtfully) Yes -- but it would be wise to be very cautious for a time. The Anti- Terrorist Act will remain on the statutes, but on no account is Gandhi to be arrested. Whatever mischief he causes, I have no intention of making a martyr of him. It is an instruction they all find correct. FIELD - EXTERIOR - NIGHT A roar of approval from a huge crowd. We are featuring two British soldiers, their faces partially lit by a flickering torch light that reveals their tense wariness. Another angle. And we can see its cause. A huge crowd is gathered around a platform -- torches sprinkled through it -- and their mood is confident, belligerent. As their defiant roar carries through the night air we see that Gandhi sits cross-legged on the platform. Nehru is with him. Patel, now for the first time in an Indian tunic, and Azad, also in an Indian tunic. Desai, Gandhi's new male secretary, is with them. But it is Ba who is speaking at the microphone, who has brought the shout of defiance from the crowd. BA (simple, direct) ...but now something worse is happening. When Gandhiji and I were growing up, women wove their own cloth. But now there are millions who have no work because those who can buy all they need from England. I say with Gandhiji, there is no beauty in the finest cloth if it makes hunger and unhappiness. It is the end of her speech and she makes the pranam and turns away. There is applause and noise, but Ba does not acknowledge it; she simply sits cross-legged behind Gandhi, who is talking with Patel and Nehru. At last he rises, and the noise and applause increase to something like chaos. In close shot we see other British soldiers watching on the perimeter of the crowd and they are now made even more wary by the enthusiasm of this greeting. Gandhi fiddles with his glasses, preoccupied; finally he looks out over the crowd and holds up a hand -- almost lazily -- and gradually, but quite definitely, the crowd stills. GANDHI My message tonight is the message I have given to your brothers everywhere. To gain independence we must prove worthy of it. We intercut with the crowd, listening raptly. Gandhi holds up one finger. GANDHI There must be Hindu-Muslim unity -- always. (A second finger.) Secondly, no Indian must be treated as the English treat us so we must remove untouchability from our lives, and from our hearts. Neither of these goals is easy, and the audience reaction shows it. Now Gandhi raises a third finger. GANDHI Third -- we must defy the British. And the crowd breaks into stamping and applause. Gandhi lets it run for a time, then stills it with the one small gesture as before. GANDHI Not with violence that will inflame their will, but with firmness that will open their eyes. This has sobered the audience somewhat. Now he looks out across them as though seeking something. Then GANDHI English factories make the cloth -- that makes our poverty. (A reaction.) All those who wish to make the English see, bring me the cloth from Manchester and Leeds that you wear tonight, and we will light a fire that will be seen in Delhi -- and London! There is an excited stir; he silences it. GANDHI And if, like me, you are left with only one piece of homespun -- wear it with dignity! Close shot -- the ground. As suitcoats, shirts, vests, trousers, are flung into a pile. Featuring the two British soldiers -- later -- on the edge of the crowd, staring off, their faces now brightly lit by darting flames. Their point of view. A huge triangular pile burns before the platform, an excited half-naked crowd swirling in the shadows around it. Resume the two British soldiers. They look at each other with a kind of fear a rampant crowd can excite in those who must hold it... ASHRAM STATION - EXTERIOR - DAY The small train station near the ashram. Kallenbach stands by a new (early 1920s) Ford touring car, watching as a train pulls into the station. As people start to jump off the train he moves forward. Featuring Patel, getting out of a compartment marked "Second Class." He lugs a bedroll and a bag. Despite the Indian tunic he now wears he cannot help but look and act like the incisive, patrician lawyer he is under the skin. As he moves through the crowded platform. PATEL Excuse me -- just let me get out of your way, please. (Someone reaches for his bedroll and bag.) No, thank you, I'll manage. He looks up; it is Kallenbach who is the insistent "helper." PATEL (joyous -- it's been a long time) Ah, Herman! (Of the bags) No, no -- don't destroy my good intentions. I'm feeling guilty about traveling Second Class. Kallenbach is smiling too. He reaches for the bags again. KALLENBACH I do it as a friend -- and admirer -- not a servant. PATEL Ah, in that case! And grandly, he relinquishes the bags and looks back. PATEL Maulana is made of sterner stuff. Our trains met in Bombay, but he's back there in that lot somewhere. Their point of view. In the chaos of the Third Class we see Maulana Azad coming out of a section of the coach. He is carrying a baby wrapped in rags. The child's mother with two little ones hanging on her has followed him out. PATEL'S VOICE-OVER There he is -- out Gandhi-ing Gandhi. Azad hands the woman the baby and she obviously thanks him. He makes a little salaam to her and moves through the confusion of the platform toward the camera. Resume Patel and Kallenbach. PATEL (shaking his head at it all) When I think what our "beloved Mahatma" asks, I don't know how he ever got such a hold over us. Is he back? KALLENBACH Yes. Now that things are moving he's going to write and only take part when it's necessary. Azad approaches them. AZAD (to Patel) It was a Hindu child and it tried to wet on me. He and Kallenbach clasp with their free hands, both grinning. PATEL Of course. A Muslim beef eater -- I'm only surprised he missed. AZAD He was a she. PATEL Ah, that explains it. (He grins.) Well, do I carry your luggage as penance or -- KALLENBACH There's another passenger -- a Miss Slade. (He turns automatically, as Patel and Azad do, toward the First Class section.) She's the daughter of an English admiral. (Patel and Azad look back at him in quick surprise. Kallenbach smiles.) She's been corresponding with him for a year. And the camera pans with their glances at they look back with real interest toward the First Class coach. Porters are unloading the baggage of two or three passengers here and helping some others (English and Indian) to board. In the foreground we see a tall Indian woman in a red sari. Farther along there is a large stack of luggage being added to by a porter. An English woman is hovering about it. She is well dressed, but rather dreary and unprepossessing, and the camera zooms in toward her. PATEL And what does the daughter of an English admiral propose to do in an ashram -- sink us? AZAD (quietly -- his manner) From the looks of the luggage, yes. Patel grins. Like most witty men, he loves wit in others. KALLENBACH She wants to make her home with us -- and Gandhiji has agreed. Patel groans. They turn back to the train and just as they do, the tall Indian woman in the red sari tips a porter, taking one small bag from him and turns: Mirabehn (Madeleine Slade) is tall, quite pretty and extremely English despite the sari. The minute she turns, she stops on seeing the now startled Kallenbach. MIRABEHN You'd be Mr. Kallenbach. Kallenbach recovers sufficiently to -- KALLENBACH ...And you would be Miss Slade. MIRABEHN (proudly) I prefer the name Gandhiji has given me -- Mirabehn. The word means "daughter." Patel and Azad stare at each other in something like bafflement. THE ROAD TO THE ASHRAM - EXTERIOR - DAY An ox labors along in harness. We follow him for a moment, then move along the traces of the harness to the Ford touring car that it is pulling. In the car Kallenbach and Mirabehn sit in the front seat, Patel and Azad in the back. Closer. KALLENBACH (of the car) It was a gift and it only worked a few weeks, but when Gandhi came home he struck on this idea. He calls it his ox-Ford. Comfortable -- and yet more our pace. He does what little steering is necessary and Mirabehn smiles at it all, finding everything delightful. She peers ahead in the direction of the distant ashram. MIRABEHN Might Mr. Nehru be there too? PATEL (glibly) The irresponsible young Nehru is in prison -- again. Though there is a rumor that under pressure from your country, they will let him out -- again. Mirabehn has turned to look at him. She has the same sophomoric eagerness and intensity as the young Gandhi. MIRABEHN You can't know how closely we follow your struggle -- (to Patel personally) how many in England admired what you did in Bardoli. It must have taken enormous courage. PATEL Well, in this country one must decide if one is more afraid of the government or Gandhi. (Of Azad, Kallenbach and himself) For us, it's Gandhi. Mirabehn is enthralled by the wit, the modesty that underlines the words. She faces Kallenbach. MIRABEHN (a note of wonder) And you're German... KALLENBACH Yes. MIRABEHN And do you feel Indian? She thinks she does, and that he would want to. KALLENBACH No. It surprises, but it doesn't deflate. MIRABEHN But you've been with him so long -- why? Kallenbach, whose size and stillness carry the aura of some great piece of primitive sculpture -- solid, true, disturbingly profound -- searches inside himself for the answer. KALLENBACH ...I'd come to believe I would never meet a truly honest man. And then I met one. It is so profoundly simple and deeply felt that it obviously touches the deeply emotional Mirabehn. GANDHI'S BUNGALOW - EXTERIOR - DAY Ba has a spinning wheel on the small porch and Gandhi is sitting next to her with another. He is trying to imitate her action -- which is fast and dexterous -- and he gets in a terrible jumble. Ba watches, laughing. BA Stop -- stop... She leans across and tries to extricate his fingers. BA God gave you ten thumbs. GANDHI (morosely) Eleven. And Ba laughs again and Gandhi smiles, tapping her with playful reproval on the top of her bent head. There are footsteps and Gandhi looks up. Patel stands in the doorway. Gandhi's face changes to something like elation. A beat. GANDHI Sardar... It means "leader" and it is the name the peasants have given Patel. Gandhi uses it with an intonation of novelty and respect. He stands and crosses to Patel, clutching him emotionally, and it brings a bit of emotion from the sophisticated Patel. Gandhi holds him back to look at him. GANDHI What you've done is a miracle. You have made all India proud. Patel gets hold of himself, and affects his usual glib cynicism. PATEL It must have been the only Non-violent campaign ever led by a man who wanted to kill everybody every day. GANDHI (laughs) Not true! (He means himself.) The secret is mastering the urge. He smiles again, then, his arm still around Patel's shoulder, he turns to greet the others. Azad looks at him, then facetiously, as though to put down Patel. AZAD He came Second Class. Gandhi laughs again, squeezing Patel's shoulder. GANDHI Well, we can't expect miracles all the time. (Then to Azad, more soberly) Your news I understand is not so good. Azad shakes his head. AZAD No. Gandhi reaches forward and touches his hand, and he sees Mirabehn on the porch. For a moment their eyes meet and then Mirabehn moves forward quickly and takes his hand, kissing it, tears running down her cheek. Gandhi touches the top of her head. GANDHI Come, come -- you will be my daughter... LATER - GANDHI'S BUNGALOW - INTERIOR - TWILIGHT The camera is on a row of sandals by the door -- Patel's, Azad's, Desai's, Gandhi's. It pans to the room. Gandhi sitting facing Patel and Azad, Desai in the background, making notes of the discussion. Gandhi is carding fiber to thread as they talk. Mirabehn, seated like the others, is almost in the circle, sitting near Ba, and listening like her. Ba's spinning never stops. AZAD ...but then some rioting broke out between Hindus and Muslims -- violent, terrible... Gandhi looks up at Azad, Azad shakes his head solemnly AZAD Whether it was provoked... (he shrugs, a hint of suspicion) But it gave them an excuse to impose martial law throughout Bengal. (He looks at Gandhi, shaking his head grimly.) Some of the things the military have done... But he does not go on. It has a terrible sobriety. GANDHI Is the campaign weakening? Azad shakes his head. AZAD The marches and protests are bigger if anything but with the censorship here (a nod toward Mirabehn) they know more in England than we do, and it saps the courage to think you may be suffering alone. Gandhi reaches out and touches his hand. GANDHI They are not alone. And martial law only shows how desperate the British are. He holds Azad's eyes, giving strength. Then he turns to Mirabehn, made more aware of her by Azad's reference. For a moment he looks at her sari. GANDHI Is that homespun? Or cotton from Leeds? The tone suggests he thinks it is homespun. Mirabehn nods, a little choked that his attention is turned to her. MIRABEHN I -- I sent for it, from here. I dyed it myself. Gandhi smiles approvingly. Then a shadow -- GANDHI What do the workers in England make of what we're doing? It must have produced hardship. Mirabehn beams. MIRABEHN It has. But you'd be surprised. They understand -- they really do. It's not the workers you have to worry about. GANDHI Good. (A glance toward Ba.) Ba will have to teach you to spin too. MIRABEHN I would rather march. GANDHI First spin. Let the others march for a time. Mirabehn nods and looks resignedly at Ba. Ba is spinning. She smiles. BA First lesson: To march, wear shoes, to spin, do not. Mirabehn looks down at the shoes on her feet -- and then at the others and their bare feet -- and she looks up in grinning, self-conscious embarrassment. Ba smiles at her affectionately. BA I'll teach you all our foolishness, and you must teach me yours. Mirabehn looks at her, accepting the warmth behind the teasing. It is the beginning of an enduring friendship. CHAURI CHAURA - EXTERIOR - NIGHT A small town. Featuring the faces of six Indian police constables as a torch light parade passes them. There are enough of them in their group to be watching the marchers with a challenging disdain. The marchers are men in loin- clothes and tunics; they brandish torn and ripped English cloth and shout in unison. MARCHERS Home Rule! Long live Gandhi! Buy Indian! Long live Gandhi! We have cut to the parade -- and it is the tail end, going around a corner ahead. Some of the marchers wave their cloth tauntingly at the police. One policeman suddenly steps out and grabs at a piece of cloth waved at him. He pulls it viciously from the marcher. POLICEMAN I'll stuff your damn mouth with it! He chases the marcher and boots him with his foot. Another marcher runs at the policeman, swinging at him with his piece of cloth. SECOND MARCHER Leave him alone -- he wasn't harming you! Another angle -- sudden. He is whacked across the face with a billy club and falls, clutching his face and spouting blood from his nose. Another angle. The police are now all attacking, swinging clubs and kicking at the tail-enders of the march. And the tail-enders begin to scream TAIL-ENDERS Help! Help us! as they try to scramble away from the attack. Out of shot we can still hear the disappearing chant: "Home Rule! Long live Gandhi!" CONNECTING STREET - EXTERIOR - NIGHT The parade is on this street. A tail-ender, blood streaming down his face, runs around the corner. lose shot -- the tail- ender. As he stops TAIL-ENDER (screaming) Help! Help us! Another angle. Some of the marchers turn at the shout. RESUME THE POLICE - THE FIRST STREET A few of the tail-enders watching, some running clear of the police, some being beaten. Two police have a man on the ground. One policeman looks up. POLICEMAN Hey -- Their point of view. The corner where the parade has disappeared. It is now packed with more marchers, more flooding in from behind. We see the whole street, the marchers massed near the corner, spread out, staring at the police, who are now frozen in their mayhem, staring off at the marchers. For a second, utter silence. And then the police begin to back away from their victims. The marchers start to move forward. The police draw their guns, and the marchers suddenly run at them, a guttural roar, as though they were one single wild beast. Featuring the police. They start to run, some turning to fire at the pursuing crowd, then running on. THE POLICE STATION - EXTERIOR - NIGHT A small building for this small town. A policeman on duty holds the door and the fleeing police, first one, then two more, then the last three, run into the building. The crowd surges around it, smashing windows, hurling stones. Close shot. English cloth shirts pushed together and ignited. Second close shot. Trousers, already aflame, being hurled through a broken window. All around, the noise of the angry, surging crowd, stones raining on the building. Shouts: "Out -- Out!" Later. A corner of the building engulfed in flames. The camera pulls back and we see the whole building swept with fire. The heat of it keeps the crowd back but they are still shouting "Out -- Out! -- Out" -- and a sudden cheer. At the door of the flaming building. One policeman appears, his face blackened with soot, his hands up over his head. Another appears in the smoke behind him, and they start to come out -- not only the original six but the five or six others who were in the building -- rushing suddenly from the heat of the fire. Close shot -- the crowd. We are close on the body of the first policeman as he runs into the crowd and on the instant we see a sword slash at his arm. Another angle. The crowd massed around the fallen figure, a flash of the sword going up over the heads -- a breathless pause -- and it comes down again... savagely. Later. The flames of the crumbled building. The crowd has gone and we only hear the roar of the flames. The camera pans across the flames, and we see a skull, charred flesh still clinging to it, the eyes black holes, the teeth bare as it burns in the fire. JINNAH'S DRAWING ROOM - INTERIOR - DAY Close shot -- Gandhi. His face drawn, stunned, as he stares emptily at the floor. He is sitting on the carpet in the center of the room. A moment of silence and then we begin to hear the tick of a clock, the sounds of others moving in the room, and finally PATEL'S VOICE That's one bit of news they haven't censored. Another angle. Patel leans with one arm on a table, his mood as devastated as Gandhi's; he is looking at an Indian paper on the table by his hand. A moment then JINNAH'S VOICE Oh, it's all over the world... (ironically) India's "non-violence." He has been standing, looking out of a window. He turns, and tosses a newspaper on a desk. It is a New York Times and we just glimpse the picture of the severed head lying in the smoldering ashes. And now we see Nehru and Azad in the background too. And Desai. Jinnah as usual in a finely cut European suit, the others are dressed in tunics of homespun as they will be to the end. NEHRU (bleakly) What can we do? GANDHI (sepulchrally) We must end the campaign. They turn to him -- a sense of surprise, but they don't really believe he means the statement. JINNAH After what they did at the massacre -- it's only an eye for an eye. GANDHI (he hasn't moved; the same tone) An eye for an eye only ends up making the whole world blind. (Now he looks up at them.) We must stop. PATEL (a baffled smile) Gandhiji -- do you know the sacrifices people have made? He looks at him. Gandhi doesn't move. Patel looks up hopelessly at Jinnah. Azad keeps his eyes fixed on Gandhi, sensing, fearing what is going to happen. JINNAH We would never get the same commitment again -- ever. He looks at Gandhi with a mounting sense of annoyance. Gandhi is listening, but still withdrawn into himself. GANDHI If we obtain our freedom by murder and bloodshed I want no part of it. NEHRU (pleading) It was one incident. GANDHI (quietly) Tell that to the families of the policemen who died. Jinnah turns away in anger. Patel sighs. Nehru feels helpless but he continues to try. NEHRU Bapu -- the whole nation is marching. They wouldn't stop, even if we asked them to. Gandhi stares into nothing -- mulling that. Finally GANDHI I will ask. And I will fast as penance for my part in arousing such emotions -- and I will not stop until they stop. Nehru stares at him -- surprised. Azad is not. JINNAH (disgustedly) God! You can be sure the British won't censor that! They'll put it on every street corner. Gandhi does not react. And Nehru ignores the thought too, because like Azad his mind is already on the real danger. NEHRU But -- but Gandhiji people are aroused... they won't stop. Gandhi looks up at him -- a resigned fatalism. GANDHI If I die, perhaps they will... THE ASHRAM - EXTERIOR - TWILIGHT Mirabehn walks across the grounds toward Gandhi's bungalow. She carries a small tray with a pitcher and a glass. We see a few people working in the background, and a mass of people camped near the entrance, some sprawled, some sitting, some standing -- all waiting. The steps of Gandhi's bungalow. A doctor in a white tunic sits on the porch, reading. On a small table beside him we a stethoscope and the equipment to measure blood pressure. He looks up at Mirabehn as she mounts the steps, and nods. Mirabehn reaches the doorway and is suddenly brought up. GANDHI'S BUNGALOW - THE INTERIOR - MIRABEHN'S POINT OF VIEW - TWILIGHT In the shadows, Ba sits by Gandhi's mat bed. She is holding him as he heaves in a spasm of dry retching, his face to the wall. When he is finished, he lies almost limp in her arms and she gently lowers him to the mat. She strokes his head. Mirabehn stiffens herself. She is not yet devotee and nurse. She removes her sandals and walks across the room. Ba looks up at her. She glances at the jug and glass, then nods. She turns to Gandhi. BA (softly) I must get ready for evening prayers. Mirabehn is here. She strokes his sweating head again, touches his shoulder and gets up. For a moment the two women hold each other's gaze, then Ba smiles weakly, and leans her head into the taller Mirabehn's shoulder. With her free hand Mirabehn touches Ba's head. Then Ba straightens, and leaves without looking back. Mirabehn bends and sits by Gandhi's side. MIRABEHN I've brought your drinking water. May I turn you? Gandhi struggles to turn, and Mirabehn helps him. When he turns we see that his face is wet with sweat from the dry heaving and his hands and arms are quivering and he cannot stop them. She looks at him nervously, then pours a glass from the pitcher. MIRABEHN There is a little lemon juice in it. That is all. She turns back, and propping up his head, helps him to sip. MIRABEHN Herman has gone to meet Pandit Nehru -- there was a telegram. Almost everywhere it has stopped. Gandhi swallows with difficulty. He pauses, letting his head fall back and she lowers it down to the mat again. He tries to smile. GANDHI When it is everywhere, then my prayers will be answered. Mirabehn looks daunted by his intractability. GANDHI Do you find me stubborn? MIRABEHN (her own honesty) I don't know... I know you are right. I don't know that this is right. Gandhi signals her down to him. She bends so she is looking at the floor and he is speaking almost into her ear. GANDHI (hoarse, strained) When I despair, I remember that all through history the way of truth and love has always won. We intercut their faces, very close, as he speaks. GANDHI There have been tyrants and murderers, and for a time they can seem invincible. But in the end they always fall. Think of it -- always... When you are in doubt that that is God's way, the way the world is meant to be... think of that. During the very last of it Mirabehn has turned her face to him, touched with emotion. GANDHI (the paternal smile) And then -- try to do it His way. (A tear runs down Mirabehn's face. She touches his shoulder. Gandhi just leans his head back in exhaustion.) And now -- could I have another feast of lemon juice? Mirabehn straightens up, smiling, wiping the tear from her cheek with mock discipline. She starts to pour water from the pitcher into the glass again, then she turns suddenly, her attention caught. Her point of view. The doorway. Nehru stands in it. Kallenbach and Desai are a step or two behind him. MIRABEHN Panditji -- come in. She stands, moving back from Gandhi. Nehru crosses and kneels in Mirabehn's place. Gandhi looks up at him and his eyes light. He moves his shaking hand out and Nehru clasps it. A moment of personal feeling between them, then NEHRU Jinnah, Patel, all of Congress has called for the end of non-co- operation. There's not been one demonstration. All over India people are praying that you will end the fast. They're walking in the streets, offering garlands to the police -- and to British soldiers. It is a victory. Gandhi's face cracks into a tearful grin. GANDHI (croaked) Perhaps -- perhaps I have overdone it. And Nehru chokes with emotion and laughter at the same time. He buries his head on Gandhi's hand, clutching it to him. THE ASHRAM - EXTERIOR - DAY Bright sunshine. A little boy is pulling a goat by a tether. He turns with a bright smile. LITTLE BOY Good morning, Bapu! Reverse angle. Gandhi is walking, holding Ba's shoulder for support with one hand, and Mirabehn's with the other. It is some days later. GANDHI Good morning. (Of the goat) Don't let her go. If she bumps me I am done for. The boy grins at Gandhi's feigned alarm. LITTLE BOY Don't worry. I milk her every day, she's not -- The sound of a motor disturbs them. Gandhi turns. His point of view. Coming into the entrance, along the bumpy path are two police cars (early 1920s Morris). They have to stop because they are impeded by Gandhi's ox-Ford. Four Indian policeman hop quickly out of the second car. A British police superintendent, and his British deputy get more decorously out of the first. Another angle. Gandhi has turned with his two props, Ba and Mirabehn. The police are approaching him. Kallenbach is running from the fields. Nehru is hurrying from another building carrying sheaves of page proofs. Other ashramites converge from the fields and buildings. The British police superintendent (who is Scottish) stops before Gandhi. POLICE SUPERINTENDENT (a beat) Sedition. NEHRU (it is too absurd) You can't be serious! This man has just stopped a revolution! POLICE SUPERINTENDENT (uncomfortably; he knows) That's as may be. I only know what I am charged to perform. Nehru stares at him and the policemen with growing incredulity. NEHRU I don't believe it -- even the British can't be that stupid! GANDHI Panditji -- please, help me. It stops Nehru. He looks at Gandhi and sighs in unmastered frustration, but he moves to Gandhi's side. Gandhi turns to Mirabehn. GANDHI You must help Herman -- and Ba. (He releases her, and says more loudly to the others) I have been on many trips -- it is just another trip. He smiles at them, then slips his free hand on Nehru's shoulder and he turns to the superintendent. GANDHI I am at your command. Featuring Gandhi, Ba and Nehru, as they walk to the car behind the somewhat surprised superintendent. GANDHI (to Nehru) If there is one protest -- one riot -- a disgrace of any kind, I will fast again. He looks at Nehru firmly. Nehru knows him well enough now not to argue -- even at this, though his face shows the struggle. GANDHI (and now he smiles -- Gandhi to Nehru, special) I know India is not ready for my kind of independence. If I am sent to jail, perhaps that is the best protest our country can make at this time. And if it helps India, I have never refused to take His Majesty's hospitality. He laughs and Nehru struggles to join in the joke. THE CIRCUIT COURT - AHMEDABAD - INTERIOR - DAY A quiet hum in a packed courtroom. Armed sepoys line the wall. Featuring Judge Broomfield and the clerk. The Judge is flipping through documents on the case, a troubled frown on his face. At last, he shuts the folder and nods to the clerk. The clerk turns and says in a moderately loud voice -- CLERK Call the prisoner to the bar. The sergeant-at-arms turns and moves to the door at the side of the bench. The courtroom immediately falls silent. The sergeant-at-arms opens the door -- a moment -- and Gandhi enters slowly. He has recovered a bit more, but he still moves slowly. Featuring Judge Broomfield. As Gandhi enters, he lowers his glasses, places them on his desk, and rises, facing Gandhi. Featuring two English court reporters. One nudges the other in astonishment, signaling off toward the judge. Their point of view. The clerk, confused as well as astonished, see the judge standing, facing Gandhi in respect, and dutifully, he too stands. Resume the reporters. A disbelieving exchange of glances, the sound of others standing around them. They glance back. Full shot -- the courtroom. The whole court rises, the astounded reporters the last of all. Featuring Gandhi. He takes the prisoner's stand. He looks around, a little surprised, a little affected by the demonstration. He looks up at the judge. For a minute their eyes meet, the judge makes a little bow to Gandhi. Gandhi reciprocates... and the judge sits down. Featuring the reporters shrugging incredulously to each other, as they sit once more. Later. The Advocate General is speaking from a folded journal. ADVOCATE GENERAL ..."Non-co-operation has one aim: the overthrow of the Government. Sedition must become our creed. We must give no quarter, nor can we expect any." (He looks up at Gandhi.) Signed M. K. Gandhi, in your journal Young India, dated twenty-second March of this year. Do you deny writing it? GANDHI Not at all. (To the judge) And I will save the Court's time, M'Lord, by stating under oath that to this day I believe non-co-operation with evil is a duty. And that British rule of India is evil. There is a little shock of reaction around the courtroom. The Advocate General smiles with a brittle disdain, then he turns to the judge. ADVOCATE GENERAL The Prosecution rests, M'Lord. The judge nods. He turns, glancing at the empty table for defense counsel, and then to Gandhi. JUDGE BROOMFIELD I take it you will conduct your own defense, Mr. Gandhi. GANDHI I have no defense, My Lord. I am guilty as charged. (Then testingly) And if you truly believe in the system of law you administer in my country, you must inflict on me the severest penalty possible. It is almost a cruel challenge to the obviously humane Broomfield. The reporters scribble, watching the Judge even as they write, because the mere doubt in the Judge's face reflects on the whole position of the British to India. Featuring Judge Broomfield. He lowers his glasses soberly, staring at them for a moment. JUDGE BROOMFIELD It is impossible for me to ignore that you are in a different category from any person I have ever tried, or am likely to try. He looks up at Gandhi and his own respect for him is almost poignantly manifest. JUDGE BROOMFIELD (a long beat) It is nevertheless my duty to sentence you -- to six years' imprisonment. A stunned intake of breath from the whole courtroom, then in absolute silence the clerk scribbles the sentence in his notebook. A pause. The Judge lowers his eyes. JUDGE BROOMFIELD (a personal statement, not a real hope) If however His Majesty's Government could -- at some later date -- see fit to reduce that term, no one would be better pleased than I. He folds, and refolds his glasses and then without looking at anyone he rises. The court rises and he walks stiffly to his chambers. Featuring Gandhi. He stands, staring at Broomfield, and now it is his face that shows the respect. INDIAN ROAD - EXTERIOR - DAY Long shot. From far above the hills we see a car traveling along the road. Its style tells us some years have passed. Featuring Walker -- close. The reporter from the New York Times, whom we first saw as a younger man in South Africa. He is in an open car, turning back to look at something, his face intrigued by what he sees. COLLINS' VOICE-OVER (English accent) Yes, I'm sure that's exactly what they hoped. Put him in prison a few years and with luck he'd be forgotten. And maybe they'd even subdue him... We see from Walker's point of view an Indian woman walking along the road, leading a tall camel that carries sacks of produce. Two young girls in ragged saris walk with her, and a boy of eight leads a smaller camel behind them. They are staring off at the car. Resume Walker. He swings back around, fascinated with what he is seeing of India. The car is an early 1930s Morris Minor. COLLINS Well, he certainly wasn't forgotten! And as soon as he got out he was back tramping the country, preaching non-violence and demanding a free India. Everybody knows another showdown's coming -- but when, and over what -- He shrugs, "Nobody knows"... WALKER Well, I read you account of that crowd in Calcutta and that he was twisting the Lion's tail again... Collins has suddenly slowed the car, then swerves around a pair of elephants hauling logs. WALKER (falteringly) ...and I knew something had to give. And I was determined to be here when it did. COLLINS How does a reporter in Central America learn that Gandhi was born in Porbandar anyway? WALKER Oh, I've been a Gandhi buff for a long time. Collins glances at him in surprise as he steers the car around another procession of camels heading toward the port. COLLINS He certainly makes good copy. (A laugh.) The other day Winston Churchill called him "that half-naked Indian fakir." Walker smiles too, but it soon passes. WALKER I met him once. Collins looks at him in real surprise. COLLINS You mean Gandhi? WALKER (nods) Back in South Africa... (reflectively) long time ago. COLLINS What was he like? WALKER Lots of hair... and a little like a college freshman -- trying to figure everything out. COLLINS Well, he must've found some of the answers... He honks as he goes around a wooden-wheeled cart. PRANAMI TEMPLE - PROBANDER - INTERIOR - DAY Simple. Austere. Filtered light. Featuring Gandhi -- close. He is looking straight ahead. Reverse angle. Across the emptiness of the temple, Ba faces him. BA (a step forward) "In every worthy wish of yours, I shall be your helpmate." Another angle featuring Walker and Collins, who are sitting alone, in the cool shadows of the temple, watching with fascination as Gandhi and Ba repeat their marriage ceremony for them, Walker jotting notes occasionally, but his eyes always glued to Gandhi and Ba, who are in part lost in memories and echoes of a significance only they can know. GANDHI (a step) "Take a fourth step, that we may be ever full of joy." Wide shot. Showing the two of them before the altar of the temple, moving closer to each other. BA (a step) "I will ever live devoted to you, speaking words of love and praying for your happiness." Close shot -- Gandhi. GANDHI "Take a fifth step, that we may serve the people." BA "I will follow close behind you and help to serve the people." Featuring Walker, now too entranced by the ceremony, by the depth of layered emotions in Gandhi and Ba's voices and eyes to take any notes... GANDHI "Take a sixth step, that we may follow our vows in life." BA "I will follow you in all our vows and duties." Ba and Gandhi. Near to meeting now. GANDHI (a last step) "Take the seventh step, that we may ever live as friends." Ba takes the last step, so that they are face to face. A beat. BA "You are my best friend... my highest guru, and my sovereign lord." For a moment their eyes hold -- the many dreams, and hopes and pain -- the love of many years. Walker watches, his own face taut with emotion. Resume Gandhi and Ba. And Gandhi slowly lifts his hand. GANDHI Then I put a sweetened wheat cake in her mouth. He touches Ba's lips with his extended fingers and she kisses them gently. BA And I put a sweetened wheat cake in his mouth. She has lifted her fingers to his mouth and he kisses them gently. Featuring Walker and Collins both touched, the overtly cynical American obviously even more than the likeable Englishman. Gandhi turns to them. GANDHI And with that we were pronounced man and wife. (Solemnly) We were both thirteen... THE BAY - PORBANDAR - EXTERIOR - DAWN A tiny, beautiful city rising steeply out of the Arabian Sea with tall, thick-walled buildings, half-fortresses, half- homes, their white walls tinted amber and gold now by the early light of the sun. Featuring Gandhi, sitting on a promontory watching the sunrise in solemn meditation... He becomes aware of the sound of footsteps and he turns to see Walker approaching, a little knapsack over his shoulder. Gandhi smiles. Walker comes to his side, looking out over the bay and city, truly impressed. WALKER It's beautiful. GANDHI Even as a boy I thought so. Walker looks down at him. Gandhi scowls up in the early light. WALKER Trying to keep track of you is making me change all my sleeping habits. Gandhi smiles. GANDHI And you've come all this way because you think something is going to happen? WALKER Hm. (Then weightedly) Is it? GANDHI Perhaps. I've come here to think about it. They both watch the waves beat on the shore a moment, the changing hues of the sunrise on the whites of Porbandar. GANDHI (musing) Do you remember much of South Africa? WALKER A great deal. GANDHI I've traveled so far -- and thought so much. (He smiles in self- mockery, and turns toward the city.) As you can see, my city was a sea city -- always filled with Hindus and Muslims and Sikhs and Jews and Persians. (He looks at Walker.) The temple where you were yesterday is of my family's sect, the Pranami. It was Hindu of course but the priests used to read from the Muslim Koran and the Hindu Gita, moving from one to the other as though it mattered not at all which book was read as long as God was worshipped. He looks out to sea, and we intercut his face with Walker's, the sea, and the town itself as the sun turns it white. GANDHI When I was a boy I used to sing a song in that temple: "A true disciple knows another's woes as his own. He bows to all and despises none... Earthly possessions hold him not." Like all boys I said the words, not thinking of what they meant or how they might be influencing me. (He looks at Walker... then out to the sea again, shaking his head.) I've traveled so far... and all I've done is come back home. Walker studies him as this profound man reaches, in his middle years, a profound insight. Featuring Gandhi staring out to sea, his mind locked in reflection, and suddenly his head lifts, his eyes become alert, he is caught by some excitement which he weighs for a moment, then he stands, his manner suddenly tingling with optimism. Walker stares at him, then at what Gandhi seems to be looking at. His point of view. The waves lapping the shore below them. Walker turns back to Gandhi, puzzled. But there is no mistaking the sudden glow in Gandhi's face. WALKER You know what you're going to do. Gandhi looks at him, a teasing smile. GANDHI It would have been very uncivil of me to let you make such a long trip for nothing. The grin broadens, and then he starts briskly down the promontory. Walker scrambles up after him. WALKER Where are you going? Gulls fly over them, squawking in the growing light. Gandhi pauses, looking up at the gulls, then back down to the sea. GANDHI I'm going back to the ashram (then firmly) and then I'm going to prove to the new Viceroy that the King's writ no longer runs in India! He turns from the sea to Walker, his eyes confident, elated, then he continues on down the promontory. Still baffled, Walker glances at the sea, at him, then hurries after. Full shot. The waves running against the shore... LORD IRWIN'S OFFICE - INTERIOR - DAY Close shot -- the Viceroy, a "new one," Lord Irwin. IRWIN Salt? Another angle. He is looking in astonishment at his principal secretary. His ADC, a general, a brigadier, a senior police officer are with him. Like him they hold the same offices, but are a new team. PRINCIPAL SECRETARY Yes, sir. He is going to march to the sea and make salt. Irwin looks at him, still trying to penetrate the significance of the act. The senior police officer helps. SENIOR POLICE OFFICER There is a Royal Monopoly on the manufacture of salt, sir. It's illegal to make it or sell it without a Government license. Irwin has listened; it's beginning to make a little sense. IRWIN All right -- he's breaking the law. What will he be depriving us of, two rupees of salt tax? PRINCIPAL SECRETARY It's not a serious attack on the revenue, sir. Its primary importance is symbolic. IRWIN Don't patronize me, Charles. The principal secretary blanches. PRINCIPAL SECRETARY No, sir. I -- in this climate, sir, nothing lives without water -- or salt. Our absolute control of it is a control on the pulse of India. Irwin looks at his ADC, then paces a bit, pondering it. IRWIN And that's the basis of this "Declaration of Independence"? SENIOR POLICE OFFICER Yes, sir. The day he sets off everyone is supposed to raise the flag of "Free India." Then he walks some two hundred and forty miles to the sea and makes salt. A moment as Irwin considers it, then it is the general who speaks. GENERAL I say ignore it. Let them raise their damn flags, let him make his salt. It's only symbolic if we choose to make it so. PRINCIPAL SECRETARY (pointedly) He's going to arrive at the sea on the anniversary of the massacre at Amritsar. Irwin has turned to him. And this makes up his mind. IRWIN General Edgar is right -- ignore it. Mr. Gandhi will find it's going to take a great deal more than a pinch of salt to bring down the British Empire. He is concerned enough to be angry, but certain enough to be dogmatic. THE ASHRAM - EXTERIOR - DAWN It is very early, the light just beginning to break, and we are looking out across the river toward the distant town, and against the pink glow of the sky we can see people in groups wading across the river toward the ashram. And suddenly a mass of people, hidden by the embankment, appear at the top of the steps coming up from the river, and the camera lifts slightly with their movement and we see that they are but the forerunners of a long tendril of humanity that stretches across the river, all the way back to the distant outskirts of the city. And around the ashram many fires are burning, people are cooking breakfast, some are packing knapsacks for the journey, others are strewing the path from the ashram with leaves. GANDHI'S BUNGALOW - INTERIOR - DAWN Quiet, just the buzz of activity from outside the building. Gandhi lies on a mat and Ba and Mirabehn are massaging him with oil as he checks page proofs, an oil lamp by his side. Nehru sits cross-legged next to him, taking the proofs as Gandhi finishes them. Maulana Azad sits to one side. Behind them Desai is making notes on Gandhi's instructions. GANDHI (to Nehru) ...the real test will come if I am arrested. If there is violence we lose all our moral advantage. This time it mustn't happen. He looks at Nehru and Azad solemnly to emphasize the point. Nehru nods; a little smile. NEHRU We're not beginners anymore. We've been trained by a strict sergeant major. He means Gandhi of course, and Gandhi accepts the reference, but it is the acceptance of the strict sergeant major: "Don't fail me." Then he looks to Azad. GANDHI If I'm taken, Maulana is to lead the march. If he is arrested, Patel, then Kripalani, then yourself. Nehru nods. Ba moves to massage the top of Gandhi's head. BA You should be relaxing. Gandhi grins, looking at Mirabehn, who is massaging his legs. GANDHI I'm sure I'm fit for at least five hundred miles. MIRABEHN You should ride the pony. It is not necessary to walk to prove the point. Gandhi looks at Nehru, a benign shrug. GANDHI I have two of them bossing me now. Nehru smiles. He stands, having taken the last proof sheet. Azad rises with him. NEHRU We must get these to the printer. (He looks down at Gandhi.) I know it will succeed. Even my mother is prepared to march. Gandhi is pleasurably impressed with that. GANDHI And Jinnah? NEHRU (a beat) He's waiting. He's not prepared to accept it will mean as much as you think. GANDHI (smiles confidently) Wait and see... wait and see... He leans back and closes his eyes. Ba rubs his head soothingly. Nehru bends and squeezes his arm in farewell. Gandhi nods, not opening his eyes. Nehru and Azad smile at Ba and leave. THE ASHRAM - LATER - EXTERIOR - DAY The sun higher, but still early light. A green, white and saffron flag (the colors of India) is pulled up an uneven pole. The sound of gentle clapping. Gandhi is off to one side, just in front of the veranda of his bungalow, not paying attention to the ceremony. Ba and Mirabehn watch from the veranda as Pyarelal (Desai's new assistant), with a knapsack over his own shoulders, hands Gandhi his. As Gandhi slips it on, the ashramite boy whom we saw with the goat hands him a long staff. And Gandhi moves around the edge of the bungalow, heading toward the entrance of the ashram. A long line of ashramites and marchers stretches from opposite the flagpole to the entrance of the ashram. As Gandhi walks briskly along it, they turn, ready to follow him. When he nears the entrance Gandhi sees Walker standing in front of a collection of newsmen, cameramen, a newsreel crew. He begins to smile, Walker returns it. Gandhi pauses by him. GANDHI (of the press) You've done me a great service. WALKER (a grin, then a play on Gandhi's words to him) It would have been uncivil of me to have let you make such a long trip for nothing. Gandhi smiles. He turns back toward his bungalow. Ba and Mirabehn stand there watching, Desai with them. Gandhi holds their gaze a second, then turns and starts forward. Pyarelal takes up a position next to him, the marchers follow. Featuring Walker. He steps back, letting Gandhi proceed into the range of the cameras on his own. The crowd around the entrance throws flowers in Gandhi's path, some calling out, "Long live Mahatma Gandhi!" Gandhi passes the cameramen and starts along the trail. THE PATH TO GANDHI'S ASHRAM - EXTERIOR - DAY A thinner crowd here, but going all along the path. To one side we see two police cars drawn up, and several policemen (a British officer, a British sergeant, and four Indian constables) lined up near them. As Gandhi nears them Walker moves up beside him. Some of the newspaper cameramen trot behind to get the picture of Gandhi's arrest. Among the newsmen we see Collins. Featuring Gandhi and Walker, Pyarelal just behind them all glancing ahead at the police, who are now quite near. WALKER Is it over if they arrest you now? GANDHI Not if they arrest me -- or a thousand -- or ten thousand. (He looks at Walker.) It is not only generals who know how to plan campaigns. Walker smiles -- a little uneasily -- for they are now near the police. Gandhi nods to them amiably as he passes along in front of them. Walker is turning, watching for a move from the police but begins to grasp that there may be none. He hurries along closer to Gandhi again, one eye still on the police. WALKER What if they don't arrest you? What if they don't react at all? Gandhi glances at him. Walker too wears a knapsack. Gandhi nods to it, though never breaking his pace. GANDHI Do you still have your notebook? (Walker fumbles for it; Gandhi goes right on talking.) The function of a civil resister is to provoke response. And we will continue to provoke until they respond, or they change the law. They are not in control -- we are. That is the strength of civil resistance. He nods politely toward the British police officer at the end of the police line. Walker stops, letting the procession march on by him, looking at the British police officer, then writing busily in his notebook. Collins stop by him. COLLINS What'd he say? WALKER (wryly) He said he's in charge... AN INDIAN VILLAGE - EXTERIOR - DAY A dusty approach to a dusty little village. Both sides of the track are lined with peasants holding flower petals and leaves, all gazing expectantly down the road. Behind them the village is strung with the green, white and saffron colors of Independence. Two large policemen stand arms-akimbo at the front of them all, their postures imposing and threatening, though the impression is somewhat weakened by the children skirting around them. A little band of drummers and flute players suddenly begins to play. The crowd starts to jump up to see, and the flower petals begin to float in the sky. "Gandhi! Long live Mahatma Gandhi!" Another angle. Gandhi and the procession of marchers and ashramites stride down the dusty road toward them. A newsreel truck and crew ride along about two-thirds of the way back. A car of cameramen and reporters tails at the end. Featuring Gandhi. He looks at Walker, walking along a few paces behind him, at the side of the procession. He is wiping sweat from his face. GANDHI Are you going to walk all the way? WALKER (a weary grin) My name is Walk-er. And I intend to report it the way it is. Gandhi smiles and turns back. He shakes his head. GANDHI (to himself) "My name is Walk-er"... And grinning at it, he passes by the policemen and into the cheers of the crowd. Long shot, high. As the procession trails into the village, we see several villagers, knapsacks or bundles strung over their shoulders, run around the police and join the end of the procession. FIELD BY THE ROAD - EXTERIOR - NIGHT In the dark a large group of students comes stumbling, laughing, across the ditch that separates the road from the field. The student leader gets clear of the ditch and comes upon Pyarelal and Walker. They are standing near a group of American newsmen playing poker by a campfire. He addresses Pyarelal good-naturedly. STUDENT LEADER We've come to join the march. What do we do? PYARELAL (bluntly) Be sure you're awake in the morning. (It comes from a knowledge of students. He smiles and nods off.) Find a place to sleep. The student leader follows his gaze and the camera pans off with his glance. We see that the numbers have grown immensely. Fires dot the field and spread and spread and spread. Behind Walker and Pyarelal the newsreel truck and three cars for reporters are spread out around the fires. We identify a couple of Frenchmen and a Japanese. Walker looks at Pyarelal and shakes his head in wonder at it all. TREE - EXTERIOR - DAWN A small Indian boy is high in a dead tree. Below him a couple of bone-thin cattle graze in the early light as he stares off. DUSTY ROAD - BOY'S POINT OF VIEW - EXTERIOR - DAWN The huge procession stretched out along the road. Resume the boy. He grins as though he is privy to some great secret. "Y" JUNCTION OF TWO COUNTRY ROADS - EXTERIOR - DAY A blunt, rotund, powerful-looking woman (Sarojini Naidu) in an outrageously colorful sari strides along the dusty road as though she could cover another thousand miles -- and means to. The sound of hundreds of marching feet, of cars, some distant singing. The camera lifts and pulls back. We see that Naidu is marching just behind Gandhi, like a determined lieutenant, and that the procession has grown even greater. Two newsreel trucks now, four cars of reporters, some people riding donkeys, some walking with camels trailing, loaded with belongings. And at the "Y" junctions the newsreel crews suddenly go into action because another enormous procession is waiting to join the first, mingling already, making one immense column of humanity. And as they pass the camera up close we see an extraordinary variety of participants: old, young, students, peasants, ladies in saris and jewels, Muslims, Hindus, Sikhs, Christian nuns, Untouchables, merchants, some vigorous and determined, others disheveled, tired and determined. Suddenly the sound of waves and gentle wind. THE BEACH AT DANDI - EXTERIOR - DAY The camera closing fast (helicopter) as the silhouette of a man appears running up a sand dune, lifting his arms to the sky and the camera sweeps over him and up, revealing a crescent of beach and ocean, and for a second it holds on the sea as it did at Porbandar, then pivots to the truly astronomical crowd thronging the shore, an immense wheel of human beings, and in its hub a gathering around Gandhi. We descend on that center, recognizing the newsmen, Walker, Pyarelal, Sarojini Naidu, and at last Gandhi picking up a handful of natural salt and lifting it high. During the last of this GANDHI'S VOICE-OVER Man needs salt as he needs air and water. This salt comes from the Indian Ocean. (The salt crystals are added to an urn already partially full. The camera pulls back and Gandhi lifts the urn. All around him the pressing crowd: newsreel cameramen, reporters -- Walker, Collins, Naidu, Pyarelal. Firmly) Let every Indian claim it as his right!! A wide-angle shot. Gandhi in the center of the wildly cheering crowd, the camera pulling back and back... and the shot becomes black and white, and we hear the music of Movietone News. ANNOUNCER'S VOICE-OVER ...and so once more the man of non- violence has challenged the might of the British Empire. And with that we get the Movietone Music tag and as the film fades, the lights go up on LORD IRWIN'S OFFICE - INTERIOR - DAY A couple of civil servants move about to raise the window shades while Lord Irwin stares at the blank screen set up in his office. The general, the brigadier, the senior police officer, Irwin's ADC and the principal secretary are all present. The two men who ran the projector are quietly dismantling it. Finally, Irwin turns to the senior police officer, who fidgets, but answers the implied questions. SENIOR POLICE OFFICER They're making it everywhere, sir -- mobs of them -- publicly. Congress leaders are selling it on the streets of Delhi. Irwin sighs. BRIGADIER We're being made fools of around the world! GENERAL Isn't there any instruction from London? Irwin nods. IRWIN We're required to stop it. (He stands, his mind made up.) And stop it we will. (He looks at the senior police officer.) I don't care if we fill the jails, stop it. Arrest anyone, any rank -- except Gandhi. We'll cut his strength from under him. And then we'll deal with the Mahatma. For the first time he is truly angry. WALL BY A BEACH - EXTERIOR - DAY A young British subaltern trots up to the wall and looks down. His face falls. BRITISH SUBALTERN Oh, my God! The beach. Subaltern's point of view. Packed with people making salt, selling salt, buying salt. Resume the British subaltern. He looks back. His point of view. Behind him there is an open military truck and about twenty sepoys. Formidable for an ordinary crowd, nothing to handle this. The subaltern stiffens bravely and signals the men somewhat unconvincingly from the truck. SUBALTERN Right -- jump to it -- clear this beach! SMALL WAREHOUSE - INTERIOR - DAY Men, women and children are making little paper packets of salt from piles heaped along long tables. A group of policemen barge into the room, knocking tables and salt and paper in every direction with their lathis, seizing some of the volunteers for arrest. In the chaos an old man calmly picks up a piece of paper from the floor, a handful of salt, and folds another packet. WIDE CITY STREET - EXTERIOR - DAY Nehru is on the back of a big open truck that is stationary in the street. The truck is loaded with boxes that contain salt packets and Nehru and eight or nine others are selling them to people who flock about the truck. The sound of horses. Nehru lifts his head. Mounted Indian police are coming down either side of the street, a wave of foot police running forward down the center. Some of the people run, others deliberately stand fast. The mounted police converge on the truck. Nehru is grabbed, and hurled so that he half falls, half leaps to the street. One of the men with him is knocked along the ground by a policeman. He is young and vigorous and he swivels on the ground as though to strike back. Nehru lunges toward him. NEHRU No violence, Zia! And a lathi is brought smashing across the side of Nehru's head. He is knocked to his knees; blood streams from his head. He feels the side of his head, the blood soaking his hand. He struggles to his feet, facing the policeman who has struck him. NEHRU (repeating quietly, as though to Zia) ...no violence. It stops the policeman for a second, and a sergeant suddenly intrudes, recognizing Nehru. SERGEANT You're Nehru -- NEHRU I'm an illegal trader in salt. The sergeant sighs grimly. LORD IRWIN'S OFFICE - INTERIOR - NIGHT The desk lights are on. Irwin, the senior police officer, the principal secretary. Tension, fatigue, frustration as the senior police officer outlines the situation. SENIOR POLICE OFFICER ...There's been no time to keep figures, but there must be ninety -- a hundred thousand under arrest. (Grimly, incredibly) And it still goes on. IRWIN (impatiently) Who's leading them? SENIOR POLICE OFFICER I don't know! Nehru, Patel, almost every Congress Official is in jail... and their wives and their children -- we've even arrested Nehru's mother. PRINCIPAL SECRETARY (shrewdly) Has there been any violence? SENIOR POLICE OFFICER (distracted, offhand) Oh, in Karachi the police fired on a crowd and killed a couple of people and -- (and this hurts) and in Peshawar the Deputy Police Commissioner lost his head and... and opened fire with a machine gun. (He looks up at them quickly, defensively.) But he's facing a disciplinary court! You can't expect things like that not to happen when -- IRWIN (dryly) I believe the question was intended to discover if there was any violence of their side. The senior police officer looks up, realizing his gaffe and wishes desperately he could relive the last couple of minutes. SENIOR POLICE OFFICER Oh, no, sir -- no, I'm afraid not. PRINCIPAL SECRETARY (again the Machiavellian mind) Perhaps if we arrested Gandhi, it might -- He means incite violence. The Viceroy ponders it -- favorably. IRWIN (to senior police officer) He's addressed this letter directly to you, has he? SENIOR POLICE OFFICER Yes, sir, he has. The usual -- India's salt belongs to India -- but then he says flatly that he personally is going to lead a raid tomorrow on the Dharasana Salt Works. IRWIN (calmly) Thank him for his letter, and put him in jail. The senior police officer is brought up by the chill directness of it. He looks at Irwin and the principal secretary for a moment in uncertainty. Then SENIOR POLICE OFFICER Yes, sir. Yes, sir. It will be my pleasure. As he turns to leave Irwin speaks -- almost offhandedly. IRWIN And Fields, keep that salt works open. The senior police officer stares at him, then SENIOR POLICE OFFICER (delighted) Yes, sir! DHARASANA SALT WORKS - EXTERIOR - DAY Barbed wire stretches on either side of the stockade-like entrance. Above the gate we see the sign DHARASANA SALT WORKS. Before it six British police officers and two Indian police officers command a large troop of Indian policemen. They face their opposition, unmoving, tense. The camera pans from them, across a sloping dip in the ground, to a huge group of volunteers lining up to face the police as tautly as the police face them. Walker is off to one side, climbing to stand in the back of Collin's car. He watches, looking tensely from one group to the other, almost terrified by what seems about to happen. Collins leans against the back of the car near him, watching with an equally appalled expectancy. There are two other reporters near them. From Walker's point of view. We see Mirabehn and some Indian women quietly placing stretchers and tables of bandages near a group of tents where the volunteers have been housed. Walker turns back to the two opposing groups at the Salt Works entrance. We hear only a shuffle of feet, the clank of a lathi against a metal police buckle. The air itself seems breathless with tension. Featuring Azad. He has approached the chief police officer. He stops before him politely. AZAD I would like admission to the Works. CHIEF POLICE OFFICER (equally politely) I am sorry, sir. That cannot be allowed. Azad looks at him a second, then glances at the troops. He is clearly afraid, but there is an air of tragic inevitability in his face. He moves back to address the volunteers. AZAD Last night they took Gandhiji from us. They expect us to lose heart or to fight back. We will not lose heart, we will not fight back. In his name we will be beaten. As he has taught us, we will not raise a hand. "Long live Mahatma Gandhi!" He turns and starts down the dip toward the gate and the waiting lathis of the police. A series of shots, as Azad leads the first row of volunteers down and up the dip. We intercut Walker, frozen, watching the inevitable onslaught, the British police commanding officer ready to give the first order. POLICE COMMANDING OFFICER (finally) Now! And with the volunteers a foot from them, the police strike with their lathis. A groan of empathic anguish from the waiting volunteers, but then we get A series of shots As the next row moves forward and the horror of the one-sided mayhem proceeds heads are cracked, faces split, ribs smashed, and yet one row of volunteers follows another, and another into the unrelenting police, who knock bleeding bodies out of the way, down into the dip, swing till sweat pours from their faces and bodies. And through it we intercut with Mirabehn and the Indian women rescuing the wounded, carrying them on stretchers to be bandaged. We see Walker helping once or twice, turning, watching, torn between being a professional spectator and a normal human being. And always the volunteers coming, never stopping, never offering resistance. And finally on sound there is an insistent click, click, click, like a thud of the lathis but becoming clearly the slap of an impatient hand on a telephone cradle and out of the carnage of the salt works we dissolve to A SMALL INDIAN STORE - INTERIOR - TWILIGHT Close shot -- a telephone cradle being pounded. Walker is at the phone at a table in the corner of the small, cluttered store. His clothes are matted with blood and dirt. WALKER (into the phone) Hello! Ed! Ed! Goddammit, don't cut me off! (Then suddenly he's through.) Ed! Okay -- yeah -- right. And he continues urgently reading the story that lies on his notes on the little stand before him. WALKER "They walked, with heads up, without music, or cheering, or any hope of escape from injury or death." (His voice is taut, harshly professional.) "It went on and on and on. Women carried the wounded bodies from the ditch until they dropped from exhaustion. But still it went on." He shifts the mangled notes and comes to his last paragraph. He speaks it trying only half successfully to keep the emotion from his voice. WALKER "Whatever moral ascendance the West held was lost today. India is free for she has taken all that steel and cruelty can give, and she has neither cringed nor retreated." (On Walker close. His sweating, blood and dirt-stained face near tears.) "In the words of his followers, 'Long live Mahatma Gandhi.' " LORD IRWIN'S OFFICE - INTERIOR - DAY Silence. The camera moves across the empty room and discovers Irwin, standing by himself, looking out of the window down into the street. Closer. His numb, motionless face is stirred to consciousness by something outside. He focuses somberly on it. RAJPATH AND VICE-REGAL PALACE - IRWIN'S POINT OF VIEW - EXTERIOR - DAY Through the formal entrance comes a single black car. A motorcycle policeman precedes it. VICE-REGAL PALACE - EXTERIOR - DAY The black car pulls up before the front of the palace and stops. There is no sign of activity. It is as though the building and grounds are deserted except for Irwin alone in his office. Gandhi gets out of the car. He too is alone. In his dhoti and shawl he starts to mount the grand stairs. Wide angle. The great palace, the magnificent entrance, and the little man in the dhoti, who in a sense has conquered it all, marching to the great doors. Two Gurkhas spring to attention and the doors are swung open. LORD IRWIN'S OFFICE - INTERIOR - DAY The principal secretary, with a look of faint distaste for someone out of shot, discreetly moves out of the doors, and closes them behind him. Featuring Gandhi, just inside the door. He is looking across the wide office. GANDHI I am aware that I must have given you much cause for irritation, your Excellency. I hope it will not stand between us as men. Reverse angle. Irwin is in shadows behind his desk looking, still, in some kind of shock, staring at Gandhi. IRWIN Mr. Gandhi, I have instructions to request your attendance at an All- Government Conference in London to discuss -- to discuss the possible Independence of India. He faces Gandhi stiffly. The whirr of a camera, and a swift cut to A SUCCESSION OF BLACK-AND-WHITE "NEWSREEL" SEQUENCES OF GANDHI'S VISIT TO ENGLAND AND THE ALL-GOVERNMENT CONFERENCE. Wide screen, but slightly under-cranked with the bad cutting and predictable music of the old newsreels. A. Gandhi, Mirabehn and Gandhi's secretary, Desai, waving goodbye from the boat deck of their ship as it sails -- Mirabehn is holding the tether of a goat -- all of them smiling at the camera like voyagers everywhere. B. Gandhi on the steps of Kingsley Hall in the East End of London being greeted by a cheering crowd. Mirabehn holds an umbrella over him as he takes a bouquet from a little child. The now gray-haired Charlie Andrews beams possessively at his side. C. Gandhi, in his dhoti, waving to a small crowd as he enters the gates of Buckingham Palace. A London bobby watches. D. Gandhi, taking his seat at the conference table among the formally -- in some Maharajahs' cases, elaborately -- dressed delegates. A gavel is struck and Ramsay MacDonald begins his opening address. MACDONALD I think our first duty is to recognize that there is not one India, but several: a Hindu India, a Muslim India, and India of Princely States. And all these must be respected -- and cared for -- not just one. Beneath its unctuous political veneer it is blatantly divisive and clearly reveals the true intent of the Conference. As Gandhi looks at MacDonald, we read on his face his perception of the sad truth. E. Gandhi, Mirabehn and Charlie walking under an umbrella in the rain, their heads bent in glum conversation. F. Gandhi being welcomed and kissed by a group of millworkers outside a large mill entrance identified by the sign GREENFIELD COTTON MILL, LANCASHIRE. He is hugged and squeezed by some hefty female millworkers, all grinning happily, Gandhi not least. G. Gandhi in a radio studio, seated at a table, a large microphone labeled "CBS" before him, technicians and Mirabehn in the glass booth behind him, Walker across the table from him, the "On the Air" sign bright... GANDHI (to Walker) Do I speak into that? Walker cringes, glancing at the lighted "On the Air" sign. He signals "Yes" frantically. GANDHI Are they ready? Do I start? He glances at the booth. Everybody including Walker and Mirabehn are nodding "Yes." Gandhi shrugs, grins at everyone's excitement, and begins. GANDHI I am glad to speak to America where so many friends exist that I know only in my heart. As the speech continues in the thin, static-y tones of thirties' radio, we see Mirabehn and the technicians listening in the control room./ Walker, across the table from Gandhi./ The outside of Broadcasting House./ The Empire State Building and Manhattan./ A mid-western farmhouse./ A thirties' radio set in a thirties' American living room./ A family, listening, kids playing on the floor, half ignoring it, the mother ironing, the father in an armchair, a newspaper open. GANDHI'S VOICE (continuing over all) I think your interest and the world's has fallen on India, not only because we are struggling for freedom, but because the way we are doing so is unique as far as history shows us. Here in Europe mighty nations are, it seems, already contemplating another war, though I think they, and all the world, are sick to death of bloodspilling. All of us are seeking a way out, and I flatter myself that perhaps the ancient land of India will offer such a way. If we are to make progress we must not repeat history, but make history. And I myself will die before I betray our belief that love is a stronger weapon than hate. H. Gandhi shaking hands with MacDonald outside No. 10 Downing Street, MacDonald smiling the politician's smile, Gandhi smiling rather sadly. I. Gandhi on the deck of a boat, sitting on a deck chair, wrapped in blankets, staring somberly out to sea. Reverse angle: the wake of the boat in the vast ocean. THE ASHRAM - EXTERIOR - DAY The gentle sounds of the country. A girl of twelve leads a limping goat slowly across the grass. She pauses and looks up questioningly. Reverse angle -- close. Gandhi is watching from the porch of his bungalow. We can tell he is sitting and turned to watch the goat, but we see only him and a portion of the bungalow behind him. GANDHI It is only a sprain. Take her to the river, and we'll make a mud-pack for her. Go -- I won't be long. He turns back. Another angle. He is spinning (expertly), and gathered on the porch with him are Nehru and Jinnah and Patel and Azad and Kripalani. Desai and Pyarelal are inconspicuously in attendance as always, Pyarelal now clearly sharing Desai's role as secretary. JINNAH So the truth is, after all your travels, all your efforts, they've stopped the campaign and sent you home empty-handed. He is in his white suit, the black-ribboned pince-nez. He sits on a wicker chair, Nehru and Patel lean against the railing, Azad and Kripalani sit on the floor like Gandhi. GANDHI They are only clinging to old dreams (looks up from his spinning to Jinnah) and trying to split us in the old way. But the will has gone -- Independence will drop like a ripe apple. The only question is when (another glance at Jinnah) and how. NEHRU I say when is now -- and we will determine how. JINNAH Precisely. Gandhi winds up what he has done, and starts to rise. GANDHI They are preparing for war. I will not support it, but I do not intend to take advantage of their danger. PATEL (blithely, but to the point) That's when you take advantage. Gandhi has moved toward the steps. He stops and looks at Patel. A wry, gentle smile. GANDHI No. That is just another way of striking back. We have come a long way together with the British. When they leave we want to see them off as friends. (He starts down the steps and heads for the river.) And now, if you'll excuse me, there is something I must attend to. Featuring Nehru. He looks at Jinnah and shrugs. Jinnah takes it less philosophically and his eyes burn with anger as he watches Gandhi head for the young girl with the injured goat. NEHRU (resignedly) "Mud packs." TRAIN STATION. INTERIOR. DUSK. Gandhi is moving with the stream of passengers disembarking from the Third Class section. Ba and Mirabehn are struggling along behind him, Desai and Pyarelal completing the little group. They pass a newspaper stand: "Hitler's Armies Sweep On." As they move out into the flux of the station we see many uniforms, the sense of a nation readying for war. A British captain stands before a full platoon of Indian troops. As Gandhi approaches, a British Lt. Colonel and his Adjutant (a Captain) move out from one side of the troops. BRITISH COLONEL Mr. Gandhi -- sir. Gandhi stops, looks up at him, at the troops behind him. BRITISH COLONEL I have instructions to inquire as to the subject of your speech tonight. Gandhi shakes his head with a weary grin. GANDHI The value of goat's milk in daily diet. (Into his eyes) But you can be sure I will also speak against war. The British Colonel signals back to the troops. BRITISH COLONEL I'm sorry, sir. That can't be allowed. As a detail marches up to them, the colonel's adjutant speaks gently to Ba. ADJUTANT It's all right, Mrs. Gandhi. I have orders to return with you and your companion to the Mahatma's ashram. BA If you take my husband, I intend to speak in his place. She stares at the adjutant belligerently. He looks flummoxed. Later. Long shot -- high. The colonel and his adjutant striding toward the exit of the station. Following behind them, a detail of six soldiers accompanying Gandhi. The camera tracks across the platform and we see they are being followed by a detail of six soldiers accompanying Ba. And the camera tracks again and we see they are being followed by a detail of six soldiers accompanying Mirabehn! WINDING BUMPY ROAD - EXTERIOR - DAY A jeep bounces along the road. It is driven by an American lieutenant and his passenger is a woman dressed in an American War Correspondent's uniform (Margaret Bourke-White). As the jeep passes the camera we pan with it and see the walls of a palace ahead. BOURKE-WHITE Stop! Wait a minute! The jeep slithers to a stop, and Bourke-White grabs a camera that is strapped around her, stands, and takes a picture of the palace. AGA KHAN'S PALACE - BOURKE-WHITE'S POINT OF VIEW - EXTERIOR - DAY The palace looks evocative -- a lonely, incongruous building. WINDING BUMPY ROAD - EXTERIOR - DAY LIEUTENANT It was the Aga Khan's palace, but they've turned it into a prison. Bourke-White slips back down into her seat; we see the arm band on her jacket: "Press." The lieutenant starts the jeep up and they head toward the gate, where we see a British soldier on guard. LIEUTENANT (shouting over the motor) They've got most of the leading Congress politicians in this one. But Nehru and some others are over in Dehra Dun. Your timing's pretty lucky. They had your Mr. Gandhi cut off from the press but last month his personal secretary died and they've let up on the restrictions. Bourke-White just absorbs it, staring at the palace, taking in the experience with the appetite of her breed, and her own particular sensitivity. GANDHI'S ROOM - AGA KHAN'S PALACE - INTERIOR - DAY Gandhi sits by the window that is grilled rather than barred. He is spinning in a shaft of light -- and looking off -- as we hear a camera click and the rustle of movement. His hair, only half-gray in London, is now white. GANDHI Yes, I have heard of Life Magazine. (A smile.) I have even heard of Margaret Bourke- White. But I don't know why either should be interested in an old man sitting in prison when the world is blowing itself to pieces. Bourke-White -- who has been moving, crouching to shoot him and the light -- sags back against the wall, relaxing at last. She has a smile as penetrating and warming as his. BOURKE-WHITE (a beat -- and she smiles) You're the only man I know who makes his own clothes. Gandhi grins and glances toward his dhoti. GANDHI Ah, but for me that's not much of an accomplishment. Meaning he doesn't wear many clothes. Bourke-White bursts into an appreciative radiance -- already she has assessed him, and been won. WALL AND YARD - AGA KHAN'S PALACE - EXTERIOR - DAY Gandhi walks along, Bourke-White loping along beside him, a little distance away, listening, but searching too for an angle, a moment that is right. GANDHI No -- prison is rather agreeable to me, and there is no doubt that after the war, independence will come. My only worry is what shape it will take. Jinnah has -- BOURKE-WHITE Stop! She has Gandhi in the foreground, a soldier on the wall above and behind him. BOURKE-WHITE Now go on -- just as you were. Gandhi shrugs but suffers it. We feature him, low, from her point of view, as he walks on, the soldier pacing on the wall in the background. BOURKE-WHITE (coaching) "...what shape it will take." Jinnah has -- what? GANDHI (at first disconcerted, but then flowing) Jinnah has -- has cooperated with the British. It has given him power and the freedom to speak, and he has filled the Muslims with fears of what will happen to them in a country that is predominantly Hindu. (He stops, lowering his head gravely.) That I find hard to bear -- even in prison. She clicks. WALLED GARDEN IN THE PALACE - EXTERIOR - DAY A spinning wheel works rapidly. The camera lifts. Gandhi is at the wheel and he is smiling off at Bourke-White, who is trying ineptly to imitate him on another spinning wheel. The garden they are in has gone to seed a bit, but with latticed fretwork in the walls dappling sunlight on the grass and shrubs it is still beautiful. BOURKE-WHITE (archly, but emphatically of the spinning) I do not see it as the solution of the twentieth century's problems! She's grinning at her own frustration and she keeps trying, but there's no doubt she means it. Gandhi's smile broadens. Wryly he lifts his own "product" -- a tiny roll of thread. GANDHI I have a friend who keeps telling me how much it costs him to keep me in poverty. And they both laugh... a guard on the wall distantly looks at them wonderingly. GANDHI (a bit more seriously) But I know happiness does not come with things -- even twentieth century things. It can come from work, and pride in what you do. (He looks at her steadily.) It will not necessarily be "progress" for India if she simply imports the unhappiness of the West. And she responds to the sophistication of that observation. He pivots around, moving beside her, and slowly demonstrates the process, taking her hands, guiding her. Bourke-White watches him as much as the wheel. BOURKE-WHITE But do you really believe you could use non-violence against someone like Hitler? GANDHI (a thoughtful pause) Not without defeats -- and great pain. (He looks at her.) But are there no defeats in this war -- no pain? (For a moment the thought hangs, and then Gandhi takes their hands back to the spinning.) What you cannot do is accept injustice. From Hitler -- or anyone. You must make the injustice visible -- be prepared to die like a soldier to do so. And he smiles a little wisely at her. BOURKE-WHITE Is my finger supposed to be wrapped around that? GANDHI (laughs) No. That is what you get for distracting me. BOURKE-WHITE What do you expect when you talk like that? GANDHI (trying to unravel the mess) I expect you to show as much patience as I am now. His tone is not altogether patient. She looks at him in surprise and he sighs tolerantly. Then reflectively GANDHI Every enemy is a human being -- even the worst of them. And he believes he is right and you are a beast. (And now a little smile.) And if you beat him over the head you will only convince him. But you suffer, to show him that he is wrong, your sacrifice creates an atmosphere of understanding -- if not with him, then in the hearts of the rest of the community on whom he depends. Bourke-White looks at him and there is enough sense in this argument to give her pause. GANDHI If you are right, you will win -- after much pain. (He looks at her, then smiles in his own ironic way.) If you are wrong, well, then, only you will suffer the blows. She stares at him, and we know she thinks him much more profound than she had thought initially. BA AND MIRABEHN'S ROOM - AGA KHAN'S PALACE - INTERIOR - NIGHT Ba, Mirabehn and Bourke-White sit on straw mats around the room, an oil lamp is the only light. It is women's talk, but Ba is defending her husband, speaking simply, but with total conviction. BA ...not at all. Bapu has always said there were two kinds of slavery in India -- one for women, one for the untouchables -- and he has always fought against both. Bourke-White accepts it at face value. She opens another line of inquiry. BOURKE-WHITE Does it rankle, being separated from him this way? Ba pauses. BA Yes... but we see each other in the day. BOURKE-WHITE (delicately) But not at night... She's terribly curious, but she doesn't want to offend. Ba sees both the curiosity and the hesitancy. She smiles across at Mirabehn, then BA In Hindu philosophy the way to God is to free yourself of possessions -- and the passions that inflame to anger and jealousy. (A smile.) Bapu has always struggled to find the way to God. BOURKE-WHITE You mean he -- he gave up -- (how to phrase it, finally) married life. Again Ba smiles. BA Four times he tried -- and failed. (Mirabehn and Bourke- White grin. The older woman gives a wistful smile.) But then he took a solemn vow... She shrugs... the implication is it was a long time ago. BOURKE-WHITE And he has never broken it? BA (a beat) Not yet. She looks at them soberly and then they all burst into laughter like girls. AGA KHAN'S PALACE - EXTERIOR - TWILIGHT Military move quietly but urgently in and out around the main entrance. Two military ambulances are drawn up nearby. A British major comes down the steps quickly. He is almost at the bottom when a British army doctor starts to go up them. The major signals him to one side. They talk quietly and confidentially. MAJOR I've got permission to move her -- he can go too. The doctor shakes his head. DOCTOR She's had a coronary throm -- a serious heart failure. She wouldn't survive a trip. It's best to leave her -- and hope. The major looks defeated and depressed by the news. BA'S ROOM - INTERIOR - TWILIGHT Ba lies on a mat, a pillow beneath her head, her eyes closed, her breathing short. Mirabehn sits next to her, rubbing a hand up and down her arm. Gandhi sits a little distance away, staring at the floor and into nothingness. Pyarelal sits inconspicuously behind him. Azad and Patel come to the doorway, Patel makes the pranam toward Ba and holds it as he obviously prays. Azad has bowed his head and he too is clearly making some prayer for her. Finally Azad takes just a step forward. Gandhi looks up at him. For a moment he folds his hands absently, then he stands. He moves to Ba's side and kneels. She does not open her eyes. GANDHI It is time for my walk -- I won't be long. Ba's eyes flutter open. She holds her hand out to him and he takes it. When he goes to release it, she clutches it. Gandhi hesitates, and then he sits, holding Ba's hand in his lap. He looks across at Mirabehn and nods for her to go. Mirabehn smiles weakly, gives Ba a last little rub of farewell and stands. The doorway. Patel stands, letting Mirabehn pass before him and do down the corridor with Azad. He looks back. His point of view. Gandhi sitting, holding Ba's hand, his eyes once more on the floor in their empty stare. Another angle -- later. The light has changed. A fly moves along a small section of the floor that still contains a ribbon of the dying sunlight. Gandhi still sits, holding Ba's hand, staring into nothingness. The doctor appears in the doorway. He pauses, nods amiably to Gandhi, though Gandhi does not react to his presence at all. Moving quietly, the doctor goes to the other side of Ba and crouches, and lifts her wrist to feel her pulse. He holds it for a moment, then lifts his eyes in doubt and sudden fateful apprehension. He glances at her, then slowly lowers her arm and puts the branches of his stethoscope in his ears. He puts the acoustic bell over her heart... a moment, and he lifts it slowly, his face confirming for us what he and we already know: there is no heartbeat. He glances at Pyarelal, who only lowers his eyes. The doctor turns his head slowly to Gandhi. Gandhi. His point of view. His posture is utterly unchanged, Ba's hand still in his lap, his eyes still staring emptily at the floor in front of him, but suddenly tears begin to run down his cheeks. He does not move, there is no change in his empty stare, but the tears continue to flow. SMALL COURTYARD OF THE PALACE - EXTERIOR - DAY The funeral pyre burns, its work almost done. Mirabehn, Patel, Azad, Pyarelal, stand with other prisoners and the military wardens in solemn obeisance to the dead -- and the living, for Gandhi sits a little distance from the pyre, wrapped in his shawl, staring at the dying embers in tragic and impenetrable isolation as though he may never move again. Close shot -- Mirabehn watching him her face wet with tears. DELHI AIRPORT - EXTERIOR - DAY Extreme close shot. A piece of cloth, shimmering in a stiff breeze... For a moment we hold it in silence and then we hear the sound of an aircraft growing louder and louder. And slowly the camera pulls back and we see that the cloth is part of a pennant of the nose of an aircraft. We cut from the pennant to see the aircraft stopping before a reception area, a carpet rolled out toward its door. An Indian regimental band strikes up martial music. A detachment of Indian Royal Air Force comes to attention at the shouted command of their NCO. Featuring the aircraft doors. An elaborately dressed military aide opens the door and Lord Louis Mountbatten, resplendent in naval uniform, steps out onto the platform. He pauses and renders a salute. ON A BANNERED PLATFORM Nehru, Lady Mountbatten and dignitaries. English and Indians watch as Mountbatten approaches a group of microphones identified as NBC, CBS, BBC, etc. MOUNTBATTEN We have come to crown victory with friendship -- to assist at the birth of an independent India and to welcome her as an equal member in the British Commonwealth of Nations. (A little smile.) I am here to see that I am the last British Viceroy ever to have the honor of such a reception. He grins in his youthful, beguiling manner and makes the pranam to the cheering crowd. It is cut off by the sound of a door being opened, close. THE GREAT PORTICO - VICE-REGAL PALACE - EXTERIOR - DAY Jinnah stands by one of the great pillars of the immense portico. It is a break in their Independence Conference, and as he lights a cigarette, a weary Gandhi approaches him with Azad. Jinnah's anger is clearly too deep to be left at the conference table. He slaps his lighter shut and addresses Gandhi in hushed but fiercely felt words. JINNAH I don't give a damn for the independence of India! I am concerned about the slavery of Muslims! Nehru and Patel are approaching from the conference room, both of them looking worn and angry too. Jinnah raises his voice deliberately so Nehru will hear. JINNAH I will not sit by to see the mastery of the British replaced by the mastery of the Hindus! GANDHI (patiently, not yet believing it can't be settled) Muslim and Hindu are the right and left eye of India. No one will be slave, no one master. Jinnah sneers at the idea, though he cools a little. JINNAH The world is not made of Mahatma Gandhis. (He looks at Nehru and Patel.) I am talking about the real world. NEHRU The "real India" has Muslims and Hindus in every village and every city! How do you propose to separate them? JINNAH Where there is a Muslim majority -- that will be Pakistan. The rest is your India. PATEL (a forced patience) Mohammed -- the Muslims are in a majority on two different sides of the country. JINNAH (acidly) Let us worry about Pakistan -- you worry about India. Gandhi is staring at Jinnah trying to fathom the source of his anger and fear. He turns to see that Mountbatten has been standing in the open door to the conference room, as torn as Gandhi by the conflict, feeling it best controlled in formal discussion. MOUNTBATTEN Gentlemen, perhaps we should recommence. Gandhi nods, and reluctantly the adversaries move back to the conference room. Gandhi is last through the door. He pauses by Mountbatten, a little sigh -- "How difficult, how difficult" -- then he puts a friendly hand on Mountbatten's shoulder and the two of them enter together. GANDHI'S ASHRAM - EXTERIOR - DAY Featuring Godse waving a black flag and shouting. GODSE (with others) Death to Jinnah! Death to Jinnah! We have pulled back and we see a whole gathering of Hindu youths near the entrance to the ashram. Many wave black flags. A couple of trucks that have brought them, and a car, are along the path. Kallenbach is stepping out of an old 1942 open Austin that he has put in a waiting position near the entrance to the path. The chanting shout "Death to Jinnah!" suddenly dies. The youths -- and Kallenbach -- look back toward the ashram. Featuring Gandhi's bungalow. Nehru has stepped out onto the porch and he glares at the youths. It is his presence that has silenced them. Kallenbach smiles. GANDHI'S BUNGALOW - INTERIOR - DAY Gandhi is rising from the floor, where his spinning wheel sits. He stops, halfway up, listening, then, a weary sigh. GANDHI Thank God, they've stopped. Mirabehn is spinning across the room. She lifts her head as a signal to someone out of shot. Gandhi's two grand nieces, Manu and Abha, who help Mirabehn now that Ba is gone, rise quickly at Mirabehn's signal, Manu to help with his shawl, Abha to hold his sandals so that he can slip into them. GANDHI I'm your grand uncle but I can still walk either of you into the ground and I don't need to be pampered this way! It's cross -- he's worried about other things. Mirabehn just smiles at it. Gandhi looks down at Abha, and taps her sharply on the top of the head. GANDHI Finish your quota of spinning. She nods obediently, the flicker of a smile around her mouth, youthful, irrepressible. The beauty of it almost saddens Gandhi. He taps her again -- gently -- and goes out. GANDHI'S ASHRAM - EXTERIOR - DAY Kallenbach shoos a chicken from the back seat of the Austin and dusts off the seat. He steps back out. Gandhi is approaching with Nehru and Azad, Pyarelal trails close behind. We have seen Azad and Pyarelal come out on the porch behind Nehru. As Gandhi near the car a Hindu youth with a black flag calls to him. HINDU YOUTH Bapu -- please. Don't do it! They are all awed, timid even in his actual presence, and the mood of their gathering has changed altogether. Gandhi looks at the youth and the line of others. GANDHI (impatiently) What do you want me not to do? Not to meet with Mr. Jinnah? (Fiercely) I am a Muslim! (He stares at them, then relents.) And a Hindu, and a Christian and a Jew -- and so are all of you. When you wave those flags and shout you send fear into the hearts of your brothers. He sweeps them sternly with his eyes, all his fatigue and strain showing. GANDHI This is not the India I want. Stop it. For God's sake, stop it. And he lowers his head and moves on to the car, where Kallenbach holds the door for him, Nehru, Azad and Pyarelal following. Another angle. As they get into the car, we see the car that sits by the two trucks that have brought the youths. In the back seat we see two men, one of whom is Prakash (The bearded man at Gandhi's assassination). JINNAH'S DRAWING ROOM - INTERIOR - NIGHT Jinnah is on the small balcony of this elaborate room. He is looking down in a slightly supercilious manner. As usual he is impeccably dressed. JINNAH Now, please, if you've finished your prayers, could we begin with business. He has been looking at Gandhi, who sits on the floor of the large room some distance from him, just lifting his head from prayers. Nehru, Patel and Azad are on the same side of the room as Gandhi. They rise from prayer as Jinnah comes down the steps to them. Gandhi hesitates, then begins. GANDHI My dear Jinnah, you and I are brothers born of the same Mother India. If you have fears, I want to put them to rest. (Jinnah listens impatiently, skeptically. Gandhi just glances in Nehru's direction.) I am asking Panditji to stand down. I want you to be the first Prime Minister of India (Jinnah raises an eyebrow of interest.) -- to name your entire cabinet, to make the head of every government department a Muslim. And Jinnah has drawn himself up. His vanity is too great not to be touched by that prospect. He measures Gandhi for a moment to see that he is sincere, and when he is satisfied with that, he turns slowly to Nehru, Patel and Azad. Nehru glances at Patel. They have all been taken by surprise by the offer -- and do not feel what Gandhi feels. Nehru looks hesitantly at Gandhi. NEHRU Bapu, for me, and the rest, (his hand gestures to Patel and Azad) if that is what you want, we will accept it. But out there (he indicates the streets) already there is rioting because Hindus fear you are going to give too much away. PATEL If you did this, no one could control it. No one. It bears the stamp of undeniable truth. Gandhi's eyes sag with the despair of a man whose last hope, whose faith, has crumbled around him. Jinnah smiles cynically, he spreads his hands "See?" JINNAH It is your choice. Do you want an independent India and an independent Pakistan? Or do you want civil war? Gandhi stares at him numbly. THE RED FORT - NEW DELHI - EXTERIOR - DAY On a platform in the foreground Mountbatten and Nehru. A band plays the Indian National Anthem loudly and there is the roar of a tremendous crowd as the green, white and saffron flag of India is raised on the flagpole. GOVERNMENT BUILDING - KARACHI - EXTERIOR - DAY On a platform in the foreground Jinnah and a British plenipotentiary. A band plays the new Pakistani National Anthem loudly and there is the roar of a tremendous crowd as the white, green with white crescent, flag of Pakistan is raised on the flagpole. THE ASHRAM - EXTERIOR - DAY Silence. The little flagpole is empty, the rope dangling, flapping loosely down the pole. Gandhi sits on the porch of his bungalow, spinning. The hum of the spinning wheel. Inside we can just see Mirabehn, spinning too. But apart from that, he is alone; the whole ashram seems deserted. We hear the sound of a bell on one of the goats, fairly distant. THE PATH TO THE ASHRAM - EXTERIOR - DAY Featuring Kallenbach. He is taking the goat and tethering it near the path of the ashram. He stills the bell with his hand. As he ties it the camera angle widens and we see Margaret Bourke-White sitting on the grass, watching Kallenbach and looking off toward Gandhi's bungalow. BOURKE-WHITE Aren't you being a little overprotective? Kallenbach looks at her. Her tone criticizes more than his stilling the goat's bell. KALLENBACH Tomorrow. Tomorrow photograph him. BOURKE-WHITE I came all this way because I believed the picture of Independence Day was of him here alone. Kallenbach stands and looks across at her, judging, then appealing to her humanity. KALLENBACH It is violence, and the fear of violence, that have made today what it is... Give him the dignity of his grief. Bourke-White grabs a clump of grass, twists it free, and sighs. She tosses the grass vaguely at the goat. BOURKE-WHITE And while we're sitting here feeding goats, what will happen to all the Muslims in India and the Hindus in Pakistan? Kallenbach stops, staring absently at the ground ahead, then KALLENBACH Gandhi will pray for them... OPEN TERRAIN AND RAILROAD - EXTERIOR - DAY The camera is high (helicopter) and moving and from its position we meet and then pass over an immense column of refugees -- ten, twenty abreast -- moving down one side of the railroad track toward camera. Women, children, the sick, the aged, all burdened with bedding, utensils, household treasures, useless bric-a-brac and trudging with them every type of cart, wagon, rickshaw, pulled by donkey, camel, bike, oxen. It stretches endlessly to the horizon. Tiny green, white and saffron flags here and there indicate that it is a Hindu column and spotted through it we see people in fresh bandages, some on stretchers, sticking out like radioactive tracers in the huge artery of frightened humanity. And the camera lifts and tilts, slowly swinging to the opposite direction, and as it does, reveals another vast column across the track, several yards away, moving in the opposite direction: veiled women in purdah, the crescent flag of Muslim Pakistan here and there. As the camera levels and speeds along it, we see that this column too reaches to the horizon, that it too carries its wounded. An unbelievable flood of desperate humanity. EXTREME CLOSE SHOT The sound of the vast refugee column. A woman's arms cradle a baby in swaddling. Blood has seeped through the swaddling in three or four places, some of it dried. Flies buzz around it. And suddenly we hear the woman's sobs and she rocks the baby and we know it has stopped moving, stopped breathing, and a male hand gently touches the back of the baby, checking, and the camera pans up to the face of a man. Again in extreme close shot so we cannot tell whether they are Hindu or Muslim. And the man's eyes knot, and he swings out of shot as he runs in fury and rage at the other column. LONG SHOT - HIGH The two columns -- and a howl of hate and grief! And the camera sweeps to where men are running at each other across the track, some already fighting. Knives, pangas, hatchets; women screaming and running; a besieged wagon tipped. Another angle. And as the fighting grows more fierce streams of men from each column run back to partake, but the bulk of the two columns hurries off, scrambling, running, some leaving their bundles, fleeing the meleÈ in terror. HINDU/MUSLIM RIOT SEQUENCE - SEVERAL LOCATIONS - DAY/NIGHT A Muslim pulled through broken glass in an urban market shop./ Night: a Hindu temple daubed with blood, the bodies of women and children strewn before it; screams, the sound of fighting./ Mud and straw houses burning, figures running through them./ A city street: a truck crashes into a barricade of rickshaws and bales, and is set upon by a swarm of knife- and panga-bearing men. From the back of the truck opponents with swords and clubs leap into battle. NEHRU'S OFFICE - INTERIOR - DAY Chaos. It and the adjoining office have been made into something like operations rooms. Military and civilian aides move back and forth. Telephones at work everywhere. A huge map on the wall is constantly having data changed by people receiving messages there. Nehru is glancing at a telex message; he turns and gives it back to the military aide who's given it to him. NEHRU (fast, curt) No. There just are not that many troops. MILITARY AIDE What's he to do? NEHRU What he can! He turns. Patel has a message he was going to present to him. He hesitates, grins dismally, and crumples the message -- "No use." Nehru sags. He looks at Patel with haggard eyes. NEHRU He was right. It's insane -- anything would have been better. PATEL Have you found him? Nehru nods solemnly. NEHRU He's in Noakhali. Patel reacts to that -- surprise, apprehension. NEHRU He's tramping from village to village -- no police, no troops -- trying to quell the madness single-handedly. (He sighs, half in admiration, half in hopeless exasperation at the old man's audacity.) Maulana has gone to bring him back. Patel nods grimly -- the noisy chaos of the room. Someone shouts at Nehru, "Prime Minister!" CLOSE SHOT - GANDHI In silence -- looking tragic, tired and defeated. He is sitting in his characteristic manner, staring down at the carpet before him. NEHRU'S VOICE (dull, lifeless) What you have done in Noakhali is a miracle, Bapu, a miracle, but millions are on the move -- millions. There is no way to stop it... and no one can count the dead. The camera angle has changed. We are in NEHRU'S PRIVATE CHAMBERS - INTERIOR - NIGHT Patel and Azad are there and Pyarelal of course, and with them now the giant figure of Abdul Ghaffar Khan, the first time we have seen him among Gandhi's intimate group. NEHRU In Calcutta it's like civil war. The Muslims rose and there was a bloodbath, and now the Hindus are taking revenge -- and if we can't stop it there'll be no hope for the Hindus left in Pakistan. PATEL ...an eye for an eye making the whole world blind. It is an empty and despairing echo of Gandhi's words. AZAD Aren't there any troops to spare? NEHRU (tense, fragile) Nothing -- nothing. The divisions in Bombay and Delhi can hardly keep the peace now. And each fresh bit of news creates another wave of mad... ness. He has turned and seen Gandhi standing slowly. It has almost stopped him. PATEL Could we cut all news off? I know -- NEHRU Bapu -- please. Where are you going. GANDHI (sounding like an old man) I don't want to hear more... He is moving toward the door. It stops them all. Pyarelal moves tentatively to open the door. PATEL (impatiently) We need your help! GANDHI There is nothing I can give. AZAD Where are you going? Gandhi turns, looks at him bleakly. GANDHI Calcutta. CALCUTTA - EXTERIOR - NIGHT We are high. There are fires, the sounds of spasmodic gunfire, of looting, screams, the roar of police vehicles and occasional sirens. The camera zooms in on a poor quarter of artisan dwellings in narrow streets. Outside one of the houses is a car, an army jeep, policemen, a few soldiers and a group of people. It seems a little island of calm in a sea of wild chaos. On the roof of the house, a figure moves into the light. CLOSER - TAHIB'S ROOF The figure is Gandhi. He peers down at the dark, rioting streets. Azad, Tahib, a Muslim whose house this is, Mirabehn and Pyarelal are with him along Abdul Ghaffar Khan. A police commissioner moves to Gandhi's side, demanding his attention. POLICE COMMISSIONER Sir, please, I don't have the men to protect you -- not in a Muslim house. Not this quarter. GANDHI I am staying with the friend of a friend. There is a sudden commotion just below them and angry shouts: "Death to Muslims!," "Death to Muslims!" Gandhi peers down. His point of view. A surging gang of youths, many carrying torches, and far outnumbering the little group of police and soldiers, are shouting up at the roof. We see three or four black flags and stains of blood on many of them. A few hold knives still wet with blood. A YOUTH There he is! A feral roar goes up at the sight of Gandhi, but he stands unmoving. HINDU YOUTH LEADER (his voice emotional, tearful) Why are you staying at the home of a Muslim! They're murderers! They killed my family! Featuring Gandhi. It is a comment too grave for glibness, and Gandhi is obviously struck by the pain of it. He pauses for a moment, staring down at the youth: GANDHI Because forgiveness is the gift of the brave. He makes it mean the youth. For a second it makes an impact, but then the youth shouts his defiance at him and his message. YOUTH To hell with you, Gandhi!! An angry chorus of acclamation; when it dies GANDHI (to the youth) Go -- do as your mother and father would wish you to do. It is ambiguous, open-ended, meaning anything your mother and father would wish you to do. Tears flush from the boy's eyes and he stares at Gandhi with a kind of hopeless anguish and rage. But the impact is on the youth alone; around him the others begin to take up the chant "Death to Muslims!," "Death to Muslims!" Gandhi turns from the street. He looks at the police commissioner -- at his fatigue, his concern, his manifest respect. Gandhi musters a weary smile. GANDHI I have lived a lifetime. If I had shunned death -- or feared it -- I would not be here. Nor would you be concerned for me. (He lets it sink in then he takes the commissioner's arm and moves back toward the center of the roof.) Leave me -- and take your men. (An understanding touch of the arm.) You have more important things to worry about. The commissioner looks at him, uncertain, not knowing what to do, as the angry chanting continues above the sound of rioting. HOSPITAL - INTERIOR - DAY An old, inadequate hospital -- dark cavernous. Margaret Bourke- White is moving among the densely packed litter of wounded women. She is positioning herself to photograph Gandhi, who is speaking to a woman who cradles a small baby. The corridors behind him are even more packed. The few doctors and nurses hardly have room to move. Featuring Gandhi. Azad and Mirabehn are behind him as he moves on, and behind them, like a giant guardian, Abdul Ghaffar Khan. We hear "Bapu, Bapu" muttered quietly here and there. Gandhi bends to a woman whose face is bandaged and a cruel wound is half-exposed between her mouth and eye. WOMAN Bapu... Allah be with you... There are tears in Gandhi's eyes now. GANDHI And with you. (He touches her wrinkled hand.) Pray... I cannot help you -- pray... pray. And the weight of his helplessness hangs on him. CALCUTTA STREET - EXTERIOR - DAY A streetcar (tram) crashes into a barricade of carts, rickshaws, a couple of old cars, smashing through to breach the barricade, but stopped in the end by the mass of debris. The streetcar is loaded with Indian troops and they break from the stalled vehicle to chase A gang of Hindus -- organized -- runs down the street from the troops, some dragging the bodies of victims with them. We see several Hindu black flags. NEHRU'S OFFICE - INTERIOR - NIGHT He speaks across his desk to a senior police commissioner. The same activity going on in the background. NEHRU (angrily) No! There will not be a Hindu Police and a Muslim Police. There is one police! An aide slips a newspaper on his desk in front of him. He doesn't look at it till the senior commissioner lowers his head and turns, accepting defeat. Then Nehru glances at the paper. In thick headlines: GANDHI: A FAST UNTO DEATH! Nehru doesn't move for a moment. Then he lifts his face slowly to his aide. NEHRU Why must I read news like this in the paper? The aide shakes his head -- there's no answer. Nehru lowers his head again; it is like another burden on a man who already has too many. He grips his temples... a terrible sigh. NEHRU Tell Patel. Arrange a plane. We will go -- Friday. THE AIDE Four days? Nehru thinks on it solemnly, then nods yes. TAHIB'S HOUSE - EXTERIOR - DAY The sounds of rioting and looting on nearby streets, but here a mass of people are gathered. Many youths with black flags. Two black government limousines. Motorcycles. Police and soldiers. They are looking off to AN OUTSIDE STAIRCASE - TAHIB'S HOUSE It runs up the side of the building and is lined with waiting people. Nehru and Patel are climbing the stairs, moving past them almost irritably as they mutter "Nehru, Nehru," "Patel," and make the pranam to the eminent men. In the heat of the city Tahib's rooftop is still Gandhi's "home" and has become a center of activity. Azad clears someone aside and ushers Nehru and Patel under the canopy awning. Nehru pauses as he lowers his head. His point of view. Gandhi lies curled awkwardly on his side of the cot. He is writing, Pyarelal taking the pages as he finishes, both ignoring all the people, the sounds of gunfire and distant shouting, but he looks tired and tightens his jaw occasionally in pain. The camera pans. A doctor sits near the foot of the cot, Abdul Ghaffar Khan beyond him. Near the other edge of the canopied area, Mirabehn sits with Bourke-White. They are whispering quietly, but Mirabehn has stopped on seeing Nehru and she smiles a relieved greeting. She knows Gandhi's feeling for him. Bourke-White stares at him and Patel for a second and then her hand goes slowly, almost reflexively, for her camera. CLOSER ON GANDHI Nehru crosses and kneels so that he is almost at Gandhi's eyeline. Gandhi must take his eyes from his writing to look, and he is almost moved to tears at the sight of Nehru. His hand shakes a little as he holds it out to him. NEHRU Bapu... Gandhi turns to pat their joined hands with his other hand. He does so with effort, and at last he sees Patel. GANDHI Sardar... (He looks him over.) You have gained weight. You must join me in the fast. Patel sits near the head of the cot so the three of them are on a level. Outside the canopied area, Bourke-White is crouched, her camera framing the three of them. PATEL (wittily, warmly) If I fast I die. If you fast people go to all sorts of trouble to keep you alive. Gandhi smiles and reaches to touch hands with him. NEHRU Bapu, forgive me -- I've cheated. I could have come earlier. But your fast has helped. These last days people's minds have begun to turn to this bed -- and away from last night's atrocity. But now it is enough. Gandhi shakes his head. GANDHI All that has happened is that I've grown a little thinner. It is despairingly sincere. But Nehru feels he has an antidote for that despair. The distant sound of an explosion. NEHRU Tomorrow five thousand Muslim students of all ages are marching here in Calcutta -- for peace. (The real point) And five thousand Hindu students are marching with them. It is all organized. Bourke-White captures the sense of elation in his face. From her discreet distance, she lowers the camera, holding it against her mouth, waiting for Gandhi's response. Gandhi nods to Nehru, accepting the news with a sad wistfulness. GANDHI I'm glad -- but it will not be enough. Nehru isn't prepared for this resistance. He glances at Patel, and we see that they recognize that their bland conviction that they could talk him out of the fast was deeply misplaced. Nehru turns back -- this time no confidence, only concern. A forced smile. NEHRU Bapu, you are not so young anymore. Gandhi smiles, pain etched in his eyes. He touches Nehru's hand. GANDHI Don't worry for me -- death will be a deliverance. (There is water in his eyes, but his words have the weight of a man truly determined to die.) I cannot watch the destruction of all I have lived for. Nehru stares at him, feeling the sudden fear that Gandhi means it. Patel, Mirabehn, Azad, Bourke-White are gripped by the same realization. TAHIB'S HOUSE - EXTERIOR - NIGHT An outside broadcast truck is parked among the usual crowd, grown even larger now, and more women among them. The sounds of distant fighting. TAHIB'S ROOF - EXTERIOR - NIGHT The senior technician, in earphones, signals across to Mirabehn. She holds a microphone by Gandhi, who is lying on his side. He seems almost out of touch. MIRABEHN Bapu... Gandhi looks at her, and then the microphone. When he speaks into the microphone his voice is very weak. GANDHI Each night before I sleep, I read a few words from the Gita and the Koran, and the Bible... (we intercut with Bourke-White and those on the roof watching) tonight I ask you to share these thoughts of God with me. And now we go into the streets, intercutting with Gandhi but seeing Hindus listening around loudspeakers on corners, in little eating houses, Muslim shops where people live in the back, and neighbors gathering defensively in groups. GANDHI (the books are there, but he does it from memory of course) I will begin with the Bible where the words of the Lord are, "Love thy neighbor as thyself"... and then our beloved Gita which says, "The world is a garment worn by God, thy neighbor is in truth thyself"... and finally the Holy Koran, "We shall remove all hatred from our hearts and recline on couches face to face, a band of brothers." He leans back, exhausted. Mirabehn is looking at him; she starts to sing softly. MIRABEHN "Lead Kindly Light, amidst the circling gloom..." Gandhi, his eyes closed, takes it up in his weak, croaking voice. GANDHI/MIRABEHN "The night is dark, and I am far from home, Lead thou me on..." TAHIB'S HOUSE - EXTERIOR - DAY Two police motorcycles lead a black limousine to a stop before Tahib's house. The crowd now gathered is very large. More mixed than before but still predominantly of youths, many still with black flags. Nehru gets out of the limousine with a Muslim leader, a tough- looking man who carries himself with the authority and power of a mobster (Suhrawardy). And they start to go up the outside stairs. Suddenly we hear the shout "Death to Gandhi!," "Death to Gandhi!" And Nehru turns, pushing past Suhrawardy fiercely and going back onto the street. He runs at the crowd, where the shout comes once more from the back. His face is wild with anger and shock. NEHRU (hysterically) Who dares say such things! Who?! (And he is running at them and they spread in fear.) Come! Kill me first! Come! Where are you?! Kill me first! The crowd has spread from him all along the street; they stand against the walls of the houses staring at him, terrified to move. We see, just in passing, the frightened, apprehensive faces of Godse, and near him, Apte and Karkare. Nehru stands, staring at them all, his face seething with anger. TAHIB'S ROOF - EXTERIOR - DAY We are featuring a copy of Life Magazine. On the cover is a picture of rioting men fighting and diagonally a cut-out of Gandhi lying on his cot. The caption reads: "An Old Man's Battle." As the magazine starts to be opened, it is suddenly put to one side. Another angle. Mirabehn is rising, leaving the magazine at her feet. She moves to Nehru and Suhrawardy as Azad ushers them into the canopied area. Abdul Ghaffar Khan sits quietly in the background. Mirabehn speaks softly. MIRABEHN His pulse is very irregular -- the kidneys aren't functioning. Nehru looks across at Gandhi. The doctor, who is testing Gandhi's pulse yet again, glances at him -- no encouragement -- and moves away. Nehru moves to the side of the cot and Gandhi smiles weakly and holds out a hand, but he is in pain. NEHRU Bapu, I have brought Mr. Suhrawardy. It was he who called on the Muslims to rise; he is telling them now to go back to their homes, to lay down their arms. Gandhi looks up at Suhrawardy, who nods. Gandhi looks back at Nehru. There is no hint of him changing his mind. NEHRU (personally) Think what you can do by living -- that you cannot do by dying. Gandhi smiles whimsically, he touches him again but there is no change in his attitude. NEHRU (pleadingly) What do you want? GANDHI (a moment) That the fighting will stop -- that you make me believe it will never start again. Nehru looks at him hopelessly. SQUARE IN CALCUTTA - EXTERIOR - DAY A huge crowd, some smoke in distant buildings, some damage near to help us know this is still Calcutta, and all is not yet at peace. The camera sweeps over the crowd, past the loudspeakers on their poles. We see surly knots of belligerent rowdies, mostly young, but not all, hanging on the fringes as we move over the heads of the mass of listening people to a platform where Nehru speaks. Azad, Suhrawardy, and others sit on the floor behind him. We have heard his voice over all this. NEHRU ...Sometimes it is when you are quite without hope and in utter darkness that God comes to the rescue. Gandhiji is dying because of our madness. Put away your "revenge." What will be gained by more killing? Have the courage to do what you know is right. For God's sake, let us embrace like brothers... TAHIB'S ROOF - EXTERIOR - NIGHT Featuring the Muslim leader Suhrawardy, leaning against a wall, watching an action out of shot with evident tension. We hear a little clank of metal. Another angle. There are five men facing Gandhi. They wear black trousers and black knit vests. There are thongs around their arms that make their bulging muscles seem even more powerful. They are Hindu thugs (Goondas). Their clothes are dirty -- and they are too -- but they are laying knives and guns at Gandhi's feet. Mirabehn, Azad, Pyarelal, the doctor and others on the roof watch fascinated, a little frightened. GOONDA LEADER It is our promise. We stop. It is a promise. Gandhi is looking at him, testing, not giving or accepting anything that is mere gesture. GANDHI Go -- try -- God by with you. The Goondas stand. They glance at Suhrawardy; he smiles tautly and they start to leave, but one (Nahari) lingers. Suddenly he moves violently toward Gandhi, taking a flat piece of Indian bread (chapati) from his trousers and tossing it forcefully on Gandhi. NAHARI Eat. Mirabehn and Azad start to move toward him -- the man looks immensely strong and immensely unstable. But Gandhi holds up a shaking hand, stopping them. Nahari's face is knotted in emotion, half anger, half almost a child's fear -- but there is a wild menace in that instability. NAHARI Eat! I am going to hell -- but not with your death on my soul. GANDHI Only God decides who goes to hell... NAHARI (stiffening, aggressive) I -- I killed a child... (Then an anguished defiance) I smashed his head against a wall. Gandhi stares at him, breathless. GANDHI (in a fearful whisper) Why? Why? It is as though the man has told him of some terrible self- inflicted wound. NAHARI (tears now -- and wrath) They killed my son -- my boy! Almost reflexively he holds his hand out to indicate the height of his son. He glares at Suhrawardy and then back at Gandhi. NAHARI The Muslims killed my son... they killed him. He is sobbing, but in his anger it seems almost as though he means to kill Gandhi in retaliation. A long moment, as Gandhi meets his pain and wrath. Then GANDHI I know a way out of hell. Nahari sneers, but there is just a flicker of desperate curiosity. GANDHI Find a child -- a child whose mother and father have been killed. A little boy -- about this high. He raises his hand to the height Nahari has indicated as his son's. GANDHI ...and raise him -- as your own. Nahari has listened. His face almost cracks -- it is a chink of light, but it does not illumine his darkness. GANDHI Only be sure... that he is a Muslim. And that you raise him as one. And now the light falls on Nahari. His face stiffens, he swallows, fighting any show of emotion; then he turns to go. But he takes only a step and he turns back, going to his knees, the sobs breaking again and again from his heaving body as he holds his head to Gandhi's feet in the traditional greeting of Hindu son to Hindu father. A second, and Gandhi reaches out and touches the top of his head. Mirabehn watches. The Goondas watch. Suhrawardy watches. Finally GANDHI (gently, exhaustedly) Go -- go. God bless you... COURTYARD - POLICE STATION - CALCUTTA - EXTERIOR - NIGHT Trucks with riot squads (shields and truncheons) in place, but they are lounging, waiting. There is silence, and air of somnolence. Some of the riot squad lounge in little groups around the courtyard. A distant cough. Featuring a senior riot squad officer dressed and ready for action. He it is who coughed. He coughs again, clearing his throat. A police sergeant stands by him, both are reading the front page of a paper the senior riot squad officer holds. We see two huge lines of headline: GANDHI NEAR DEATH/NEHRU GOES ON FAST. In one of the trucks one of the men offers another a cigarette. A telephone rings sharply, inside. The senior riot squad officer and the sergeant run in as engines start; the men run to their places, lower visors, headlights go on! POLICE STATION OFFICE - INTERIOR - DAY A constable mans the telephone. He listens as the senior riot squad officer and the sergeant run to him tensely. The sound of the great doors opening in the courtyard, more engines revving up. CONSTABLE Yes, sir, yes, sir, (He holds up his hand to the senior officer) "Wait." He glances up at the senior riot squad officer. CONSTABLE (writing, from the phone) Accident, "Christie crossroads," a lorry and a rickshaw. Yes, sir, I have it. He shrugs at the senior riot squad officer and hands the information slip to another constable behind the desk. The sergeant sighs, and moves to the outside door. We hear him bellow, "Stand down." The constable hangs up and sighs heavily. The senior riot squad officer shakes his head, and turns and walks slowly to the door. COURTYARD - POLICE STATION - EXTERIOR - NIGHT The senior riot squad officer and the sergeant stand in the doorway as the engines die. The men relax... the silence returns. A dog barks distantly, disturbed by the noise... A bird caws once or twice. SERGEANT I wouldn't have believed it, Mr. Gupta. SENIOR OFFICER Sergeant, it's a bloody miracle... HIGH SHOT - CALCUTTA - EXTERIOR - NIGHT It lies in silence. TAHIB'S ROOF - EXTERIOR - DAY Mirabehn is bent over Gandhi. He is curled almost in the fetal position, his face looking wan and sunken. For the first time there is silence, no explosions, no distant shouts, no gunfire. MIRABEHN Bapu, there's been no fighting -- anywhere. It has stopped -- the madness has stopped. We see the police commissioner, Suhrawardy, two doctors, Abdul Ghaffar Khan, and some others. Nearer Gandhi, behind Mirabehn, are Nehru, Patel, Azad and Pyarelal. Gandhi turns to Mirabehn, his face shaking, peering into her eyes. GANDHI It is foolish if it is just to save the life of an old man. MIRABEHN No... no. In every temple and mosque they have pledged to die before they lift a hand against each other. His weary eyes look at her; he looks up slowly to Azad. Azad nods "It's true." Then Patel PATEL Everywhere. Gandhi looks at Nehru. Nehru just nods tautly. Gandhi looks down, then lifts his head to Azad. GANDHI Maulana, my friend, could I have some orange juice... Then you and I will take a piece of bread together... The relief brings water to their eyes and grins to their faces. Nehru bends to Gandhi. Gandhi holds his hand out to him, and Nehru clutches it. Then NEHRU You see, Bapu, it is not difficult. I have fasted only a few hours and I accomplished what you could not do in as many days. It is a joke in their way with each other and Gandhi's eyes light, his smile comes. But it is tired. He puts his other hand over Nehru's and Nehru lowers his head to it, crying silently. BIRLA HOUSE - EXTERIOR - DAY As in the opening sequence -- but a few minutes earlier. The crowd is beginning to gather for the evening prayers. We see a tonga or two, a gardener opening the gate to the garden, three policemen standing, talking idly among themselves. BIRLA HOUSE - INTERIOR - DAY Laughter. Gandhi is eating muli; he holds his head back to capture the lemon juice. We hear the click of a camera GANDHI That is how you eat muli. Manu hands him a cloth and he wipes his hands. Another click of a camera. He is not fully recovered, but well on the way. GANDHI (to the photographer) I'm not sure I want to be remembered that way. It is all light and for fun. We get a wide-angle shot now and see that Bourke-White is shooting one of her favorite subjects again. She is enjoying the banter, as is Mirabehn, who is spinning quietly to one side of the room, and Patel, who sits cross-legged like Gandhi on the floor. Pyarelal is working on papers with him but grins at this. BOURKE-WHITE Don't worry, with luck you may not be. And she shoots him again, as he hands the cloth back to Manu. Abha is sitting next to Manu, looking at a collection of pictures of Gandhi, obviously Bourke-White's. PATEL No, he'll be remembered for tempting fate. It is wry, but waspishly chiding. Abha suddenly holds a picture up for Gandhi to see. It's one of him, ears wide, eyes round. ABHA Mickey Mouse. Gandhi taps her on the head with his finger as she smiles. But Bourke-White has looked from Patel to Gandhi, clearly shaken by the implication in Patel's words. BOURKE-WHITE You really are going to Pakistan, then? (Gandhi shrugs, and she chides too) You are a stubborn man. GANDHI (a grin, in the mood of their "flirtation") I'm simply going to prove to Muslims there, and Hindus here, that the only devils in the world are those running around in our own hearts -- and that's where all our battles ought to be fought. Abha has signaled to the cheap watch dangling from his dhoti. He glances at it, and holds his arms out. The two girls help him. BOURKE-WHITE And what kind of a warrior have you been in that warfare? She is photographing his getting-up and leaning on the two girls. GANDHI Not a very good one. That's why I have so much tolerance for the other scoundrels of the world. He moves off, but has a sudden thought and turns to Patel. GANDHI Ask Panditji to -- to consider what we've discussed. Patel nods soberly and Gandhi starts for the door, Bourke- White moving with him. GANDHI (of the photographs) Enough. BOURKE-WHITE (a plea) One more. He has passed her, he's in the doorway. We see the crowd at the end of the garden, where the light of the day is beginning to soften. He turns, teasing in his slightly flirtatious way with women. GANDHI You're a temptress. She shoots him against the door -- the crowd milling distantly, waiting -- then she lowers her camera. BOURKE-WHITE Just an admirer... GANDHI Nothing's more dangerous, especially for an old man. He turns; the last words have betrayed the smile on his face; they have a painful sense of truth about them. Bourke-White watches as he moves into the garden toward the crowd in the distance. She turns to Mirabehn. BOURKE-WHITE There's a sadness in him. It's an observation -- and a question. Mirabehn accedes gravely. MIRABEHN He thinks he's failed. Bourke-White stares at her, then turns to look out at him. BOURKE-WHITE Why? My God, if anything's proved him right, it's what's happened these last months... Mirabehn nods, but she keeps on spinning and tries to sound cynically resigned but her innate emotionalism keeps breaking through in her voice and on her face. MIRABEHN I am blinded by my love of him, but I think when we most needed it, he offered the world a way out of madness. But he doesn't see it... and neither does the world. It is laced with pain. Bourke-White turns and looks out at Gandhi -- so tiny, so weak as he walks between his "props." He has now reached the end of the garden and is moving among the crowd assembled there. THE GARDEN - BIRLA HOUSE - EXTERIOR - TWILIGHT Gandhi is moving forward in the crowd, one hand resting on Manu, the other on Abha. He makes the pranam to someone, the crowd is bowing to him, some speaking, and we also see the crowd from his point of view -- "Bapu," "God bless you," "Thank you -- thank you." He turns to a very old woman, who makes a salaam to him. Gandhi touches her head. GANDHI Allah be with you. Smiling, he turns back. A jostling, the sound of beads falling. MANU (to someone) Brother, Bapu is already late for prayers. Gandhi turns to the person; he makes the pranam. Full shot. Godse is making the pranam to him and he suddenly, wildly draws his gun and fires. The camera closes on Gandhi as he staggers and falls, the red stain of blood seeping through his white shawl. GANDHI Oh, God... oh, God... Manu and Abha bend over him, silent in their first shock. The sound of panic and alarm begins to grow around them, they suddenly scream and begin to cry. MANU/ABHA Bapu! Bapu! FUNERAL PYRE - EXTERIOR - DAY Blackness. Silence. A moment -- we sense the blackness moving -- like dark smoke. The camera is pulling back very slowly and we can tell the blackness is smoke rising from a fire. And now we see that it is a funeral pyre. And all around that pyre a mass of silent humanity. Through the smoke, sitting cross-legged near the rim of the flames, we see Nehru... and Azad and Patel, Mirabehn and Kallenbach, the drawn faces of Lord and Lady Mountbatten, Manu and Abha... THE RIVER - EXTERIOR - DAY A helicopter shot coming slowly up the wide river, low, toward a barge and a mass of people in the distance. And now we are over the barge, and it is covered with flowers. Flowers flow downstream around it. An urn sits on it -- containing Gandhi's ashes -- and Nehru stands near it, Azad and Patel a little behind him. And as the barge floats down the river, Nehru bends and lifts the urn... Featuring Nehru. He swallows, restraining his own emotion, and slowly, ritualistically, sprinkles the ashes over the water. And as they spread, we hold on that stretch of the river, the flowers swirling languidly around it as the dark, timeless current moves them toward the sea. GANDHI'S VOICE (weak, struggling, as he spoke the words to Mirabehn) ...There have been tyrants and murderers -- and for a time they can seem invincible. But in the end they always fall. Think of it -- always... When you are in doubt that that is God's way, the way the world is meant to be... think of that. And slowly the camera begins pulling back, leaving the flowers, the brown, rolling current as though leaving the story of Gandhi, going far out, away from the great river, reaching higher and higher, through streaks of clouds as end titles begin. And through them, once more we hear, dimly, reminiscently, through the rushing wind: "At home children are writing 'essays' about him!"... the croaky voice singing, "God save our gracious King"... Dyer: "Sergeant Major --," the Sergeant Major: "Take aim!," Dyer: "Fire!," the sound of massed rifle fire, screams... "You are my best friend... my highest guru, and my sovereign lord." "Who the hell is he?," "I don't know, sir." "My name is Gandhi. Mohandas K. Gandhi."... the sound of rioting, women's screams, terror... "Find a child -- a child whose mother and father have been killed. A little boy... about this high."... "He thinks he's failed."... "Long live Mahatma Gandhi!... Long live Mahatma Gandhi!" THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Gangs of New York.txt b/unformated_scripts/Script_Gangs of New York.txt new file mode 100644 index 0000000000000000000000000000000000000000..3191bc1ffaee3c59178f64195c68dda6e4021483 --- /dev/null +++ b/unformated_scripts/Script_Gangs of New York.txt @@ -0,0 +1 @@ +Gangs of New York Gangs of New York by Jay Cocks, Steven Zaillian, Kenneth Lonergan. 3rd Draft (1993). More info about this movie on imdb.comINT. ROOM OLD BREWERY DAY Half in shadow, a man named VALLON, dressed in black, fastens a cleanwhite clerical collar around his thick neck. He raises a jagged razor tohis face, RAKES it across his right cheek, drawing BLOOD. He does notflinch.The sharp SCRAPING of the jagged blade against skin is the first SOUND wehear.VALLON cuts himself similarly on the left cheek, then hands the razorceremoniously to a BOY standing beside him. The boy, no more than twelveyears old, looks at VALLON worshipfully, keen eyes shining with fear andexcitement. He starts to wipe the razor blade on the bottom of his jacket.VALLONNo. Never. The blood stays on the blade, son.He hands the boy a dark red velvet pouch. Very carefully, the boy, knownas AMSTERDAM, wraps the razor up, hands it back to his father.From the shadows, VALLON now raises a long pole with a beautiful goldencrucifix mounted on the end, then holds his free hand out to his son.Amsterdam squeezes tight.VALLON nods toward the door. Amsterdam pulls it open. Outside is a dimhallway. We hear SOUNDS that might be animal or human.MUSIC begins: a steady, driving cadence somewhere between a march and ahymn.CUT TO2 INT. HALLWAYVALLON strides in long measured steps. Amsterdam has trouble keeping upwith him.They are walking down a long corridor that's like a tunnel. Patches ofLIGHT stain the darkness. Sometimes Amsterdam glimpses a FACE peering outfrom the gloom. Once or twice he almost stumbles over a BODY stretchedacross his path.CUT TO3 INT. ROOMAnother room, even smaller. The only decoration is a bizarre rendering ofa Madonna and child painted on the wall.A beefy man picks up a home-made PIKE, its iron tip sharpened to a lethalpoint. He is smiling. The grin is huge, but cockeyed. It occupies onlyhalf of his face. The grotesque, unending grin is the result of facialparalysis, and has given him a nickname: HAPPY JACK MULRANEY.Jack lifts the pike carefully, then takes a candle from the wall and bendsdown over a wooden cage full of rabbits. He slowly moves the candle backand forth across the cage top. Wax falls on the cage, splattering anunlucky rabbit.Jack thrusts the pike between the wooden bars, impaling the rabbit's body.He pulls the pike from the cage and leaves.CUT TO4 INT. HALLWAYJack falls into step beside VALLON and Amsterdam. He holds the pike withthe dead rabbit high, next to VALLON's cross.HAPPY JACKDid you bring the boy for a charm, Priest?VALLONNo, Jack. For a baptism.Now a WOMAN joins them. She's dressed in man's clothes, her pants held upby suspenders. She wears a set of IRON CLAWS.MUSIC builds, growing more insistent and more ominous.Now a figure looms before them. Over his street clothes, this WARRIORwears a rig of home-made armor made from fracgments of steel, lengths ofchain and bits of leather. He carries a battle-axe as lightly as if itwere a twig.RABBIT WARRIORWe'll send a few across the river today, Priest.He joins the procession. Another woman, as tough as the first and halfagain as large, and several more men, all armed with implements ofdestruction, fall in beside him. Their faces are marked with blood, likeVallan's, or covered with ritual markings made with paint and ink.The group grows ever larger and more forbidding. occasionally PEOPLE dartaround them in the tunnel and scamper out of their way like animalsfrightened in a burrow.CUT TO5 INT. ROOMVast and dank, like a cavern. We start CLOSE on...... the body of a dead rat being filled with some pieces of lead.Then a little WIDER to reveal: an eager boy, SHANG DRAPER, about the sameage as Amsterdam. He drops the last few pieces of lead into the mouth ofthe rat, then sews it closed. He hefts the animal by the tail, swinging itas he stands up.He is near a primitive forge where a half-drunk SLACKSMITH hammers crudeweapons into shape and distributes them to OTHER MEN and WOMEN. The flooris covered with bits of lead and steel, which Shang has been using to sewinto his rat.Shang FOLLOWS the crowd of men and women with their weapons. And now wesee this room full. It is huge: the main room of the Old Brewery, crowdedwith families huddled together for warmth and comfort, or out of fear; menand women, together or separately, drunk or passed out. They are like zooanimals in a pit. There are sticks of furniture jammed in corners, or,more often, arranged at angles in the middle of the room to form tinyenclaves where the ancient brewery machinery forms irregular boundaries.Above Shang's head, VALLON and his gang walk across a plank bridge thatspans the room a hundred feet beneath them. Armed men and women from theBrewery are climbing a rope ladder to join them. Shang SCURRIES up afterthem.The men and women from the Brewery fall in behind VALLON and the others inthe lead. Shang SPOTS someone near his own age toward the front:Amsterdam. He presses through the crowd like a hunting dog.SHANGWhat's the fight?AMSTERDAMThe Dead Rabbits against the Native Americans, same as ever. But it'll allbe settled today.SHANGAre you Native or Rabbit?AMSTERDAM(points to rabbit on pike)What do you think?SHANGLooks alright. I'll stand by you, then.CUT TO6 INT. HALLWAYThe group now turns down the last corridor, as dim and long as a tunnel.In the distance, there's a faint glimmer of light and the figure of a MAN(MONK EASTMAN). VALLON stops near the door.VALLONI don't know you.MAN(lightly)I suppose there's to be a fight.VALLON catches the heavy Celtic inflection in the man's voice.VALLONDerry?MANDonnegal. Name's Monk Eastman.VALLONAnd you want to fight, Mr. Eastman?MONKlf there's money in it.VALLONFight for the Natives. They have a proper war chest.MONKWell, I might at that. But I thought I'd ask you first, seeing as how I'mnot quite a Native American myself.VALLONLet's see your skills, and we'll talk of payment later.MONKFine. But if you like what you see, pay me double.Monk turns to the door with the grace of a dancer and delivers aSHATTERING kick, sending it flying off its hinges. Clear white LIGHTstreams in, and we see Monk Eastman plain for the first time: a huge man,in stature and girth, wearing a small DERBY that intentionally makes hishead look even bigger.VALLON(as the door splinters settle)Stand with us then.CUT TO7 EXT. STREET DAY (WINTER)WINTER WIND blows across a scene as strange and bleak as an alien planet.VALLON, carrying his cross high, steps through the doorway. The OTHERSslowly follow VALLON out of the building, which is three stories high andmaybe a block long. A dilapidated sign identifies it as the 5 PaintsBrewery.It is the tallest structure in the midst of low, squalid SHACKS, windingALLEYS as narrow as a snakels back, and DIRT STREETS filled with ruts, mudand filthy snow. A few PIGS wander forlornly about, rooting for garbage.WASH hangs stiff, in the middle of the square, from a peculiar monumenterected to some forgotten war hero.The Brewery occupies one side of a SQUARE surrounded by some storefrontsand a couple of collapsed wooden sidewalks. If this place resemblesanything at all, it's a horrible hybrid of London's Limehouse and apioneer town in the American West whose best days have long passed--ornever came at all.VALLON stands still, staring across the square past the monument. Hisbattalion of irregulars waits for his signal.Now... very, very slowly...from around both sides of the monument comesANOTHER GANG, in size the same as VALLON's, men and women both, armed likeVisigoths with HOMEMADE WEAPONS: knives, pitchforks, building blocks andbricks, boards with sharp nails protruding from the ends. Every member ofthis second group is dressed in a long DUSTER which reaches to the ankles.Several MEN in front of the group sport dusters made of leather.VALLONBill Poole! on whose challenge are we assembled?A MAN in a leather duster (BILL THE BUTCHER) steps forward. He is young,lean and fierce. And then there are his eyes. They do not match. One isreal. The other is a huge, bulging PEARL upon which has been engraved,instead of a pupil, a full-color portrait of the AMERICAN EAGLE.On the side of the square, arranged to get a good view of the impendingcombat, is a group of STREET KIDS, girls and boys, none older than eight.They talk and laugh excitedly among themselves, picking their ownfavorites among the gangs as if the warriors were players on a team.BILL THE BUTCHEROn the challenge of the Native Americans, to settle for good and all whoholds sway.VALLONBene.BILL THE BUTCHERBy the ancient laws of combat, we offer our bodies to the ghosts of thosewarriors who have gone before us. Valor is avid for glory, and glory is inour wounds.VALLONBut this time can you bear to look on the glory when it comes, Bill? Canyou see it clear with your single eye?BILL THE BUTCHERWhoever fights untouched in battle has skill, but the warrior who returnswounded has been touched by God.VALLONIt wasn't God who touched your eye.BILL THE BUTCHERIt was God gave me guidance. Will you be able to look on the death blowlike a gladiator, and not look away? No honorable man turns an eye fromhis death.VALLONI don't expect a death blow from your hand, Butcher. Let's have at it.BILL THE BUTCHERThere is another matter.VALLONSay it out and quick, before spring gets here.BILL THE BUTCHERNo Native American Warrior will dishonor himself with the blood of thehalt and maimed.VALLONSo?BILL THE BUTCHERSo we would like to know whether Squire Jack Mulraney of the Dead Rabbitscan smile out of both sides of his face.A pause of a single second. Then HAPPY JACK takes the dead rabbit off thetip of his pike and hurls it across the square. It lands right at BILL THEBUTCHER's feet.In a flash, BILL THE BUTCHER opens his coat. Inside, on a special belt hecarries a CLEAVER, a CARVING KNIFE and other instruments of the butcherlstrade, all stained with blood and gristle. Now the MAN standing next tohim removes the broad BELT from around his coat. The brass buckle issharpened to a point, the leather studded with glass.The gallery of Street Kids tenses for action: they are thrilled.VALLON reaches up to the CROSS, pulls off the top piece, to disclose,underneath, a gleaming sword point. He folds the arms of the cross down,like the blades of a jackknife.VALLONPrepare to receive the Lord.And the air is full of screams and battle cries as the two gangs hurlacross Paradise Square into BATTLE.VALLON draws first blood. He impales a Native American on the sword end ofhis cross and turns to fight again.Amsterdam and Shang exchange a glance of frightened, worried wonder.Then a Native American rushes at them, shouting for blood. The boys acttogether. Amsterdam dives down in front of the man, sending him sprawling.Shang BLUDGEONS the fallen warrior, using his lead-filled rat like ablackjack as Amsterdam kicks him savagely; the Native collapsesunconscicus at their feet. Before the boys can thank one another, however,they are separaten by the SURGING GANGS all around them.BILL THE BUTCHER leaves his meat CLEAVER imbedded in the middle of a man'sskull, then WADES through the combat as if shielded by a charm.The gallery of Street Kids is thrilled by this display and reacts withCHEERS.VALLON BATTLES three Natives who come at him at once.Monk Eastman grabs a Native in his arms like a groom hugging a bride. Heraises his knee and brings the man crashing down across it, BREAKING hisspine like a Thanksgiving wishbone.The gallery of Street Kids is awed by this display of power from a newstar in the making.The Rabbit Warrior in the home-made armor grins at an intrepid Native andlowers his battle-axe. The Native rushes as theRabbit Warrior swings and SEPARATES the man from his legs.A NATIVE WOMAN lowers her head and charges her Dead Rabbit adversary,delivering a shattering BUTT to his stomach.A NATIVE BOY holds a rusty old pistol, which he uses at pointblank rangeagainst several Rabbits.A RABBIT WOMAN flies into a Native, using her IRON FINGER EXTENSIONS toGOUGE his face.The NATIVE with the deadly belt uses it to TEAR a piece out of a Rabbit'sface.Amsterdam, beginning now to be overwhelmed by the hellish fight, looksaround in growing PANIC for his father.SHANG uses his lead-rat blackjack to clear an escape back toward theBrewery. The Street Kids can tell he's trying to escape, and start BOOINGhim...... as Shang's GRABBED from behind and pulled off his feet by a PEG-LEGGEDNATIVE. He THROWS the boy to the ground and pins him by holding thesword-sharp point of his wooden leg against Shang's throat.SHANG(desperate)I run with you! I'm one of you! Born a Native American from the blood offive generations!PEG-LEGYeah? Then you oughta be a red Indian.He pushes down. Shang starts to bleed. But now PEG LEG is distracted bythe sudden SOUND of bells and whistles. He watches the BOY trembling onthe ground, then moves off him, making for the sound of the bell, leavingthe BOY quaking.The SOUND grows louder as TWO HORSE-DRAWN CARTS full of battle readyPOLICE tear around the curve of a narrow thoroughfare and stop in ParadiseSquare.The BELLS on the carts toll loudly and work magic. The fighting stops.The POLICE, all carrying clubs and wearing leather helmets, LEAP OFF thewagons.There are several moments of ABSOLUTE SILENCE, broken only by the SOUND ofthe wind and the GROANS of the wounded.Then, as one, the Dead Rabbits and the Native Americans RUSH the policetogether, hurtling stones and brandishing weapons. Even the Street Kidsget into the act, kicking and biting and generally having a fine time.The gangs SWARM all over the police, driving them back. Some lucky copsclimb back on the wagons and try to get away. The unlucky police remainbehind, dead on the ground.The GANGS cheer, jeer and continue to throw things at the retreatingPOLICE. When the second wagon disappears from view, the GANGS confronteach other once again.Another brief moment of QUIET. The Street Kids settle back into theirspectator role. Then the GANGS go at each other with fresh intensity.Amsterdam finally SEES his father and starts to PUSH his way toward him.VALLON and BILL THE BUTCHER stand facing each other in the midst of battlelike two titans: then they rush at each other, joining with a terriblefury.Shang, still blindly SWINGING his blackjack, makes his way closer to therelative safety of the Brewery, his face stained with tears of fear. Hehits someone. The MAN turns, swats him down. Shang sprawls on the street,which is a SWAMP of mud and blood and dirty snow, and finds himself faceto face with a departed PEG LEG. Someone has removed his artificial limband driven it through his heart.Across the square, Amsterdam has reached his father in time to see aNATIVE AMERICAN sneaking up behind him. Amsterdam grabs a long TRUNCHEONfrom a fallen warrior and uses it to hit the man a strong blow behind theknees.The MAN falls, howling. AMSTERDAM HITS him again. And again. He ishysterical.VALLON and BILL THE BUTCHER keep fighting. Amsterdam sees, with a singlelook, that his father is in the fight of his life. He looks for a weaponto help...... sees a HATCHET lying by the body of the Rabbit he has just beatensenseless. He grabs it and runs forward, looking for an opening betweenthe Butcher and his father...As the two combatants move, Amsterdam MOVES. Bobbing, weaving, feinting,falling back... looking for his chance...... as Bill deals VALLON a blow that ROCKS him back and throws him offbalance......just as Amsterdam has made his move. He RUSHES forward, sees his fatherFALLING, tries to turn but...... too late. The boy's hatchet SLASHES his father in the leg. VALLONfalls to one knee, gestures frantically to the stunned Amsterdam to getaway...... and Bill is upon VALLON, SINKING his knife into his chest. VALLONscreams and falls on his back, Bill kneeling over him. He looks into hisenemy's eyes ... and VALLON's EYES LOCK ON HIS. For all his suffering,VALLON's eyes HOLD Bill ... he forces himself to look at Bill...it's aterrible struggle... but VALLON will not look away.Amsterdam, hysterical, RUSHES at the Butcher. The Butcher grabs Amsterdamby the arm, making him drop his hatchet.BILL THE BUTCHERYou need a weapon? Use a knife.He puts the struggling boy's hand on the hilt of the knife that theButcher sunk into his father's chest.BILL THE BUTCHERIt makes a deeper cut.And, HIS HAND GUIDING THE BOY'S, he RAMS his knife deep into VALLON'sheart.BILL THE BUTCHERSay a benediction, Priest.VALLON bellows in agony. Amsterdam screams at the very same moment, hiscry mingling with his fatherls tearing through the air.BILL THE BUTCHER(to Amsterdam)Hold this close to mind, boy, should you ever think of going up againstthe Native Americans.Bill the Butcher rises and all around him, as if on some mysterioussignal, the fighting subsides. A DEAD RABBIT sees the fallen Vallon, takesa battered brass HORN from his belt and sounds THREE NOTES, quick andsharp. As the notes fade away, the fighting stops completely.BILL THE BUTCHER(announcing)Ears and noses will be trophies of the day.The Rabbits SCAMPER to collect their dead and wounded before the Nativescan get to them to slice off the battle souvenirs. But there are manycorpses maimed. The Street Kids DISPERSE. The main battle is over, and theNatives have clearly carried the day.The Rabbits file past Vallon, rorming a protective CIRCLE around him.Amsterdam kneels at his side. Vallon tries to speak. Blood bubbles in histhroat.VALLONCan't..can't cross the river... with steel through my heart.Amsterdam looks around. None of the Rabbits makes a move. This is clearlysomething he is meant to do himself.Amsterdam grabs the tortoise handle of the knife, PULLS on it. Vallontries not to cry out. The knife does not move.Amsterdam tries again. He can't budge the knife. Vallon MOANS. Nearlywild, Amsterdam PULLS with all his strength. Vallon SCREAMS in agony.Amsterdam is pulling so hard he raises his father's back four inches offthe ground. Still the knife will not move. Vallon passes out from the pain.Now, finally, someone steps forward: Monk Eastman. He leans over butAmsterdam, berserk with grief, pushes him away, turns back to his father,and, with a last desperate pull, DRAWS the knife from his father's heart.He throws it on the ground. Monk picks it up, wipes the blade on his arm,closes the knife and hands it to Amsterdam.MONKThat's yours, rightfully.Now Monk leans over the lifeless body and reaches inside Vallon's coat,REMOVING some money.MONKAnd this is mine. Only what's owed. Use the rest for funeral.AMSTERDAMNo!He tries to shove Monk away from his father, when the Native Warriorintervenes.HAPPY JACKIt's fair.Amsterdam, wild with shock and grief, turns back to his father as Monktakes what's owed him. Amsterdam bends over to KISS Vallon on both cheeks,then on his left eye.The boy is just about to kiss his fatheros closed right eye when the lidsprings OPEN - Amsterdam jumps back despite himself. Vallon stares at him:a last moment of recognition.VALLONHon ...AMSTERDAMNo, Pa!VALLON... honor me... think of me ... don't never look away.Vallon convulses and DIES. Amsterdam shakes him to revive him.RABBIT WOMANTake the body. Bring the boy.Several RABBITS take a step or two forward, but Amsterdam springs up atthem, like an animal.RABBIT WARRIORCome an, lad. Therels nothing to be done now.AMSTERDAMGet away! Get away!HAPPY JACKLeave him be. He's his to mourn.And the RABBITS turn away, going back to the Old Brewery or vanishing downthe narrow streets.Now a few CITIZENS venture out into Paradise square. A couple ofSCAVENGERS scoot about, looting bodies.Amsterdam stays in the center of the square unmoving, undisturbed, keepingsolitary vigil over his father.A TITLE is superimposed across this scene:NEW YORK CITY 18448 EXT. HARBOR DAY WINTER (MATTE)The same afternoon. As the sun goes down, we have our first full look(MATTE) at the low pale outlines of the city.The harbor is crowded with the high masts of sailing ships. Just north ofthe island tip is the steeple of the city's tallest structure, TrinityChurch. The buildings of Wall Street are masses of concrete and wood, thestreets surrounding them paved with cobblestones. Just above the financialdistrict are the sloping buildings and rutted avenue of the Five Points .The Old Brewery stands tall and forbidding over Paradise Square.Above the Five Points, in the distance, we can glimpse some finer, newerbuildings. One wide street--Broadway--seems to run from the very tip ofthe island clear up into the woods just a few miles north of the harbor.The only SOUNDS are the lapping of the harbor water against the boats, thecreaking of masts in the winter WIND.CUT TO9 EXT. HARBOR DAYA closer view - The TITLE fades off. We see an imposing edifice on theedge of the harbor with a wooden sign identifying: "IMMIGRATIONDEPARTMENT, UNITED STATES OF AMERICA."The sun has nearly set. A boy--about 10 years old--sits on the edge of theCastle Garden dock, gazing down at the frozen Hudson. He can just aboutmake out his reflection in the dull sheen of the ice. His name is JOHNNYSIROCCO, and he watches himself with bewildered seriousness.Abruptly, he reaches down and SMASHES through the ice with his fist. InSLOW MOTION, we watch the ice fragments drift apart in the river current,each bearing away a REFLECTION of Johnnyls face, like pieces of a puzzle.POLICEMANWhere's your family, sonny?Johnny sees a POLICEMAN scrutinizing him.JOHNNY(lilting brogue)My mother's just there.He gestures toward a ship, where MEN are unloading cargo. In a hoist, theyare lowering a thin pine COFFIN to dockside.JOHNNYOn the trip, her insides all broke up. She wasn't dead and there was threeothers fighting for her bed.POLICEMANAnd your father? Where's he, then?JOHNNYI never knew him.POLICEMAN(taking Johnny's hand)We better see to you, then.CUT TO10 EXT. STREET NIGHTThe Policeman leads an awed Johnny through the TEEMING streets of the FivePoints.POLICEMANWhere all those streets come together right ahead is the true Five Points.But most speak of the Five Points and mean anywhere between the Batteryand the Bowery.Although the night's cold, the streets are jammed. WHORES painted likecarnival Gypsies sell themselves to any man sober enough to stand up.SOUNDS of laughter and combat filter out from garish SALOONS like theLittle Naples, the Hell Hole, the Egyptian Hall.In the midst of all this highlife are BEGGARS and the SICKLY, looking forcharity, scrounging garbage in the street. An INDIGENT battles a CRIPPLEfor a meager scrap of faod. A richly dressed WOMAN, riding by in acarriage, hides her eyes by raising a HUGE BOUQUET OF FLOWERS in front ofher face.POLICEMANStreets hereabouts are lively of an evening. The city comes here to sport.But there's places to put up a boy on his own.Three WOMEN, exquisitely costed, burst from the door of the Egyptian Hall.Under the harsh glare of a nearby gas lamp, their faces are no longerstriking. Johnny STARES; there is something not right about these faces.JOHNNYAnd those? What are those?POLICEMANWell, those. Those are, as you might say, a sort of...We SEE one of the women's faces, suddenly harsh under gaslight: underthickly caked make-up is a smiling TRANSVESTITE.POLICEMAN... sort of whatnot.TRANSVESTITESay, policeman. I'll buy your bonny friend.The Policeman fetches the Transvestite a strong WHACK with his nightstick.The Transvestite screams and falls ... and Johnny RUNS.POLICEMANHey!But Johnny's off, already lost in the mad street life.CUT TOINT. MORTUARY NIGHTA funeral chapel.Vallan's body lies in state. He is wearing his gang regalia, and all theDead Rabbits FILE PAST his coffin in solemn tribute. A WOMAN bends downand kisses the body. Happy Jack Mulraney holds Vallon's crucifix, which hehas obviously inherited. As a disreputable looking Minister muttersPRAYERS, Happy Jack whispers to a silent Amsterdam.HAPPY JACKWe passed the plate amongst ourselves. Come up with enough ned to carryall this, and carry you a while, too.He stuffs some money in Amsterdam's pocket.AMSTERDAMWhere will my father rest?HAPPY JACKPotters Field, with everyone else.AMSTERDAMMy father won't be buried with everyone else. He'll lie separate in freshground, facing east.HAPPY JACKWhat difference where he faces?AMSTERDAMHe'll face east for the second coming of Christ.HAPPY JACKFine, son. When Jesus gets to the Battery you show Him the way from there.The Minister finishes the service. MR. CORNELIUS, a funeral director whoresembles one of his own customers, ushers in a WOMAN (MAGGIE) pulling alovely 10 year old GIRL (JENNY EVERDEKNE) by the hand. The woman isobviously drunk, the girl frightened.MR. CORNELIUSWill you have music, entlegenWOMAN (MAGGIE)My daughter'11 do any song you like.HAPPY JACKNot tonight, Maggie, we got...Monk Eastman interrupts from the Background.MONKHow much?MAGGIEAny ned in your pocket, sir.MONK hands MAGGIE some coins.MONKShe sing sweet as she looks?MAGGIEPure celestial, sir.(to girl)Go on, Jenny.Jenny's voice is sweet as promised. The song she SINGS, however, is abawdy saloon song. Maggie cuts her off fast.MAGGIENo, Jen, the other.Jenny starts to sing a HYMN. To avoid looking at the corpse, she lets hereyes rove all around the chapel until she SEES Amsterdam. She locksstraight at him until the hymn is over. And he does not take his eyes offher.CUT TO12 INT. MORTUARY HALLWAY NIGHTMr. Cornelius is about to escort Maggie and Jenny into another roomcrowded with mourners when a smartly-dressed man (DANIEL KILLORAN)gestures to him from the shadows.KILLORANMr. Tweed would like a word, Mr. Cornelius.(Cornelius hesitates)Tweed of Tammany.At the mention of the name, Cornelius shoos Maggie and Jenny into themourning room and shuts the door behind them. Then he gives Killoran hisfull attention.KILLORANIn your office. At your pleasure, of course.CUT TO13 INT. MORTUARY OFFICEAs the door opens, we see a man gazing out the narrow window onto thespectacle in the next building. He is in his late 20s, already a littlefleshy but dressed with dash: WILLIAM TWEED... "BOSS" TWEED. He shows abemused, almost schalarly interest in the goings-on next door.This mortuary is located next to a bordello, where the windows areuncurtained and the energy and variety of theactivities inside is astounding.Tweed finally TURNS as Killoran opens the door.TWEEDMr. Cornelius. With a view like this I'm surprised the dead can rest inpeace.CORNELIUSIs there anything I can...TWEED(interrupting)Yes. A favor.CORNELIUSHappy to serve, Mr. Tweed.TWEEDExcellent. Lend me something.CORNELIUS(puzzled)Oh, I don't know what I could ...TWEEDI believe in form and appearance, you see. Just like yourself, sir. And Ibelieve in law, and the power of example. Our city is a lawlesswilderness, sir. I'm asking you to help chasten it.CORNELIUSA matter of civic duty, then.TWEEDAnd civic pride. I want you to help me set an example.(smiles)I only need to borrow one of your clients.CUT TO14 INT. MORTUARY NIGHTTwo native Americans open the door where Vallon is laid out and Bill theButcher STRIDES into the room.There is immediate TENSION, like an electric charge, as other Nativesstand in the doorway and crowd the hall stand while Bill walks over to thecoffin. He places a BLACK ROSE in Vallon's folded hands.BILL THE BUTCHERTomorrow your cortege will cross Paradise Square, into territory protectedby the Native Americans. You will be permitted undisputed passage bothways. That is our tribute. After that, any Rabbits wishing to join theNative Americans and willing to swear blood loyalty will be welcomed. Allothers will be dispatched.He starts out of the silent room, but STOPS when he sees Mank Eastmanlooking at him with easy interest. Bill the ButcherSTARES him down, but Monk's gaze never wavers.BILL THE BUTCHERI'll expect you first.MONKMe? Oh, I don't know. All that talk of blood loyalty makes me quake. I'llspill blood when the price is right. But blood for ceremony? I prefer holycommunion.BILL THE BUTCHERYou saw us fight today. You know we can pay any price.MONKNot mine. Not now, and not any time after.BILL THE BUTCHERWe'll see. Independence is a slippery thing. But being a rival ... well,that's dead dangerous.Bill brushes past Monk and leaves, followed by the NATIVES.Now the RABBITS file out, with Monk among them.HAPPY JACKCome on, boyo. I'll put you up tonight.AMSTERDAMI'll do for myself, Jack.HAPPY JACKYou can't.(Amsterdam stares at him)There's no mistaking you're his son.Happy Jack leaves Amsterdam alone in the room.Now, by himself, sure of no one seeing, Amsterdam CRIES.CUT TO15 INT. MORTUARY NIGHTMr. Cornelius is seated in his office, enjoying a late supper whilelooking out his window at the bordello activity across the alley. A NOISEat the door disturbs him: Amsterdam.AMSTERDAMWhat's the cost to bury my father proud and proper?MR. CORNELIUSFor a plot, a headstone, hands to break the earth...AMSTERDAMHow much?MR. CORNELIUSWhat are your current means?Amsterdam turns out his pockets, which contain Bill the Butcher's pirateknife as well as the cash Happy Jack pressed on him. Cornelius TAKES itall.MR. CORNELIUSOf course you'll have to wait three days for a city permit. But all thismay do for part.AMSTERDAMNo.Amsterdam takes the knife back from Cornelius.AMSTERDAMThat's owed another.CUT TO16 EXT. STREET/PARADISE SQUARE DAYA grey day. Amsterdam stops in front of a window. He STRUGGLES with hisscarf, trying to keep himself warm. His eye strays for a moment, and hesees he is outside Mr. Cornelius' Establishment. Then he NOTICES somethingelse........ his FATHER, propped up in a coffin, on public display. There is alarge sign beside the body: "The Dead End of Lawlessness. Tammany AbhorsCrime. Tammany Means Justice."A sizeable CROWD is goggling at the body. Amsterdam BULLS his way throughthe people to the street. He looks in the gutter, then looks up quickly.Someone is watching him: Johnny. He's carrying an armful of wood.JOHNNYFirewood?Amsterdam grabs the longest plank Johnny has.JOHNNYIt's a penny the load.AMSTERDAMLater.He turns with the plank in his hand and starts to RUN back through thecrowd.JOHNNYHey!Johnny manages to GRAB the other end of the plank. But Amsterdam's sostrong he YANKS him right along. The Crowd YELLS as it parts forAmsterdam, who CHARGES through using the plank like a battering ram, withJohnny on the far end, born along by stubbornness and momentum...... toward Mr. Cornelius' window. Amsterdam SHATTERS the window and theCrowd SCATTERS in a blizzard of GLASS.Amsterdam stumbles into the window and against the coffin, which fallsover, spilling Vallon's BODY, knocking the boy over. Amsterdam pickshimself up as Johnny stands frozen.AMSTERDAMHelp me.He starts to pull his fatherls body from the window.AMSTERDAMCome on! Help me, goddamn it!In a daze, Johnny steps forward and HELPS Amsterdam pulls the body ontothe street.Now: the SOUND of WHISTLES and WHEELS and RUNNING HORSES as a wagon fullof POLICE arrives on the scene. Behind them, the Crowd returns, yellinginsults.The police RUN toward the window. Mr. Cornelius dithers at the front ofthe crowd.Amsterdam and Johnny exchange a look. Then Johnny RUNS for it. Amsterdamstays with the body...... as the cops close in, SWINGING clubs. Amsterdam's grabbed and hit acouple of times. The Crowd yells. A COP swings his arm back to giveAmsterdam a good wallop...... and someone grabs his arm: Bill The Butcher.BILL THE BUTCHEREasy, crusher. What's this all about?CRUSHERAsk the boy.AMSTERDAMI paid Cornelius for my father to rest in honor. He told me I had to waiton a permit, but he only wanted time to...BILL picks up the Tammany sign from the ground.BILL THE BUTCHERMake another Arrangement, looks like. For advertising.(to cop)Better go along. I'll see to all this.COPThe boy...BILL THE BUTCHERTake the little malefactor.The Cops YANK the wildly flailing Amsterdam to his feet and DRAG him offto their wagon. Bill The Butcher approaches Cornelius.BILL THE BUTCHERGive the boy what he paid for.CUT TO17 EXT. STREET/PARADISE SQUARE DAYAmsterdam is HURLED into the police wagon. The door is locked behind him.He pulls himselt to his feet, looks out the tiny barred window, SEES ...... Dead Rabbits join up in a rough funeral procession. SEVERAL help LOADVallon's body back into the coffin and place it onto Mr. Cornelius' fancyfuneral wagon. Monk Eastman LEAPS up onto the wagon and closes the coffinlid tight.There are PEDDLERS everywhere. One dispenses drinks from a portablesamovar. A SAILOR hawks ships in a bottle, repeatedly shouting the sameadvertisement: "Encourage the work of a landswamped sailor!" A SILHOUETTEARTIST offers to draw portraits of passersby.Funeral music is furnished by STREET MUSICIANS: a drummer, a fiddleplayer, and a horn player, with a couple of BUSKERS performing along sidefor good measure.Mr. Cornelius takes the wagon reins and guides the horses out of thesquare. The gang FOLLOWS solemnly behind.And across the square, the police wagon carrying Amsterdam starts MOVINGOFF in the opposite direction. He keeps looking out the tiny wagon window.The funeral procession leaves the square and activity returns quickly tonormal. Peddlers' CRIES once again fill the air. The Buskers start PLAYINGa snappier tune. SNOW begins to fall.CUT TO18 INT- TOMBS DAYA huge, awful prison building modeled on an Egyptian mausoleum.Amsterdam--trying to hide his growing fear--waits on line with otherPRISONERS, all of them older than he.At the head of the line, prisoners are being processed by a JAILER and acouple of COPS. Each prisoner is asked several cursory questions, thentold to strip. Every one of the men is SCARRED in some way.AMSTERDAM nears the front of the line. The MAN just ahead of himundresses. His left buttock is missing, and his back is covered with whipscars. A PRISONER behind Amsterdam WHISPERS loud enough for Amsterdam tohear...PRISONERAin't his first Tombs trip.ANSTERDAM steps up to the desk. The JAILER hardly takes notice of him.JAILERWhat do they call you?And this is the first time in the film we have heard his name.AMSTERDAMAmsterdam.The JAILER looks him over.JAILERYour full name.AMSTERDAMVallon.The JAILER writes this down with a scratchy pen.JAILERFirst name?AMSTERDAMI told you.JAILER(skeptical, resigned)Address?AMSTERDAMGot none.JAILERI'll put city. Now what's your age?(Amsterdam shrugs.)Maybe twelve. Got a family?AMSTERDAMNo more.JAILERWell, where was they from when you had one?AMSTERDAM(beat)City.JAILER(writing)Disrobe.As Amsterdam obeys, the Jailer turns to the Cop in the leather helmetstanding at his side.JAILERWhat's the charge, Asbury?COPTheft. Assault. Creating a ...The Jailer finishes writing. Amsterdam stands naked.JAILERThrough that door there.(lowers his voice)And don't stand too near no one else.CUT TO19 INT. CREMORE NIGHTThe largest, noisiest, gaudiest dive we have yet seen, full to burstingwith bawdy CUSTOMERS even at this late hour. Therels a long bar, where menand women stand three deep; lots of small tables; a dance floor; and astage on which four blowsy DANCING GIRLS are giving out with a ribaldnumber titled "My Father's Teeth Were Plugged With Zinc."One end of the bar is entirely taken up by a huge woaden keg with anattached hose. BAR ATTENDANTS DUMP the unfinished contents of glasses intothe open barrel top as a line of FAR GONE DRUNKS wait their turn for thehose. Maggie, Jenny's mother, is close to the front of the line, verydrunk, hanging on to a mush-faced HOODLUM.Two VISITORS watch. One has a pad and makes quick SKETCHES.VISITOR ONEOught to be served in a trough, properly. Will you try some?ARTISTProbably. What is it?VISITOR ONEAll-Sorts. It's made of all that's poured and not drunk, and any they cansalvage that's spilt.Maggie GRABS the hose, staring at the Artist as she takes a drink. Hishand moves quickly an the page, SKETCHING her.VISITOR(to Maggie)Your health.She SPITS at him, insulted. The Artist steps forward, puts some of theAll-Sorts from the hose into his glass, and toasts Maggie. She nods andturns away.......as Johnny enters, dragging a large SACK across the crowded floor towarda far door.CUT TO20 INT. CREMORE BACK ROOM NIGHTJohnny RUSHES toward a wooden pen in the center of the room. There arecries from the crowd of SPORTSMEN of "Hurry it up" and "More speed!"Johnny dodges a kick or two before he finally arrives at the pen.He UPENDS the sack over the pit and a dozen live RATS tumble out. AGAMEMASTER slips Johnny a couple of cents as he starts his spiel.GAMEMASTERAlright, gents and ladies, your bets now on Towser against the vermin, thecount to beat is ten rodents in three minutes.The crowd starts to place bets. A sleepy Johnny settles down close toringside to watch the show.At a signal from the Gamemaster, a TRAINER tosses TOWSER--A fiercemongrel--into the ring. The crowd cheers lustily, continuing to shout outbets, as the dog goes after the rats.The rats, fighting for their lives,bite the dog, attaching themselves to his body. Towser retaliates bygnawing the rats, SNAPPING them in half and spitting them out.As the CROWD cheers, and Towser kills, and money changes hands, Johnnycurls up and goes to sleep.CUT TO21 INT. TOMBS NIGHTA row of cells, noisy and cold. The GUARD shoves Amsterdam into a cell.GUARD 2You get to live private until they come from the orphan's asylum. Onaccount of your tender years.There is nothing in the cell but a board for a bed, and a window throughwhich Amsterdam can see the late winter moonlight. He looks for stars inthe sky, but can see none.CUT TO22 INT- MAIN ROOM/OLD BREWERYJenny Everdeane and a girl FRIEND, her own age, huddle together in a darkcorner of this huge space. The Friend opens her hand to show Jenny aglimpse of what she's clutching: a penny.JENNYLet me see! I don't believe it.FRIEND(closing her hand)No! It's a danger.JENNYOh come on! It's not.(Friend shakes her head)Then tell me where you got it.FRIENDFrom some man. He took me in his carriage. He only wanted to do somethingto me fast.JENNYWhat?FRIEND(shrugs)I didn't understand.JENNYWould he do the same with me?FRIENDI won't tell you if he's around again.(clutches penny tight)He's my secret.JENNYBetter keep it more careful, then.The Friend GETS UP and starts across the Brewery floor, acting nonchalant.But she looks around her, across the sleeping, passed-out bodies, past thedesperate families and their squalling infants, to see if she's beennoticed.A man and two women cast a glance her way. She looks away, but the TRIOkeeps watching her... then FANS OUT and starts to FOLLOW her.The Friend looks over her shoulder again. SEES the Man. Locks in anotherdirection, SEES: the woman. And then: the second woman. All closing on her.The Friend starts to RUN. The Trio runs after her. And no one else paysattention. The Friend PLUNGES into one of the warren of TUNNELS that leadoff the Brewery floor.CAMERA plunges through the darkness, after her. Her footsteps ECHO; thereis the SOUND of stumbling, falling, an angry CURSE and a BLOW beingstruck. The FRIEND picks herself up out of the darkness and keeps running,CAMERA following down the dank halls.Suddenly the TRIO runs AHEAD of the camera. There is a SCREAM. CAMERAstaps. And others SOUNDS follow quickly now: the dull THUD of a heavyobject against bone, REPEATED several times; and then, very soon after,the most terrible sound of all: silence.Then Two Women emerge from the darkness of the tunnel, fighting over thepenny. The Man, several steps behind them, throws an object to the dirtfloor: it's a STONE, and it is covered with blood. He comes up behind theTwo Women quickly and GRABS the penny from them with a hand that stillDRIPS blood and gore. They CHASE after him across the crowded Breweryfloor.CUT TO23 INT. HALLWAY/TAMMANY NIGHT 2CAMERA races along the ornate corridor, past PORTRAITS of many affluentand self-important GENTLEMEN... through a door and into...24 INT. TWEEDIS OFFICE/TAMMANY NIGHT... Tweed's domain. Small in size, but there are dozens of CAGES OFCANARIES all around. Tweed looks up startled as the door flies open. Thebirds set up a COMMOTION.CAMERA bears down on Tweed as a pair of HANDS grabs him and hurls himagainst the wall.Bill The Butcher GLARES at Tweed. Some NATIVES come into the room behindhim.BILL THE BUTCHERYou come into the Five Points and you stole from me.TWEEDI don't know...BILL THE BUTCHERYou stole Vallon. He was my kill. My example, of my power. You took himand made him yours.TWEEDYou're a lunatic to come here like...In the background, same of the NATIVES have begun to play CATCH byremoving the CANARY CAGES from their places and tossing them all over theroom.BILL THE BUTCHERThank you. Just listen good. The Native Americans holds the Five Points.We have prevailed. What you do outside the Points is your deciding.Outside is your city. Inside the Points is mine. Anyone who saysdifferent, or does different, or thinks different...(smiles)... theylll draw my unwelcame attention. You understand?BOSS TWEEDI do understand, yes.BILL pushes him away and starts out.BOSS TWEEDBut you don't understand at all.Bill keeps walking.BOSS TWEEDThere's a whole city to share and all you see is your own narrow streets.BILL THE BUTCHER(turns now)You just stay out of my place.BOSS TWEEDYes, alright. Gladly. It's all blackjack jobs and panel games and killingsfor a fiver.Bill waits for Tweed to continue. But Tweed stoops and tries to soothe acanary in a cage.BILL THE BUTCHERIt's good work.BOSS TWEEDAs far as it goes.BILL THE BUTCHERYou wouldn't be talking to me otherwise.BOSS TWEEDBut we're talking about different things, Bill. You describe the present.I see the possibilities. Look to the future. There is so much more.The Butcher starts to look interested.CUT TO25 INT. TWEED'S OFFICE NIGHTLater. The Natives have cleared out; only Tweed and the Butcher remain.The cages have been restored to their proper places and the room has beenstraightened. Bill stands beside the door, while Tweed relaxes in a chair.BOSS TWEEDThere's things demanding to be done that no police force can do, not evenan obedient one. There's contributions from every dive and brothel.Loyalties to be secured and debts to be collected.BOSS TWEED (Cont'd)And now you and your Natives have emerged as the foremost force in theFive Points, I'm prepared to extend you an opportunity. You can work forTammany...BILL THE BUTCHERWe work for no one.BOSS TWEED... beside Tammany... in the performance of these civic obligations. Andfor a satisfactory... I'm prepared even to say equitable... financialparticipation. It's not the sort of responsibility the founding fathersmight have recognized. But then, the founding fathers never imagined thecity New York has become.BILL THE BUTCHERMaybe you Tammany boys should do your own lifting and carrying and musclework. Might build you up.BOSS TWEEDWe'd like to. I do miss it. But it's wiser for men in the public life togive an appearance of probity.BILL THE BUTCHERThen get cops to do it.BOSS TWEEDOh Jesus, no. The appearance of law must be upheld, especially while it'sbeing broken.BILL THE BUTCHERAppearance means nothing.BOSS TWEEDPerhaps not within the Points. But the smart man could go higher.Bill looks at Tweed for a long moment. The he SHOVES himself away from thewall, pulls away the chair on which Tweed has been resting his feet andsits down close to him.BILL THE BUTCHERIf you can talk plain, maybe we can do business.26 EXT. STREET NIGHTA small slum thoroughfare congested by a splendid FIRE-WAGON labeled"Americus Co./Tammany Hall." Curious SPECTATORS and panic-strickenRESIDENTS crowd around to watch a ramshackle building going up in FLAMES.As Johnny presses through the crowd to get a good look at the fire, Tweed,in a white coat and fancy fire helmet, steps off the fire wagon to addressan ONLOOKER.TWEEDAnyone inside?ONLOOKERNo, praise God, but all we own...TWEED places a bucket over the only fire plug in the vicinity, then sitson it.ONLOOKERWell?TWEEDWaiting on reinforcements.The SOUND of another bell, nearby. Down the street from the oppositedirection come TWO MORE FIRE-WAGONS. The crowd starts cheering. Tweed doesnot move from the plug.TWEEDThat's not them. It's only the Black Jokes. Seems your fire interruptedtheir festivities.The wagons pull up next to the fire plug. Each of them has the words"Black Joke Fire Co." written large on the side, but the FIREMEN wearparty costumes, not regular uniforms. Some are dressed as BritishRedcoats, still others as Indians.The FLAMES continue to devour the building, but Tweed does not budge fromthe plug. He is approached by the Black Jake chief, who is dressed as anIndian chief.CHIEFMay I point out that the building is burning to ashes?TWEEDCertainly. And may I then remind you, Pocahontas, that this entire area isthe province of the Americus company, and you will kindly keep yourdistance.Impasse. The rival Fire Companies size each other up and start toward eachother. The building continues to burn. Tweed remains regal and unperturbedatop the fire plug.As the two COMPANIES are about to close with each other, a second BELLsounds. Tweed's "reinforcements" have arrived: the Native Americans, ledby Bill The Butcher. They PILE OFF the wagons before the horses halt. Nowthe Black Joke Co. is outnumbered, and it FALLS BACK. As the Crowd CHEERS,Tweed takes the bucket off the fire plug.TWEEDAlright, boys! To work!The MEN of the Americus Co. give a great SHOUT and start firefighting: ahose is hitched up to the plug, buckets are filled, a primitive pump sendswater spluttering everywhere.But there is not much blaze left to combat and the Men quickly growfrustrated. Tweed realizes this immediately.TWEEDNext building over, boys! Mustn't let it spread!The men charge into a neighboring building, STOMPING down doors, CLIMBINGthrough windows and SWINGING AXES with gusto, all to save a building thatis in no danger at all.A local poll named DANIEL KILLORAN detaches himself from the crowd andapproaches Tweed, giving him a hearty SLAP on the back.KILLORANAnother proud night for Tammany, Bill.TWEEDJust tell them...(lowers his voice)... to take enough to share. And not to steal so in the open.Indeed, the Men are leaving the building with lots of LOOT. CITIZENS whoquestion their right to do this are promptly KNOCKED DOWN. Killoran GRABSBill The Butcher as he rushes by.TWEEDJesus! Boss says to tell you to fight the fire from the front and loot outthe back.Bill grins and leaves to spread the word as an angry WOMAN approachesTweed.TEARFUL WOMANThe Black Joke could have saved my house!TWEEDBlack Joke had no business here, Madam.TEARFUL WOMANTheir business was to save my house!TWEEDTammany's your business. When we're here to call upon there's no need ofother. We understand loss, Madam, and take care of our own.As Tweed leads her off, away from the blaze and the thieving, he passes aboy sitting an the curb, watching the fire ... and watching Tweed ... withadmiration. It's Johnny.The FLAMES light up his EYES as we...DISSOLVE TO27 INT. BREWERY NIGHT 2Jenny's face, as she tries to sleep on a narrow, filthy mattress. Hermother Maggie lies beside her, crowding her, THRASHING about in atroubled, drunken sleep.DISSOLVE TO28 INT- ROOM/HIGH BRIDGE ORPHANS ASYLUM 2Amsterdam, eyes wide, lying on a cot in the middle of a long room crowdedwith KIDS - This place is a step or two up from the Brewery--but not a bigstep. He stares at the ceiling, eyes grave, untroubled by the small criesof loneliness and fear that come from some of the beds surrounding him. Aswe move CLOSE on his EYES we...DISSOLVE TO29 EXT. HIGH BRIDGE ORPHANS ASYLUM DUSK... the same eyes. But OLDER. Smart and full of savagery.It is Amsterdam. He is now in his early 20s, fully grown and no man totrifle with. Moving with jungle stealth and strength he ...... BURSTS out the door within the massive frame of a great iron gate overwhich hangs the sign "High Bridge Orphan Asylum." He starts to RUN and aTITLE comes up...1852Pursued by GUARDS, Amsterdam runs hell-for-lather for a long vaultedbridge. It's a beautiful, stern old Romanesque span across the HarlemRiver with rolling banks of leafy trees on the far side. Even in thetwilight, we can see that it is late spring, the end of a long afternoon.CUT TO30 EXT. HIGH BRIDGE DUSK (MATTE)Amsterdam is on the bridge. But he does not slow up until ....... two orphanage GUARDS suddenly TACKLE him. A THIRD GUARD beats him witha billy club. Amsterdam moans and curses, as much from frustration as pain.SECOND GUARDIt's Blackwell's Island certain now, boyo.The SECOND GUARD pulls AMSTERDAM up by the hair.THIRD GUARDAre you hurting? Let's hear you!Amsterdam won't give him the satisfaction. The Guard hits him. Amsterdamgoes down, biting his lip so he won't cry out. Instead, he forces a SMILE.SECOND GUARDThere's nothing funny, boyo! You been beat and turned back four times now.AMSTERDAMBut every time you bring me back... you got to come further to catch me.CUT TO31 EXT. CORLEAPS' HOOK PIER NIGHTThrough the THICK FOG comes a ghostly apparition: a tattered SKULL ANDCROSSBONES, made of rags, fluttering from the mast of a leaky, unstablevessel.The bow of the small boat breaks the fog, and on board we see: a hulkcalled SHEENY MIKE KURTZ and a huge black kid named JIMMY SPOILS, manningthe cars. Johnny Sirocco, grown wary and wiry, peers into the fog like alookout, while Shang Draper, at the tiller, looks anxious.The HULL of a large boat suddenly laoms in front of them, not five yardsaway.JOHNNYHard starboard, Shang! Hard starboard!SHANG(panic)I told you forget that sailor stuff! Which way's star...Too late. Their Ticket craft crashes into the side with enough force tomake a LOUD THUMP and to send Shang sprawling.SHEENY MIKE(sarcastic)Why don't we just knock on their front door?Shang gestures for QUIET. They wait and listen. No sound from the deck ofthe boat above them. The boys throw two ROPE LADDERS over the rail of thelarger ship and start climbing.CUT TO32 EXT. SHIP NIGHTThe boys board the ship and gather on deck. They look around uneasily,spooked by the silence and the fog.SHANGSpread out and make for the cabin.Moving slowly, the boys FAN OUT and move toward the cabin at the far endof the deck. Johnny stays close to Shang, holding onto the shipls rail forsupport.SHANG(whispering)Nothing. Looks picked clean.Johnny stops. His hand, on the railing, is BLOODY. On the other side ofthe deck, Sheeny Mike discovers more traces of blood and SIGNALS Shang.SHANGBill and the Natives must have got here first.Johnny freezes in terror.SHANGWhat ...A long SHADOW falls across his shoulder. Shang jumps.Standing before him, holding a musket and covered in blood, is the ship'sCAPTAIN. A BUTCHER'S CLEAVER is imbedded between his neck and shoulder.With his dying energy, the Captain takes AIM at a petrified Shang andfires his musket.Jimmy Spoils JUMPS the Captain from behind, sending the musket ball waywide. But the SOUND of the musket is thunderaus, and echoes through theharbor. The boys panic and head for the side.SHEENY MIKEThat'll bring the Harbor cops for sure.JOHNNY(about the dead man)Wait! Take him. If he's still alive he's good for ransom!SHEENY MIKEHels dead as Good Friday, can't you...JOHNNYThen we'll take Bill the Butcher's cleaver and sell the body to themedical students. They'll go five dollars for it anyway.SHANGCome on. We'll get something out of this.Shang and Johnny start DRAGGING the body. Pushing, pulling and mostlypanicked, the others help. As they boost the body over the side, the SOUNDof a bell cuts through the fog.SHEENY MIKEThe Harbors!Shang shoves the body off the side and into the boat. It lands with aresounding THUD. The boys CLAMBER after it.CUT TO33 EXT. BOAT/RIVER NIGHTPUSHING OFF with cars, tearing their rope ladders from the side of theship, stumbling over the captain's body, the boys slip off into the fog.The Harbor Police are so close to them they can see a police LANTERNshining. The boys stay absolutely still. Suddenly, WE SEE: the POLICEBOAT, breaking through the fog, thenDISAPPEARING again.SHEENY MIKEWe can't go back to Corlears Hook, they'll be watching...SHANGWe'll make for Blackwells.JIMMY SPOILSAnd which way's that through this fog?Johnny throws his hands up for quiet. From close by comes the SOUND ofCOP'S VOICES. They are near. Very near. The boys stay as still as theycan...... and the VOICES recede again in the thick fog.JIMMY SPOILSShould have asked them directions as they drifted by, Shang.SHANGYou'd have liked that, wouldn't you Coal Face? You're the only one they'dmiss in the dark.SHEENY MIKELet's quiet, or we'll all be found out!As the BOYS stay still, their boat DRIFTS against an outcropping of landand STOPS.SHANGAlright. We lay up here till first light. Then we run back across theriver.JIMMY SPOILS(contemptuously)River pirates!Spoils settles back and tries to sleep. Johnny watches Shang in the bow.Shang is too agitated to notice Johnny's stare. He looks away, waiting forthe sun.CUT TO34 EXT- BLACKWELLS ISLAND DAWNShang drowses in the boat, fighting fatigue, then succumbing to it. Buth's brought awake suddenly by a loud SPLASH. He looks in the direction ofthe noise, SEES ...... the BODY of the slaughtered ship's captain floating away in thecompany. He starts to cry out but Amsterdam GRABS him, locking his throatin the crook of his arm.AMSTERDAM(to everyone)Push off! Or his pipe snaps!The other boys are too stunned to resist. They push the boat away from theisland.AMSTERDAMHead straight out, then turn for the current.He pushes Shang away from him. The two boys stare at each ather, finallyremembering...SHANG(breathing hard)Figured you for dead.AMSTERDAMClose enough.SHANGThis is my crew. And welcome to join, if you've the mettle. We're riverpirates and quick thieves and street brawlers...AMSTERDAM(casual disdain)You're lost.SHANGYeah? You've no business saying anything against us! Do you know how muchyou cost us? You know how much that body's worth?AMSTERDAMI doubt it's worth the water it's floating in.SHANGFifteen dollars! Fifteen dollars from them medical ghouis.AMSTERDAMI'll make it back for you whatever it is, once we're in the city. Justkeep sailing, or we're all done for.SHANG(beat; to crew)Go ahead then.(beat; to Amsterdam)He was in his prime. He'd have fetched thirty dollars easy.CUT TO35 INT. HIDEOUT DAYA ramshackle room near the docks. It is part meeting hall, part livingquarters for the gang, and part clearing house forstolen goods. SHANGpresides over a boisterous meeting.JIMMY SPOILSYou're as flat as Broadway going north. We can't run the river no more.We're poaching the Natives and the Harbor cops are looking for us.SHANGThe cops can go to blazes. Who cares about them?SHEENY MIKEYoulre all sand when it comes to cops, Shang. But do you have the sand togo against the Natives?SHANGIt ain't the time to go against the Natives. We've got to build first.Then we go.JIMMY SPOILSIf we go like we did in the river, all of us'll sink.Amsterdam is sitting off to the side, watching this ongoing debate withcontemptuous detachment. Johnny sits next to him.AMSTERDAMDoes Shang have the sand to ever go against the Natives?JOHNNYI don't know. He acts like it.AMSTERDAMIf he only acts, held be better on the stage.(looks away)Like her.His tone of voice has changed. Jenny Everdeane passes before him; she'sravishing. Amsterdam STARES, as if he's trying to see into her heart.Jenny pays him scant attention as she moves across the room toward Shang.JOHNNYJenny Everdeane. Shang turned her into the best bludget in the Points.Jenny gives Shang silk scarfs, wallets and several purses from her coat.AMSTERDAMShes his mort, is she, as well as his best provider?JOHNNYYeah. But Jenny says she's anyone's she chooses.Jenny's haul is impressive. Shang picks a BRIGHT RED SILK SCARF with adistinctive PAISLEY design from the pile of stolen goods. He examines itwith a shrewd, appreciative eye.SHANGThat's the prize of the month. Spice Islands silk.He puts the scart in his coat pocket with a FLOURISH, then throws his armabout Jenny in a proprietary way.SHANGYou'll learn our way if you're going to be one of us, Amsterdam.Jenny reacts slightly to the mention of the name: she looks over andRECOGNIZES Amsterdam now.SHANGEvery one of us gives a portion of all they steal to the gang. Morts morethan men, being morts.AMSTERDAMYeah? And why is that?SHANGBecause morts have more resources. Men can work only on their feet, but amort can turn out on her back.AMSTERDAMI mean, why give at all? Why don't they keep for themselves?SHANGIf you think there's something off about my way of running things, you gotno place in this gang.AMSTERDAMI got no place anyway, and you got no gang. This ain't a gang, no matterwhat you say. It's a mob.There's a tense hush in the grubby room. Shang takes his arm from aroundJenny, wanting to be restrained.JENNY(smiling)It's all your play now, Shang. Maybe you can set him right.Jenny hands him a cane. Barely managing to hide his reluctance, hestarts--slowly--toward Amsterdam, who stands his ground. The gang stepsback to give them room in this tiny space. Shang pulls the cane apart:it's a SWORD CANE, but Amsterdam shows no fear. He shifts his weight alittle, watching ... and they're interrupted by a...VOICE (HAPPY JACK)You boys settle with me before you settle each other.They turn to him.HAPPY JACKI've come for my due and proper, Shang.Happy Jack Mulraney (the Dead Rabbit gang member with the halfparalyzedface) stands before them in a POLICEMAN'S UNIFORM-sparkling clean andsplendid--a leather helmet and long coat. In his hand, he twirls aNIGHTSTICK.SHANGAs agreed, then, Jack. Refreshment?Shang OPENS the top of the gold-handled sword cane. Inside are large,solid LUMPS of cocaine. Jack reaches for the choicest.AMSTERDAMStill smiling, are you?HAPPY JACK(sizing him up)It's the young Vallon, is it? I hardly recognized you.AMSTERDAMI hardly knew you under that hat, Jack.By now, Jack has taken not only the cocaine, and the money and swag Shangoffers, but several of the purses and wallets Jenny delivered. Jennystares at him with contempt, and he laughs, tossing one of the purses backat her.JACKThere. For your respect.Jack turns to leave but a BRASH BOY blocks his way. Moving fast and fancy,Jack bashes the Boy to the floor with his nightstick.HAPPY JACKAnybody else? Any number at all, come on.Several of the gang make a move toward Jack, but Shang WAVES them back.Jack departs UNHARMED, to general disgust. Jenny walks back across theroom to help the Brash Boy. Shang GLARES at Amsterdam, slides his swordback into his cane and follows Jenny, trying to explain himself.AMSTERDAMIs that sand we've just seen?JOHNNYIt's politics.CUT TO36 EXT. PARADISE SQUARE DAYA hot summer day. All the TRADESMEN are out in force, jamming the squareand the side streets leading to it. Amsterdam walks fast through thecrowd, enjoying the freedom and the bustle, as Johnny tags along closebehind him.AMSTERDAMI've got my own way to go, why don't you find yours?JOHNNYBecause your way's different, and I want to see where it goes.(Amsterdam looks at him)Unless you say otherwise. Amsterdam shrugs and keep walking.JOHNNYYou act like you have something in mind, like you know every day whatyou'll be doing the next. Me, I don't figure on tomorrow.AMSTERDAMWell, if you shut up a while maybe it'd come on its own.(he stops, looks)Now what the hell's that?JOHNNY(following his glance)Oh that's heaven.WE SEE what they're looking at: the Old Brewery. In worse shape than everbefore, but shut-down, abandoned. A tattered banner flaps against thefront door: "Future Home of the Five Points Mission/ Praise God!/ TheReverend Shadrach Raleigh, Pastor."JOHNNYThe city shut down the Brewery as unfit to live and Tammany gave it overto this minister.AMSTERDANWhat's Tammany?JOHNNYWhy Tammany ... you don't know? Tammany makes the city run. A politicalorganization that's like... like the Native Americans, only ranging overthe whole city.CUT TO37 MONTAGEAs Johnny continues to speak, we see Tammany tactics in action:WARD-HEALERS dispensing coal to the poor, and TOUGHS stealing meat off ofbutcher's wagons; a political PARADE with fife and drum-andpoliticians--including Boss Tweed--in ceremonial Indian costume, and agroup of GOONS busting up a saloon; Tweed making a speech to enthusiasticCONSTITUENTS and a Tammany Fire Company tearing through the streets,scattering everyone in their way, finally revealing they are not rushingto a fire but are CRASING OFF a rival fire company.JOHNNYThey seem like the law, but they got a way of acting outside the law.Anything that happens in this city, on the straight or on the sly,Tammany's a part of, and Boss Tweedls the heart of Tammany.CUT TO38 EXT. PARADISE SQUARE,/OLD BREWERY DAYAmsterdam studies Johnnyls enthusiastic face.JOHNNYThey're the best gang there is.AMSTERDAMSo if Tammany's the best, go with Tammany. What are you running with thismob for?JOHNNY'Cause they're more my size for now. With Tammany, you got to do somethinglarge, something that makes them take notice of you.AMSTERDANYou're better oft without their notice. You can run free, work your ownschemes.JOHNNYBut if your schemes have size, you need size to bring them off.AMSTERDAMWhat are you thinking?Johnny shrugs, grins: he doesn't want to give anything away. Amsterdamunderstands, turns toward the Brewery.AMSTERDAMLet me in if you ever get it figured.Amsterdam starts toward the Old Brewery, Johnny keeping step.AMSTERDAMI'll go on my own from here.Johnny STOPS and Amsterdam continues on by himself.CUT TO39 INT. MAIN ROOM/OLD BREWERYEchoing. Dank. Amsterdam holds a candle high for light. RATS skitter. Hecrosses the main floor, enters one of the side tunnels.CUT TO40 INT. ROOM/OLD BREWERYA tiny room we recognize from the first scene: this is the place whereAmsterdam lived with his father. He crouches and TEARS UP somefloorboards, then quickly LOWERS HIMSELF into the hole.CUT TO41 INT. UNDER FLOOR/OLD BR.EWERYA short tunnel under the Brewery floor, the kind a kid might make.Amsterdam has trouble crawling through it. DIRT and ROCK sprinkle himuntil he finds what he wants stuck in a shallow hole; a battered leatherMONEY PURSE; and a PAPER-WRAPPED PACKAGE.Amsterdam snaps open the purse to make sure the little bit of MONEY isstill there, then turns his attention to the package. He TEARS it open.Inside is the PIRATE KNIFE that Bill the Butcher used to kill Amsterdam'sfather.Amsterdam handles the knife carefully as he opens it. The candle lightmakes the blade GLEAMS.CUT TO42 EXT. ALLEY/OLD BREWERY DAYA shock of summer SUNLIGHT as Amsterdam emerges from one of the backentrances of the Brewery onto a fetid alley filled with rotted barrels,broken glass and insensible drunks.Amsterdam looks carefully up and down the alley, letting his eyes adjustto the bright light. Ahead of him, he SEES ...Shang Draper, in jovial conversation with a SECOND MAN we do notrecognize. The man is bareheaded, and has a deep scar running back tofront clear down the center of his bald head. Amsterdam waits, WATCHES.Shang takes the RED SILK SCARF he got from Jenny's swag and hands it tothe Second Man. He and Shang SHAKE HANDS, as if they have concluded abusiness deal, and the Second Man walks away.Amsterdam PRESSES himself close to the door as Shang LOOKS AROUND...doesn't see Amsterdam... and walks off in the opposite direction, acrossParadise Square.CUT TO43 INT- RECEPTION ROOM AND TWEED'S OFFICE DAYThe main room is as loud and as prosperous as the stock exchange. Bill theButcher makes his way past Small GROUPS of men engaged in heated politicaldealings of dubious virtue.Bill knocks on the door to Tweed's private office while he's opening it.Inside is Boss Tweed, seated in a large WOODEN BOX like a primitive sauna.Around him are various PETITIONERS, and his assistant Daniel Killoran.TWEEDI dread city stimmers. They bring illness and beget vermin.PETITIONER #l (GLEASON)My plague box fends off all pestilence. Its elixir combats ill humors...KILLORANWe can't have every citizen of the Five Points boxed up like cargo.TWEEDBut the season is vicious, and I must take thought of our constituents.Mr. Gleason, I'd like you to shake hands with Mr. Barnett Baff...Gleason, dubious, shakes hands with PETITIONER #2 as Bill the Butcherlooks on with amusement.TWEEDA friend and owner of an estimable carting service. Work out anarrangement whereby the citizenry can receive the benefit of Mr. Gleason'swondrous elixir outside this excellent box. At a cost, Mr. Gleason, of howmuch the barrel ...GLEASON(figuring rapidly)Oh, perhaps twenty-five dollars.TWEED...and how much, Mr. Baff, for haulage and distribution...BAFFThe same again. At least.TWEEDAt least. That's a price of fifty dollars. And greedy, low piracy at that(Gleason and Baff splutter)But a price that Tammany, in its generosity, will meet. Merely submit abill for a hundred. We'll each have half. And I'll retain this box forfurther experiment. Hello, Bill.Killoran LEADS the astonished Gleason and Baff away as Bill APPROACHES.TWEEDBolt the door.Bill complies. As Tweed speaks and the anti-plague VAPORS SWIRL around hishead, he keeps his eyes closed.TWEEDScotchy Lavelle's gone wrong in his accounts.BILL THE BUTCHERI know. Scotchy's a good man.TWEEDNot good enough to rake thirty percent of our share from Sparrow's and useit for his own.(opens his eyes)You got to give him over, Bill.BILL THE BUTCHERI can't do that. No matter what he steals, I still get more from him thanany two others. As do you.TWEEDAlright then. What about Charles McGloin? He's running a panel game off toone side. Did you know that?(Bill shrugs)I can't get a day's work done for all the good citizens pouring in herecomplaining about crime and corruption all over the Points. They accuseTammany of carelesoness. Some even suspect ... a few practically suggest.(eying Bill significantly) ... our complicity with this rampant criminality. We must show themTammany stands behind the letter of the law. We need to set an example. BILL THE BUTCHER(beat)Charles McGloin will do.TWEEDI'll set the trial for Friday.CUT TO44 EXT- TOMBS DAYCAMERA moves high along the outside wall, past small rectangular slitsthat pass for jail windows. EYES peer out, as if a peep show is underwaydirectly below in the Tombs courtyard. A PRISONER is being readied for thegallows by having a hood tied to his head.The CROWD is in a carnival mood; HOT CORN GIRLS, STREET VENDORS,"HOKEY-POKEY" (i.e., ice cream) MERCHANTS, even BUSKERS, all add to theholiday spirit.Jenny works through the crowd, pushing and smiling her way past groups ofraucous merrymakers. She stops once or twice to have a word with aGENTLEMAN, flirts for a moment, then moves on.Further back in the crowd, Amsterdam NOTICES her. He watches her gothrough the crowd with an admiration that quickly turns to FASCINATION ashe realizes what she's doing: picking pockets. The best bludget in theFive Points. He starts to FOLLOW her.Jenny has worked her way close to the hanging platform, but she's sointent on her job she has not noticed Amsterdam. The closer the platform,the closer the spectacle and richer the pickings: Jenny's concentration isabsolute. On the platform, an ASSISTANT HANGMAN addresses the Crowd.ASSISTANT HANGMANThose interested in the effects of the condemned please come forward.44 CONTINUED:Part of the Crowd PRESSES in toward the platform, temporarily blockingAmsterdam's view of Jenny. He is right against the platform.ASSISTANT HANGMANWhat am I bid for this coat? A coat of some wear but excellent cut...containing a rather remarkable pocket silk...MAN IN CROWDBid a quarter!HANGMANA quarter, thank you. Do I hear fifty cents? Fifty cents?The Hangman is holding up the condemned man's coat which contains the REDSILK SCARF Amsterdam saw Shang give away. Amsterdam flips the HANGMAN aquarter, reaches out and GRABS the handkerchief.AMSTERDAMHere. Just for the silk.He stuffs it into his pocket and starts to PUSH his way through the crowd.On the platform, the WARDEN steps forward holding a primitive megaphone.WARDENDo you have any last remarks, Charles McGloin?McGloin grunts from underneath the hood.MCGLOINNot from under this hood I don't.Crowd near the platform begins to CHANT "No hood, no hood, no hood!" TheWarden puts his hand on the hood, starts to remove it...... and the Crowd CHEERS. Amsterdam turns, SEES: Charles McGloin. Bald,with a deep scar running front to back on his head. The very SAME MAN hesaw in the alley with Shang.McGloin acknowledges the cheers of the crowd. The Warden holds tomegaphone close and McGloin bellows...MCGLOINI never struck a foul blow or turned a card and may God greet me as afriend!The Crowd ROAR approval at these words. Amsterdam PUSHES through thecrowd, looking for Jenny ... SPOTTING her finally...... while up on the platform, the NOOSE is placed around McGLOIN's neck,and he is HOISTED UP in no time. We hear his neck SNAP. His feet kickafter death. The Crowd raises a zighty cheer.CUT TO45 EXT./INT. BROADWAY AND BROADWAY STAGE DAYAmsterdam walks with a crowd toward a waiting Broadway stage, a vehiclethat looks like a horsedrawn train car. The stage will take spectatorsback uptown from the hanging.He is working his way toward Jenny, who is now BOARDING the stage.Amsterdam DASHES through the crowd and SQUEEZES onto the stage, whichmoves forward with a JOLT.Once on board, Amsterdam looks through the jammed car, SEES: Jenny, aboutto sit down - A MAN has offered her his seat. She smiles dazzlingly as shesits...... and arranges her hands genteelly on her lap. The Man looks down on herand she smiles up at him again. He is bequiled.Amsterdam manages to get a little closer.MANI hope you won't think me rude if I speak.JENNYNo, sir. You look a proper Gentleman down to the ground.As this conversation continues, we watch-not only Jenny and The Man inconversation, and Amsterdam watching them; but we begin to notice whatAmsterdam SEES. Although Jenny's hands apparently remain folded on herlap, her RIGHT HAND moves SLOWLY out from her wrap... toward The Man...MANWell, I wouldn't want you to think me forward, you see.... and BRUSHES past his jacket. He does not notice or feel a thing.Jenny's hand GLIDES past his THIGH ... nearly brushing it ... moving upacross his pelvis and around his buttocks...JENNYDoes it matter to you what I think?MANWell, I might like it to.JENNYOh....toward his pocket. The Man is in Jenny's thrall. He feels nothing andcontinues to have no idea what is going on. But Amsterdam KNOWS. Everysilken, surreptitious move of her HAND across The Man's body is like aCARESS that Amsterdam can feel. Jenny's grace is balletic and EROTIC. Asshe picks The Man's pocket, she is, without knowing it, also seducingAmsterdamMANI mean, if you would like.JENNYI might like, sir. But I can't say now.Her hand HOVERS above his pocket, waiting for the SWAY of the stage tomatch and mask her movement....MANWhy?... and she starts to get up as soon as the stage JOSTLES. The entire carfull of passengers LEANS into one another...... and Jenny's hand SLIDES the Man's WALLET from his trousers ashe recovers his balance. Amsterdam watches her withdraw her HAND in aflash and hide it beneath her wrap.JENNYBecause this is my stop.MAN May I walk with you a little, then? JENNY(firmly)That would be too bold.MANBut I'll never see you again.JENNYI come every Thursday to the Tombs to see my father.MANI'll look for you.Jenny fetches him another fine SMILE--it's almost demure--and takes herway off the rear entrance of the stage.lt PULLS AWAY up Broadway and Jenny walks briskly toward an alley.CUT TO46 EXT. ALLEY/BROADWAY DAYJenny looks to make sure she has the alley to herself, then moves her bodya little...... and her arms seem to come off. She has been wearing a set ofARTIFICIAL ARMS, hollow inside, which she can leave folded on her lapmisleadingly while she goes about her pickpocketing.She's folding up the appliance--cotton sewn over a soft form-when a VOICEbehind her makes her turn.AMSTERDAMMay I walk with you a little, then?CUT TO47 EXT. BROADWAY DAYAs Jenny and Amsterdam walk through the noisy bustle of the city's mainthoroughfare.JENNYAre you a spy, then?AMSTERDAMGot no one to spy for. I'm an appreciator, you might say.JENNYAppreciator of what?AMSTERDAMA good touch.She STOPS in the street, looks him straight in the eye.JENNYDon't bother with the chat. If you want me, we come to a businessarrangement. lf the terms is right, then I decide how you suit me. Then Ido it or not.AMSTERDAMJust take a minute, I was Just...JENNY I know what you was just. I had years already of what you was just. Youknow how I got so good at thieving? So's I wouldn't have to lay down foreveryone who had the ned. Now I do it when I want to for how much I wantto. Otherwise I don't do it, and don't have to do it, and to hell withanyone's rules but my own. AMSTERDAMWhat about Shang's rules? You pay a lot over to him. The better your day,the better his. It don't seem gute right.JENNY(a little curious now)What's it to you?AMSTERDAMGive him this.He hands her the RED SILK SCARF. She recognizes it instantly as the sameone she gave Shang.AMSTERDAMAnd you can keep a little more of what you earned.JENNYHow'd you come by this?AMSTERDAMI got my own touch.JENNYAre you making me a present, or making an Arrangement?AMSTERDAMIt's your rules, right? So you decide.She looks at him for a moment, then starts to TIE the scarf around herneck like a kerchief.CUT TO48 INT. HIDEOUTA gentlemen's WALLET skims across a pitted wooden table, straight intoShang's hand. Jenny is giving him her CUT. He opens the wallet, looks upat Jenny. No more goods are forthcoming. Amsterdam, hanging back, watchesthem both.Shang SEES the RED SILK SCARF, tied around her neck.SHANGPretty slim cut for a hanging day. Where'd you get that?JENNYFrom Amsterdam.SHANG(beat)It don't suit you.CUT TO49 EXT. STREET AND PARADISE SQUARE NIGHTA SWELTERING evening. The streets are jammed with REVELERS and RESIDENTS.Some people sleep in doorways in futile search for fresh air. Happy JackMulraney leads a group of apprehensive UPTOWN CITIZENS past drunks andwhores.JACKCommissioner Brunt said to spare you nothing concerning conditions.CITIZENNothing but our safety, of course.JACKAll's snug around Paradise Square in my company, squire. See there.He gestures toward the street, down which one oi Mr. Barnett Baff's CARTSis being drawn by a team of WHEEZING NAGS.The cart bears massive barrels of what a colorful banner advertises as "ananti-pestilence influenza-thwarting solution... a service of TammanyHall." As the wagon draws abreast of a large group of languishingRESIDENTS, HOSES spurt waves of solution all over the streets. Many peopleare SOAKED. Jack and his Citizens jump back just in time.'JACKTammany makes the streets nanitary, I make 'am safe.WOMAN CITIZEN(apprehensive)Even against them?A small distance behind the anti-plague cart, moving in rough formation,come some of Shang's mob, heading aimlessly across the Square cruising foractionJACKAgainst them especially. Let me demonstrate.Jack takes out his GOLD WATCH AND CHAIN, which he HANGS carefully over anearby lamppost. Then, very casually, he leads the Citizens off.JACKWe'll be back for this at our leisure.WOMAN CITIZENYou dare leave it here?JACKSafe as a vault, lady. Since all knows it's mine.The Gang draws abreast of the lamppost. No one makes a move to take thewatch until one of the YOUNGEST BOYS reaches out ... butShang knocks his hand away. Jack, at a distance, NODS approvingly.SHANGYou know that's Jack's.BOYSo what?AMSTERDAM It should be hangin' off Jack's vest, then. Not here, like some war flag. SHANGThat watch is a small price for free run of the Points.AMSTERDAMIf it's free, how come we pay so much? Wo shouldn't pay for what's our due.SHANGWe don't tight when we don't have to. It's not warring that counts. It'sthe living day to day.ANSTERDAM(smiles)Is that right? Did I hear that correct? John, did we hear that correct?Eyes now on Johnny. Jenny looks at him with great interest.JOHN(uneasy pause)We heard the same.AMSTERDAMSo then.He reaches for the watch.CUT TO50 EXT. STREET AND PARADISE SQUARE NIGHTHappy Jack stands at the lamppost, aghast. A WOMAN lowers her head andretches. Jackls watch and chain are still in place.But the watch has been SMASHED. And hanging from the chain is a BLACK CAT,skinned and strangled.CUT TO51 INT- HIDEOUTHappy Jack stands with his Citizens. The room QUIETS as, one by one, themob notices him.JACKYou!He GRABS the Young Boy who had reached for his watch on the lamppost andstarts to BEAT him.JACKWhat'd you do to my watch, you dirty little bastard...Jack breaks the Boy's hand with his nightstick. The Boy SCREAMSand FAINTS. So does one of the Women in the group. Jack takes the Boy'sother hand.JACKHands won't be so quick in future.SHANG That's enough sport this evening, Jack. JOHNNY(stepping forward)It wasn't him.All turn to look at Johnny. Jack drops the Boy's hand.JOHNNYI have word for you from who did it. You're to meet him at Sparrow'sChinese Pagoda.CUT TO52 INT. SPAPROW'S CHINESE PAGODA NIGHTA low and lunatic place: a combination of an opium dream out of theArabian Nights and a panel from a Bosch triptych. FAN-TAN games played byOrientals; WOMEN and CHILDREN of various colors suspended in cages fromthe ceiling as MEN and WOMEN in a secondfloor GALLERY point at them andJOKE. On the main floor, a long line waits for a shot at the barrel ofAll-Sorts. Jack charges in the front door, looks around.JACKAll right, step out, you yellow...All the NOISE subsides. Only the Fan-Tan game continues;nothing is so interesting that these Orientals will stop gambling.Now Amsterdam STEPS right in front of him. It's a grandstand play.AMSTERDAMHello, Happy Jack. I'm the one you're looking for.JACKThen you're marked for dead.Jack lunges ahead, swinging his NIGHT STICK. Amsterdam throws a chairacross his path. Jack stumbles, goes down, dropping his night stick.Amsterdam grabs it, jumps on top of him, HITS him twice on the side of thehead. There is a CRACKING SOUND. The PATRONS of the Pagoda gather round.CUT TO53 INT. SPARROW'S CHINESE PAGODA NIGHTLater. Festive again. And no sign of Amsterdam.Two PATRONS step away from the all-sorts barrel. Hanging from the spigotlike the cat from the watch chain is the BODY of Happy Jack Mulraney. Thebelt has been removed from his trousers, tied like a NOOSE around histhroat, then looped over the spigot. His TEETH lie scattered on the flooraround him. His NIGHT STICK has been jammed down his throat.CUT TO54 EXT. DOCKS/HIDEOUT NIGHTAmsterdam holds the FANCY COAT from Jack's uniform over his arm.Carefully, he DRAPES the coat over Jenny's shoulders. SHANG steps forward.SHANGI gave no order for this.Amsterdam says nothing at first, just holds his hand out: he's holding theRED SILK SCKRF.AMSTERDAM(very quietly) Never mind giving orders. What were you giving this for? SHANGI'm calling you out, Amsterdam.AMSTERDAMI got this at the hanging. It was Charles McGloin's. Everybody here sawyou take it from Jenny. What was MCGloin doing with it? What'd you give itto him for?SHANGI didn't give it to him. Why would I give it to him?AMSTERDAMI gaw you give it to him. Last week, behind the Old Brewery.SHANG(to group)He's gone flat. I got no reason to trade with the Native Americans.AMSTERDAMWhat about stepping up in the world, as it were, and leaving the rest ofus behind. There's a reason. Making a separate arrangement for yourselfwith the one Native so stupid and luckless that he got hung. That's you tothe ground, Shang.SHANG(very edgy now; to group)Who believes what he's saying? Can any of you believe what he's saying?AMSTERDAMBene. We'll see. Any of you that believes I did proper by Happy JackMulraney tonight, stand beside me. Any of you that still likes Shang's waywith the cops, and Shang's way with the Natives, go to him.(to Shang)Or should we settle right now, you and me, and just see which of us isleft standing?SHANGLet see where they stand.Jenny rises, stands next to Amsterdam. Jimmy Spoils, Johnny, Sheeny Mikeare next. Now the other members of the mob move in clusters to all STANDwith Amsterdam.AMSTERDAMWhat's your pleasure, Shang?One of the YOUNG BOYS has a dead rat blackjack hanging from his belt.Shang grabs it. He BITES the head oft the rat and spits it across atAmsterdam. Amsterdam almost smiles at him. Shang sneers, drops the body ofthe rat, and LEAVES.AMSTERDAMThis mob ever have a proper name?JOHNNYWe was called after Shang when we was named at all.AMSTERDAMWe're the Dead Rabbits from now. They were the best. They were history.They were legend, and we'll live up to them.CUT TO55 EXT. DOCKS/WATERFRONT NIGHTAmsterdam sits on an empty pier, watching the ships in the river. There'sa SUDDEN RUSTLING NOISE as a NOOSE coils around his neck.It's Jenny. She's slipped the SILK Amsterdam gave her close to his throat,and she's TIGHTENING it. Amsterdam starts to resist. Then he sees how'sshe's looking at him.She uses the silk to bring his face closer to hers. She KISSES him.AMSTERDAMWhat's this then?JENNYPayment for the silk.Then DROPS the silk from his throat and starts to touch him. Then hishands are under her skirt. Then, under the cloudy moonlight, they start tomake love.CUT TO56 EXT. DOCKS/WATERFRONT NIGHTLater. Amsterdam pulls Happy Jack's uniform COAT over Jenny to keep herwarm in the chill air.JENNYYou were waiting for me out here, weren't you?AMSTERDAMMaybe I was, yeah.JENNYYou was that sure of me?AMSTERDAMSure enough to wait, anyway. Waiting don't cost nothing.JENNYIt don't do to be sure. I could go away just as easy.AMSTERDAMAlright.He sweeps the coat away from her body, allowing her to leave.JENNYI'll say when I want to, not you.AMSTERDAMStay then.(beat; smile)One way or another, I get what I want.JENNY(looking at him)Yeah. If it was just a shag you wanted.AMSTERDAMYou're a gypsy, are you, come to tell my fortune? Go ahead then. Tell mewhat I'm wanting.JENNYYou got blood in your eye for someone.AMSTERDAMIt's just I can't look away, that's all.JENNYWho from?AMSTERDAMBill Poole.JENNYYou better get someone else in your sights. No one's ever taken him.AMSTERDAM'Cause he's mine, that's why. I'll take his one eye, and then the rest ofhim, piece by small piece.JENNYYou have a plan for this? You going to raise a militia? I'll wager Billthe Butcher don't even know about you or care if he does.AMSTERDAMHe'll know about me soon enough.JENNYAnd after the Butcher?AMSTERDAMYou.JENNYIs that so?AMSTERDAMYou'll be in love with me.JENNYLove you? You just had me. You can have a mort any time you want. So whylook for more than that.AMSTERDAMThat's taking love, not giving it. I want it to be just you and me, no oneelse for either.JENNYWhy?AMSTERDAM'Cause none of us means nothing in life except one to the other.JENNYI don't know I want to mean something, to you or anybody. Can there begood in that?He stares at her.AMSTERDAMWe'll see.Jenny pulls the coat tighter around her.JENNYIt'll take a while if we do. If we ever do.AMSTERDAMAnd what about the meantime?JENNYMeantime's business.CUT TO57 EXT PARADISE SQUARE DAYA CROWD gathers in one of the main thoroughfares bisecting the 5 Points. Abeefy SPEAKER is making an anti-Irish speech on behalf of James W. Barker,a mayoral candidate supported by Tammany's current rivals, theKnow-Nothing Party. Hand-painted signs are everywhere, bearing Barker'sunsavory likeness. A couple of BUSKERS provide a musical score for thepolitical spiel.SPEAKERThe potato is a thick vegetable. Heavy. Meaty. Comes out of the grounddirty and stays that way unless you scrub it and boil it to death!(cheers and laughs from crowd)We don't want to keep lem out of the country! We'll even give 'em a placeat our table! But we ain't gonna vote 'em into office.Much CHEERING and jovial approval from the Crowd. On its fringes,Amsterdam and the Dead Rabbits make their way roughly across the Square.SHEENY MIKEAny Irish hears that will be out for blood.AMSTERDAMThe Irish is too busy building up Tammany. That's where their brains andmuscle goes. Once they're inside with their cronies, they turn on theirown outside. Tammany'd steal the air and rent the daylight if they could.SHEENY MIKEWe'd do the same.AMSTERDkMNot against our own we wouldn't. That's the difference.JOHNNYTammany earns better. That's the difference.AMSTERDAMI ain't seen their ned yet.Johnny stops walking, betraying slight annoyance that he has to explainthe day's deal.JOHNNYYou will at day's end, that's our arrangement. A quarter a voter, whetherthey're repeaters or not. I'm telling you, we got a square deal.SHEENY MIKEIt's sound, Amsterdam.AMSTERDAMYeah? Well, it's ned anyway. Just make sure you count it when we get it.JOHNNYIt's just a day's job, we don't have to make it a life's work. We work forTammany today and kill them tomorrow, if that's our pleasure.JIMMY SPOILSSo we're politicians just for today.AMSTERDAMNot for a minute. We're better than that. We're thieves.CUT TO58 MONTAGEThe Dead Rabbits go about the business of rounding up Tammany voters. Theypick up DRUNKS in alleys; Jenny and some of the Dead Rabbit MORTS raustPATRONS in a whore house; Rabbits shanghai SAILORS from saloons; corralCITIZENS as they walk along the street, either wheedling or bullying toget them to vote. It's the strong arm of democracy.CUT TO59 EXT. POLLING PLACE DAYOn one side of the door, some Dead Rabbits, with a RABBLE of potentialvoters; on the other, POLICE doing their best. Behind and all around,various WARD HEELERS and SMALL-TIME POLITICIANS, representing both theKnow-Nothing candidate Barker and Tammany's Fernando Wood. Varicusfactions push and pull at one another as they wedge their VOTERS into thepolls.JIMMY SPOILS He's got the right to vote, damn you! COPNot four times he don't.(shoves a Voter)There'll be no damned repeaters here!The Cop and Jimmy play tug-of-war with a besotted VOTER, while other gangmembers rush to GRAB VOTERS leaving the polls.PANDEMONIUM.CUT TO60 INT. TAMMANY HALL DAYThe main floor is jammed with CLUBMEN and PARTY RACKS. Daniel Killoranbustles from group to group, making promises, taking notes and searchingout Boss Tweed, who is holding court in a far corner, surrounded byJOURNALISTS.BOSS TWEEDI would never speak ill of a rival. I would never say that everyKnow-Nothing is a horse thief. It is my observation, however, that everyhorse thief is a Know-Nothing.Good-natured LAUGHING all around. Even TWEED seems amused. Killorancatches the Boss' eye and whispers to him.KILLORANThe Know-Nothings are already finished, and there's four more hours at thepolls yet.BOSS TWEEDKeep our men voting. Everybody works today. It's not a victory we need,Daniel. I want a triumph.CUT TO61 INT. DON WHISKERANDOSO BARBER SHOP DAYAmsterdam roughly deposits REPEAT VOTERS in the barber chairs, as theBARBERS work FRANTICALLY to cut their hair, prune beards, and otherwisealter appearances. As soon as one customer is done, Sheeny Mike douses himwith bay rum and pushes another REPEATER down in his place. Johnny keepscount of the turnover.DON WHISKERANDOS (BARBER)Now that's eight... and how many still to come ...He looks toward the door, where more Repeaters are lined up, waiting theirturn under close supervision.REPEATERI already voted once today. Cast for Tammany, by God, and Fernando Wood.AMSTERDAMOnce? Come here and do your duty.Amsterdam GRABS him and SLAMS him down in a chair.CUT TO62 INT. FAN-TAN PARLOR DAYAmsterdam and some RABBITS BURST into the front door, frightening andscattering all the Chinese GAMBLERS.AMSTERDAM(barking orders)Line up like soldiers!SHEENY MIKEThey got no notion what you're talking about.AMSTERDAM(To Johnny)You explain their democratic right. Illl see they unterstand.Amsterdam GRABS the nearest two CHINESE by their PIGTAILS andHURLS them against the wall.CUT TO63 INT. OPIUM DENAmsterdam and the Rabbits PROWL the murky darkness where OPIUM EATERS liein bunks stacked high against the walls. The Rabbits start ROUSING androunding up the Opium Eaters. Jimmy Spoils SLINGS a couple over hisshoulder like flour sacks. Amsterdam SHOVES two more out the door, past anadmiring Daniel Killoran.KILLORAN(to Johnny)I come to see if our counts square. You boys have made a remarkableshowing....AMSTERDAMWho the hell's this?JOHNNYHe's our Tammany man.Killoran compares his figures to the piece of paper where Johnny has beenkeeping his own count.KILLORAN... remarkable...AMSTERDAM(With an edge)Our own Tammany man. We are coming along. Happy to meet any friend ofJohnny Siroccols.KILLORANLikewise. Pleasure to meet the best but one in the whole Five Points.AMSTERDAMBest but one? Who's better?Killoran looks up. Johnny, standing behind Amsterdam, SHAKES his head "NO"VIGOROUSLY. Killoran gets the message.KILLORAN(smooth)Maybe nobody. But when the count's done the numbers will tell who's comeout in front.AMSTERDAMI'm in no race. Just pay us what you owe.KILLORANTonight. At the victory celebration.CUT TO64 INT. SPARROW'S CHINESE PAGODAA Tammany victory celebration. When we last saw this place--as Amsterdamconfronted Happy Jack--the place was busy, alive. It's RIOTOUS now, jammedto bursting with POLITICIANS, CRIMINALS, GANG MEMBERS, MORTS, WHORES,HANGERS-ON, UPTOWN THRILL-SEEKERS, JOURNALISTS and COPS, not all of themoff duty. The SOUND of the place is a cacophony of SHOUTING, SINGING,GAMBLING and STRANGE MUSIC--which we can't identify at first. We STARTCLOSE on a huge ruby ring and we HEAR...BOSS TWEED(V.O.)Read what it says there, alongside the ruby...read it out ...... and WE MOVE OUT as a WELL-WISHER reads the Latin inscription.64 CONTINUED:WELL-WISHER"Fortuna Juvat Ordentes."TWEEDA grand victory gift from the men of Tammany. Now, tell 'em what it means,Mayor Wood.WOOD"Fortune favors the bold."TWEED gives him a resounding slap on the back.BOSS TWEEDWhat do you think? Would that make a fit motto for our fair City?WOODWell, I could certainly see ...KILLORAN(interrupting)We've got a motto.BOSS TWEEDwhat is it?(no one knows)Well, hell, let's get one we can remember. We're going to build a new Cityhall, we better have something to put over the front door. And Mayor,you'll make sure the Latin's right?As Wood nods his assent, CAMERA MOVES across room...... past the gilded CAGES suspended ten feet over the floor, where thewomen and children look down at the action just below them with a mixtureof trepidation and resignation. Occasionally a REVELER will jump up to tryand GRAB one of the caged inhabitants. Still MOVING, CAMERA...... passes a stage, where we finally SEE the source of all the strangeMUSIC we've been hearing: the music is provided byCHINESE MUSICIANS, a woman SINGER, a DANCER and some ACROBATS. Theyperform some weird, mangled Five Points version of Chinese opera. Themusic and performance continues as we MOVE PAST...... across a PEWTER FAN-TAN TABLE, where CHINESE GAMBLERS play with fierceanimation and concentration. By comparison, the Occidental types playingbeside them seem like tourists.Everyone SHOUTS and SCRAMBLES to place bets with the FAN-TAN DEALER.Above the Dealer is an oval opening in the ceiling, through which OTHERPLAYERS may watch the action below. These FAN-TAN PLAYERS lean over anelegantly carved rail, peering at the action on the table below, placingtheir bets and collecting their winnings by means of a BASKET attached toWIRES that whirrs constantly overhead. We continue to MOVE PAST...... until we are at the door of the place, where Amsterdam, Johnny and theRabbits are having words with a BOUNCER.BOUNCERI don't know you, you don't enter.AMSTERDAM(enjoying himself)Come on, what are you saying? If you don't know us now, you'll know ustomorrow and you'll be working for us next week.JOHNNY(more temperate)Daniel Killoran knows us.BOUNCEROh he does?JOHNNYWe work for him.AMSTERDAMThe hell we do.JOHNNY(to Amsterdam)Tampen down, will you?BOUNCERWhy don't you all get the hell out of here and go fix on a story? Go on!He SHOVES Johnny, who STUMBLES back into Amsterdam. They're both mad now,and they step forward together toward the Bouncer...... until Killoran intervenes.KILLORAN(to Bouncer)It's all right, Nat. They're saying the truth. They gave a good day's workfor a good wage.Killoran HANDS OVER a paper-wrapped parcel of money, which Amsterdam takesfirmly.KILLORANA fine first showing. But second best.AMSTERDAMSecond, eh? You don't say so.KILLORANIt's no shame to be bested by veterans. The Native Americans always sweepthe field.AMSTERDAMWhat?KILLORANWe count on them sure as mass comes an Sunday.AMSTERDAM(to Johnny, glaring)Did you know this? Is this some scheme of yours?JOHNNYNo, I didn't have no idea ...AMSTERDAMI was working the same side as the Natives? The Natives?KILLORANThat's only right. Bill the Butcher's our ambassador throughout thePoints, as you might say. It's deemed an honor to work with him. Everyoneknows Bill Poole, everyone fears him, everyone ...AMSTERDAMI sure as hell don't fear him. And I sure as hell won't stand with him, orany who calls him one of theirs.KILLORANWell, if it's matter of personal honor, the money can only be a furtherinsult. I have no wish to rile you further, so if you'll allow me...He REACHES to take back the parcel of money, but Amsterdam BATS his handaway.AMSTERDAMWhere is he? Where's Bill the Butcher?KILLORANListen, buck. This is a Tammany night. If you and Bill Poole have mattersto settle, you can do it any other time, any other place, I don't give agood dancing goddamn. But you do it here tonight and all the Five Pointswill be down on you like the righteous wrath of heaven. or you could, asthe Book says, put away childish things. Join the celebration. Personally,I always find the least strenuous solution the most appealing. Don't you?Amsterdam stares at him as we...CUT TO65 INT. SPARROW'S CHINESE PAGODAAs a CHINESE ACROBAT TWIRLS in the air, off the stage, and lands in themiddle of the audience. The crowd is raucously appreciative as the Acrobatdoes GYMNASTIC MOVES among them...... past a table where the Dead Rabbits have settled. it is later in theevening, and everyone has been drinking.Amsterdam, sullen, intense, WATCHES .....Bill the Butcher, across the room. He is like a prince regent. Everyonepays him court, including several uniformed COPS, TAMMANY HANGERS-ON, andNEWSPAPERMEN. Bill receives the attention as his due....... while Amsterdam keeps watching, contempt and hatred gleaming in hiseye. He pays attention to none of the gang around, including Jenny. Johnnytakes advantage of the situation.JOHNNYI got experience. It's the education I lack.JENNYAnd you heard I was a good teacher?JOHNNYI don't listen to talk, I figure for myself. And I figured you'd be goodat everything you did.JENNYThat's right.JOHNNYAnd tonight I got the ned.JENNYAnd now what?JOHNNYNow I'm ready for you. Unless there's an arrangement between you andAmsterdam.JENNY(glancing over at Amsterdam)Not to my thinking.JOHNNY(needs to be sure)Amsterdam... listen up, Amsterdam...Amsterdam glances over at them.JENNY(to Johnny)You going with me or him? It's my thinking matters here. You don't have toask him nothing.AMSTERDAMWhat?JOHNNY(makes his decision)How's the evening passing?AMSTERDAMFine. Why?JOHNNY(puts his arm around Jenny)'Cause it's treating me fine too.She gets up and starts toward the stairs to the second floor, Johnnyfollowing her, holding her hand. As they pass Amsterdam he LEANS towardJenny.AMSTERDAMThis is no game, you and me. Don't go on like it's a game.JENNYI said already, it's not a game. It's business.Johnny pulls her away. As he watches her go through the crowd, Amsterdam'sgaze falls on Bill the Butcher again...... and for the first tine their EYES MEET. Bill's eyes rest on Amsterdam,take him all in... but DON'T REMEMBER him. He looks away as a TAMMANY HACKsteps up to pay court........ and a MASTER OF REVELS, center-floor, SHOUTS ...MASTER OF REVELSGentlemen and gentlewomen, if you please ... we will now... raise thecages and start the bidding!The Crowd CHEERS and KIDS PULL on a series of ropes and pulleys to RAISEthe CAGES further above the floor until they are parallel with thesecond-floor gallery of the Pagoda. WOMEN AND MEN call out BIDS even asthe cages rise through the air. Depending on their age, the Women andchildren inside the cages respond to the auction with grim resignation,trepidation or fear. A few, drugged or drunk on all-sorts, lie insensiblein their impossibly cramped space.Johnny and Jenny make their way along the second floor gallery until shespots a COUPLE LEAVING a room and walks inside. Johnny CLOSES the doorbehind them as a BURST of APPLAUSE...... rises from the main floor, where Bill the Butcher stands in the deadcenter of the room. He slowly removes his coat and hands it to a FLUNKY.He is wearing his battle vest underneath, and it is fully rigged with allhis butcher's implements.The place QUIETS. KIDS swarm silently, like busy ants, all over a hugewooden CHANDELIER, LIGHTING its HUNDREDS of CANDLES. Only the noise fromthe Chinese playing fan-tan in the far corner of the room can be heard now.The Kids finish lighting the candles and the chandelier is RAISED towardthe Pagoda ceiling, casting the whole place into a new riot of LIGHT andSHADOW as The Butcher prepares himself.Now the Chinese Opera DANCER steps forward and stands near Bill. He NODS.The unsprung MUSIC begins. The DANCER starts to move, sinuously......and Bill, with amazing skill, starts THROWING his KNIVES. The knifeMISSES the Dancer by a hairsbreadth, landing in the floor near her foot.She doesn't flinch. She keeps dancing. And Bill keeps THROWING...... the KNIVES, which follow the Dancer around the room in a careful,deadly choreography. They land just inches from where she has just been,or will be: in a wall; a pillar; the apron of the small stage; the bar;the barrel of all-sorts. After each knife LANDS, kids retrieve it. Whenone of the KNIFE KIDS pulls the blade from the all-sorts barrel, DRUNKSknock each other over to drink from the stream that flows from the hole.Native Americans, meanwhile, WORK THROUGH the awed, attentive Crowd. TheyAVOID Cops, Tammany Members and anyone who looks too prosperous or toosober. But when one of the Natives SPOTS a MARGINAL CITIZEN, they GRAB hishand and examine it as if they were telling fortunes.Center floor, Bill pulls TWO KNIVES out, BALANCES one in each hand ...... as a WHORE in the crowd pushes a guy who's groping her toward a coupleof Natives. Hels wearing a large RING. As soon as the Natives SEE the ringthey throw their arms around the GROPER like a long-lost pal and escorthim to Bill ...... who THROWS both knives rapidly at the Dancer. They land on the floor,inches from her dancing feet. She SPINS AWAY to great applause as theNatives bring the Groper to Bill.BILL THE BUTCHEREvening, sir. Are you prepared to be celebrated? Are you ready to befamous?GROPERHow much will it cost?BILL THE BUTCHERJust a moment of your time. My men will assist you.They do quite a bit more than that: they GRAB the Groper and KNOCK him tothe floor. In the crowd, one SPECTATOR turns to his companion.PAGODA SPECTATORWatch this careful. I've never seen the like, not even in Barnum's Museum.The Groper CRIES OUT as the Natives PIN HIM to the floor, SPREADEAGLED.Bill has one weapon left... in a special pocket, inside his vest. It's hisCLEAVER. He takes it out slowly, SAVORING the moment.The Pagoda goes QUIET. Only the gambling continues. The MUSIC dies. Theonly SOUND beside the noises of the Chinese at their fan-tan is theGroper, who HOLLERS for help as soon as he sees the cleaver.Bill HEFTS the cleaver in his hand, feels its weight, calculates timing,figures distance .... and starts THROWING it in the air...... CATCHING it by the handle ... then throwing it again... higher, FASTERand HARDER with every toss.BILL THE BUTCHER(in full control)What's it so quiet for? I don't need quiet.The Chinese opera MUSIC commences with a dissonant CRASH...... and Bill catches the cleaver again. But EVERY TIME he throws it andevery time he catches it by its handle ...... he also MOVES CLOSER to the terrified Groper. Now... standingvery close... he gives the cleaver a mighty toss ...... sending it SPINNING high in the air... up past the cages ... past thesecond-floor gallery, jammed with appreciative spectators ... until itSLOWS ... seems to HANG in the air... then starts its descent...... FALLING FASTER... towards Bill's waiting, STEADY HAND.The Groper SCREAMS in fear. Bill SMILES confidently, holding his hand outuntil ... just as smoothly, just as confidently...... he PULLS his hand AWAY and the cleaver FALLS with terrific impact onthe SPLAYED HAND of the Groper, cleanly SEVERING it at the wrist. TheGroper FAINTS dead away as a TREMENDOUS CHEER greets Bill's amazing feat.One of the Natives TOSSES Bill the severed hand.Bill SLIDES the ring off the finger and TOSSES it to the Chinese Dancer.BILL THE BUTCHERThere's for your beauty and your song.The Dancer puts the ring on her finger and DANCES OFF. Bill TOSSES thehand to the floor and walks back to his table. The Crowd PARTS, murmuringcompliments on his dexterity, and the Knife Kids reverently RETURN theButcher's implements.Now two DOGS from the rat pit in the back room RUN through the crowd andFIGHT FRENZIEDLY over possession of the bloody hand.The Crowd PASSES the Groper overhead and WE SEE from ABOVE: the Groper'sunconscicus BODY being passed from hand to hand. The Crowd looks like awave bearing the body toward the door. The Groper's stump BLEEDS on themas he passes overhead, sprinkling drops of blood and flesh like a moveablesacrament.Bill approaches his table, acknowledging the continuing adulation, and isabout to sit down when a VOICE rises above all others.AMSTERDAMMr. Poole!Bill turns, searching out the voice ...AMSTERDAMBill Poole!And SEES Amsterdam, standing at his own table. His attitude is calm,smiling, respectful. But his eyes are demonic.AMSTERDAMMy compliments on your exhibition, sir.BILL THE BUTCHERThank you, sir.AMSTERDAMIt was like watching a dance.(Bill nods his thanks)Some great grand goddamned dance. (Bill looks at him more closely)You know me, sir.BILL THE BUTCHERDo I? Are you missing a finger?Appreciative laughter from the crowd.AMSTERDAMNo. A father.The laughter turns a little uneasy. Bill the Butcher sizes up the youngerman.BILL THE BUTCHERDo you have a name?AMSTERDAMAmsterdam.BILL THE BUTCHERThat's a New York name.(suddenly smiles)shall we drink to it?AMSTERDAMIndeed.(they drink)And to my other name. Vallon. Will you drink to that?BILL THE BUTCHERPriest Vallon's son?(Amsterdam nods)Of course I'll drink to that. Your father was a worthy man.AMSTERDAMNot worthy of you. Those dogs ain't worthy of you. You ain't worth whatthey feed on, and what they shit's too good for you.DEAD QUIET. Absolute. Breathless. Only the Chinese Gamblers at theirfan-tan ignore this confrontation.BILL THE BUTCHERWhat do you want, boyo?AMSTERDAMI got to give you something, Butcher. Something from my father.Amsterdam PULLS OUT the piratels knife which Bill the Butcher used to killhis father almost 12 years before.BILL THE BUTCHERYou got the sand to draw a blade in front of me? You will make good sport.Come ahead and give it here, you son of a bitch. And Amsterdam THROWS the knife, the bright blade FLASHING OUT of his handlike lightning.And just as quickly the Buitcher PICKS UP his table, sending glassesflying and breaking, using it as a SHIELD...... and the knife THUMPS into it dead center. The Butcher HEAVES the tableat Amsterdam...sending PATRONS yelling and SCATTERING.Amsterdam LEAPS out of the way of the table, then RUNS AT Bill theButcher...... who's already coming for him. As they CLASH and GRAPPLE with eachother...... PATRONS all over the Pagoda crowd around for a good view of the actionand start to MAKE BETS on the outcome. The odds do not favor Amsterdam.And neither does the fight. Amsterdam fights with real blood lust, but hedoesn't have the Butcher's skill, or experience, or dispassion. He breaksthe Butcher's CLINCH... HITS him once in the face... then a second time... and then gets FLOORED by a well placed kick. The Crowd cheers.And, on the second floor, Jenny and Johnny come out of the room. Stillarranging her clothes, Jenny looks over the gallery rail onto the floorbelow, sees the fight... and starts to RUN down the stairs. Johnny WATCHESher go ... looks at the fight again, for a second... then follows Jenny tothe main floor.The Butcher is on top of Amsterdam now. He HITS him upside the head withthe wood and brass handle of his cleaver. Then hits him again. AND AGAIN.In the Crowd now, Jenny finds Sheeny Mike.JENNYThe Butcher'll kill him if we don't do something.SHEENY MIKEIt was Amsterdam's own doing. And it'll be our death too if we try to stopit.JOHNNY(finally catching up)That's the truth.JENNYThe truth is you don't give a damn about him.SHEENY MIKEYeah, well, if he gave a damn about us he wouldn't have called out theButcher in the first place.Jenny looks at him with contempt, then STARTS into the crowd. Johnny grabsher ARM but she pushes him off.On the floor, Bill uses the FLAT SIDE of the cleaver to SMACK the barelyconscious Amsterdam on one side of his face... then on the other...REPEATEDLY... until Amsterdam is barely sensible. Bill grabs him by thehair. Amsterdam's body is slack.BILL THE BUTCHERWhat do you say? Loin or shank? Rib or chop?The Crowd YELLS their choices. Jenny tries to PLUNGE through towardAmsterdam, but a HALF-DOZEN MORTS and WHORES put hands on her and HOLD herback.BILL THE BUTCHERCome on, let me hear you!(the Crowd yells louder)You're all talking at once, I can't hear you!(a near frenzy)I don't hear the choicest cut! The best, the vital!(they quiet a little to listen)The heart. I think I must have the heart!This is greeted with the biggest CHEER of the night. The newlyelectedMayor Wood seems to feel as if he should do something to stop theslaughter, but Boss Tweed calms him with a single dismissive GESTURE. Eventhe Boss himself is excited by the prospect of this ritual sacrifice.BILL THE BUTCHERCome on, look at it! You fancy yourself a gladiator, act a gladiator!(raises his cleaver)Watch the death blow when it comes to you. Go to hell with open eyes!Bill the Butcher readies himself to deliver the blow... and a HAND GRABShis wrist, STOPPING his arm.Who would dare do this to Bill the Butcher? Bill turns, incredulous, tolook into...... the untroubled face of Monk Eastman.MONK EASTMANIt's been a full evening's fun now, Butcher. It's enough.BILL THE BUTCHERYou got nothing to do with this, Monk.MONK EASTMKNWell I'm the game warden, you might say. I'm telling you this buck's tooyoung yet. Wait till he's aged for a proper kill.BILL THE BUTCHERThe hell.With his gigantic strength, Monk actually PULLS the Butcher off Amsterdamand onto his feet.MONK EASTMKNJust settle yourself Bill ...... and he part SHOVES, part THROWS Bill back a good twenty feet.MONK EASTMKN... and let the merrymaking continue.The Dead Rabbits have scampered forward, and they're picking Amsterdam upoff the floor. Monk looks at Jenny and Johnny, who each have Amsterdam byan arm.MONK EASTMANIt was his father took me in first, and it's thanks I'm returning now.BILL THE BUTCHEREastman!MONK EASTMAN(ignoring Bill)This squares any debt. Get him out of here.BILL THE BUTCHERMonk Eastman!As the Rabbits CARRY Amsterdam toward the door, Monk finally turns hisattention back to Bill.BILL THE BUTCHERI'll have you then!MONK EASTMANCome ahead, Bill. Unless you're wanting to shout me to death.And Bill comes forward, BRANDISHING his cleaver. Monk Eastman stands hisground, unmoving, untroubled. Everyone looks on in awe at this contest ...... except Boss Tweed.BOSS TWEED(to Killoran)If these two are going to combat, it aught to be a worthier occasion. Andmore rewarding for all.Tweed SIGNALS to Bill: STOP. The Butcher sees the signal but can't believeit. He SHAKES his head. His blood is up. He won't stop.Tweed SIGNALS AGAIN. Bill KEEPS COMING.Tweed signals Killoran, who STANDS himself. And, when he stands, every COPand TAMMANY LOYALIST in the place--a hundred of them anyway--STAND behindBoss Tweed.As Bill keeps coming, and Monk stands easy, waiting...... the Natives and their ALLIES now stand, facing the Tammany crew. TheTammany backers, dressed flush and fancy, face the scruffier, more savageFive Points bunch: the twin factions of the criminal underworld, sodifferent in style and so similar in purpose, SIZE EACH OTHER UP fromopposite sides of the room.Bill STOPS. The odds are shifting, the stakes are climbing. Even theChinese STOP GAMBLING. For the first time all evening the room isabsolutely STILL. Even the Dead Rabbits have turned, at the door, to seewhat will happen.Tweed and the Butcher LOCK EYES: neither blinks. Then after a moment ... avery long moment ... a calm, bemused Tweed RAISES his glass.BOSS TWEEDI only wanted to thank you, Bill, for the customary good job today... andan equally bright future for us both.Another pause. Bill does not look placated. The whole place seems ready toexplode...... until Boss Tweed RISES to his feet, and RAISES his glass higher.BOSS TWEEDWill you drink with me, Bill, as a friend? An honored friend.Bill weighs the proposition... then looks to his men, NODS his head tocall them off. He GRABS a glass off a table to join Tweed's toast.The MUSIC begins again. The gambling recommences. Patrons take theirseats. The Dead Rabbits help Amsterdam out the door.Monk Eastman sidles up to Bill the Butcher.MONK EASTMANIf there's one thing I can't abide, it's fighting for free.He takes the Butcher's glass from his hand, raises it in salute, DRINKSDEEP and hands it back to him.At the door of the Pagoda, a badly beaten Ansterdam starts FLAILING andfighting by brute instinct. He HITS Jenny, and she goes down. Johnnygrapples with him as Jenny PICKS HERSELF up and struggles to help SUBDUEAmsterdam.JENNYGo easy! Go easy. It's over.JOHNNYHe knew what he was doing, hitting you.JENNYLet's get him up.She grabs Amsterdam's arm and, with Johnny's help, tries to HOIST him backto his feet.JENNY(Looking at Amsterdam's bloody face)Therels too damn little of him left to know anything.They start across Paradise Square, holding him up...... as the rest of the Dead Rabbits join to help them... all growingsmaller in the distance against the primeval nighttime landscape of theFive Points...... and the Bouncer CLOSES the door.DISSOLVE TO66 INT. DON WHISKERANDOS BARBER SHOP DAYAnother DOOR OPENS, and Amsterdam stands on the threshold. A week or sohas passed since the big night at Sparrow's Pagoda, but Amsterdam's facestill shows the marks of Bill's beating.Don Whiskerandos is ministering to Monk Eastman with a straight razor,giving him a close and careful shave. Monk is thoroughly relaxed, doesn'teven glance over when the door opens, hardly reacts when Don Whiskerandossays ....DON WHISKERANDOSSomeone's here for you.MONK EASTMANThat so? What's he look like?DON WHISKERANDOSHe looks pretty damned sorry.MONK EASTMAN(looks at Amsterdam)Indeed.- Can I buy you a shave?AMSTERDAMNo thanks.MONK EASTMANFace is too sore, eh? I understand.AMSTERDAMNo. I'm beholden enough to you as it is. I don't like to be beholden.MONK EASTMANWe're all even, son. There's nothing more between us.AMSTERDAMI'd like it if there was.MONK EASTMANAre you proposing employment?AMSTERDAMA collaboration. The Dead Rabbits got to get strong before we make anothermove. I figure you're the one to make us strong. There's a lot we canlearn from you.MONK EASTMANBoyo, I'm a freebooter and a mercenary, not a teacher. I can't learnnothing from you and I can't earn nothing from you either.AMSTERDAMThe Dead Rabbits is going to be glorious again. We're going to reign overthe Points.MONK EASTMANAnd Bill Poole's Natives? What will they have to say?AMSTERDAMNothing. They won't have tongues left to speak.MONK EASTMANDon't worry about what theylll have in their mouths. You think about whatthey got in their hands.(beat)Listen, son... take a word from a man who was honored to fight beside yourfather. Temper yourself like a sword, and pay attention to balance. Angerspoils an edge.AMSTERDAMThen you say no?Monk SIGHS and points to a huge WAR CLUB which hangs in a place of honorabove the shop mirror. It has deep marks running along its front, likeNOTCHES-MONK EASTMANYou see my instrument there? First notch represents two dollars and fiftycents. That's how much I got for my first kill. There are forty-eight morenotches after it, and my fee has grown with each one. I can accommodateyou alright, but you got to afford me. So do business with me or do it onyour own.AMSTERDAMEverything I got is still to come. So I guess it's on my own, then.MONK EASTMANFair enough. You'll find independence a fine thing, a fierce thing.Although I do hold money preferable to all.(Amsterdam turns to leave)But I'm sure we'll have news of each other.AMSTERDAMBound to.As he shuts the door of the shop, Monk Eastman gestures to DonWhiskerandos for another hot towel.CUT TO67 EXT. STREETS OFF PARADISE SQUARE DAYA large wagon bearing a Tammany banner and carrying dozens of small sacksof coal moves slowly down the narrow street. Boss Tweed sits on the frontseat, next to the driver, as his minions HAND him coal sacks. Tweeddistributes them with a smile to the NEEDY who trot next to the wagon.BOSS TWEED(to the people as they grab the coal)Tammany's here to take the chill off the winter and the weight off yourheart. It's Tammany can make this city a fit place, with the help and voteof all you good people...As he continues, Bill the Butcher JUMPS onto the wagon and sits downbeside him. Boss Tweed hardly gives him a glance.BILL THE BUTCHERYou sent me word.BOSS TWEEDWe could use help here. Grab a sack.BILL THE BUTCHERI keep my hands clean.BOSS TWEED(now he looks at him)So I've observed.BILL THE BUTCHER(tense)Better be on your mark to talk like that to me. It was you stopped me atthe Pagoda. I would have cut Monk inside out.BOSS TWEEDWhat if you hadn't? Think of the embarrassment. And what if you had?Consider the waste. Next time you're in a dust-up like that, think aheadand make proper plans. It'd be a grand source of revenue, whoever prevails.BILL THE BUTCHERIt touches my heart how you always. have our best interests in mind.BOSS TWEEDOur mutual interests. That's why I want you to contact Monk Eastman.(Bill's incredulous)I want you to extend a proposition. I want him to join US.BILL THE BUTCHERWhat?BOSS TWEEDOh, not Tammany, of course not. We could no more have him there than you.But he should throw in with the Native Americans, become aware of ourArrangement and ... well, use his influence, shall we say, to enrich usall.BILL THE BUTCHERYou're saying I can't do everything you need? You don't think the Nativeshas been doing good and right? You think there's something more he can dothat I ...BOSS TWEED(interrupting)It's none of that, Bill. None of that. His independence is like a rebuketo Tammany. And an insult to you.BILL THE BUTCHERThen you should have let me have him at Sparrow's.BOSS TWEEDI should. If I'd been confident-absolutely certain--that you would haveprevailed. Monk is an unpredictable power, and a figure of size. He needsto be reckoned with.BILL THE BUTCHERHe needs to be killed.BOSS TWEEDNo. He's an elemental force. Them you don't destroy. But you can containthem and use them for the good they give off.He hands Bill a sack of coal.BOSS TWEEDCoal?Bill doesn't answer. He HOPS DOWN off the moving wagon, and the Needy giveway quickly before him, then regroup and SWARM after Tweed and his coal.The Boss continues with his Tammany spiel-enjoying all the attention--asthe Butcher watches, disdainful of Tweed but filled with angryfrustration. From his face we ...DISSOLVE TO68 INT. DON WHISKERA.NDOS BARBER SHOP DAY... the incredulous face of Monk Eastman, as he looks at Bill the Butcher.MONK EASTMANAnd this is your offer?BILL THE BUTCHERIt's Boss Tweedls offer.MONK EASTMANHow do you think we'd sit as allies, Bill?BILL THE BUTCHERThe only way we could tolerate being near each other would be stretchedout dead.MONK EASTMANMy thoughts exactly. Then why are you here? Because you were asked to be.You were ordered to be. And who would order me among the Natives? You? Andwould you follow my orders, even if they was being relayed from WilliamMarcy Tweed himself?He EASES himself out of the barber chair. The Butcher TENSES as Monk comestoward him.MONK EASTMANDubious and doubtful, my friend. But your offer--pardon, the offer youbring--is the most generous that's ever been extended. I favor the terms,if not the personalities. So let us decide the way any Native Americanwould appreciate. We'll do it the democratic way.He throws open the door of the barber shop and stands there, beside Billthe Butcher, his arm thrown carelessly around him. PASSERSBY stop inwonderment as Monk ADDRESSES them.MONK EASTMANCitizens of the Five Points! It seems the Native Americans have come totrouble. They have grown so weak that now they seek my help. They can payany wage I ask. But I ask you now. Even for money, should I carouse andconspire alongside a boyo like this with gristle on his knife and spittleon his chin every time his cock gets hard?Monk is beaming, the Butcher is appalled. His body tenses like a snakeready to spring. But the people in the street just STARE- They can'tbelieve what they've just heard.MONK EASTMAN(to Bill)There. You see. I'm afraid the people have spoken.BILL THE BUTCHERI'll see you again, you bog Irish bastard.MONK EASTMANWell, if it's a fight you want now, Bill, remember to come back with abankroll.Monk returns to the shop and the comfort of his chair. Bill GLARES at thepeople in the street. One lock from him starts them moving fast. But theydo not look away from him quite so fast, or at him, either, with quite thesame fear.CUT TO69 INT. MISSION (FORMERLY OLD BREWERY) NIGHTThe vast main room has been changed into a dance floor and decorated forthe evening. An altar has been hung with bunting; SHIP'S LANTERNS andCANDLES illuminate the place. The REVEREND SHADRACH RALEIGH GREETSeveryone. The room, already crowded with CELEBRANTS of all ages, growsquiet as the Dead Rabbits, done up in their party best, show up for therevelry.REVEREND RALEIGHAh, the Native Americans, is it now?AMSTERDAMAre they coming?JENNYWe don't want a ruckus, minister.REVEREND RALEIGHNor do I. I intended no disrespect. I'd heard the Native Americans werefigures of the greatest prominence here.AMSTERDAMIndeed they are, just for the moment. Let them come. Happy to have them.Everyone's welcome in a house of God, isn't that right, Reverend?REVEREND RALEIGHAs all are welcome in heaven.SHEENY MIKEIld like to go to heaven. Ild like to go to heaven and bite off Gabriellsear.REVEREND RALEIGHYou're still welcome, even with such peculiar appetites.AMSTERDAMBut if the Natives do come, Father...REVEREND RALEIGHI'm not a priest, son ...AMSTERDAM... there's no accounting for what may follow.REVEREND RALEIGHI'm sure God's hand will guide us in that. Just as He guided you here atthe right perfect time, with a right perfect regent. The young lady withthe sunset hair. Miss ...JENNYEverdeane. Jenny Everdeane.REVEREND RALEIGHMiss Everdeane. Step forward, please.Radiant and curious, Jenny joins the Reverend Raleigh in the center of theroom.REVEREND RALEIGHAnd the evening's regent chooses her evening's partner.There is much MUTTERING about this from everyone. Someone makes a wet,farting SOUND.REVERAND RALEIGH(unfazed)Here we make only joyful noises to the Lord.Under the instruction of the bustling Reverend and his HELPERS, the Womenskeptically stand away from the Men, who allow themselves to be arrangedinto a LINE. The Reverend Raleigh escorts the delighted Jenny to a chairthat has been placed, by itself, in the center of the room. Jenny sitsdown, facing away from the rest of the guests. She holds a MIRROR in herhand.REVEREND RALEIGHNow. The men, please. One by one.The first volunteer Reverend Raleigh brings forward is a reluctant SheenyMike. There are RUDE COMMENTS as he leads Mike slowly to the center of theroom, coming up behind Jenny until she can see Mikels face reflected inthe mirror. She SHAKES her head.REVEREND RALEIGHNext Gentleman, please.More laughing. The BOYS push out one CANDIDATE. Rejected.Now ANOTHER CANDIDATE comes forward. And STILL ANOTHER- Jenny rejects eachwith the composure of a princess.Now it is Johnny's turn. He WALKS slowly across the big room, and standsbehind Jenny, trying to look confident. The moment is long, the room'stense... until--just once but very decisively-Jenny SHAKES her head.Jenny watches Johnny's face in the mirror. She stays still. Finally, hewalks back to the GANG.Now Amsterdam starts toward the center of the room. He keeps his eyesfixed on Jenny.Jenny catches Amsterdam's reflection in the mirror. He STOPS. She NODS herhead. Yes. Him.A small BAND strikes up a barely recognizable version of "A MightyFortress Is Our God," arranged in waltz time. Jenny rises and holds outher arms to Amsterdam. They start to DANCE, a little clumsily, as otherCOUPLES join them.AMSTERDAMSo you accept?JENNYWhat?AMSTERDAMYou accept to be my mort and no one else's.JENNY(teasing)No, it's just that I didn't recognize you in the mirror. You still gotsome of the face the Butcher gave you.AMSTERDAM(going along with the joke)It's not the Butcher, it's the dancing. It shifts my face all around.JENNYMaybe you'll look better later.The Reverend Raleigh and his Helpers DASH among the dancers, distributingLIGHTED CANDLES, which the COUPLES take and hold as they move around thefloor.AMSTERDAMI will if we're together later.(she smiles)And what about after that? After tonight?JENNYI chose you just for tonight. If that's not good enough I'll go withsomeone else.She takes a candle from the Reverend and holds it so the light FLICKERS onAmsterdam's face.AMSTERDAMI'll have tonight. But after this don't come to me no more till you'reready. No more.His eyes, in the candlelight, show both his love and his Resolution. JennyNODS and they DANCE AWAY ...... losing themselves now among the dancers, all moving and holdingcandles. As they dance, their movement becomes SPLIT, SEQUENTIAL, a studyin motion like an old Gjon Mili photograph. Their bodies create a RUSH OFYELLOW LIGHT ACROSS the screen like the tail of a comet.CUT TO70 INT- DEAD RABBITS HOUSE NIGHTIn the hallway. JOHNNY stands pressed against a door.JOHNNY(whispering)Amsterdam.(louder; hissing)Amsterdam!AMSTERDAM (V.O.)Who is it?JOHNNYMe.AMSTERDAMCome on in.JOHNNYI don't want to come in! You come out.AMSTERDAMJust a damn minute.AMSTERDAM comes to the door, half-dressed and sleepy. We see Jenny asleepon the floor inside.AMSTERDAMWhat do you want?CUT TO71 EXT. PIER/DEAD RABBITS HOUSE NIGHTJust before dawn. The streets are empty, the river is quiet. AMSTERDAMfollows JOHNNY out of the house.JOHNNYI'm going to fight you.AMSTERDAMOh, Jesus, Johnny, I'm tired. How about sometime else?JOHNNYNow.AMSTERDAMYou want to tell me what this fight's over? Is it The Butcher? Jenny?(Johnny turns, determined)Alright, alright. Then tell me why like this?JOHNNYSo when I lose no one will see.And he SLUGS him. Hard. Harder even than he thought he could. AMSTERDAMstumbles, stunned, then pulls himself up. And CHARGES at Johnny, knockinghim down.The two friends PUNCH, WRESTLE, BITE and PUMMEL EACH OTHER with suchextravagant energy that they soon...... ROLL OFF the pier...CUT TO72 EXT. PIER DAWN... onto the muddy ground underneath the pier. They LAND with a shudderingSPLASH in the soggy earth, but they keep fighting ....... as a PACK OF ORPHANS, eyes glinting like night animals, scatter likewild beasts disturbed in their burrow.Amsterdam has the physical advantage, and more skill. But Johnny has thefury. All the feeling and the frustration rain out of him physically,making the match nearly even.The Orphan Pack watches the fight silently, showing no favoritism oremotion, just an edge of curiosity.Amsterdam HITS Johnny a wicked combination that makes him SINK to one kneein the mud. But Johnny will not go down. Amsterdam, hurt himself, juststares at Johnny in wonderment.AMSTERDAMSatisfied?JOHNNYSatisfied? It wasn't me that's been dancing and shagging all night.And he pulls himself to his feet and THROWS a roundhouse at Amsterdam, whohalf-staggers out of the way. The moment throws Johnny off balance, and hefalls in the mud again, this time on all fours. Amsterdam SINKS downbeside him.AMSTERDAMEnough.Johnny won't stop: he throws a punch that Amsterdam can see coming a blockaway. But he's too tired too duck; or maybe he's just fed up. He takes thepunch and FALLS on his back.AMSTERDAMThat's it then.JOHNNYThe hell.And he THROWS HIMSELF on Amsterdam. It's more like he rolls over onto himthan anything, but he's on top of him now, hitting him in the face withall he's got left in him.AMSTERDAMGoddamn it.Amsterdam HEAVES Johnny off and pops him a solid SWIPE to the jaw. Thatdoes it. Lights out. Johnny falls unconscious into the slime beneath thepier.The Orphan Pack keeps staring from the shadow with their ferret eyes.Still silent. Amsterdam STRUGGLES to his feet, stops at the river's edgeto get a handful of water to revive himself. Then he looks over, sees hisunconscious friend.AMSTERDAMGoddamn you anyway.He grabs Johnny's body by the shoulders and pulls him to the river's edge.He gets some water on his hand, lets it drip over Johnny's face, washingaway a little of the blood. Not enough. He draws some more water, and RUBSit gently onto Johnny's face.CLOSE: on the motion of his hand. It is nearly gentle.CUT TO73 INT. DON WHISKERANDOS BARBER SHOP DAYAs Don Whiskerandos' hand, holding a razor, travels over the great plainsof Monk Eastman's face. His hand is shaking.MONK EASTMANWhat's the trouble, Don?DON WHISKERANDOSThere's someone here.Monk bestirs himself in the chair, SEES: Bill the Butcher, standing in thedoorway.MONK EASTMANIt's just a man of commerce.Monk settles back in the chair as Bill the Butcher walks into the shop.BILL THE BUTCHERYou're right enough this time, Monk.(to Don Whiskerandos)Go ahead.(the barber hesitates)Go on with your work. I'll finish my business.Don Whiskerandos picks up a pair of SCISSORS and NERVOUSLY starts to TRIMMonk's hair.MONK EASTMANCome out with it then.Bill NODS emphatically at Don Whiskerandos, who is clearly terrified. Billnods again, almost vehemently. Don Whiskerandos SHAKES his head. BillGLARES at him. The Barber takes a STEP BACK. Monk opens his eyes, startsto size up the situation.BILL THE BUTCHERYou damn craven, do it!Bill LEAPS forward, grabs the trembling barber's arm and pushes it towardMONK...MONK EASTMAN(rising from his chair)What the hell......and the scissors, held by Don Whiskerandos and pushed by Bill theButcher, meet Monk full in the face as he bolts from the chair. The longscissor BLADE SINKS into Monkls right eye.MONK BELLOWS, staggers toward Don Whiskerandos, who shrinks against thewall. The scissor protrudes from Monk's eye as he RAGES, blinded by blood,now reaching out for the ButcherBILL THE BUTCHERYour eyes was open for that alright. And you still got one to see this.Bill the Butcher reaches above him for Monk's war club, which hangs on thewall. He grabs tight hold of it and, with Monk nearly upon him, swings itviciously at Monk's head. The BLOW sends the scissor FLYING out of Monk'seye, with the eyeball still attached. It also SMASHES in the side ofMonk's face. He FALLS, still GRABBING desperately for the Butcher...... who now stands over him, beating him incessantly with the war club.CAVING his head in. KILLING him.Don Whiskerandos looks at Bill in a virtual paralysis of terror. TheButcher lets the CLUB FALL, reaches in his pocket and throws some MONEY atthe barber.BILL THE BUTCHERIf I was you I'd use that to open in a new location. Consider St. Louis.The enormity of what he's done is beginning to sink in. He turns to leavethe shop ... but STOPS in the doorway.Outside, CITIZENS of the Points are staring at the fallen Monk in mutewonder. They have just witnessed a moment in history.Bill the Butcher surveys them all silently, then calls out to DonWhiskerandos.BILL THE BUTCHERThe war club.The barber steels himself to CARRY the bloody club to the Butcher, whohefts it slowly in his hands, in view of all.He takes a knife from his vest, and CUTS the LAST NOTCH in the club. Then,slowly...... he steps down into the crowd, which PARTS before him. Hewalks among them in regal splendor, the war club at his side, drippinggore.As the crowd falls back, Bill spots Amsterdam, Johnny and some of theother Dead Rabbits, watching his every mave. He STOPS. HOLDS OUT the bloody war club in front of him... straight in front ofhim... POINTING IT right at Amsterdam.BILL THE BUTCHERI promise you, Amsterdam. I promise you.Then he grins, turns away and walks through the crowd: prince of all hesurveys.CUT TO74 INT. RESTAURANT/PARK ROWBoss Tweed reigns in the banquet room of a vast, gaslit restaurant, at along table overburdened with food. Seated along both sides of the table isan array of the city's POWER BROKERS, with whom Tweed and his TammanyMINIONS mix easily. Their attitude toward the Power Brokers is a mixtureof ribald fawning and fine condescension; the Power Brokers, in turn,enjoy the food, and the MUSIC from a small BAND, and the DANCING GIRLS whoflirt and entertain them, while exuding the unmistakable impression ofamateur anthropologists exploring a decaying civilization.Tweed is courting and joking with a bewhiskered HORACE GREELEY, editor ofthe influential Tribune.GREELEYI may enjoy the bounty of your table and the pleasures of your company,Mr. Tweed ...BOSS TWEEDAnd the pleasures of the company provided you, Mr. Greeley.GREELEY...without the Tribune endorsing your politics.BOSS TWEEDI suppose you can at that. Take with one hand, flay with the other.Virtuels on your conscience, Horace, but Tammany's in your heart.Killoran materializes at Tweed's side and whispers something quickly,discreetly in his ear. Tweed EXCUSES himself, rises quickly and WALKSacross the restaurant floor...... past the Band and the Dancing Giris ...... to the swinging doors of the kitchen. As he pushes open the SWINGINGDOOR, his face has lost its humor.CUT TO75 INT. KITCHEN/RESTAURANT/PARK ROWA madhouse of activity. WAITERS in black suits, vests and serving outfitsSTREAM by carrying huge TRAYS of food while the KITCHEN STAFF worksdouble-time to keep up with the unceasing volume.As Boss Tweed walks in, Bill the Butcher PLUCKS a piece of roasted poultryoff a tray as it's carried out the door.BILL THE BUTCHERI'm not good enough for your table, so I eat where I can. (takes a bigbite)It's good, what is it?BOSS TWEEDPheasant.BILL THE BUTCHERIs that like pigeon? I killed a pigeon once but it didn't taste nothinglike this.BOSS TWEEDYou killed a bull this morning. I told you to make an Arrangement withhim, and you come back with his blood on your hands.BILL THE BUTCHER(chewing his food)He insulted me. He aggravated me. I couldn't stand for that, for no one.BOSS TWEEDYou stand for anything if I tell you.BILL THE BUTCHERYou think I should be afraid of you. You act like lightning strikes whenyou talk.As they talk, and the tension builds between them, the two men areconstantly BUFFETED by the swinging doors and the unending stream ofWAITERS.BILL THE BUTCHERI never was afraid of you, so don't think I was or act like I was, youain't earned it.BOSS TWEEDWhat did you earn us, killing Monk?BILL THE BUTCHERWhere'd you earn the right to ask that question? You raised some dust inthe streets a while back, but no more. You got power but you ain't gotmuscle and you ain't got a notion what it means to be a warrior.BOSS TWEEDI see it lost you a lot of God's sense, along with that eye.BILL THE BUTCHERYou don't know nothing about that! It was my doing! It says in The Book,"If thy eye offend thee, pluck it out." I followed that law with my ownknife and hand. The first I ever fought Priest Vallon, he bested me. Andwhen he came to bring me to death, I looked away and he watched me and helet me go. The shame was worse than the killing. I would have cut out botheyes if I could still have fought, but cutting just the one gave me heart.When I killed Priest Vallon, that restored me. Now I sent Monk Eastmanover I got glory. I got all there is, and small thanks to you, squire.BOSS TWEED(measured, conciliatory) You need two eyes to see the depth, Bill. That'show we help each other. If it wasn't for me would be happy enough toplunder the Points and put the fear into people who don't know nothingelse. But Bill, I'm only saying... I'm counselinm... look in the distance.You want to sit at my table, fine. But you must always remember who thehost is. It's not a matter of courage welre talking. It's manners.Bill grabs another piece of food from a tray.BILL THE BUTCHERHowls these manners?BOSS TWEEDFine, if you're hungry.BILL THE BUTCHERI'm always hungry.BOSS TWEEDI've always told you, Bill. There's plenty for all, and more for ustogether than separate. We'll dine together sometime.Bill the Butcher nods, appeased, and leaves, swaggering his way throughthe kitchen chaos, making everyone get out of his way. Boss Tweed watcheshim go, his expression changing from bemused appeasement to molten rage.CUT TO76 INT. RESTAURANT/PARK ROWLater. Everyone's gone except some WAITERS, cleaning up, and Boss Tweedand Daniel Killoran, who sit at the end of the banquet table. Leftoverplates of food have been massed at Tweedls place and, as he talks, hePICKS from them.BOSS TWEEDLet me put this to you, Daniel. Now that the Butcher has killed the singlemost prominent figure in the Five Points--a man of myth and moment--who isthere to take his place?(as Killoran starts to answer)Of course. Then what do we do about the Butcher? He's too useful to bekilled, but he must be checked.KILLARANIt could be a police matter.BOSS TWEEDImpossible! Any cops who might have the mettle to go against the Butcherhave blood ties to the gangs. They can't be trusted. And any cops that canbe trusted are too craven to be any use. If Bill's to be checked, it mustcome from within the Points, not without.KILLORANThe Dead Rabbits did a proud job for elections. That Amsterdam boy hassand.BOSS TWEEDThat so? The last time I saw him he was under the Butcher's knife lookinglike a fine filet. Who else is there?KILLORANWell, the Rough and Tumble Boys over to Slaughterhouse Point. There'sCountry McCleesterls bunch, too, and the Plug Uglies, but there's nonethat have the promise of the Dead Rabbits, or the stake, neither.BOSS TWEEDWhat would that be?KILLORANThe boy Amsterdam has a blood feud with the Butcher. He's sworn revengefor the death of his father, and he's got the heart to carry it forward.He'll have the skill and power soon enough.BOSS TWEEDBlood will make a man intrepid. Bring them along, then. Nurture theRabbits with neglect. Let them roam where they like.KILLORANAnd if they roam into some portion of our own revenues?BOSS TWEEDI'd tolerate a little trespassing if it was for a higher good and use.They'll cross with the Natives soon enough and keep each other occupied.KILLORANBill's got to be a lot more than occupied.BOSS TWEEDI'll hold Bill in check. If he becomes unwieldy ... well, damn it all,Daniel, I might just have to oil up my old musket. What do you think ofthat, eh?Boss Tweed gets up from the table. A WAITER is DIMMING the gaslights,filling the room with deep shadows.KILLORANIt'd be gratifying, Mr. Tweed. Even edifying.BOSS TWEEDBut poor politics, eh? Well, we musn't have that.(as he walks away)I do miss those roistering days, though. Oh, and bring some of that foodfor the canaries.CUT TO77 EXT. STREET/THE BLOODY ANGLE DAYThe sharply-angled turn of Doyers Street, nicknamed "The Bloody Angle."SOUND of a horse and cart as we see a row of UPTURNED mostly WOMEN andYOUNG CHILDREN.A NATIVE AMERICAN drives a cart carrying large barrels of MILK. A SECONDNATIVE rides beside him on the seat, holding a rifle, looking impassivelyat the faces turned up to him. A WOMAN holding a BABY in one arm and aCHILD by the hand steps in front of them. They almost run her down.WOMANWe ain't had no milk this week.NATIVE 2You can have as much as you can pay for.(to crowd)Anyone that's got the ned, step up with your pitchers. Any not, come backwhen you do.The Woman gives her children to other WOMEN in the crowd and advancestoward the wagon. Native 2 cocks his rifle...... and Jenny steps from the watchful Crowd.JENNYI got ned enough for all. See? Fair enough?She holds her hand out as she WALKS slowly toward the milk wagon. She'scarrying a huge fistful of GLEAMING COINS. The Natives on the wagon watchher warily...... and are JUMPED from behind by a couple of Dead Rabbits. Amsterdamgrabs a milk pitcher from a WOMAN in the crowd, AXES open the spigot on amilk barrel and FILLS the pitcher to overflowing. Jenny JUMPS up on thewagon seat.JENNY(to Amsterdam)What's our rate? What do we charge?AMSTERDAMJohnny worked it out to a nickel less than the Natives. Just till we'reestablished. Then we raise it a penny more than now.JENNYRaise it? Is that what you want?AMSTERDAMYou say, then.JENNY(beat; then, to Crowd) There'll be no paying at all this day. Or thisweek, neither. This is Dead Rabbits business from now on.The Crowd scrambles for milk and the Rabbits try to keep ORDER.JENNY(to Crowd)We'll take ned if you got it, now or in future. But no one will go without.AMSTERDAM(to Jenny)Except us. You opening a charity?JENNYThey'll pay us what they owe, in loyalty if not in cash. Tammany givescoal, we give milk.AMSTERDAMThey can afford it.JENNYCan't we?CUT TO78 INT. MOTHER JOYCE'S BORDELLO DAYThe midday sun shining through the windows makes the place look tatty andslightly desperate: this is a place that needs low light and long shadowsto look good.Amsterdam and Johnny are at a long bar, talking to Mother Joyce, a beefy,wised-up woman with pornographic tattoos an both forearms.MOTHER JOYCEThis place is so clean it's the next thing to chaste. And safe as aconvent, too.AMSTERDAMFrom the Natives, maybe. But not from us.MOTHER JOYCEYou're saying I got to worry about your mob too?JOHNNYNo worries at all. You throw in with the Dead Rabbits and we'll worryabout the Natives.Across the room, Jenny is sitting talking to a few of the WHORES, one ofwhom is a mixed-blood Eurasian with long black hair named Emma Loss. Shegets up lazily and heads for the bar. As she passes a DRUNK, he reachesout to grab her. She's used to this, and she knocks his hand away. Hekeeps after her.At the bar, Mother Joyce notices Emma being hassled, but pays noattention: her girls can take care of themselves.MOTHER JOYCE(to Amsterdam and Johnny)And if someone else comes along, do I pay them too?AMSTERDAMYou only pay us. We see you safe from everyone.Johnny has been watching the drunk bothering Emma Loss. Without sayinganything to Amsterdam or Mother Joyce, Johnny LEAVES the bar, walks overto the drunk and SHOVES him away.JOHNNYLeave off her. She don't want you. Not even if you could pay her.EMMA LOSSHey, just a minute.JOHNNY(to Emma)He can't pay. I can pay.AMSTERDAM(watching this)Maybe I should offer Johnny as a bouncer for your busy nights.MOTHER JOYCE(laughs)A bouncer! I don't know if he could bounce on a feather bed. He wants tobe a character like you, is that it?AMSTERDAMHe's got his own ideas. Too full of Tammany, maybe, but he's a fast friend.Across the room, Johnny is talking to Emma Loss. She NODS and starts toLEAD him upstairs.MOTHER JOYCEBut in my trade you go on your instincts. My instincts says to heed you,and my memory of your father says I'm right. We'll shake on it.(Amsterdam grabs her hand)And have one of my best to seal the bargain. Megs!A lanky blonde, seated across the room near Jenny, bestirs herself.MOTHER JOYCECome here and show my new friend why we're worth special care.Jenny watches MEGS move toward Amsterdam.CUT TO79 INT. ASSIGNATION ROOM/MOTHER JOYCE'SBig enough to contain a half-gutted mattress supported by a rickety bed,some worn sheets and a few GUTTERING CANDLES.Johnny undresses as Emma sits on the bed and starts to take off her dress.JOHNNYYou liked that old man? You would have gone with him?EMMA LOSSI like anyone that pays, that's all.JOHNNYTell me what he wanted you to do.EMMA LOSSHe mostly wanted comforting.JOHNNYI never seen hair so black. Can you take the pins out?EMMA LOSSIt takes so long to do back up.He sits beside her and starts slowly, almost tenderly, to remove the pins.79 CONTINUED:JOHNNYDid your mother have the same color?I don't know.JOHNNY(as the hair cascades over her bare shoulders)Lie back, I want to look at you.(his eyes glide along her body)What's that mark?EMMA LOSSI always had it.JOHNNY(touching her lightly)And there? Is that a scar?EMMA LOSS(she looks at her naked belly)There was a baby. They cut it out.JOHNNYAnd that on your shoulder? That looks old.EMMA LOSSYeah, I got that when I ...JOHNNY(interrupting, quiet)I don't want to know when. Don't tell me about before or what you used tobe, I don't want that.EMMA LOSSWhat about your scars. Do you have scars?JOHNNYNone I ever seen. Maybe you can find them.Her hands and mouth cover his body. He closes his eyes.CUT TO80 INT. ASSIGNATION ROOM/MOTHER JOYCEISAnother room. Amsterdam and Megs are undressing each other when Jennywalks in.AMSTERDAMGo on. I can see you later.Megs leaves, brushing past Jenny.JENNYWhat are you doing?AMSTERDAMI couldn't decline what Mother Joyce offered. It's in the interests ofbusiness. You understand business.JENNYSure I do. But there's something else I still don't understand. AtSparrow's Pagoda, did you hit me, knowing it was me?AMSTERDAMYeah. I did.She HITS him. In the face. Hard. Not a slap. A solid PUNCH. His nosestarts to gush blood. He puts his arm under it to staunch the flow,keeping his eyes an her.JENNYMeantime's over.AMSTERDAMOh fine. That's fine. I'd be celebrating but I'm losing too much blood.Jenny tears part of the sleeve from her blouse and puts it against hisnose.JENNYPut your head back.AMSTERDAMThat don't work.JENNYPut your head back I said.AMSTERDAM(as she tends to him)So why so sudden, then?JENNYSudden? Every day I see you and you complain I can't decide. Now I decide,you say it's sudden.AMSTERDAMIt's the whore did it, then.JENNYDon't flatter yourself.AMSTERDAMIt's because you're jealous.JENNYIt's because you didn't lie about hitting me.AMSTERDAMChrist, I wish I had. Come here, then.He reaches to pull her down on the bed.JENNYNot here. There's too much past.CUT TO81 INT. ROOM/DEAD RABBIT HOUSEThe room where Johnny fetched Amsterdam out for the fight. Amsterdam andJenny have just made love.JENNYIt must be morning.AMSTERDAMI don't care, I'm not getting up.JENNYThis is what you meant, then? It's going to be just the same from now on?AMSTERDAMWhat?JENNYEvery morning I wake up next to you.AMSTERDAMOr you don't wake up at all.JENNYWe only just started in and you're already threatening me.AMSTERDAMIt's not a threat.(no teasing now)It's a declaration of love.JENNYI prefer my kind. This kind.She reaches beneath the pillow and pulls out a fine DIAMOND RING, whichshe slips on his finger. Amsterdam reacts with surprise, gratitude and (ofcourse) suspicion.AMSTERDAMWhat's this? Where'd you get this?JENNYYou said I was the best thief in the Five Points. But I gotrestless. Will you wear something I got?CUT TO82 EXT- UPTOWN STREET DAYA long street of tree-shaded houses. Spacious lawns. North of the FivePoints. Considerably north. This is the first time we have been outsidethe Five Points and Paradise Square. The cityrent place.Jenny and Amsterdam stand near a residence at the end of the street.Amsterdam, dressed in a suit, can't quite conceal his wonder as he standsstaring at the house.AMSTERDAMWhat is this place?JENNYMy jeweler's.She GESTURES for him to follow her and we see now that she is dressed in amaid's outfit.JENNYCome on.AMSTERDAMI don't see nobody.JENNYThat's the best time. They're all having lunch.CUT TO83 EXT. UPTOWN HOUSE DAYAt the back door of the grand house, as Jenny OPENS it slowly and glancesinside.AMSTERDAMYou're off your head.JENNY(pleased, showing off)You can wait on me a minute. Or I'll see you back in the Points if you'rescared.(Amsterdam looks at her)Don't worry. I know every house on this street. They all leave their doorsopen. They live like they're not in New York.She GOES IN the house. Amsterdam WATCHES through the window, sees hergoing up stairs. Then he looks at the dining room, visible distantlythrough an open kitchen door.He WATCHES, fascinated, fragments of the everyday rituals of a world he'snever seen. As SOUNDS drift listlessly from the street beyond, and a lightBREEZE blows, WE SEE IN A SERIES OF DISSOLVES the serving of a meal;SERVANTS carrying and passing plates; FAMILY MEMBERS reaching for dishesand passing them; the LOW KURMUR of Konversation in accents he has neverheard. It's not so much that these people and their life are foreign tohim. It is as if he has stepped into another Dimension.He loses his sense of time, and of danger. So that when Jenny TOUCHES hisarm she surprises him thoroughly.JENNYCome on. I might still be taken for a maid. But you're nobody's notion ofa butler.84 EXT. UPTOWN STREET DAYAs Jenny and Amsterdam walk away from the house. She holds his arm. Theylook young and full of hope, like a servant couple just over from the oldcountry enjoying a day off.JENNYThe Police Commissioner lives the next street over. I was thinking ofvisiting him next month, but cops don't buy goods. They keep all theirgraft in cash.Amsterdam looks at the houses with wonder that he tries to make casual.She opens her satchel a little way, then NUDGES him to have a lock at theswag inside.JENNYHow's that for ten minutes?AMSTERDAMIt's a lot to fence.JENNYI'm not going to fence it. I'm going to keep it and take it where no onewill recognize it.AMSTERDAMWhere would that be?JENNYSomewhere west. Far west. Past the Mississippi River, somewhere into thatterritory.AMSTERDAMThat's a hard journey for a woman alone.JENNYYou'd be with me.AMSTERDAMYou got it all planned and straight, is that it?JENNYOnce I said I'd be with you I wanted someplace we could be together.Someplace better than here. What's the matter with that?AMSTERDAMNothing. Except there's no place but here for me right now. I got tosettle things.JENNYYeah, I know, but I'm talking about settling down, not settling debts.AMSTERDAMYou don't have my obligations.CUT TO85 EXT. PARADISE SQUARE DAYThe Dead Rabbits SWEEP across the bustling square, Johnny and Amsterdam inthe lead.JOHNNYIt's a fair day's wage. We just move the people out of the building, andcollect.AMSTERDAMWho from?JOHNNYWho owns the building.(points)Them.The gang approaches a tumbledown BUILDING called Jacob's Ladder because ofthe iron rungs that run straight up its front to the roof. Twowell-dressed GENTS stare at the building fretfully.GENT 1(to Johnny)I'm glad you came in force. There's half a hundred people still in there.GENT 2Maybe more.GENT 1And not one's given rent the whole year.AMSTERDAMYou live here?GENT 1No, no, of course not.AMSTERDAMI mean in the city. A ways north, I'll bet.GENT 2Yes. Why?A RIFLE SHOT sounds from an upper window and a Rabbit falls wounded. Theyall DUCK FOR COVER.JOHNNYIt's not just citizens in there?GENT 1Of course it is.JOHNNYwith arms?GENT 2From their damned gang. Some of them live there.AMSTERDAMSome of who?GENT 2The Native Americans.JOHNNYWe didn't contract for that.GENT 1We'll pay extra for the danger.AMSTERDAMNo danger. But you will pay extra.(turns; to gang)Let's go and greet some Natives.Under SCATTERED RIFLE FIRE and a barrage of ROCKS, the GANG STORMS thebuilding, charging inside and starting up the ladder as if they wereattacking a medieval fortress. ARMS reach out from windows to try and pullthem off. The Rabbits respond with knives and PISTOL SHOTS. As they chargeinside, the CAMERA RISES to an OVERHEAD shot and we ...DISSOLVE TO86 EXT. PARADISE SQUARE DAYLater. The same OVERHEAD ANGLE. BODIES litter the street everywhere. Somedead and wounded Rabbits lie near NATIVES who have gone to their reward.Some BUILDING RESIDENTS wander the street in a daze. JOHNNY is collectingmoney from the Two Gents, who look very pleased as Amsterdam approacheswith Jenny. He's carrying a rifle he took from the building.AMSTERDAM(to Gents)Alright, then?GENT 2Very much alright. Quite a spectacle.AMSTERDAMOh really? Just the entertainment you favor, is it? Pardon me for amoment, gents.(he turns to Jenny)You wanted to settle, you and me. That's so, isn't it? You did agree, didyou not.JENNYI did, yes.AMSTERDAMGood, because I didn't want to act hasty. I can never tell for sure whatyou're thinking, and sometimes I'm not always sure what you're saying...GENT 2(interrupting)Excuse me, we have to finish and...AMSTERDAM(to Gent 2)Excuse me. We'll conclude in a moment.(back to Jenny)Where do you settle?JENNYAmsterdam, what are you saying?AMSTERDAMI'm asking, where does anyone settle?JENNYI don't know, you mean a place, a home?AMSTERDAMA home yes.GENT 1Excuse me, but we really must conclude.AMSTERDAM(ignoring him)Well, I'm saying to you then, Jenny Everdeane, welcome home.No one sees it coming. Amsterdam FLASHES around, swinging the BUTT of hisrifle into Gent l's midsection, doubling him over and sending himbreathless to the ground. Amsterdam SPINS again and swings the butt intoGent 2's face, knocking him cold.AMSTERDAMFine place. Room enough for all.(to Johnny)Get them out of here.GENT 2They'll come back looking for you.AMSTERDAMWith whose help? The Natives? They won't help these flourishing bastardseven for ned.(to Jenny)Tell any who wants they can stay. If they can't pay rent they can join thegang. But make sure the best rooms go to us. Look around ...JENNY(interrupting)I know this building.CUT TO87 INT. UNDERGROUND/JACOB'S LADDERAs Jenny leads Amsterdam through a narrow tunnel. The place is like aweird catacomb: it is narrow and dank, filled with bones of dead animals,of the two- and four-legged variety. JENNYThese lead all under the Square, into the Brewery and out again fromthere. They're closed off and forgotten since the Reverend opened themission. Pass me the candle.Amsterdam hands Jenny a stump of candle, which she holds high enough tosee...... that the tunnel has opened onto a small room just above the foundationof Jacob's Ladder. It's a graveyard, memorializing gang members gone to abetter world--or worse. Trophies from many gangs--including the bones andskulls of some Dead Rabbits-litter the place in loose ritual fashion, asif this were a catacomb in Palermo.Stooping low, Jenny walks to a narrow corner of the room, where severalPAVING STONES have been laid in the rough pattern of a cross. A slab ofslate serves as a headstone, and on it, in fading paint, barely legible,is the name "Maggie Everdeane."JENNYWe lived in this building till she lost her seamstress work and we went tothe Brewery. One day she slept so drunk she never woke and I brought herback here. Dug this myself.(beat)Families. Give here what I gave you.Amsterdam hands her a chest that looks like a small version ofBlackbeard's treasure box. She opens it and holds the candle close: insideis the swag from all her cat burglaries. There's a lot of it, GLITTERINGwith promise in the GUTTERING flame. Jenny starts to dig in her mother'sgrave.JENNYShe'll keep an eye on this for us. How about some help?He KNEELS beside her and they dig at the grave with stones and bones.AMSTERDAMYou trusting me with your treasure, then?JENNYJust take another look at it to remind you. I can always do fine on my own.Amsterdam reaches inside the chest, pulls out a ring and SLIPS it ontoJenny's dirt-covered finger. She KISSES him.JENNYWhat's mine is yours, is that it?AMSTERDAMI could use this, too.From the bag he holds up a small GOLD CROSS.JENNYYou making an offering to the Reverend Raleigh?Amsterdam slips the cross into his pocket without answering and starts todig again.AMSTERDAMAre you sure we can trust your mother?CUT TO88 INT. HALLWAY/TAMMANYBOSS TWEED listens to an angry BILL THE BUTCHER as they walk briskly downa long marble corridor lined with formal portraits of former Tammanyworthies.BOSS TWEEDThe building and how many?BILL THE BUTCHERA dozen at least of my Natives.BOSS TWEEDThe Dead Rabbits are a wooly bunch alright.BILL THE BUTCHERI want at them. All of them, and Amsterdam especial. Now.BOSS TWEEDNot just now. It's between too late and too soon. They've become a littletoo prominent for comfort, but they're still too small for you to soilyour hands. The man who killed Monk Eastman pushing around a mob ofupstarts. It's practically undignified.BILL THE BUTCHERTo hell with any of that.Tweed stops under a grand new PORTRAIT of himself.BOSS TWEEDVery well, and to hell as well with any plans you and I may have forgrowth and change and even greater reward. You'll never advance anywherebeyond the limited perimeter of your imagination.BILL THE BUTCHERI don't got to advance anywhere further.BOSS TWEEDGot to, no. But ought to.He hands him a fancy embossed envelope.BILL THE BUTCHERWhat's this?BOSS TWEED(eyes merry)An invitation. To dinner.CUT TO89 INT. JENNY AND AMSTERDAM'S ROOM/JACOB'S LADDER DAYBetter by a little than their place in the old hideout. There's even awindow that throws some LIGHT an the few bits of castoff furniture in theroom... an the bed where Jenny sleeps with her face turned to the dawnlight... and an Amsterdam, who is dressing quietly in the corner. Hechecks in his coat Pocket,...finds the gold cross ... and leaves. Jennydoes nat stir.CUT TO90 EXT. GRAVEYARD DAYSTART CLOSE on: Amsterdam's hand, as he places the gold cross in a smallhole at a grave site, then covers it over with dirt.Then WE SEE: Amsterdam is kneeling at his father's grave.AMSTERDAMHe never had his own cross. Thanks.Now he STANDS and TURNS. Jenny is half-hidden behind an elm tree.AMSTERDAMYour touch is light, but as a tracker you work awful heavy. Come ahead.Now that I met your mother, you should come and meet my father.As Jenny starts to WALK towards the grave, we see for the first time ...... that we are in the country, a graveyard in an open field with anastonishing PANORAMA of New York and the East River. (MATTE) The cemeteryis atop a hill, and the East River, busy with ferries and vessels oftrade, glistens in the near distance. Just beyond it is Manhattan Island:low buildings, winding narrow streets, houses surrounded by open land. ABREEZE off the river rustles Jenny's dress and blows her hair as she stepsup to the grave site, looks at the headstone and sees ...... it is blank. No name, no date. Clean stane.JENNYYou should finish the stone.AMSTERDAMIt'll be finished when everything's finished. That's when helll rest. Thehand that killed him is the hand that will bury him in peace.He holds up his open hand, covered in dirt.JENNYIt was Bill killed him, not you.AMSTERDAMWith my hand on the knife.JENNYAnd his hand on yours!AMSTERDAMAnd me feeling the life go out of my father! He looked at me ... he lookedat me and he swore me with his eyes. I could feel his spirit... I say Icould feel it rising... flowing through the knife like blood into my ownheart.JENNYYou talk like he lives in you.AMSTERDAMI don't want him to live, I want him dead! I kill Bill and I'm free ofthem both!JENNYYou think you can be free that easy? You need your way so clear, andyou''' use anything to clear it. Anyone, too. Me, everybody, we're alljust a way for you to settle your damned ghosts.AMSTERDAMYou're part of me now, like the gang is part of me and my father both. IfI can bring us to glory, then my father... like The Book says...my fathercan enter his house justified.As Amsterdam continues to talk we ...DISSOLVE TO91 MONTAGEThe growth of the Dead Rabbits, as we continue to HEAR Amsterdam speakpassionately to Jenny. We first see the Rabbits surrounding andOVERTURNING a fire wagon; this starts as a live action scene but soonBLEEDS into SEPIA, then freezes like an old magazine illustration.AMSTERDAM (V.O.)All of us is set on the same road together. The gang can have everythingthey ever wanted and get me what I want while they're doing it. We're notinterfering with each other, we're helping each other. It's all the same,we're all one together.We CONTINUE with sepia illustrations: of Dead Rabbit morts picking pocketsand purses along a crowded Broadway; climbing onto a wagon distributingnewspapers and tossing off the occupants, taking over the routethemselves; swarming all over a merchant ship in the harbor as the captaindoles out protection money to have his cargo unloaded.AMSTERDAM (V.O.)We'll all have a share of the profit like we'll all have a portion of thefame. If we come to be notorious, that only means we're strong, and ifwe're strong that means we're ready.A sepia illustration of a fire wagon rounding a corner, refurbished andmanned by Rabbits, all wearing striking uniforms with short capes calledTAMLAS. (N.B.: they will be seen wearing the tanlas from these uniformsduring all gang activity throuqhout the rest of the film. Only Johnny,Amsterdam and Jenny do not wear them.)The sepia illustration turns to live action as the fire wagon TEARS aroundParadise Square, SCATTERING everyone in its path, the Dead Rabbitslaughing, their tamlas FLYING behind them.AMSTERDAM (V.O.)And I'll know that time, know it right off when it comes. Just like I knewyou.The live action DISSOLVES TO...... the last image in the montage: an ILLUSTRATION of Amsterdam, ahalf-decade older, turned out in fancy clothes, but with all hisfierceness intact. This is a magazine illustration, and there is a datedheadline over his picture: "Fresh Scourge of the Five Points." The datereads "June, 1863.11AMSTERDA.M (V.O.)And just like that, there'll be no way of stopping till it's ended.From this illustration, we quickly...DISSOLVE TO92 EXT. RIVER DAY... Amsterdam, as he is in the picture, but in live action, SPRINGING tohis feet and YELLING at a couple of PRIZEFIGHTERS doing battle in a ring.AMSTERDAMNow! Finish him now!Far up the sparkling Hudson, a RAFT floats slowly upstream. It's a hugething (perhaps half a city block in size) crowded with SPORTSMEN. Theyform a LARGE RING around two mammoth PRIZEFIGHTERS who are brawling withbare knuckles. Amsterdam and Johnny are among the spectators.JOHNNYOur man will take him in another five. What puts you in such a hurry?FIGHTER 1 fetches FIGHTER 2 a powerful roundhouse punch that sends himCRASHING to the deck. As soon as he hits the floor, a CARD GIRL appearscarrying a sign announcing "Round 37.11 SECONDS drag the stupefied Fighter2 to his corner, while two BOYS minister to Fighter 1, SUCKING THE BLOODoff his knuckles.A GONG sounds to announce the appearance, in the center of the ring, ofthe fight promoter, a florid and fulsome P.T. Barnum .BARNUMI want to extend thanks and admiration not only to our two combatantstoday, but to their sponsors, the Dead Rabbits ...(indicates one side of the ring)... and the Native Americans.He FLINGS an expansive arm toward the opposite side of the ring, whereBill the Butcher sits with Daniel Killoran and a large group of Natives.Amsterdam and the Butcher eye each other with all the old animosity: it'salmost ceremonial now, part of the Tradition.BARNUMTheir generous support allows me to bring you this splendid exhibition.With their indulgence I'd like to remind you also of the further wondersthat await you at my new Museum, located on Broadway...There are BOOS from the crowd at such untoward commercialism.BARNUM... P.T Barnum's gallery of wonders from worlds natural and unnatural,from nature and from myth!(continued boos)And to encourage you also in the view that new Albany ordinancesforbidding sportive violence on land shouldn't dampen your enthusiasm forwagering. Bets down, entlegen, and you gents..(indicated fighters)... fists up!The Fighters come to center ring, circle each other, then start slugging.A flurry of punches, and Fighter 2 GOES DOWN again. As he hits the deck,the round automatically ends and the between-rounds ritual takes placeagain.JOHNNYDobbs will take him this round. That'll be something. The Natives hasnever lost before.AMSTERDAMBecause there's never been a Dead Rabbit fighting before.JOHNNYThat'll shame them thorough.AMSTERDAMThere'll be worse than shaming. We only got the Natives in range.It's time to squeeze the trigger, John.The next round begins and the Fighters set to, MAULING each otherfuriously.JOHNNYDon't push the Natives too far, Amsterdam. Otherwise it'll be Tammanypushing back.AMSTERDAMThat don't matter any more.JOHNNYIt does matter, and it's going to matter even more. Tammany's the heartand future of this city. If the Rabbits is going to keep growing, we'regoing to have to throw in with Tammany some way.The action in the ring is FURIOUS. The Crowd cheers. Fighter 1 seems aboutto go down, but recovers and starts returning punishment to Fighter 2.JOHNNYThey got that Conscription Act from Washington keeping them busy, but theywon't leave us alone forever. And the Natives is strong as they ever been!In the ring, Fighter 1 drives Fighter 2 to the deck again, and this timeKNOCKS HIM COLD.AMSTERDAM(indicates Fighter 1)You call that strong, John?In the ring, a couple of agitated NATIVE AMERICANS are trying to get atthe Rabbit-sponsored winner. RABBITS start to RUSH the ring but AmsterdamWAVES them back.AMSTERDAM(to Johnny)This is our time now!BARNUM(trying to make official announcement)The winner... gentlemen, please! ... the winner in the 39th round is theDead Rabbits champion, High Water Dobbs ... please, gentlemen!The unofficial ring COMBAT continues, knocking Barnum about, as the newchamp throws marauding Natives around like empty flower sacks. Amsterdamiumps into the fray, PUSHES some Natives away. They start for him but thechamp stands them off while Amsterdam WHISPERS to Barnum.BARNUMJust a moment, please, gentlemen! There's a word for us all. Amsterdampromises ...(Amsterdam whispers to him briefly)... something large, something grand, something epic. The greatest theseare my own words, of course the greatest righting of the gravest wrongever done in the Five Points.The crowd quiets, their sporting blood still up, curiosity engaged. OnlyJohnny seems glum, concerned.This is to be a duel not for money, but for honor! A fight to the death...AMSTERDAM(interrupting, emphasizing)To the death. If he can stand up to it.BARNUM... on which money, I hasten to add, may certainly be wagered. The namesof the two champions are Amsterdam Vallon, here beside me, and ... and Mr.William Poole, known to all as ...BILL THE BUTCHER(leaping up)They know me by any name, you son of a bitch!The crowd ERUPTS: this is a death match between Olympians. Only Johnnydoes not rejoice. He looks at Amsterdam's face, flush with the belief thatthe right moment has finally come, and he has to turn away. He walks awayfrom the ring as Killoran tries unsuccessfully to PULL the Butcher downand cool him off.BILL THE BUTCHER(yelling)I'll have him stretched on a spit!Killoran is beside him now, whispering urgently. Bill the Butcher shakeshis head vehemently.BILL THE BUTCHER(to Killoran)You got no more to say about this now.92 CONTINUED:AMSTERDAMCome on, Bill! Let go of your Tammany wet nurse! My challenge, your terms.KILLORAN(to Bill)Don't do it, you can't do it! There's the Conscription to deal with, andelections coming, too. That's your calling now, not these ancient quarrels.BILL THE BUTCHERI'll do my work. But this is a shame, a public shame. It demands myattention.(yelling to Amsterdam)Fine, then! Fine and welcome! Day after elections, we'll meet with secondson neutral ground to work out time and terms. It will be done and done.He walks to the ring, holds his HAND out to Amsterdam.BILL THE BUTCHERYou know this hand. Last time it was this close, it was on your throat.AMSTERDAMI remember it better from another time.He takes the Butcher's hand. The duel is on.CUT TO93 INT./EXT. DRAFT REGISTRATION OFFICESTART CLOSE ON: money being counted out: $300. And a RECEIPT quicklywritten and given. We think at first this must be a bet being made on theduel between Amsterdam and Bill the Butcher-But we go WIDER to reveal: an office, tables and chairs, and a line. Twolines, in fact. One, very long, filled with young man. And the second,very short, in which a CLERK is handing the receipt to a PROSPEROUS YOUNGMAN.CLERKYour release from service, according to the terms of the Conscription Act.Keep it somewhere safe.PROSPEROUS YOUNG MANI'll keep it with me.There is only one OTHER PERSON standen behind the Prosperous Young Man,and he steps up quickly and hands $300 to the Clerk as the ProsperousYoung Man heads for the door...... past the second line, which snakes out into the street, filled withdraftees who SHOUT at the Prosperous Young Man as he leaves.DRAFTEE 1Hey, tell your Papa to pass me three hundred dollars too.DRAFTEE 2Tell him if he don't we'll come get you on our way to Gettysburg.The Prosperous Young Man HURRIES away, but spots Boss Tweed and DanielKilloran as he leaves.PROSPEROUS YOUNG MANOh, Mr. Tweed, I'd take the time to say proper thanks but...BOSS TWEEDNo thanks owed, son. Conscription's Federal Law, and so's the $300exemption. You might remind your father, though, that you saw me heretoday, minding that the law's strictly and equitably enforced.The Prosperous Young Man hurries out, as the Draftees continue to hollerabuse. Boss Tweed HEADS for them, followed by Killoran.KILLORANYou see how much they like this damned law? Enforcing it's going to hurtus in elections.BOSS TWEEDIt's not my law, and not my liking, either. But Washington's alwaystreated us with sufferance, and we must extend the same regard to them.(to Draftees)Boys, we are bound by honor and love of country to fight in this time ofcrisis!DRAFTEE 4We're bound by our wallets and the emptiness in them, that's what!BOSS TWEEDBoys, the union is in distress, our land is wounded deeply, our future issuddenly a frail and finite thing. We must ask ourselves how...DRAFTEE 5Yeah, you could talk a dog off a meat wagen, Tweed. But let's see youfight!DRAFTEE 6That'd be worth twice three hundred dollars to see!BOSS TWEED(as he backs off)Thank you, boys, thank you for your understanding.(to Killoran)Holy Mother.Tweed hustles Killoran outside, where the line of Potential drafteessnakes down the block and into Paradise Square.BOSS TWEEDDaniel, between the blindness of Washington and the damned brass of BillPoole Tammany will fall like an autumn leaf. We must take what measures wecan. Attend to the Butcher. After the elections, of course. Unless youthink Amsterdam will do our work for us first.KILLORANHe could at that. Then he would become a fresh concernBOSS TWEEDNot so daunting as this.(turns to the Draftees in the street)Boys, I've just had a word with your compatriots inside, and if you showhalf the sand and a fraction of the spirit they have manifeste for joiningthis great struggle...There is a chorus of BOOS and JEEPS from the Draftees outside.OUTSIDE DRAFTEEPut a rope around it, Tweed, and swing in your own wind!BOSS TWEEDGreat weeping Jesus, Daniel, whatever happened to the halcyon days?CUT TO94 EXT. POLLING PLACE/PARADISE SQUARE DAYElection Day pandemonium. The Dead Rabbits aren't working the repeatersthis day, but Johnny observes the action as Native Americans--identifiablebecause of their long dusters--strongarm REPEATERS into the polls.His attention is drawn to a HARRIED TELEGRAPH OPERATOR, who is beingSHOUTED at by Natives as he is inundated by pieces of paper and teeteringvolumes of the voting registry. It's chaos. The poor Operator can't cope.CUT TO95 INT. TAMMANY HALLIt's chaos here, too. The large main room is filled with TELEGRAPHOPERATORS receiving election returns. There is SHOUTING and CONCERNthroughout the room. Even Boss Tweed shows signs of worry.BOSS TWEEDI swear that science will be the death of industry.KILLORKNThe telegraph moves the voter tabulation by wire faster than we can getthe repeaters in and out.BOSS TWEED(losing patience)Your role is to expedite, Daniel, not to explain.(Killoran looks at him blankly)Do something!JOHNNYIf you'll allow me.They both TURN to see Johnny standing coolly before them.JOHNNYThere's a scheme we might try.KILLORANYou got no place among us, get the hell out of here however you come in.BOSS TWEEDA moment please, Daniel. One moment.(to Johnny)You're a Dead Rabbit, aren't you? Friend to Amsterdam?(Johnny nods)And therefore no particular friend to us. What brings you here?JOHNNYOpportunity. Science and opportunity.KILLORANYou got opportunities enough among your own.JOHNNYI did have. But times change faster than people. Some people, anyhow. AndI like to stay with the advantage.BOSS TWEEDWell, then, a Gentleman of foresight! Are you suggesting... or perhapsyou're even saying... that your friend and your gang may be ... well,lagging behind the great march of history?JOHNNYSomething like that, yeah.BOSS TWEEDWell fine, step up to history then and tell us what you have in mind.CUT TO96 EXT. POLLING PLACE/PARADISE SQUARE DAYSTART CLOSE ON: telegraph wire, HUMMING with the election returns. And,below it--far below--Johnny, Killoran and a couple of TAMMANY BOYOS,looking up at the wire.BOYO 1I ain't goin' up there. I got my election suit on.JOHNNYThis election'll be over unless we get up there.KILLORAN"We?" This was your notion, you go up there.BOYO 2(looking at polling place)Him. He looks likely, and he ain't workin'.He points over at Sheeny Mike Kurtz, who is observing the action at thepolls.JOHNNY(calls to him)Sheeny Mike, you want to make ...(to Boyo 1)...how much?BOYO 1A dollar.JOHNNY(to Sheeny Mike)Five dollars? Just to help us?SHEENY MIKE(a bit wary)What's the pitch, Johnny? Amsterdam wouldn't like it, working with Tammany.BOYO 2Well, now, if Amsterdam wouldn't like it ...JOHNNY(interrupting)He knows about it. Welre working a whole new scheme. But I won't tell himyoulre helping, if that's the way you want it. And you can keep the fullfive. Just start climbing.SHEENY MIKE(beat)Where's the ned?Boyo 2 hands Sheeny Mike five bucks, which he pockets as Boyo 1 gives hima large pair of SHEARS. Mike wipes his palms on his pants and STARTS UPthe pole.For Killoran and the Tammany Boyos, this is like a circus stunt. Theywatch Mike's ascent with pleasure.Sheeny Mike is quite pleased with himself as he nears the top of the pole.He turns to look at Johnny and the Tammany group below. A couple ofSPECTATORS have stopped to watch as well.Mike gets to the top of the pole, REACHES OUT--STRETCHES OUT-toward thetelegraph wire with the shears...... strains... reaches ... MAKES THE CUT.On the ground, Johnny looks relieved. The Boyos offer a partmocking roundof applause.In the spirit of things, Sheeny Mike TURNS to acknowledge the applause.Just briefly. But long enough so he's distracted. He sees the upturnedFACES fill suddenly with fear, and he TURNS when he HEA.RS a sharp, oddWHISTLING NOISE.A LIVE TELEGRAPH WIRE is coming at him. He doesn't even have time toscream. The wire hits him, whipping around him as JOLTS OF NT leap throughhis body and he FALLS to the ground.CUT TO97 EXT. PARADISE SQUA.RE DAYHANDS pick up the lifeless body of Sheeny Mike and start to carry itoff... past Amsterdam and Jenny, who stand on one side of it, watching...and Johnny, who is on the other.JOHNNYHe was working a Tammany job, Tammany will see to him.AMSTERDAMHe wasn't Tammany. Not like you.JOHNNYHe made the right choice.AMSTERDAMYou don't know what you're saying! You killed one of our own. One of yourfamily!JOHNNY(slowly)I didn't know he was going to die, Amsterdam. And don't tell me what's myown and what isn't. You're not my family. And I swear, I swear on theVirgin Mother's eyes ... I know what I'm doing, Amsterdam. It's you that'salways been blind.(they look at each other)I'll say my farewells.Johnny KNEELS down beside Mike's body, brushes the hair from his brow.JOHNNYYou still smell like drink.He nods to the Rabbits to carry the body on and, as he RISES a half-dozenNEWSBOYS DASH into the square, carrying fresh copies of the Tribune andcrying...NEWSBOYSNew Tammany victory! Fernando Wood elected to third term! Tammany ticketprevails by narrow margin! Boss Tweed vowsArmageddon for crime!JOHNNY(looking at Amsterdam and Jenny)Can't you hear the future?He walks away from the gang, through the rushing Newspaper Boys.CUT TO98 INT. SPARROW'S CHINESE PAGODAThe place has been cleared out for a war council: Amsterdam with a coupleof Dead Rabbits, and Bill the Butcher with a few Natives. They sit at around poker table with a green felt top.JIMMY SPOILSWe say the Square is the place. Let Barnum sell the tickets for a share ofthe price...NATIVE SECOND(interrupting)A small share.JIMMY SPOILSAnd the Rabbits and Natives will split the majority portion equal.NATIVE SECONDWho works the crowd?AMSTERDAMNobody. This is a day of honor. No pickpockets, no lush-rollers, nothing.BILL THE BUTCHERI'll cut their hands off. After the fight.NATIVE SECONDWe got to fix positions for everyone so there won't be no other fighting.I know for fact the Roach Guards has sworn blood against the Black Birds,and the Forty Thieves don't tolerate the Chichesters.As these delicate negotiations continue, the only two outsiders in theplace, Mother Joyce and a Bartender, are listening intently on the farside of the room.BARTENDERAmsterdam will make the Butcher a fine banquet.MOTHER JOYCEMy ned's on the boy. He's got the youth, and he's got the hunger.BARTENDERIs he so hungry you'll put up a hundred?MOTHER JOYCETwo.CUT TO99 EXT. PARADISE SQUARE DAYOFFICIALS stand on a high wooden platform facing a JEERING CROWD. Bannersannounce a "DRAFT LOTTERY." OFFICIALS are preparing to draw the firstnumbers as Boss Tweed gives out with a speech.BOSS TWEEDYour honor... yes, and the law of the land... lies in the balance. TheConscription Act of 1863 was handed down by President Lincoln himself ...CROWD MEMBER(shouting)If Lincoln signed it, then let Lincoln fight!CROWD MEMBER 2It's an army of the poor fighting for a bunch of rich slackers!CROWD MEMBERTammany's been our voice, let Tammany pay the exemption for all!A YOUNG MEMBER of the crowd steps forward as Boss Tweed turns to look atthose backing him on the platform: Killoran, a CAVALRY OFFICER in fancydress ... and, out of sight of the crowd, Johnny Sirocco. Theirexpressions are not reassuring.YOUNG CROWD MEMBERYour first payment, m'lords.The Young Crowd Member hurls a STONE through the front window of a nearbystore. The CROWD cheers and runs to sack the store, and others SURGEtoward the platform. Johnny'and Killoran grab a fearful Tweed and rush himto safety. But the Cavalry Officer stands his ground with sword andpistol. He SHOOTS.That STOPS them. But only for a fractured, eerie moment. Then they jump onthe Cavalry Officer, PULL him to the ground, begin to KICK and BEAT him.CUT TO100 EXT. STREET/JACOB'S LADDER NIGHTA building burns at the end of the street, spreading a silhouette of smokeand flame in the air...... as a LION CHARGES down the street, growling, scattering RIOTERS in itswake. It's a mad, frightening sight, like a fulfillment of the Biblicalprophecy produced by P.T Barnum, whose Museum is burning in the distance.SCREAMS, YELLS, CURSES and GROANS. CRIES of pain and fear as RIOTERS jumpout of the way of the wild animal, then course up the street towardBroadway burning in the distance.From ABOVE, on the roof of Jacob's Ladder, Amsterdam and Jenny watch themadness below.AMSTERDAM(watching lion)That must be the vanguard of Barnum's army.JENNYThis city will burn like Gomorrah.AMSTERDAMThen we'll take what we can before it gets too hot.JENNYI think it's past that already.AMSTERDAMIt'll never come to that. These people ain't gang-led and they have nopurpose.They'd rather die for themselves than the army, that's the purpose. Whatwould you do?AMSTERDAMFight better and not get so mad. They're only doing what they should havedone years ago. Why'd they ever think there was another way to live?JENNYThey believed what people told them, that's all.AMSTERDAMWhat people is that? The Reverend at the mission? Boss Tweed? DanielKilloran? People like Johnny Sirocco?JENNYYou believed Johnny.AMSTERDAMHell.JENNYAnd I believed you.AMSTERDAMI ain't done nothing different than what I told you, Jen.JENNYI believed what you said abaut being with me, with me alone. But you liedto me. It's not me alone, it's just you and Bill Poole. Youlre soblood-blind you can't see nothing else, not even this!AMSTERDAMI don't care a fine damn about what they want! It's what I want! Theywon't dare harm the Points, that's all I care about! Let them turn therest of the city into hell! It's another country anyway.JENNYIt's not a country for me, Amsterdam. I don't know about you. Will youcome with me?AMSTERDAMNot now.JENNYNow is when I'm going. Will you come?AMSTERDAMI don't want all this fighting to go to waste, Jen. I want to come out ofit with something. And I got to be waiting for the Butcher.CUT TO101 INT. UNDERGROUND/JACOB'S LADDERJenny digs out her treasure from her mother's grave, throws open the box,starts to GRAB all the swag she can and hide it on her person... in herpockets, under her clothes, anywhere. She takes as much as she can, butshe has to travel fast.CUT TO102 EXT. STREET NIGHTBeginning a swift series of scenes that are like a laudanum nightmare.The street is JAMMED with people fleeing and people fighting... as Jennyforces her way through, trying to escape.A small mob starts to ATTACK a house where a TERRIFIED FAMILY stands inthe doorway.FAMILY MANWe're with you, don't harm us!MOB MANShow us your spirit and come out with us then!MOB WOMANAnd put a candle in the window to show you're one with us! Every light isa flame against the draft!The WIFE begs her husband not to join the mob, but they PULL HIM out intothe street. The Mob Woman hands the Wife a candle, then runs back to jointhe mob.Jenny starts to cross Paradise Square now... tries to cross, anyway... andpasses the stand where Tweed delivered his speech that very morning. Shesees: the Cavalry officer. Several MOB WOMEN have revived him with water.He has been beaten terribly, but as he MOANS and starts to regainconsciousness, the MOB WOMEN fall upon him with fresh fury, KICKING andHITTING his helpless body. They BREAK his bones with rocks and TEAR OFFthe fancy braid of his uniform to hang around their necks.Now a SECOND MOB RUSHES toward the first from the opposite side ofParadise Square. Chaos. Jenny is buffeted wildly. It's like being in awhirlpool. She grabs a LITTLE GIRL whose face is bruised and blaody butwhose eyes shine wildly.JENNYWhat is it?LITTLE GIRLCops has everything closed to the north, and the militia's coming.CUT TO103 EXT. STREET/FIVE POINTS NIGHTAs Jenny presses her way through the mob-devoured streets. She sees: MEN,WOMEN and CHILDREN attacking a small group of BLACKS.BOYMy Daddy don't have to die for you! Why should he fight and die for you?Jenny looks ahead, sees: the river, in the distance. And flames. She runsforward, STUMBLES. Some of the swag FALLS to the street. She SCRAMBLES topick it up as Rioters rush by her.CUT TO104 EXT. PIERS HUDSON RIVER NIGHTMATTE: The surface of the water looks like a mirror made of flame. Thepiers are BURNING. The docks are ash.SAILORS battle a MOB for possession of a small rowboat. As they fight, theboat starts to DRIFT. Jenny spots it, RUNS for it... but so does ANOTHER GIRL. Younger than Tenny--20 maybe, Jennyls agewhen Amsterdam fell in love with her. They both get to the boat at thesame time. Each grips it by a gunwale, and they STARE at each other liketwo jungle beasts over a kill.JENNYI'd kill you for this.The Girl lunges at her with a knite, and Jenny SHOOTS. The GIRL slidesinto the flame-reflecting Hudson as if she drowning in a pit of lava.Jenny climbs into the boat and frantically starts to row. We stay CLOSE onher ... working the oars clumsily, furiously ... moving the boat acrossthe water, trying to get away from the city...... and we go WIDER now. A huge line of IRON--like the side of aglacier... bisects the frame, then starts to move. Jennyturns, SEES it. It is ...... the looming hull of an ironclad war ship (MATTE). It LOBS cannon fireinto the city, setting off tremendous explosions.Jenny TURNS back for the shore...... as cannonballs land, devastating rioters.CUT TO105 EXT. SHORE/RIVER NIGHTMATTE: Police and MILITIA push the rioters back toward the river likerats. A cannanball EXPLODES in their midst...... injuring many more cops and militia than rioters. The rioters rally,RUN over the bodies of fallen cops and soldiers. Now the advantage istheirs; cops and militia are in retreat.Jenny climbs up on shore and joins the mob as it presses back inland.CUT TO106 EXT. DOYERS STREET/THE BLOODY ANGLE NIGHTFurther from the docks. Shells still exploding in the distance. Jennymoves with the marauding mob, recognizes Doyers Street. She splits awayfrom the mob, moves stealthily into the street known as the Bloody Angle.And STOPS.Weird shadows dance on the walls of the buildings. SMOKE and EERIE LIGHT.The angle is lined with lampposts. And from every lamppost dangles theBODY of a black man. Or woman. Or child. Some are still smouldering.At the base of a lamppost, a group of RIOTERS have cut open the hog-tiedCORPSE of a black man and are pouring oil into it. One of the Rioters seesJenny, grins and holds out the TORCH he's holding. She shakes her head andstarts to BACK out of the alley.The Rioter touches the torch to the oil in the wound of the corpse. Thebody IGNITES in flame. The RIOTERS pull on a rope and the body rises,burning, to the top of the lamppost ...... where its awful shadow joins all the others in the madhouserefractions on walls all up and down the street. On the street, as theflames dance and the bodies burn, rioters DANCE and SING. Walpurgis Night.From these mad SHADOWS, we...DISSOLVE TO107 EXT. ROOF/JACOB-S LADDER NIGHT... the face of Amsterdam, stepping out of the SHADOWS of the roof. Thereare flames in the distance. The whole gang is assembled, facing him as hespeaks.AMSTERDAMNo we ain't going to fight, but we can take something for ourselves out ofthis.JIMMY SPOILSI want to know who hung them bodies in the Bloody Angle. I want to addresswho done it.AMSTERDAMFive thousand people in the street done it! Boss Tweed done it! AbeLincoln done it! There's nothing you can do about any one of them but staywith us. You'll have a little of your own back.JIMMY SPOILSHow's that?AMSTERDAMThese riots are a gift. They...... he PAUSES just for a moment as he sees a hand on the last rung of theoutside ladder leading to the roof: it's Jenny, returning.AMSTERDAM... they've made everything clear, as you might say.(to Jenny)Are you with us, then?JENNYUntil I can get out. I'll go with you...(straight at Amsterdam)...meantime.AMSTERDAMGood. We're going for the Armory at Canal Street.JIMMY SPOILSThe Armory! We'll have to beat the militia to get there.AMSTERDAMThere's a way through the lines. Jen, did you see the cops and militia?JENNYI can show you from here where they are. I doubt they'll get to the Armoryin force before midday tomorrow.AMSTERDAMWe'll get there first. We'll take everything we can carry, and destroy therest so no one else has the use of it, the militia, the Natives, nobody.Then we'll turn to real business. We'll go down to the Battery.JIMMY SPOILSWhy, we going to take a sail to Europe?AMSTERDAMNo. But we could, after this. We're going...(slowly, savoring this)...we're going to take the banks. The government banks.(awed silence from all)Are we not?JENNY(beat; steps forward)Seems we are.One by one, then in small groups, the entire gang FOLLOWS her. They areuncertain, reluctant, even frightened at the audacity of the scheme. Butthey stand with Amsterdam.CUT TO108 INT. MAIN ROOM/TAMMANY HALL NIGHTThe crowded main room of Boss Tweed's domain, jammed with anxiousPOLITICOS and OFFICIALS, as well as a harried group of TELEGRAPH OPERATORSwho receive news of the riots from all over Manhattan. There is a huge mapof the city against one wall: the place has been converted from apolitical princedom to an operational headquarters. Johnny Sirocco andBill The Butcher are there. Other guests include the GOVERNOR, MayorFernando Wood, and a badly shaken Horace Greeley.GREELEYThey attacked me! I had every sympathy for them at first...BOSS TWEEDToo much sympathy, Horace. Writing these riots were a rising against"unjust laws and unsuitable law-givers." The shame!GOVERNORI suspended the draft at noon but the mobs only grew more virulent. It isa criminal rising of the lowest class, of the Gangsters and rabble whohave been allowed by Tammany to run lawless!BOSS TWEEDIt was Tammany and the rabble that elected you, Governor. And it's Tammanyand the gangs who'll stop it. Isn't that so, Bill?BILL THE BUTCHER(nods at Johnny)I won't say nothin' in front of him. Who knows what business he's here on?BOSS TWEEDHe's here on our business and my invitation. He's already been of greathelp. What's the opposition strength, John?To answer, Johnny yanks back a CURTAIN drawn across a high window. Theview, looking downtown, is one of almost continual ILLUMINATION-- everyplace the eye falls, CANDLES burn in sympathy for the rioters.JOHNNYEach candle is against you, gents.MAYOR"Against you," sir? Don't you mean "us".JOHNNY(diplomatic)Some of us come from those people, Mayor. I'll not deny they still claimpart of me.MAYORWhich part? Perhaps your heart.BOSS TWEEDGentlemen, I'm sorry you find it necessary to question the loyalty of myfriend here, and by extension, my own judgement. So as proof ... John,where will the mob go? What will the gangs do?(Johnny is uneasy about answering)Go on, tell them what you told me.JOHNNYThere's no telling about the mob. Or the small gangs. But the Dead Rabbits... if I was Amsterdam...BOSS TWEED(interrupting)As indeed you nearly was. Were.JOHNNY... if I was ... I'd figure to take the Rabbits to the Armory.BOSS TWEEDWould you agree with that, Bill? Wouldn't you do the same? If you werefighting against the militia instead of beside them?BILL THE BUTCHERBeside them? What are you talking... ?BOSS TWEED(interrupting)You will have to fight beside them to take the Armory. It cannot fall intounfriendly hands.BILL THE BUTCHERI can't stand with the militia against the people. I could never work thePoints no more if I did.BOSS TWEEDWe're all of us swept up in a great tide of events, Bill. Have you learnedto swim?From Bill's face, struggling to make sense of this, knowing Tweed's rightbut not wanting to believe it, we ...DISSOLVE TO109 INT. MAIN ROOM/TAMMANY HALL NIGHT... Johnny's face, as Tweed talks to him. It is later, and the Butcher hasleft. The activity is still frantic all around, but Tweed speaks inunhurried tones.BOSS TWEEDI'm sure that Bill will do his usual splendid job. But after that ...well, I'm afraid he's grown away from us.(Johnny looks puzzled)He shows distressing signs of... shall we say, free-thinking. Crimeflourishes in chaos, and these riots could encourage Bill to overstephimself. He no longer inspires in me the same trust... well, that youmight. If you can prove yourself further.109 CONTINUED:JOHNNYYou already said in front of everyone you trusted me.BOSS TWEEDIn vital things. Would I be talking to you now otherwise? Vital things,but small things. Are you equal to greater responsibility and opportunity?JOHNNYSuch as what?BOSS TWEEDRidding me of Bill the Butcher.(Johnny is startled)He may question your loyalty to me, but Bill would never believe you hadthe sand to go against him. He'd never expect it. Do you have the sand?From Johnny's face, struggling to make the right answer, we...DISSOLVE TO110 INT. JACOB'S LADDER... Ansterdam's face, as he looks up from preparing a brace of pistols forthe next day's scheme.AMSTERDAMLet him in.Johnny enters the common room of Jaccb's Ladder, where the Dead Rabbitshave gathered to ready themselves. As they work over their weapons andprepare battle dress, Johnny walks through their midst. They do notacknowledge him... except for Jenny.JENNYDid you miss us, John?JOHNNYNot a bit.AMSTERDAM(rising to meet him)Are you here to spy?JOHNNYI don't have to spy.Amsterdam leads Johnny off to a shadowy corner of the room where they cantalk privately.JOHNNY(as they walk)I know what you're doing. I told Tweed what you're doing.AMSTERDAMYou don't know what I'm doing.JOHNNYYou're going after the Armory.AMSTERDAMAm I now? Why do you think that?JOHNNY'Cause that's what I would do, and you and I think alike.AMSTERDAMNo more. And it don't seem worth a visit to tell me something you alreadythink I'm doing.JOHNNYThere's something else alright. Tweed's arranged to kill Bill the Butcher.AMSTERDAM(disbelieving)Who could Tweed get to do that?JOHNNYOne of his own.AMSTERDAMThere's no one around him...JOHNNY(interrupting)Listen, it don't matter who, it's going to be done, that's all! Tweedain't going to wait aroundfor you and Bill to settle yourselves. I'm telling you so you have achance.AMSTERDAMChance of what?JOHNNYA chance... a chance to do what you want. Bury the Butcher, draw whatblood you got to. But you better make speed. The Natives will move on theArmory too.AMSTERDAMAnd what's any of it mean to you?JOHNNYIt means whatever's left of friendship, I don't know. There's still partof me here. I don'twant to see you lose everything in your life at once.AMSTERDAMI'm going to lose nothing.(beat)If you believe me, you can stay.JOHNNYI got to go.He turns so Amsterdam can't see his face and LEAVES-JENNYSo Tammany's going to kill the Butcher. That puts you and Tweed on thesame side. Does that make the path clear enough to suit you?From Amsterdam's face, trying to work out all the new angles, we...DISSOLVE TO111 INT. NATIVE AMERICAN HIDEOUT... Amsterdam's face, full of resolve, staring unblinking as ...... the barrels of two dozen RIFLES SURROUND the edges the screen, boxingAmsterdam in, as if his head were in a frame.And Bill the Butcher gazes at him with astonishment. We are, for the firsttime, in the Natives' lair, a house hung with American flags of all shapesand vintages, some of them torn by battle, others by years of weather anduse. Some of them go back to the early days of the republic. There is notan inch of wood or wall space to be seen for all the stars and stripes.BILL THE BUTCHERMurder Me? No one's going to murder me.AMSTERDAMThen you better learn to fight locking over your shoulder, Bill, becausethat's the only way you'll ever see it coming.BILL THE BUTCHERI don't believe it, and I don't believe it's you telling me. You got noreason to care about any danger to me.AMSTERDAMOne reason. You're my kill, Butcher. No one else is going to have you, notTweed, not Tammany, not those pigs in the street. No one--not even you,Bill--will ever take the pleasure of your death away from me. I'd doanything to keep you for my own, even if I have to protect you.BILL THE BUTCHERYou protect me? Get out of here and go to hell.AMSTERDAMFine, so long as I pass you on my way.BILL THE BUTCHERMaybe I'd believe you more if I knew who was talking to you.AMSTERDAMSomeone I credit.BILL THE BUTCHERThat means nothing to me. None of this means nothing to me because I amTammany. Without me and my Natives they're nothing but a bunch of oldhorses at a trough.AMSTERDAMYou join with me and we fight against Tammany, fight them back and out ofthe Points. Then you and me can settle. But if you don't join with me,then there won't be no settlement because you'll be murdered in the streetand the whole Points will be mine.BILL THE BUTCHERI relish the thought... just the thought... of cutting you up and openingyou wide. So if just thinking about it gives me such pleasure, imagine howI'm going to enjoy doing it.AMSTERDAMWhy don't I make it easy for you, then.He TURNS his back on the Butcher and starts to walk out, through theentire gang of Natives.AMSTERDAMSame as you're making it easy for Tweed.He keeps walking... through the Natives ... dozens of ancient enemiesglowering at him.BILL THE BUTCHERAmsterdam!(Amsterdam looks around)Don't be like your father. Don't make it too easy.Amsterdam struggles to keep his temper. But he turns and keeps walkingthrough the enemy camp as we...DISSOLVE TO112 INT. JACOB'S LADDER....Amsterdam walking. But this time, he is WALKING among his gang. Allthe Dead Rabbits are assembled, weapons ready. Jenny is beside him. ThenJimmy Spoils. Then a few others.As the group passes, others STAND and walk with them...... until the whole gang is rallied...... and bound for the passageway in the corner of the room that leadsunder the building.DISSOLVE TO113 INT. BASEMENTAs Amsterdam and the gang heads through the catacomb-like basement, pastthe graves, into a tunnel. Torchlight GUTTERS all around. Their steps echolike repeated rifle shots.DISSOLVE TO114 INT. TUNNELThe whole gang MARCHES down a tunnel under the Old Brewery. Except forAmsterdam and Jenny, they all wear their tamlas. Many have marks and ganginsignia on their faces. All of them have weapons. A lot of weapons.Frightened FACES--people seeking shelter and safety from the riots--appearin the darkness, then vanish like ghosts.As the Rabbits walk, they summon memories of the first fight, that samemarch through the tunnels when Amsterdam marched beside his father.Amsterdam's face gives little away. But perhaps he is remembering that daytoo.DISSOLVE TO115 INT. TUNNELThe last tunnel.. Shreds of light from a door in the distance. Amsterdamwalks up to the door and--just as Monk Eastman did years before--KICKS itdown. Dim dawn LIGHT FLOODS the tunnel as the Dead Rabbits step out.CUT TO116 EXT. CANAL STREET DAWNThe first thing we see is an ELEPHANT, who trumpets fearfully at thesudden sound of the sattere door. The gang stops, wary of this hugerefugee from Barnum's Museum, but the animal is more frightened of them.It hurries on down the street...... revealing behind it a group of several dozen RIOTERS who carry a hugeAmerican flag and a long wooden plank bearing the legend "No Draft." Theystare at the Rabbits with something near reverence.AMSTERDAMWhere's the Native Americans?RIOTERAin't seen them. Ain't here.AMSTERDAMAnd the militia?RIOTERThere's a detachment coming on from two streets over. The rest is stillnorth of here. What are you after?Amsterdam POINTS to a formidable building a block away: the Armory. Itlooks like a fortress.RIOTERThe Devil himself couldn't take that place.AMSTERDAMThat's why he sent us.CUT TO117 EXT. STREET NEAR ARMORY/ DAYThe DETACHMENT of militia proceeds warily towards the Armory. They are ayoung, uncertain-looking outfit; their COMMANDER looks like an upstatefarm kid. He tenses and his eyes widen as he sees Jenny walking towardhim, carrying a BOY in her arms.JENNY(crying)Help me. Oh please help me. He's shot, we need a doctor, please help.DETACHMENT COMMANDERMiss, we ain't a medical outfit. The main unit's ten minutes behind us,they'll have...He doesn't get the chance to finish. Jenny DROPS the Boy from her arms andshoots the Detachment Commander once, cleanly...... as the Boy roles into a prone position and FIRES two shots into thestunned Detachment...... while the Dead Rabbits SWARM from every doorway along the street,FIRING GUNS and brandishing weapons.It's over in seconds. The Detachment has hardly gotten off a shot. Everyone of them lies dead or wounded in the street...... as the Rabbits CROUCH over their bodies.CUT TO118 EXT. ARMORY DAYA rifle emplacement manned by a dozen GUARDS- They stand anxious post infront of the Armory. Each window is barred and fortified, and the frontdoor is massive. But the tension in the Guards' faces eases a little whenthey see ...... the Detachment of militia heading towards them down the street. Someof the Detachment are wearing bloody uniform jackets; several are beingcarried. The Detachment, unrecognized by the Guards, is made up entirelyof Dead Rabbits.AMSTERDAMHelp us, we got wounded!GUARD 1We can't leave the post.AMSTERDAMOpen the damn doors then! We're bad hurt!GUARD 1Where's the others?AMSTERDAMJust behind us! But I got our major here wounded so bad half his guts isout!Guard 1 SIGNALS for the doors to be opened to the Armory as the Detachmentdraws close to the emplacement.GUARD 1God, it's good to see you!AMSTERDAMLikewise.Ainsterdam SHOOTS him where he stands as the Rabbits OVERWHELM theemplacement.AMSTERDAM(shouting)Move fast! We got to get out with everything we can before the militiagets here!As the Armory Guards return fire, the Boy Jenny carried in the previousscene RUNS for the telegraph pole and starts to CLIMB. A SHOT makes thewood fly inches from his face...... as the Rabbits storm into the Armory, FIRING wildly.The Boy reaches the top of the telegraph pole and CUTS the wire. Heshinnies back down the pole as the wire SWINGS ineffectually in the airand we ...DISSOLVE TOINT. Y HALL/MAIN ROOM 119..a telegram, held in Killoran's hand. He passes it to Tweed.KILLORANIt's from the Armory Guards. That's the last before the wire went dead.BOSS TWEED(reading, furious)If the Rabbits are already at the Armory, where the hell is Bill and themilitia?He THROWS the telegram onto the floor, where it joins a whole SEA ofyellow telegraph forms. They are shin-high; there must be thousands ofthem.KILLORANThey got to be near.JOHNNYSo long as they're near, it's alright. The Rabbits can take the Armory,but they can't hold it. If Bill can get into position, he can make surethey don't get out.BOSS TWEEDAlright then, John, you pray to any God you choose that's the fact of it.If Bill thinks he can best the Natives, that is your opportunity. That isyour moment.(Johnny hesitates)Are you a Bible man? The Book says in Revelations, "I saw a new heaven anda new earth." If the hand of God's not on you to fulfill that prophecy,then the hand of Tweed will be. Go on and God bless.Johnny looks like he is about to say something, but he stops; looks atTweed a moment longer; then nods acknowledgment and leaves.GOVERNORI don't believe he can do it, Tweed.BOSS TWEEDOh, I think he can. Whether it's one man against another or a mob againstthe city, the mathematics remain the same. You never enjoyed theenlightenment of poverty, did you, Governor? If you had, you'd know youcan always hire half the poor to kill the other half.CUT TO120 EXT. ARMORY DAYA TREMENDOUS VOLLEY of GUNFIRE, as if to illustrate the Tweed theory ofclass warfare. Bodies fall in the street. Bodies fall from the Armory. Thebuilding is under siege by the main unit of the MILITIA and by Bill theButcher and the Natives. The Dead Rabbits are trapped.Johnny SNAKES through the Native American lines, over dead bodies, movingtowards Bill, who he sees a hundred yards away...... running over corpses of comrades and enemies toward the MILITIACOMMADER. As SHOT WIDENS, the carnage is revealed. Bodies of Natives, intheir uniform dusters, and Rabbits, in their tamlas, lie side by side inthe street.120 CONTINUED:FIRING continues from both sides as the Butcher shouts at the MilitiaCommander.BILL THE BUTCHERWe move now and we can drive them out! We press them and they'll break!MILITIA COMMANDERI can't spare the men or stand the risk! We stay fast and smoke lem out!BILL THE BUTCHERTweed put me in charge of this! I say we move, and by the crucified Christwe will move!(turns to his men)Native Americans, come with me! Any militia that wants to live uprightinstead of die hunkered down, come with us!Bill STALKS through the lines, rallying the men. And Johnny starts toFOLLOW.BILL THE BUTCHERWe'll show you gladiators' greatness! Come on!The men start to JOIN the Butcher; even some militia fall in. Johnny SLIPSthrough the men gathering near the Butcher. He's closer to Bill than ever.Bill starts to mount their BARRICADE. There is MOVEMENT and commotion allaround him as Natives and militia fall into rough formation. It threatensto obscure Bill from Johnny's view. Shield him.He has to make his move. NOW. He DRAWS a revolver as militia and Nativespass in front of him... he AIMS ... he's anxious, confused ... his HANDshakes ... he fires... too soon! ...... and HITS a Native, who falls dead. Right near Bill.The Butcher turns in the direction of the shot, SEES Johnny. Their eyeslock. Johnny FIRES again ... WINGS Bill ...... and Bill SHOOTS him. Johnny FALLS with the first shot. Bill's abovehim now, looking down at him.BILL THE BUTCHERWas it Tweed or your friend put you to this?JOHNNYTweed.Bill SHOOTS him again, point blank. Johnny screams.BILL THE BUTCHERYou'd lie to save your friend.JOHNNY(in terrible pain)No. There's no friends for me.BILL THE BUTCHERMe the same. Pity us both.He EMPTIES his revolver into Johnny.BILL THE BUTCHER(to his men)Hold your fire!(toward the Armory)In there! Hey in there! I want to talk to Amsterdam!The Militia Commander is aghast at this proposition and starts forward,gun in hand. But a Native STOPS him.Amsterdam's face APPEARS in a front window of the Armory.AMSTERDAMGo on, then, talk.BILL THE BUTCHERYou and me.AMSTERDAM(beat)Come ahead then. And bring my friend's body.Bill the Butcher SLINGS Johnny's body over his shoulder as easily as if itwere an empty sack of flour...... and starts walking thraugh the lines toward the Armory. The Militiawatches in disbelief, the Natives in confusion. The Dead Rabbits keep theButcher in their sights. But no one fires. No one moves.And Bill the Butcher enters the front doors of the Armory.CUT TO121 INT. ARMORY DAYAs the Butcher is admitted through the huge doors which clang SHUT quicklybehind him. It's a scene of devastation inside-dozens of dead and woundedeverywhere. And enough rifles and munitions to sink Manhattan island.Bill the Butcher stands dead center in the middle of the Armory floor asAmsterdam walks toward him. The Butcher DROPS Johnny's body in a heap athis feet.BILL THE BUTCHERYour friend made different friends lately.AMSTERDAMTammany's put us all in the same place. You want to get out alive?BILL THE BUTCHERIt don't matter to me. I got enemies outside, enemies in here. The militiacan move on me anytime. You could drop me before I get to the door.AMSTERDAMI don't want to lose you so easy. You'll never get past the militia unlessyou come with the Dead Rabbits.BILL THE BUTCHERYou'd lay aside what's between us?AMSTERDAMI'm not forgetting where I put it.BILL THE BUTCHERIf you do, I'll remind you.(he turns, leaves)AMSTERDAMWhat's your call, Bill?BILL THE BUTCHERI'm considering where's my better chance.He walks to the doors. The Rabbits guarding it don't make a move. He OPENSit himself and strides out into the street.CUT TO122 EXT./INT. ARMORY DAYBill walks alone toward the Native/militia lines.From inside... from every window ... the Dead Rabbits watch him.The sun is high, but the street is eerily quiet. There are FARAWAY SOUNDSof battle, but here there is only the sound of distant, unheardconversation between Bill, the Militia Commander and some Natives.Amsterdam WATCHES intently.The Butcher and the Militia Commander argue, but we still can't hear whatthey're saying. There is still no sound...... until, SUDDENLY, we see the Militia Commander's face. Huge. EYES WIDEwith surprise as we HEAR the thunderclap of a SHOT.Bill the Butcher has just gutshot the Militia Commander.As if the shot were a signal, the Natives TURN on the militia. It'shellish, close-quarter combat. Guns fired inches from enemies who had justbeen allies. Knives, swords, bludgeons, kids with dead-rat blackjacks,women with hob-nailed wooden planks, attacking better-armed but totallystunned soldiers.Bill the Butcher falls back toward the Armory, the Natives following him.Inside the Armory, Amsterdam turns to his own greatly diminished gang.AMSTERDAMGo ahead them, give them cover! Give them some damn cover!The Rabbits are so stunned to be fighting on the same side as their swornenemies that, even with Amsterdam's order, no one makes a move. It'sAmsterdam who FIRES the first shots. And that unleashes a great VOLLEYfrom the Armory...... toward the militia.The Butcher and the Natives are closer to the Armory now... and the Armorydoors start to open...... when a MILITIA LIEUTENANT SIGNALS ...... and MILITIA on the surrounding roofs, waiting for this moment,suddenly open fire...on the Natives below and on the Rabbits on the roofof the armory. Many drop in the street and fall from the Armory roof...... as the Armory doors SWING WIDE to admit the Natives. As they run orstagger inside, the Rabbits start to close the doors. Some Rabbits are cutdown by the fire from the rooftops. Other Natives never make it to thedoors. And a few are shot...... when the doors close before they can get through.CUT TO123 INT./EXT. ARMORY DAYThe Dead Rabbits keep firing, but they have sustained grave losses. TheButcher looks around at the Natives who have made it inside with him: hehas perhaps one-quarter of his original strength.BILL THE BUTCHERWell, it seems like between us we got two mobs that might make a gang.AMSTERDAMWhose gang might it be?BILL THE BUTCHERNot William Tweed's.Jimmy Spoils and a crew of Natives PUSH a cannon toward the rear of theArmory.AMSTERDAMWhich way you pointing that?JIMMY SPOILSAny way you say. One direction could let us out, the other will let themin.BILL THE BUTCHERThey got to come in if we're going to fight them.AMSTERDAMWho do you want to fight, Bill?Amsterdam MOTIONS toward the rear wall and Jimmy swings the cannon around.Everything surrounding them is MOVEMENT and COMMOTION as the remainingmembers of both gangs TAKE whatever weapons they can carry from the Armorystockpile...... and Jenny steps forward with a torch, LIGHTING the fuse of thecannon...... which ROARS and BLOWS a huge hole in the rear wall of the Armory.AMSTERDAM(to Bill the Butcher)See you in the street.The gang members RUSH for the opening, carrying whatever they can manage.Outside, the MILITIA LIEUTENANT hears the cannon blast... sees no damageto the front of the building... and SIGNALS for a frontal ASSAULT on theArmory.HIGH ANGLE FROM ABOVE, CAMERA MOVING as the militia CHARGES ... followingthem forward, then moving ahead to the Armory... SHOOTING straight down inside (no roof or ceiling) as the Gangs HURTLEthrough the still-smoldering hole in the wall ...... and drop twenty feet to an alley below...... where militia on the roof try to pick them off. As the militia pressescloser from the front, gang defenses start to fall back inside the Armory.Everyone wants to get through that hole.Amsterdam, Jenny, Jimmy Spoils and some of the other gang nembers arecarrying TORCHES. Jenny HANDS a torch to the Butcher. Amsterdam MOTIONSthem all toward the back of the Armory.But he stays behind. Just for a moment. He BENDS over the crumpled body ofJohnny Sirocco, ARRANGES it, folding JOHNNY'S HANDS across his chest.AMSTERDAMYou'll have a warrior's funeral anyway, John.He STANDS and RUNS for the hole in the wall, where Jenny and the othersstand waiting.He TURNS, takes a last look inside the Armory. The militia is BATTERINGDOWN the front doors. Then he raises his TORCH over his head... and HURLSit through the air. Jenny and the others do the same.His single torch BLAZES a path of light across the screen. The others,JOINING it, make a fiery CONSTELLATION.CUT TO124 EXT. REAR OF ARMORY/STREETS BEHIND ARMORY DAYAs Jenny, Jimmy Spoils, Bill the Butcher and Amsterdam HURTLE through thehole into the alley below...... and start to run through the withering GUNFIRE of the militia on theroof...... getting away... just barely away.As Jenny runs, her swag drops and FALLS from under her clothes. She TURNSto pick it up but Amsterdam PULLS her on....... and just away from the titanic EXPLOSION of the Armory. The CONCUSSIONthrows some of the militia from their perches on the roof. It sends afountain of FLAME and RUBBLE high into the sky. It is VOLCANIC in itsbrilliance and intensity. The sky turns BLACK with powder, BLAZING ORANGEwith flame.In the small streets BEHIND THE ARMORY, many gang members are CRUSHED bydebris or burned by FIREBALLS breaking off from the central flame.The Armory is gone. Much of the surrounding area is gone with it.On the ground, everything is smoke, flame, dirt, death, confusion, Corpseseverywhere. Gang members and kids running all over, desperate. It lookslike the last day of mankind on earth.Bill the Butcher HELPS a couple of fallen Natives, then SEES through thesmoke and flame and storm of ash ... Amsterdam.Coming towards him.BILL THE BUTCHERWe're finished, all of us.AMSTERDAMBut you and me ain't settled.BILL THE BUTCHERWe got the same now, a full share of nothing. There's nothing to settle.There's nothing left.Amsterdam takes a weapon from his pocket, OPENS it for the Butcher to see:it is the pirate's knife which the Butcher used to kill Priest Vallon.AMSTERDAMThen let's start over.Bill the Butcher looks tired, sorrowful. He BURIES his face wearily in hisarms. And for a moment we think he has given everything up. AmsterdamMOVES toward him, throu \ No newline at end of file diff --git a/unformated_scripts/Script_Garden State.txt b/unformated_scripts/Script_Garden State.txt new file mode 100644 index 0000000000000000000000000000000000000000..3b6ae7fd8ae6ecf9f38835e7f916e1af1422c24d --- /dev/null +++ b/unformated_scripts/Script_Garden State.txt @@ -0,0 +1 @@ + GARDEN STATE Written by Zach Braff IN BLACK: AIRPLANE PILOT (O.S.) (panicky; through crackly RADIO) Los Angeles Tower, this is Transworld two-two Heavy, we are going down! Repeat... Engines two and three are... L.A. Tower this is MaydayI Mayday! TOWER (O.S.) (through crackly radio) 2-2 Heavy, Pull upt Pull up! The RADIO NOISE is drowned out by the A CAPELLA, SOPRANO VOICE of a young Indian boy as he sings a melodic Hindi prayer. INT. AIRPLANE CABIN --- NIGHT THE WORST NIGHTMARE IMAGINABLE: SLOW MOTION: The plane is going down fasts Everyone panics and screams in SLOW MOTION as the oxygen masks away like plastic pendulums. The SOPRANO VOICE continues the prayer. ANDREW LARGEMAN (LARGE), 25, is the only passenger who remains unfazed. Even as the flames from the wing echo fiery reflections on his cheeks, even as the young mother seated next to him clutches her newborn and wails towards God, even as bags fall from the overhead compartment at half-speed and the beverage cart slides down the aisle, Andrew Largeman sits peacefully; unaffected. He calmly reaches up and turns his air vent so it blows directly on him. He looks up to THE FASTEN SEAT BELT SIGN it BINGS as the light flashes on and off. The BINGING continues more and more frequently; at first in rhythm with the prayer and then it dissolves into the RING of an ELECTRONIC TELEPHONE. DISSOLVE TO: INT. BEDROOM -- MORNING Whiteness. Morning sun streams through a palatial picture window. THE PHONE continues to RING. A ceiling fan spins above stacks of scripts, a cell phone charging, bare walls and a small human figure dwarfed by the enormous white bed in which he sleeps. HIS BYES bounce back and forth under their lids as he dreams like they're chasing each other in a game of tag. THE PHONE is finally answered by the machine. Large's eyes stop moving. 2 VOICE ON MACHINE (0.S.) Andrew... This is your father. LARGE'S EYES slowly float open. VOICE Hi, hello, it's uh. Look uh, you don't call me back so I don't know how to do this. If I can't... if you're not gonna return my calls then there's no way for us to communicate. So uh... '(starts to cry) Look, I don't know how to do . this, but you're gonna need to come home now. Last night uh... Your mother died last night, Andrew. She uhh... I'm sorry. I'm so sorry. But she uh... she drowned... last night she drowned in the bath... BEEP. The machine cuts the voice off. LARGE'S EYES processing. They elide slowly left, then back right as if scanning in data. He blinks. He blinks again slowly. His eyelids float closed. He falls back to sleep. FADE TO BLACK-' IN BLACK: The RUSH OF WATER from the bathroom sink. INT. BATHROOM -- MORNING Large appears to stare directly at us. He's dazed. His body is there, but his mind seems absent. He reaches to the middle of the frame, almost at us, and pulls open both doors of the mirror he's been staring into. His face and chest are immediately replaced with the two dozen orange prescription drug canisters that immaculately line the shelves of his medicine cabinet. He closes the mirror doors and stares at himself. MUSIC CUB., ("DON'T PANIC" BY COLDPLAY) EXT. CENTURY CITY PAVILION -- LATER Large rushes through throngs of people on their lunch break. He manages to avoid eye contact with all of them as he tries to find an address while checking a piece of paper. He boards an outdoor escalator and starts climbing thL- stairs. 0 3 After a moment he looks to his right through a window into a gym where a man on a Stairmaster is walking alongside him. Large registers something: he isn't going anywhere. THE CAMERA PULLS BACK to reveal he's been walking up on the down side. He stands still and lets it bring him all the way down, where he moves to the "Up" one and rises towards the next level. His expression never changes. INT. CASTING OFFICE -- DAY A casting assistant sits behind stacks of headshots and manilla envelopes while the PHONE RINGS constantly. Large sits next to another actor that looks exactly like him; they're even dressed alike. ASSISTANT Casting, please hold. casting, please hold. WE PULL BACK TO REVEAL: they are sitting beneath an eight foot photograph of "Urkel" wagging his finger at the camera. A slow 360 degree pan around the room reveals ten other actors identical to Large aggressively rehearsing their lines to themselves. The ACTOR seated next to Large leans over to him. ACTOR We're whores. Large looks at him. ACTOR (CONT' D ) "I'm not a whore," you say. And to that I say, "If you would do this... that you would do ' this... you're a whore." 'But it pays the bills," you say; startin' to get a little pissed. And to that I say: "how do whores, how do you think a hooker justifies what she does to her non-hooker friends?" (BEAT) It pays the bills. (READING) "Codey, an extreme, special-ope hacker with an edge.' What the fuck is an "edge"? Can you explain "edge" to me? Is it just messy hair? (BEAT) Hey, wait. Aren't you the guy who booked the retarded quarterback? An overweight casting assistant enters. ASSISTANT Lukas Fox? ACTOR Yeah, hey Sandy. 4 ASSISTANT Leslie. ACTOR (under his breath) Fuck. ASSISTANT come on in. (to the room) Hey guys, we're only doing the first scene okay; the "I'll cut you!" scene. Thanks. ACTOR Good talking with you, bro. (BEAT) Peace. We hold on Large as he swings his gaze to the actor on his other side aggressively running his lines to the air. INT. LARGE' S CAR -- DAY Hazy and claustrophobic in stopped traffic on the 405 freeway. Large stares absently out the window as BLARING SIRENS. compete with the obnoxious ramblings of L.A. TALK RADIO. Large suddenly squints his eyes and clutches his neck in pain. EXT. FANCY HOLLYWOOD VIETNAMESE RESTAURANT - NIGHT Large pulls his car into a parking spot, throws "The Club" on his steering wheel and heads towards the back door of the restaurant. But something catches his eye on the side of his car. THE CAMERA PULLS BACK TO REVEAL: a gasoline pump nozzle sitting in his gas tank with a foot of tattered hose ripped off at the end. He stares at it, trying to remember the last time he bought gas. He looks both ways and covertly pulls the nozzle from his tank. He walks towards the back door of the restaurant and throws the nozzle in an open dumpater. INT. FANCY HOLLYWOOD VIETNAMESE RESTAURANT - NIGHT Large flings open the door and enters a long, dark corridor lined with stacked chairs. He passes a WAITER in a black TUNIC wearing eye make-up to make him look Asian. WAITER Dick head. You've got thirty-four and twenty-five seated and Taylor booked a pilot so he quit. You picked a bad night to be late. 5 Large glides through the chaotic environment unfazed by any of the stress. He rounds a corner to a time card machine and swipes his card. The machine BEEPS and displays the word, "LATE" in red. He crosses to a locker and quickly changes into a black tunic and pants. He moves through the kitchen which is whirling with over thirty people in white: chopping, frying, sauteing, YELLING. The Vietnamese chef wears a headset and BARKS ORDERS down the line. Large is met by a FRENCH WOMAN MANAGER. She walks with him as he weaves his way through the kitchen. FRENCH MANAGER (FRENCH ACCENT) Ten resumes just today. They come in everyday from Idaho or Florida or Milwaukee and do you know what they want even more than a guest spot on "Everybody Loves Raymond"? They want your job. This will not happen again. This will never happen again. You have two tables. You are thirty minutes late; if I ever say this again, your job will GO TO: She pulls off the top resume from the bunch she's grasping; revealing a headshot on the other side. FRENCH MANAGER (CONT'D) Todd Slauson from Duluth, Minnesota. During all this, Large remains calm and unphased. He takes a stick of eye make-up from the pocket of the tunic and paints his eyes to appear Asian. (As do all the white, good-looking, male waiters.) He takes a small radio transceiver device from the pocket of the tunic and turns it on. He unwinds the ear piece, pulls it through the back of his jacket, out the neck and into his ear. Immediately we hear a VIETNAMESE MAN'S VOICE giving orders over the ear piece. VIETNAMESE VOICE (O.S.) (accented, but monotone) Waiter number fifteen, your table number twenty-three is ready. Large takes a deep breath and pushes open the door into: INT. DINING ROOM -- CONTINUOUS A very fancy Hollywood Vietnamese restaurant filled to capacity with a Friday evening crowd. The energy is completely different from the other side of the door. SOFT ASIAN MUSIC' plays, the room is very dim and lit by candlelight. 0 6 VIETNAMESE VOICE (O.S.) (THROUGH EARPIECE) Waiter ten, you forgot the order of forty-one for table one-o-one. All waiters, eighty-six tuna special. Large remains dead-pan as he crosses to a table with six young, hot Hollywood types. YOUNG HOLLYWOOD GUY What the fuck, man? What are you on break? Large doesn't respond. YOUNG HOLLYWOOD GUY (CONT'D) Don't worry about it; I'm just messin' with ya. Lemme get three Kettle Red Bulls arid... REELING GIRL Can I have a Kettle Cosmo with Red Bull, please. And some bread too. A- sap. LARGE We don't have bread. REELING GIRL What do you mean you don't have bread? How could you not have bread? LARGE We just don't have bread it's... we're a Vietnamese restaurant. REELING GIRL Well you're not Vietnamese. LARGE No, I'm not. REELING GIRL So? (BEAT) Well something to chew on --fuck. Bamboo... whatever. LARGE I'll see what I can find. He turns and walks off . VIETNAMESE VOICE (O.S.) Waiter number twelve, flight number 121 with non-stop service to Newark International will be departing from gate D-32. 7 ON LARGE'S FACE CLOSE as he closes his eyes and we: FADE TO BLACK: IN BLACK: THE BLARE OF A JET LINER TARING OFF dissolves into INT. AIRPORT BATHROOM -- DAY THE RUSH OF WATER as Large washes his hands at the last Oink in a very long row. He grabs his neck while SQUINTING his eyes closed in pain for a brief second. A moment later he picks up his bag and heads down the line of sinks. As he passes each sink, he unknowingly activates their motion sensors and each faucet SHOOTS a tiny burst of water. The NASALLY VOICE of a WOMAN SINGING an off key version of "Once, Twice, Three Times A Lady" with synthesizer accompaniment. EXT. CEMETERY - DAY A large group of people are gathered around a steel coffin. Atop the coffin site a framed picture of a tired looking woman in a wheelchair. This is SARAH LARGEMAN. We find SYLVIA LARGEMAN, the source of the music. CLOSE ON HER FACE as the assorted palette of colored make-up on her cheeks swirls together with tears until it collects on the tip of her chin and drips like a leaky faucet onto: HER LYRICS SHEET as a rainbow of tears splatter the words "ONCE and "TWICE". The song finishes and the rabbi begins a series of Hebrew prayers. Large squints through the mourners to see his father GIDEON LARGEMAN shovel a handful of dirt onto the casket. Behind him stands CYNTHIA DILLARD, 25, a beautiful young Black woman. HIS FOCUS RACKS TO REVEAL two young men seated on a rusty tractor smoking cigarettes about thirty yards behind the ceremony. WE JUMP CUT TO after the ceremony as Large weaves through the crowd and approaches the two men. We see now they are HA-RKs 26, good looking in a dirty way. And DAVE, 26. They are quite filthy, but each sports expensive jewelry and black yarmulkes. They look up as Large approaches. MARX HOLY SHITS LARGE T'sup. 8 DAVE Holy shit! MARK Largeman, what the hell are you doin' here? LARGE (EMBARRASSED) Oh... uh that's my mom. DAVE Fuck. MARK Puck. Sorry. (BEAT) Well... welcome home- LARGE Thanks. Yeah. How you guys doin'? MARK Same. DAVE Same. LARGE Nice. Silence. MARK Where the fuck you been, man? You're like still acting and shit, right? LARGE Yeah. DAVE In LA right? LARGE Yeah. MARK That's cool. I hear that place is pretty tucked up, man. I got a cousin who's a writer out there. He says that place is mad crazy. Coke everywhere, parties, horny-ass bitches... DAVE Who? MARK What? 9 DAVE Which cousin? MARK Terry. DAVE Terry's in LA? I thought he was gettin' his GED down in Newark. MARK No bitch, he's in LA now. He's a writer. He's writin' a movie about snowboarders or some shit, X don't know. I should introduce you to him Largeman, maybe you guys could do something together. LARGE Great. DAVE So what are you doin' tonight, man? LARGE Nothing... no plans. I'm just here for a couple days... nothing. DAVE You should come out with us, we're gonna head over to the Gleason's house. He's having some huge fuckin' party tonight or something. MARK Supposedly. DAVE Supposedly. LARGE Really? MARK Yeah, he lives up on the hill. We're probably gonna head over there right after we bury your mom. DAVE Well I gotta shower. MARK Same. LARGE Okay, well... You know I'll have to see with all this... this. MARK All right. Well, welcome back. 10 DAVE Peace. Large heads back to his car. The crowd has dispersed. INT. LARGEMAN HOUSE: LIVING ROOM - DAY TIGHT ON: An enormous portrait photograph that fills a wall; in it, Large (as a young boy), Sarah (not yet in a wheelchair) and Gideon Largeman huddle together with a Black woman and her young daughter (Cynthia) against a white background. They all wear white t--shirts, blue jeans and no socks. Everyone but Sarah smiles widely into the lens. "Shiva" is in full swing as forty or so older suburban Jewish New Jersey'ites of every shape and size mingle over small food and small talk. The camera moves past several CONVERSATIONS: A heavy woman with gobs of make-up and lots of gold. WOMAN 1 .Well you had to call her; she never called anyone. A woman in a white tennis outfit talking to a group. WOMAN 2 This was a woman who never smiled. An older man in glasses with cream cheese all over his lips. MAN 1 Somebody ate all the lox. THE CAMERA MOVES TO: Two very Jewish older ladies simultaneously telling the same story to a group of friends. LADY 1 The new thing is "Talk to the hand." LADY 2 That's what they're doing. LADY 1 But you got a hold it out like this. LADY 2 Like you're saying... LADY 1 "I don't have the time for you." LADY 2 "So talk to my hand." LADY 1 "He's the only one with time... 11 LADY 2 Like you're saying... LADY 1 "I don't have the time for you." LADY 2 "So talk to my hand." LADY 1 "He's the only one with time... LADY 2 "Time for the nonsense that you're giving me. Large site on a couch in the den next to his Aunt Sylvia, the singer from the funeral. Some young children play on the rug in front of them. Large stares off into space as she pets one of the children's heads and looks to Large for conversation. SYLVIA Did you know your mother redid the hallway bathroom? Large looks over, realizing she's talking to him. LARGE What? Sorry. Who? SYLVIA Since I met her she never showed an interest in anything. Then all of a sudden a month ago she wakes up and decides to redecorate a bathroom. I helped her. LARGE That's great. (trying his best) I'll bet it was... fun. SYLVIA Well I sew. I made you something. LARGE Me? Thank you. Did you... sew it? SYLVIA It's a shirt. LARGE Great. SYLVIA I made short sleeves... you know, for LA. 12 LARGE Great. I'll wear it. SYLVIA Will you try it on nowt LARGE Now? SYLVIA Well just in case I have to fix it before you leave again and we don't see you for another nine years, I want to make sure it fits. LARGE oh. okay. SYLVIA You're gonna love the material. I used the leftovers from your Mother's design. Gorgeous. INT. HALLWAY BATHROOM -- MOMENTS LATER Large flips the light on to reveal the entire bathroom is done in the same floral pattern; everything: wallpaper, towels, curtains. He looks down at the shirt; it's the same pattern. He slides his sweater off to reveal his pale, thin chest. He stares at himself in the mirror for a moment. He tilts his head to the right and stares at his body. He pulls the shirt on and buttons up the front. As he does his entire chest and person disappear into the design of the room. He looks at himself in the mirror; it looks like his head and forearms are floating in mid-air. Large almost smiles as he makes his forearms dance around in mid-air. TNT. GIDEON'S OFFICE -- CONTINUOUS GIDEON LARGENAN sits alone at his desk. Large enters. LARGE Hi. G IDEON HELLO- LARGE How you doin'? GIDEON "Well besides that tire. Lincoln, how was the show?" 13 LARGE You know I'm not really sure what to say here, Dad, so I'm sorry. GIDEON Mmnn. (BEAT) Did you see Cynthia? LARGE From afar at the cemetery. GIDEON She's on call tonight; she volunteers as an EMT for the Rescue Squad. She's doing so well in med school. LARGE Yeah, she's amazing. I'm really happy that everything's working out so well for her. She deserves that. GIDEON I have very fond memories of the two of you running around here when you were little kids like brother and sister. Silence. GIDEON (CONT'D) So how are you? LARGE I'm okay. (SEARCHING) I've been getting these pretty bad headaches lately. It feels like a quick little lightning storm in my brain and then it's gone. I was thinking maybe you could set me up to get it checked out while I'm here. GIDEON Go see Dr. Cohen first thing tomorrow morning. Re's a neurologist in my building. I'll call him and he'll fit you in. I'm sure it's nothing to worry about. Silence. Large nods. LARGE House looks great. 14 GIDEON Oh? That's nice. We've been... doing a lot of work on it. LARGE Really? GTDEON Actually, no. I don't know why I just said that. We haven't done anything to it. (BEAT) We cleaned it for this; for this whole thing. Janice has been cleaning. LARGE The bathroom in the hall. I noticed someone redid that. GIDEON Yeah. That's new. Did you eat? You should eat. Aunt Sylvia put this whole thing together out there. I think there's enough food out there for... everybody. I mean, more.than everybody... there's a lot of food out there. LARGE okay. I think I'll go have some.. GIDEON There's dessert too. LARGE Great. Okay. GIDEON Cake or something. LARGE Great. Large starts to leave. GIDEON I'm glad you're here. Large stops in the doorway. GIDEON (CONT'D} Saying goodbye is important. I'm glad you could... fit it in. They nod at each other. Large walks out. CUT TO : 15 INT. LARGE 'S BEDROOM -- DAY A tattered, vintage American Flag site framed above the bed. Large eases past all the shelves; trinkets, nothing seems to mean anything and then A PICTURE Several people are seated amongst dozens of presents laughing. A. seven year old Large stands with his arm around a seven year old Cynthia. They both wear enormous "chicken- foot" slippers and smile from ear to ear. Large's POV: zooms into the face of the only person in the photo not smiling. This is Sarah Largeman. She stands; not yet requiring a wheelchair. He crosses to the bed and sits down. The surface sends waves ,towards the pillows throwing them off the bed, revealing it's A WATERBED- A LOUD RING from a PHONE on the bedside table which appears to be made out of Legos. He answers it. LARGE Hello?... Hey. No... Yes. INT. THE GARAGE - NIGHT Large pulls away a tarp to reveal a classic world War II Army motorcycle with a sidecar. The corner of hie mouth raises and holds the idea of a smile. MUSIC CUE: "REMY ZERO" EXT. STREETS NIGHT Large flies through the suburban sprawl without a helmet. THE MUSIC BLASTS. The wind throws his hair back as Large whips through the back roads. He's going really fast. He closes his eyes, flying by a COP CAR doing eighty before he opens them again. LIGHTS FLASH behind him as he pulls over. LARGE Fuck. The cop car stops behind him and blares him with the search light. COP Hands on your head, please! LARGE What? 16 COP I said PUT YOUR MOTRERFUCKING HANDS ON YOUR FUCKING HEAD PLEASE!21 Large does it. All we can see is a silhouette of a figure standing amidst the blaring lights and swirling blue and red colors. COP (CONT'D) Eighty-two in a twenty-five. Are you gonna tell me your late or just tired? LARGE I didn't... COP Shut the fuck up. (BEAT) You could have killed some little kid or a baby deer. He saunters closer. COP (CONT'D) You do have a license don't you. Large takes it. out and passes it behind him, squinting. When the COP gets it, he steps finally into the 1 ght. He's a skinny kid, maybe 23, with a baby face! COP (CONT'D) Largeman? Large squints? LARGE Kenny? KENNY Holy shit: How you doin' man? LARGE Great! KENNY Your mom just died. LARGE I know. KFNW I mean that's why you're home. LARGE Yeah... yup. (BEAT) You're a cop, Kenny?! 17 KENNY I know, I know. LARGE Why, Kenny? KENNY I don't know; I couldn't think of anything better to do. And it's really cool though, man. People really listen to you. They have to. And check this shit out. He pulls his gun out of his holster to show Large. KENNY (CONT'D) (POINTING) That's the safety. Plus the benefits; if I get shot I'm rich. LARGE Yeah but, I mean... Kenny, the last time I saw you, you were blowing coke lines off the top of a urinal. KENNY I had to grow up now, man, I wasn't makin' shit at the fish market. No one knew who I was. I couldn't get laid. This is a much better situation for me. Speakin' of which, how did I do? LARGE What do you mean? KENNY I mean you know... how did I do? LARGE You mean like... as a... cop? KENNY Yeah. LARGE I don't know. I mean I thought, you were a dick... so I guess that's good. KENNY Ah fuck, man. I hear you're like some huge movie star; you played some big football player or something. I didn't nee it. LARGE Yeah. IS KENNY Fuckin' DeNiro and shit. LARGE What? KENNY fie ' s awe some . LARGE Yeah. KENNY Deer Hunter. We should talk, man; I have some good ideas for movies, and you could like play me and shit. "Stories From the Force-" LARGE Yeah, definitely. They stand there; nodding. KENNY So what are you doin' tonight? LARGE That depends, are you arresting me? Kenny laughs. KENNY Shut the fuck upf Course not. (BEAT) But you got to put your helmet on, man; leading cause of death on the highway for males in our age bracket. LARGE Okay. KENNY Wanna see my kid. He shows Large a picture in his wallet. LARGE You got a kid, too? Wow. KENNY Everybody's got kids now, man; they're great. It's like your own "Mini-Me"; way better than my cats, LARGE (RE2 PICTURE) Cute. Gold teeth? 19 KENNY Wellthiswas Halloween. He was "OL'DirtyBastard." Yeah, already likesraplike his dad. So what d'yousayyou were doin' tonight? LARGE I think I'm gonna meet Mark and Dave over at some party. KENNY The Gleasons? LARGE Yeah, I think. KENNY can you believe that kids havin' a party at that house? His brother hung himself like two weeks ago in his bedroom. LARGE Really? KENNY Cut him down myself. Seth. Did you know him? LARGE I don't think so. KENNY He tried like three times. Finally got what he wanted. (BEAT) Anyway... So okay, you get going, I'll see you over there in a bit. LARGE Oh, you get off soon? KENNY No. But we'll be by to bust it up by two. if it's crowded we might get to wear riot gear. LARGE Oh, that would be great... to see that. So I guess I'll see you then. KENNY Great seeing you, man. LARGE Yeah. You too. Benny gets in his car and pulls up alongside Large. He picks up the CB and the PA CRACKLES on: 20 KENNY (OVER PA) Pull over, the vehicle! Kenny nods his head up and down to Large like "Isn't this cool?" Large waves goodbye. Kenny floors the cop car and BLARES the SIREN with LIGHTS FLASHING as be SCREECHES away. CUT TO: INT.GLEASON HOUSE - NIGHT Largeweaveshis way through a raging, crowded high-school styleparty:LOUD MUSIC, smoky, sweaty drunk people, kege- Mostof thepeople are 18 to 21. TNT.GLEASON KITCHEN --- NIGHT A bunch of people are gathered around Mark as he tells a drunken story. The group laughs. MARK holy chit look at this guy! Everyone looks to Large at the end of the line. MARK (CONT'D) Get the fuck up here, bitch! This guy does not wait for a beer! This is a movie star! This is Jersey's DeNiro and shit. Mark sloppily hugs Large. Others slap him five as Large awkwardly navigates between variations of hugs and handshakes. DRUNK What are you doin home? A beat as Large realizes he has to answer that question. LARGE I uh... MARK Press junket. DRUNK That's phat yo. Fuck yeah, Serpico and Shit... The crowd quickly moves onto other things. MARK (in a whisper) You like that? That's improvisation, bitch. You can use it. ¬Ä¢ 21 INT. GLEASON HALLWAY - CONTINUOS They walk through the crowd as Mark recruits cute girls to join them upstairs. They walk up the stairs past family pictures and school photos made crooked by drunken backs. Mark points to a photo of an awkward looking young man. MARK You see this? LARGE in that him? MARK That was him. Dug the hole myself. LARGE Did you know him? MARK Nah. Ugly motherfucker though, huh? It pains Large to even try to respond to that. MARK (CONT'D) You want to see the most fucked up thing? They arrive at the landing outside a door with a "New Jersey Devils" poster on it. MARK (CONT`D) This is the tucked up thing. Be swings the door to the bedroom open revealing the dark bedroom of your average teenage boy. A teenage couple drunkenly makes out on the bed. The mattress has no sheets. MARK (CONT'D) Check that out. Mark points to a hole in the ceiling where a ceiling fan has been ripped out. Wires dangle. The fan lies next to the bed. GUY HOOKING UP Hey, get the fuck outta herei MARK Shut the fuck up. Who is that, O'Malley? I'll beat your aael GIRL HOOKING UP Is that Andrew Largeman? LARGE (squinting to see) Yeah, who's that? E 22 GIRL HOOKING UP Hey, it's Karen. Karen Dullia? LARGE (NO IDEA) Oh, hey. GIRL HOOKING UP You don't remember me? You fingered me at the Dinner Dance. LARGE oh hey, what's up. GIRL HOOKING UP Nothing. I saw you on TV. GUY HOOKING Up okay, can you please get the fuck out now. GIRL HOOKING UP SHUT UPI Mark pulls the door closed. MARK I can't tell what's more disgusting; those two hooking up in that room, or those two hooking up. INT. GOLF ROOM __ CONTINUOUS Everything in the room is golf. it is one man's wood paneled shrine to the sport of golf: golf carpet, posters, autographs, etc. A group of people sit around the couch drinking beer,. passing joints. Smoky, dark. Large notices JESSE, a wiry 25 year old in thick glasses. LARGE Hey, what's going on, man? JESSE bargeman. They hug and pat each other on the back. LARGE I heard you're kicking ass, man. JESSE Yeah. You gotta come by my new place. LARGE Yeah, definitely. 23 JESSE Sorry... you know... I heard. LARGE Oh, thanks... yeah - thanks. JESSE That's fucked up. LARGE Yeah... So I definitely wanna come by and check out your new pad. You gotta tell me what happened. JESSE Basically, "The Man bought my silent Velcro patent. LARGE What? JESSE Well you knew I was an inventor right? LARGE No. But I haven't seen you since we WERE SIXTEEN- JESSE Oh well yeah... I wasn't really an inventor yet. Anyway I developed this little item that's just like Velcro but doesn't make that annoying Velcro noise. LARGE now much did they buy it for? JESSE A lot. LARGE Wow. So what are you doing now? JESSE Nothing. They laugh. LARGE Seriously. JESSE Seriously. Absolutely nothing. I've never been so bored in all my life. The first month I bought a whole bunch of shit, but then that got boring. But I... nothing. 24 LARGE That's so crazy. But I mean like, are you gonna travel or like what are you gonna do? Shouldn't you like help starving kids or something? JESSE I'm not really motivated to do much at all. It's kind of funny, I guess I had kind of planned on my whole life being about struggling to get money. But now that I've got more than I ever dreamed, I'm really not sure what to do with myself. I stare at walls a lot. DAVE Can you believe that shit, Large? This guy has one idea and he's a trillionaire. I got a thousand ideas, but I gotta sit around and wait for all my relatives to die. They join the group. Mark blows coke off a large golf book. Dave has a young girl on his lap. Large begins to notice that the girls in the room, although quite attractive, are pretty young; 17-19. As he pans the room, he lock eyes with a BEAUTIFUL YOUNG GIRL. They play chicken briefly to see who will break the stare first. Large does and looks to his right where someone has just passed him a joint- He hits it and passes it on. MARK Here, bro. He passes Large the golf book. LARGE Oh no thanks, man. MARK Really? But you're like a movie star and shit. LARGE No, no thanks. JESSE Well then here. Eat this. Jesse opens his palm to reveal a tiny hit of E with a SMILEY FACE on it. JESSE (CONT'D) Welcome home. ¬Ä¢ 25 Large takes it in his hand and thinks about it. He looks around at everyone else in the room eating them; including the cute girls. LARGE I guess I'll see youguyslater. He eats the hit. They laugh. DANA Should we play a game? DAVE other than golf? They laugh. KELLY No, let's play Spin The Bottle. The idea is met with mixed reaction from the group. LARGE (TO JESSE) I'm not playing Spin The Bottle; how old are we? or more importantly, how old are they? Jesse passes Large the joint. JESSE They're all legal. I think. He smiles a toothy grin. KELLY, a young hot girl with a raspy voice takes control. KELLY Well we just ate all this fuckin' ex, what the hell else are we gonna do? JESSE The girl has a point. MARK Okay, how 'bout this. He holds up a bottle of Tequila with a ribbon around !.to neck. MARK (CONT'D} First let's finish Daddy's golf tequila. Then we can use this bottle. The group loves this idea- As they laugh and party the CAIa.ERA FINDS ITS WAY to Large's face as he feels the weed and the beginning of his trip. His eyes and face navigate the ha3mnv start. 26 THE REST OF THIS SCENE WILL VACILLATE BETWEEN REGULAR, SPED- UP AND SLOW MOTION. The party seems to fast forward around Large; the MUSIC FADES TO ONE LOW NOTE until it breaks with people calling his name. ALL Large! He snaps his attention to the game. The bottle is pointed directly at him. JESSE Largeman, this is Dana. Large looks over to the sexy young girl whom he locked eyes with before. She smiles at him. Awkwardness fills the room. DANA Hi. LARGE (snapping out of it) Oh, who's up? They all laugh. She gets up and slowly walks over to the couch. She smiles nervously. Large stares at her. we see in his eyes he's feeling more fucked up every instant. She stands above him at the couch, then straddles him with her knees on either side of his legs; sitting on his lap. The MUSIC PLAYS. Everyone is speechless. she slowly leans in. Eye contact. They kiss softly enjoying every second. Its incredibly sexy. HIS FINGERS CLUTCH HER THIGH They stop and look at each other. She kisses him on the cheek and gets up. Everyone reacts and some clap. JESSE This is gonna be a good night. Everything SPEEDS-UP and SLOWS DOWN. A barrage of images: people hooking up, girls kissing girls, guys feeling girls up, joints being passed, one girl crying, Mark showing off his golf swing, Large trying to take deep breaths, Jesse and Dave hugging, two-figures moving quickly under a blanket. Kenny in full riot gear letting people take turns hitting him in his helmet. FASTER : hands gripping each other, a nose on a neck, hands gripping a waist. Ecu s Largos face as his eyes swim in their eocketo s end the corners of his mouth lift with the idea of a smile.. 27 The motion of the room is sped to a blur until finally: BLACKNESS. A BLARING LIGHT comes out of the darkness. Morning sun streams through a window revealing Large's face, full frame, eyes still closed. Across his forehead in thick black marker the word "BALLS" is written. His eyes open wide. He has no idea where he is. His eyeballs swing left, then right. As Large site up THE CAMERA pulls back to reveal we are INT. MARK'S LIVING ROOM -- MORNING Large site on the sofa covered in an afghan. White morning sunlight pries past the beach towels covering the windows to highlight the duet in the air. A NOISE in the kitchen pops Large' s eyes open. He has no idea where he is. Large's POV into the kitchen reveals limited glimpses of a person walking around; like a hunter's amateur video of his Bigfoot sighting. He can only make out pieces: a sword, boots, then a cereal box. Then quickly the figure turns into perfect view: a medieval Knight in full regalia. They make eye contact for a second and Large slams his eyes shut. When he opens them again the knight is gone. INT. KITCHEN -- LATER Large and Mark sit with CAROL, mark's mother and TIN PAYTON, 25. Carol is mid-forties and always looks like she's got a cold or has just been crying. Tim is dressed as a Medieval Knight. Large and mark stare at Tim as he SLURPS down his cereal. Carol smokes a thin cigarette. Mark is shirtless. No one addresses the fact that it says "Balls" in black marker On Large's forehead. Silence but for the CLANKING of SILVERWARE and TIM'S SLURPING. CAROL it's good isn't it. No one responds, so Tim nods to be nice. CAROL (CONT'D) i always try to save a couple of marshmallows for the very end, but I can never make it. (MORE) 2B My mind wanders and I'm left with flakes and pink milk. And yet each time I pour a bowl I tell myself that this time, this is gonna be the time I'm gonna save at least one. LARGE So, Tim, how long you been working at medieval Times? TIM Three years. But I've only been a knight for two. You have to pay your dues. I worked in the stables and helped in the kitchen. CAROL When I started he was making the coleslaw. It hasn't been the same since you got knighted. TIM I really just stirred it. CAROL Don't be modest. Mr. Modesty won the joust last night. LARGE Congratulations. TIM It's not that big a deal, it's fixed. LARGE What was it that happened to you in high school? You had a thing, but I forgot what it was. MARK He got the shit kicked out of him. CAROL No he didn't. MARK How do you know? He got the shit kicked out of him by Tyrell Freedmen. LARGE I remember that. That was sofucked up. Why did he do that? TIM I fucked him up too. 29 MARK He knocked your teeth out. TIM He said I bit off him 'cause I got the same Jordans. CAROL What? LARGE That's right. CAROL Who? TIM Tyrell said I bit off him 'cause I got the same Jordans he did. But his were the red ones and mine were all white. MARX Yours were red too by the time he was done with you. Everybody laughs but Tim. MARK (CONT'D) Air bloody tooth. (BEAT) So what are those, like fake teeth you got now? TIM He only chipped one tooth. So what are you up to now, Mark, digging graves? Silence. A SPOON CLANKS on a plate. CAROL Mark's getting into real estate. Silence. Mark FLICKS open his Zippo lighter and lights a cigarette. CAROL (CONT'D) Tim can speak Klingon. LARGE What? TIM No, I can't. CAROL Yes, you can. 30 MARK What the fuck is Klingon? LARGE Like the Star. Trek guys? CAROL Yup. He can talk in their language. TIM She's kidding. CAROL No, I'm not. He's being shy. Are you being shy? MARK Don't be shy, Tim. LARGE Yeah let's hear it, man? TIM It's just made up. The guy who plays the wizard at work is a Trekky. I don't really... CAROL He's being shy. Say what you said to me last night. TIM No. MARS Yeah, Tim. Say what you said to her last night. Silence. Everyone stares at Tim. TIM I gotta get going anyway. MARK (SHARP) Say what you said to her last night. TIM Kuntar peteeky maya. Al fook soo. They all stare at him. Then burst out laughing. MARK You've got to be kidding me. CAROL It means, "I like to mate after battle." 31 TIM (QUICKLY) That's not what I said. CAROL Yes. TIM No, that wasn't the one I said. This one means "kill Kirk" and also 'hallelujah" depending on the context. MARK You must have gotten it confused with "Pleej artulyah. Hagtooth pleep." Theylaugh. CAROL That was good, honey. MARK You know what that means, Tim? TIM No I don't know the whole language, I just... MARK well I do. It means get the fuck out of my house before I chop your fuckin' head off. Silence. Large stares at Mark in disbelief, then starts to LAUGH. They all start to join him except Mark. They stop laughing. CAROL Mark, he's a knight. MARK He's just a fast-food knight. TIM I should get going anyway. He gets up to leave. But his sword gets caught between his chair and the table. They all watch as he fumbles to undo himself. He's like John Ritter at his finest. Large and Mark just laugh. TIM (CONT'D) Thanks for the cereal. By the way, it says "balls" on your face. Carol follows Tim out. Large slides to the microwave door's reflection. 0 32 LARGE YOU ASSHOLE: MARK My Mom did it. CUT TO: IT. MARK'S LIVING ROOM -- LATER Mark and Large sit captivated by ALLIGATORS EATING ZEBRAS on TV. Large's forehead is now merely smeared with black ink. Mark leans forward to pull a bong hit from a blackened, colored tube. He coughs out his hit and reclines his bare back against the torn pleather couch. Carol enters and stands next to them watching the TV. CAROL What's this? She finds a long, thin cigarette with lipstick on it in the ashtray and lights it. MARX What the fuck is that shit, Mom? CAROL Where's this? Gimme a hit of that. MARK Don't bring those fucking people here anymore, Mom. Or I'm leaving. I'm serious. No Medieval Times people in this house. He passes the bong to his Mom. She smokes it, then sits down, forcing them both to slide over. Several cats surround her_ MARK (CONT`D) I'm declaring it. Now. It's declared, now. Thank you. No more. CAROL Did you tell Large about the tapes? MARK No, Ma. I'm not doin' the stupid tapes. LARGE what are the tapes? CAROL Real estate tapes. You can make up to a hundred thousand your first year. You should have seen the boat this one Oriental had. (MORE) 33 Be even had his own game show in China he made so much money. I think Mark would be perfect at it. MARK Mom, shut-up about those fucking tapes. It's a scam. CAROL It's not a scam. They show you how to do it. It's not hard, honey. Then I could retire and we could have our own game show. Carol and Large share a laugh. MARK In China. CAROL In China is right. LARGE So... what, you like sell property? MARK It's bullshit. You were just all baked,out and you thought it would be a good idea. CAROL Well I'm doin' it. I'm savin' up for those tapes. 'Cause I know what you could be if you just applied yourself. MARK I do apply myself, Mom; everyday, I work my ass off burying dead people, okay? I'm only twenty-six, I'm not in any rush. What's your rush for? Just let me be, all right? I don't rush you. CAROL Well then I'm gonna do them then. MARK Fine. Do'em. CAROL I will and then I won't let you come on my yacht. Large, you're welcome anytime, but leave your friend behind. Large LAUGHS. She checks her watch. 34 CAROL (CONT'D) Shit, I gotta go to my meeting. Okay. She stands up and then leans over and kisses Mark on the top of his head. CAROL (CONT'D) Okay. Love you. Okay, bye Large good to see you. LARGE Yeah. Good to see you too. She gets to the door, then crosses back to Mark. CAROL Don't sit in here all day you guys; I took the batteries outta that carbon monoxide detector 'cause it was beeping all night. She slams the front door. MARK She drives me crazy. She's gets all fried out and makes me feel like I gotta impress her all the fucking time. And you know what? I'm okay with being unimpressive; I sleep better. Large site forward abruptly. LARGE Oh not What time is it ? IT. NEUROLOGIST'S WAITING ROOM - DAY Large rushes in to the counter. A female Hispanic RECEPTIONIST looks up. LARGE Hi, I'm Andrew bargeman. I'm sorry. i'mn a little late for my appointment. She looks at her watch. RECEPTIONIST (SLIGHT ACCENT) okay, Andrew. I'm going to need you to fill out this paperwork for me, and we'll call you when we're ready for you. LARGE Okay, thanks. Sorry. 35 He site back down and begins filling out the form- The door opens and a blind woman with a seeing eye-dog enters. The Receptionist sees her and calls out: RECEPTIONIST Hi Mrs. Lubin. MRS. LUBIN Oh, hello there. RECEPTIONIST Just have a seat and we'll be with you soon. MRS. LUBIN Thank you. She site. Large turns back to his paperwork. He fills out a line before he notices the "seeing-eye-dog" has wandered over to him. Large looks at him. LARGE (cold, disinterested) Hi, how are you? The dog looks both ways before mounting Large's leg and proceeds to thrust his groin to and fro. Large tries to shove him off. He looks back at the blind woman who stares off in the other direction. Large is about to say something to her but he stops himself. LARGE (CONT'D) (under his breath) Get off. Off. The dog thrusts away. LARGE (CONT'D) (TIGHT WHISPER) Stop it. Heel. No thrust. Finally Large gives up and decides to just let it hump away- He tries to return to his paperwork. Someone BURSTS OUT LAUGHING. Large turns to see a cute 20 year old GIRL he hadn't seen sitting in the corner. She wears really big headphones. LARGE (CONT'D) Got any suggestions? GIRL Kick his balls. MRS- LUSTN Ready for me? 36 The girl and Large look to each other, the receptionist is gone. GIRL (IMPERSONATING RECEPTIONIST) Not yet Mrs. Lubin. The dog humps away. The girl comes over and sits one seat away from Large. GIRL (CONT'D) (SOFTLY) Kick his balls. LARGE I don't want to hurt him. GIRL It's the only way to teach them. I have three Dobermans. If I didn't kick them in the balls regularly I'd never get anything done. LARGE Yeah, but I don't want to like destroy future generations of charitable dogs. Besides he's got to be close to finishing by now. GIRL Not yet, here comes the lipstick. They sit and watch him go. GIRL (CONT'D) Oh, he's gonna be sore tomorrow. WIDE SIDE ANGLE ON: the whole waiting room. Everything still but the dog's thrusting pelvis. RECEPTIONIST Mrs. Lubin? MRS. LUBIN Yes. RECEPTIONIST We're ready for you. MRS. LUBIN Okay. C'mon Arthur. Arthur immediately responds to her voice and returns to her side to lead her into the office. LARGE I feel so used. 37 She laughs. LARGE (CON2''D) Thanks for your help. Or at least your good intentions. SAM I recognize you. LARGE Oh, did you go to Columbia High? SAM No, not from high school, from TV. Didn't you play the retarded quarterback. LARGE (Wishing she'd go away) Yeah. SAM Are you really retarded? He stares at her. LARGE No. SAM That's cool. Great job, man. You were- I mean I thought you were really retarded. You were just as good as that corky kid and he's really retarded. I mean if there's some kind of like retarded Emmy you could win. You'd kick Corky's ass. LARGE I got to fill this thing out, but thank you for... that. SAM Oh, okay. Right on. My cousin's an actor. Jake Ryan Winters. I doubt you'd know him. He was on "Sheena" once as some gnome or something. I think that's great though. LARGE Thank you. SAM Oh that last scene where you make that speech to the whole stadium and your Dad gives you the thumbs up; that was - it was emotional. I mean I didn't cry, but I think my Dad did. (MORE) 36 I couldn't totally see, but he got up to go to the bathroom and I think I heard him sniffle. Could've been dander... LARGE Well thanks. Thank you. SAM So are you doing anything else? LARGE No. Not right now I'm just... SAM Any other retarded roles? I'm sure you could definitely get more of those. LARGE No, I'm just auditioning and.,. SAM I can't believe you're not really retarded. Jake's not a very good actor. I mean on "Sheens" you couldn't really tell 'cause he was in a hairy gnome suit, but he used to put on these really low-budge renditions of Andrew Lloyd Webber musicals in our attic when we were kids and they were awful. It sucks 'cause there isn't a whole lotta work for little people, you know? Anyway sorry I talk too much, fill out your forms. Large just stares at her. She's funny. LARGE What are you listening to? SAM "The Shins." You know them? LARGE No. SAM Oh are you kidding me? You gotta here this one song, it'll change your life I promise you. Oh but you have to fill out your forms. Conundrum. (BEAT) Well do it while you listen to THIS- She hands him her hugs earphones. The Shins' "flew slang" is playing. ¬Ä¢ 39 He looks at Sam and she just Stares at him and nods smiling. After a moment, he takes the phones off and hands them back to her. The SONG CONTINUES SOFTLY from the headphones. LARGE That's cool. I like it. SAM So what are you doing here? LARGE What are you doing here? SAM Waiting for a friend. You? LARGE I'm uh... there's a_.. SAM Fuck, that was nosey, I'm sorry. I didn't mean to be nosey. That was so nosey. LARGE Its al=ight. I... I uh get headaches. So I just wanna have that checked out. SAM Cool. RECEPTIONIST Andrew Largeman? LARGE Yes. RECEPTIONIST We're ready for you. LARGE Okay. He stands. He turns to Sam. LARGE (CON' ' D ) It was nice meeting you. SAM You didn't. I'm Sam. LARGE Andrew. SAM (DISAPPOINTED) Cool. well, bye. Good luck with your head. 40 LARGE Thanks. RECEPTIONIST Don't worry Sam, we'll get to you next. Large turns to Sam. She looks away. INT. NEUROLOGIST'S OFFICE - DAY Large site alone in a barren office. He pans around the room staring at all the diplomas. His eyes follow them up from the base-board all the way up to the ceiling to reveal: there's actually one on the ceiling. The doctor enters. DOCTOR Mr. Andrew Largeman. LARGE Yes - hi. DOCTOR There's absolutely nothing wrong with you. Large stares. LARGE What? DOCTOR I'm just kidding, how would I know that? LARGE Yeah. They shape hands. DOCTOR I'm Doctor Cohen. What can we do for you today, Andrew? LARGE I've been having these really intense headaches. They only last for a split second and then they're gone. It's like a lightning flash; almost like a surge of electricity and then it's gone. He looks at the chart. DOCTOR You're Gideon's kid. I didn't even put the two together. 41 LARGE Yeah. DOCTOR I'm sorry about you're Mother. LARGE Yeah. Thank you. DOCTOR I must have missed you at Shiva last night. LARGE Yeah. DOCTOR So how long have these headaches been going on? LARGE Well I think I've had them in some form since I was a little kid. But they've been getting more and more frequent over the last year. DOCTOR (looking at chart) How long have you been on the Lithium? LARGE Oh uh, I've been on some form of it since I was ten or so. DOCTOR And what about Paxil, Zoloft, Celexa, Depakote; did any of that ever help you? LARGE No. I mean I don't know. It's recently occurred to me that I might not even have a problem. only I'd never know it, because as far back as I can remember I've been medicated. I grew up on it. I left them in LA. This is the first time I haven't had it in my body since I can remember. DOCTOR Well it'll leave your body pretty fast. I'll write you a prescription. LARGE Actually I. was thinking about taking a little vacation. ¬Ä¢ 42 DOCTOR Have you spoken to your psychiatrist about that? LARGE E)h well, my psychiatrist is my Dad. So uh... he... I think he'd prefer me to stay on it. He likes to think it makes me happy. And I let him think that because he's sort of consumed by the idea of making everyone happy. DOCTOR Well look, I'll examine you and give you a Catscan just so you won't worry that it's anything serious. But to be honest, I think the headaches are something else. Our bodies do very funny things when they're consumed with stress and anxiety. Things you'd never expect. I found my ex-best friend's cuff links in my wife's puree and I couldn't get an erection for a year and a half. (BEAT) For example. LARGE But that doesn't really feel like it. I mean I don't feel stressed or really anxious at all. DOCTOR Well with all the Lithium he's had you on it's amazing you can even hear me right now_ LARGE Oh, right. DOCTOR First of all, I do think you need to find a psychiatrist that isn't your father. That just's something that should have been remedied years ago. He knows better. Secondly, I'm not in a position to comment on whether or not you should stay on the meds or not; I don't know your story. But my opinion, since you're paying for it, is that those drugs may help as a means to an end. But if you're not In any sort of therapy, sooner or later what's ever going on in your mind will find a way to peek it's little head out of the water. Just something to think about. (MORE) 43 ,beat) But, for now, let's have a look at you. CUT TO: INT. CATSCAN ROOM - LATER MUSIC PLAYS AN OVERHEAD SHOT OF: Large staring at the wall as he lies on a white slab covered from the waist down by a white towel. AN OLD FEMALE NURSE straps him to the slab ignoring the OBSCENE WORDS and DRAWINGS in black marker that cover his chest. THE CAMERA CRANES DOWN to reveal Large and the slab being sucked.into the Catscan tunnel. EXT. PARKING LOT -- DAY Large drives out of the parking lot. There, seated at the bus stop is Sam bobbing her head to music- She wears a backpack and holds an odd looking helmet in her hand. He pulls up alongside her. LARGE Why were you really there? SAM Charging. I'm a robot. LARGE Do you lie a lot? SAN What do you consider a lot? LARGE Enough for people to call you a liar. SAM People call me lots of things. LARGE Is one of them "liar"? SAM I could say "no", but how will you know I'm not lying. LARGE Because I`ll choose to trust YOU. SAM You can do that? 99 LARGE I can try. SAM Who's bike is this? LARGE It was my grandfather's. It was the only thing he left to anyone in my family and he left it to me. And I like it. SAM This is the point where you ask me if I'd like a ride home? LARGE It is? SAM Yup. LARGE Would you like a ride home? SAM Fine, but I ' m not getting in that sidecar, LARGE Why not? SAM Sidecars are for bitches. Anyone who gets in that thing is automatically your bitch. Thus, I will ride on the back. She climbs on the back behind him. LARGE (re: the helmet) What are you like... a hanglider? They drive off. EXT NJ STREET/MOVING---DAY SAM I thought my boyfriend was gonna pick me up on his bike, so I brought it... But then he couldn't so... LARGE So what, it's like one of those tandem things? 45 SAM No, its a Ninja. Way faster than this thing. LARGE But what kind of helmet is that? SAM You can use it on a motorcycle. Anyway, how's your head? LARGE I should live through the day. SAM Cool. Make a right here. They stop at a light. LARGE Are you doing anything right now? SAM Can you elaborate on "doing anything"? LARGE Well, I just had this idea. I promised this guy I'd stop by his house that's right up here, but I don't really wanna stay very long. So I was just thinking if you came with me I could say I have to take you home when I'm ready to go. SAM Wow. well that's pretty damn random of ya, Andrew. LARGE I know. SAM 'Nice to meet you. May I use you?' That's the Hollywood in ya I guess. LARGE No, it's not like that, c'mon. It'll be fun. I promise. (BEAT) I'll tell you what. We'll have like a signal. When you pull on your ear that's the code and then I'll say,, "Well I've got to get her home now." And then we'll go. She mulls it over. 0 4¬Ç¨ SAM Can we have code names too? LARGE If you'd like. SAM okay. But don't try and like kidnap me or anything, because my step-uncle's a bounty hunter and I could have you tracked and killed. LARGE Liar. The light changes and they drive off. EXT. JESSE'S MANSION'S FRONT YARD - DAY The poorly maintained backyard of a mansion: pools, fountains. Jesse stands shirtless and unshaven holding an enormous bow and arrow aimed at the sky. The end of the arrow is on fire. A joint hangs from his lips. Sam and Large look terrified. JESSE 'Kay ready? He unleashes the arrow into the air and the three of them scramble around in terror trying to avoid wherever it will land. It plunges into the earth three feet from Sam's foot. Frozen, she yanks on her ear; hard. CUT TO: EXT. SAM'S HOUSE -- DAY Sam and Large stand on the front porch of her working class house. LARGE I'll be fine. Am I the first boy you've ever brought home? SAM (YES) No. But I lied about my boyfriend driving a t.inja. LARGE He doesn't drive a bike? SAM No, I don't have a boyfriend. (BEAT) He might drive a bike; wherever he is. 47 LARGE Well we're off to a great start. SAM okay so sometimes I lie. I'm weird, man. About random stuff too; and I don't even know why I do it. It's like a tick. I swear, sometimes I hear myself say something and then I think: "Wow, that's not even remotely true. LARGE So how am I supposed to know what's real? SAM Well, I always feel bad and admit them when they're lies. (BEAT) Can you trust that? LARGE Open the door. TNT. SAM'S HOUSE: FOYER -- CONTINUOUS She pushes the front door open and immediately three enormous Doberman Pinchers BARK and CLIMB all over Large. SAM Down, Kevin! Mom! Kick their balls! Kick their balls! Anthrax, heel! Mom! Sam tries slapping them on their backs. OLIVIA, Sam's mother, comes rushing in clutching a hamster with a bloody nose. OLIVIA Everybody downl Who wants to eat? Do you want to eat? Well then get the fuck off him! Kevin! Steven! GET OFF[ She smacks their asses and they eventually retreat to the other room. OLIVIA (CONT' D) I'm so sorry, we just don't have the time to train' em. Who has time to train'em? When they were puppies it was cute, but now it's like having a herd of Clydesdales. It's just too much. (MORE) 48 Kevin's the baby, he really just follows the others but last week Anthrax and Steven killed a dove and left him on the front porch. Or maybe it was a pigeon, he was grey. 'Member that, Samantha? SAM Mom, this is .Andrew... OLIVIA Welcome, welcome. The place is a wreck, I'm so sorry. You look very familiar. SAM He's the retarded quarterback. OLIVIA Shut up ! Oh my God ! You are the retarded quarterback. You were so good on that show. Now I'm really ashamed. Look at this place. And I'm wearing sweat pants. (to Sam, through her teeth, while nodding at LARGE) is he really retarded? LARGE No. OLIVIA Oh, tell me, what's that Alan Thicke like? I've heard he's a cocky son of a bitch. LARGE No, he's a really nice guy. OLIVIA Oh. Well, welcome, welcome. Samantha I told you to take the wheel out of the hamster cage. She holds up a dead hamster. SAKI I forgot, Mom. OLIVIA Well you forgot and now Jelly's dead. Luckily I got peanut Butter out in time. (TO LARGE) We have to get the only hamster on planet Earth that can't figure out a stupid hamster wheel. Now the rest of 'am can't even get a good sweat going. (MORE) ¬Ä¢ 49 There's a shoe box on the kitchen counter. You can do the honors. I have to run to work. She sighs and absentmindedly pate her forehead with the hamster. OLIVIA (CONT'D) It was so nice to meet you... Andrew right? LARGE Yes. OLIVIA Samantha put the clothes in the dryer and bury Jelly. She kisses Sam on the cheek and then she's gone. They stand there a moment to catch their breath. Then they both start laughing. SAM Come on in. They walk into the LIVING ROOM. INT. LIVING ROOM -- CONTINUOUS Big couches with tattered afghans on them. A Christmas tree with the lights on in the far corner; a few unwrapped presents underneath. An enormous hamster labyrinth, a fish tank, three cats, a bird cage. SAM So this is it. LARGE It's nice. SAM No it's not. You don't have to say that just 'cause you can't think of anything else to say. LARGE I'm not. It's really nice. It's very cozy. You guys are a little early on the tree, huh? SAM Yeah, well we never got around to taking it down, so when it got to be fall again we just figured we might as well leave it. Are you freaked out? You're totally freaked out aren't you? 50 LARGE No, not at all. I like it. SAM Wanna see my room? LARGE Yeah, sure. They cross to the staircase and are met by TITEMBAY (Ti-TEM- bay) a handsome, young Black Man in a sweater carrying books. SAM Titembay, this is my friend, Andrew. Andrew this is my brother, Titembay. LARGE Hi, nice to meet you. T I T EMBAY (SLIGHT ACCENT) Nice to meet you. I'm sorry about Jelly. SAM Oh, its okay. TITEMBAY I saved some mac and cheese for you. It's in the f ridge. SAM Thanks. TITEMBAY Anyway, I'm late for class, it was nice meeting you. LARGE Yeah, you too. They walk up the stairs. INT. SAM'S BEDROOM -- CONTINUOUS We watch the locks turn as Sam uses a key from the outside. Music posters everywhere. Warm, cozy. SAM This is it. She puts on a CD, (the song: "I'm Doing Fine" by Colin Hay). SAM (CONT'D) Nothing fancy, but... (OFF LARGE) What? 51 LARGE Uhh... It's Titembay right? SAM Yeah, it's weird, huh? You're so freaked out right now, you're like running for the door. You can go, don't feel bad. LARGE Stop doing that. SAM What? LARGE That whole thing you just did. Don't do that. I want to be here, and I wouldn't be here if I didn't want to be, okay? Trust me, my family's way more fucked up then yours, okay? (BEAT) Okay? SAM Yeah. LARGE So, Titembay. SAM Yeah, he's my brother. LARGE Is he adopted? SAM Well kind of. My mom adopted him years ago from Sally Strothers. one of those: For the cost of a cup of coffee a day" kind of things. where she's like, "How can you sit there and not help the children?" And we just couldn't. We couldn't sit there and not help those children. So we sent him letters and pictures for years and then I got really into ice skating and we kind of forgot about'em. Then one day the phone rang and it was Titembay and he was at the dry cleaners around the corner and he said that he was going to school at Rutgers and living in the dorms, but since he was used to living with his tribe he'd much rather live with his family. 52 LARGE Wow. SAM Yeah and he's been here ever since. He's an amazing guy, you gotta hear some of his stories. I mean this guy struggled through so much because he wanted to learn. I think of what he's accomplished and I just feel so lazy. He's studying criminal justice at Rutgers right now and when he was a baby he was one of those kids with flies all over his face. LARGE Wow. I mean that's great. It's a crazy story. SAM That, my friend, is a true story. I'm not that good- A pause. Sam sits on the bed. THE AWESOKE MUSIC PLAYS. She breaks the moment by pulling a small tattered piece of satin fabric off the bed. SAM (CO13T'D) This is Tickle. Large sits down next to her. LARGE What is Tickle? SAM Tickle is my favorite thing in the whole world. It's all that's left of Nannie... my blanket. LARGE And Tickle is all that remains? SAM Yeah. LARGE Was there a hurricane or something? SAM (LAUGHING) Shut-up. No, I mean I had it since I was born. it was the blanket they brought me home in from the hospital. LARGE It's like the Wailing Wall. 53 SAM What? LARGE The Wailing Wall. It's like the most holy place for Jews to go and pray in Israel. It's all that's left of this enormous temple that was destroyed by the Romans. SAM Wow, so you're like really Jewish? Large laughs. SAM (CONT'D) Yeah, you are aren't you? LARGE No I'm not. I mean I'm Jewish, but I'm not really Jewish. I don't do anything Jewish. I don't go to temple or anything. But I don't know any Jews who go to temple. The Jews I know only go on Yom Kippur. One day; the day of repentance. Did you know that most temples are designed with movable walls so that on the one day of the year when ‚Ä¢ everyone comes to repent they can actually make the room big enough to hold everyone? SAM I don't really believe in God. LARGE Just tickle. SAM Oh, I believe in Tickle_ They laugh. A nice moment. They hold eye contact. THE AWESOME MUSIC PLAYS. SAM (CONT'D) We're not gonna like make out or anything. LARGE What? SAM I'm sorry, I just totally ruined the moment didn't I? LARGE No, I wasn't... ¬Ä¢ 54 SAM I just mean we're not gonna like make out. LARGE Okay. I hadn't planned on... SAM I didn't mean to put that out there, that was lame. BLAAAAHRH. That was so dumb. You know what I do when I'm feeling completely unoriginal? She stands up and does really weird gestures with her hands. SAM (CONT'D) LABA-LABA-LABA-LABAL Large states. SAM (CONT ' D) I make a noise or I do something that no one has ever done. And then I feel like... unique again; even if only for a second. LARGE So no one has ever done that? SAM Not in this spot, no. You just witnessed a completely original moment in history. It's refreshing. You try one. LARGE No. SAM Come on. LARGE No. Trust me yours was good enough for both of us. SAM Come on. What are you shy? This is your chance to do something that has never, ever been done before and will never be copied throughout human existence. If nothing else, you'll be remembered as the only person who ever did this. He stares at her. She's not gonna let up. Large lifts his index finger in the air and twirlsa it. 55 LARGE ZzzZzz. Be stares at her. LARGE (CONT'D) How was that? SAM Oh, I've done that one before. She bursts out laughing. He smiles. SAM (CONT ' t3 ) So I got to bury this hamster before the dogs eat him. You warms help? C'AM' TO: EXT. SAWS BACKYARD-- DAY Rusty leaves fall on a backyard swallowed mostly by an empty above-ground swimming pool. Sam carries the shoe box as they walk around behind the pool to reveal A SMALL GATED PET CEMETERY About a dozen large rocks serve as tombstones for different pets. LARGE Wow. SAM Yeah. LARGE I mean this is... SAM I know. They stand in silence. SAM (CONT'D) It's not that we're bad pet owners or anything, it's just that we've had so many of them over the years. (BEAT) Besides some of these are fish. (BEAT) Not to say fish deserve less than other animals, but moat people just flush them, and we just don't believe in that. I mean the idea of flushing something that had life in it... it just makes me sad, you know? (MORE) 56 You gotta honor something a little more than that, like "Congratulations, man, you had life. Here's your trophy; a little spot in the ground to hang out in." (BEAT) Anyway, I'm gonna put Jelly right here next to "Goliath", the Rotweiler Titembay backed over during his driving exam. She kneels down and begins to dig with a small shovel left nearby. Large sits down next to her and watches her dig. A brisk wind makes him hug his knees in for warmth. SAM (CONT'D) What are you thinking about? LARGE Now? SAM Yes. LARGE Right now? SAM No. A second ago before I asked. LARGE Uh... Right now I was thinking... I was thinking that I've been going to a lot of these things lately. SAM What, dates? LARGE No, not dates. This isn't a date. Is this a date? Funerals. SAM Oh. Who else died? LARGE (EMBARRASSED) Uh... that's why I'm home actually. (BEAT) Yeah, I uh... I haven't even really told you that yet, but uh... yeah my Mom just died. Sam stops digging and stares at him. LARGE (CONT'D) God, it's weird to say that out loud: 'My Mom died". And uh... eo that's why I'm home... now. 57 SAM (SHOCKED) I'm so sorry. Oh, God I'm so sorry. (BEAT) And here I am putting you through another one. I mean not that Jelly's even comes close to your Mom's. .. Although we loved, Jelly-- But still... I'm so sorry. I didn't know. LARGE No, it's okay. It's okay actually. I'm all right with it. Anyway I think it's what she wanted so.., SAM How did she die? Large thinks about that. SAM (CONT ' D) I'm sorry, I'm so nosey. Forget I asked, I'm sorry. I just need to shut--up sometimes. LARGE No, its okay. She uh... she drowned actually. Sam's jaw drops. LARGE (CONT'D) My Mom was a paraplegic; she had uh... she was in a wheelchair. She was uh... taking a bath and then I guess she slipped or something. That's what they say. I don't know. But needless to say, she drowned. And so... that's how she died. Sam is speechless. Tears well in her eyes. SAM When? LARGE This was uh... Hmm... Sunday. SAM Oh my God. Tears roll down her face. LARGE (with a laugh) Why are you crying? 58 SAM I don't know, I'm sorry, I'm not usually like this. It's just so sad. It's so tragic. Isn't it? It is. It's like real life tragedy or something. LARGE Look, let's change the subject, okay? Let's really bring the focus back to Jelly. I mean what could be ruder than talking about someone else who died while you're in the act of burying a close friend. Sam places the box in the hole she's dug. SAM What should we do? LARGE Well IIve only been to one of these things, (re: the other graves) you appear to be the expert. SAM We usually say something. LARGE okay, well I'll go first. I didn't really know you, Jelly. But from what I hear, you were a good pet. Had a little trouble with the wheel... SAM its not funny. Jelly you were a great pet. Tears roll down her face. SAM (CONT'O) I'm so, so sorry I forgot to take the wheel out of the cage. I'm so sorry about that. (BEAT) Goodbye. I hope that you liked me. Tears stream down her face as she shovels dirt onto the tiny shoe box. THE PATTER of the SOIL HITTING the BOX is the only sound we hear as: THE CAMERA CRANES UP above them to a bird's-eye perspective settling on a final frame that looks down on the whole backyard: the above ground pool, the pet cemetery and in the bottom right corner, Sam burying as Large watches. 59 INT. LARGEMAN MANSION: LIVING ROOM - DAY Once again Shiva is in full swing. Large passes through a doorway and begins to hear a COMPUTERIZED SEEPING to the tune of the "Shma¬∞. (A Jewish prayer.) He looks to his left to see an electronic Mazooza on the door frame. it says The Sharper image" on the bottom. He moves his head back and forth past it's censor and each time it begins the BEEPING of the Shma anew. THE LIVING ROOM A tired looking man in his 50's eating a cookie. TIRED MAN Avi wants his Bar Mitzvah theme to be musicals. As in Broadway musicals. Can you believe that? Paul's kid's theme was the Meta; I got to do the Elora with Mookie Wilson. Miriam and I were at one last weekend at the Pierre; whole thing was like a winter wonderland... live penguins wearing yalmulkas. Now me, I got to lay out ten grand alone for some asshole to build a barricade of French garbage across the boccie lanes at my tennis club. THE CAMERA PICKS UP LARGE holding a plate of food: as he approaches Cynthia. She sits alone with a big photo album on her lap. LARGE I was just thinking- (BEAT) I was just thinking you spend you're whole life lusting for anything you don't have. You stress over money and your career, you set your clocks back, you exercise, you wait in line, you paint your house, get depressed, feel better, buy things, take your clothes to the dry cleaner, set your clocks forward and spend your whole life waiting for happiness to arrive in the mail. Then you die and people are really sad, they cry really hard... (BEAT) and then they go eat lunch. Hetakes a bite of his bagel. CYNTHIA Oh please be a little more interesting than that. (MORE) 60 Please don't be the brooding guy. That's so unoriginal. I'd rather hold onto who I imagined you'd become. LARGE Miss me? CYNTHIA No. Me? LARGE No. (BEAT) She didn't like being alive. She got what she wanted. This should be a party. Instead we're supposed to mope. About what? She never did anything. CYNTHIA She made you. LARGE some trophy. I do have to say I'm impressed with the turnout. CYNTHIA What, you didn't think people would come? LARGE Seems to me the only thing more depressing than a funeral is a funeral where no one shows up. Don't you ever think about who'll show up to yours? CYNTHIA No. Right now I'm alive, so I think about living. LARGE It's one way to determine who your friends are. The people who'd show up at my funeral if it was held in their state, that's one level of friend. But my real friends, the people who really love me, they'd come if it was on the other side of the country. CYNTHIA So where do I fall into that? LARGE You'd be there. CYNTHIA Oh you think so? 61 LARGE I do. I think you'd show up because the truth is, that you really did miss met you always thought of me as the brother you never had. But you've got too much pride to let me know that. You want to pout 'cause I don't return your calls. CYNTHIA you're way more talkative than I remember. LARGE Today I've been more talkative than I remember. CYNTHIA What about mine? LARGE Funeral? Honestly? I probably wouldn't travel for it- no. But don't worry, I'm sure you'll have a great turnout. CYNTHIA Why do you say that? LARGE 'Cause there's also the guy who lives his life to insure a good turnout. I think that's how my Dad lives his-, like he's sort of writing his own eulogy as he goes and making life choices dependent on how it will sound in a speech. CYNTHIA Are you implying that that's why I'm going to med school or something? LARGE I'm just saying a lot of people - not necessarily you - a lot of people try and accumulate accolades that will somehow justify their lives. CYNTHIA It's said we spend ninety-five percent of our lives trying to look good. LARGE Where do I sign up for not caring? 62 CYNTHIA How about sucking it up and really having it out with your Dad? That would be a tremendous step towards not needing to look good. LARGE Wow, that was so clever how you did that. Is he grooming you to be a psychiatrist too? Med school's one thing, but please don't become him. CYNTHIA He's one of the most caring people I've ever met. LARGE well you would say that; you're the son and daughter he never had. Hell, you're the family he never had. Has he got you on Lithium yet? Wait till he does, you'll love him even more. He stands. CYNTHIA I bet my Mom a dollar you were coming home with a message. I said after nine years, he's definitely coming home with a message. LARGE i looked for a message; I got bored and became an actor. He leaves. INT. KITCHEN -- CONTINUOUS Large enters the kitchen where JANICE, 50's, Cynthia's Mom, is doing the dishes. He walks over to the counter near the sink and just stares off across the room. She dries her hands and moves to Large. She opens her arms. After a beat he steps into her embrace. He rests his head on her shoulder and closes his eyes. Neither says a word. FADE TO BLACK: LARGE'S BEDROOM -- MORNING Morning sun blasts the entire room. Large site on the edge of his bed squinting at pictures: INT. MASTER BEDROOM -- CONTINUOUS Large peeks his head around the doorway. 63 LARGE Hello? (BEAT) Dad? After shutting the door behind himself he' crosses to the dresser and lifts one perfume bottle out from a dozen. He smells the nozzle then brings the bottle with him as he edges towards... INT. MASTER BATHROOM --- CONTINUOUS The bathroom is stark white. A large Jacuzzi tub sits at the far end of the room. The faucet drips. THE MOUTH OF THE FAUCET as it wells with water and overflows to DRIP onto the drain. Large crosses to the tub and tries to tighten the faucet to stop it from dripping. It continues to DRIP. He stares at the empty tub. GIDEON (O.S.) Hi. Large jumps around and puts his hand to his chest. LARGE Holy shit, you scared the shit out of me. He covertly slips the perfume bottle into his pocket. GIDEON Just wake up? LARGE Yeah. GIDEON Sleep all right? LARGE Yeah... fine. GIDEON Mmmm. (BEAT) I haven't even really been in here for a while. I've been using the one in the hall. Shower pressures awful in there though. It's by no means as good a bathroom as this one is. This one is- well we redid all this. Its uh... (beat, catching himself) This is hard. 64 LARGE Yeah. Silence. The FAUCET DRIPS. They avoid eye contact. GIDEON Janice will make you some lunch. LARGE Yeah... good. GIDEON Well I guess it's breakfast for you. What time is it? LARGE Yeah. Silence. DRIP. DRIP LARGE (CONT'D) Look, I wanted to ask you... I mean if you don't want to talk about this its perfectly fine, but I'm just... GIDEON No I can. I know. I figured you would want to... LARGE But we don't have to do it now. I mean you don't have to do that now. It's just at some point I would... I have some questions. GIDEON I knew that you would. Silence. GIDEON (CONT'D) Occasionally she would hum.., your Mother. Always the same tune and I never knew what the song was. I don't even know if it was a song or if she just made it up - It's funny because it always struck me as so out of character for her and every time she did it... I just always liked it. But I never told her I could hear her because I knew if I ever did she would stop. (BEAT) She took a bath every night. And she was always very quiet. (MORE) 65 The only thing I would ever hear when I'm in the bedroom was a little splashing of water when she was moving around. And every now and then, her humming. (BEAT) so anyway, then usually she would call me when she was done, so I could come and help her out. But this time, that night... she never called. And I just figured she was taking a longer bath or something, but when I called out to her, she didn't answer. So then I uh... When I came in, she was there. LARGE So she didn't yell or... GIDEON No. I didn't hear anything. The TV was on pretty loud. I always watch the weather report before I go to sleep. LARGE It's just weird. GIDEON What? LARGE I don't know, it's just that you'd think if someone was really drowning to death they would scream. I mean really scream from the terror of it all, you know? They would splash and scream I would think; I would have thought. GIDEON I would have too, but no. Nothing. (off Large's look) What? LARGE Don't take this the wrong way. GIDEON What ? LARGE I'm not reading into this, I'm just thinking out loud so don't get UPSET- GIDEON What? No. LARGE What? 66 GIDEON Its not that. LARGE I'm just saying did they check? I mean has someone ruled that out? GIDEON No. Because they know she drowned, Andrew. LARGE I'm just saying the facts. GIDEON No. LARGE And I suppose it doesn't even really matter. But I'd be curious to know. I would like to know if that's what happened; just for me. I mean would that surprise you? GIDEON No. Yee! LARGE She made it very clear to everyone she knew that nothing was ever going to make her happy- GIDEON I know! Do you think I don't know?! LARGE And c'mon let's be honest; she tried it before. GIDEON Shut-up! .lust shut your fucking mouth. Large is taken aback. GIDEON (CONT'D) (FIGHTING TEARS) If nothing else will you please just leave, her alone. She's gone. That's it. That's all you get. She died. We will never see her again. She tried very hard, but she just couldn't find it. She could never find it. And I think - I know that she's found it now. I know that. And I know there's a certain amount of guilt that you must feel for the way things unfolded, but it's too late now. (MORE) 67 So I'm asking you, for me, not to do that. Don't... come here and do that. LARGE I think I deserve to know the truth. GIDEON You want to make her crazy. Why? Does that make it easier for you? Tears stream down Gideon's face, He sits down on the toilet and cries. GIDEON (CONT'D) It's like you want to torture yourself or something! Why would you want to think that? That that happened. Why would you ever want to think that? Large moves closer to his father who SOBS with his head in his lap and his arms over his head. It takes everything Large has to reach out his hand and almost touch his father's shoulder, but he doesn't make it and his hand lands on the sink next to him. GIDEON (CONT'D) I just want everyone to be happy again. (BEAT) I dreamt last night that I had special powers. If I squeezed my eyes shut and clinched my fiats closed tight enough, we'd all wake up in paradise. (with a laugh through TEARS) I was like a superhero... and that was my power. FADE TO BLACK: EXT. CEMETERY - DAY A giant rusted yellow tractor sits parked by an open grave- Large and Jesse lean against opposite tombstones facing each other. Mark stands in the open grave STEALING VALUABLES FROM AN OPEN COFFIN. A small PILE OF JEWELRY sits beside the grave. MARK How could you leave all that Lithium? I was totally gonna hit you up for some. FB JESSE This fuckin' guy. I'm glad you're back, man, because this town is so messed up. Everyone's got there drug of choice like in "Brave New World". Did you ever read that book? Who wrote that? Aldous something. Aldous- LARGE I don't know. Jesse continues talking, but his voice distorts into WARBLED NONSENSE AS SLOW MOTION: LARGE STARES in shock as Mark drops a WEDDING RING into the PILE OF JEWELRY he's stealing off the corpse. MARK LOOKS UP AT LARGE STARING AT HIM AND HIS LOOT. THEY HOLD EYE CONTACT FOR AN UNCOMFORTABLE MOMENT. Large breaks it and looks away. REGULAR MOTION: JESSE (O.S.) .and people are just like that here, man. Huxtable3 Aldous Huxtable. That's it. INT. SAM'S LIVING ROOM -- NIGHT Sam and Large are looking through a photo album. Olivia enters with an enormous Parrot on her shoulder. OLIVIA Andrew would you like to see Sam's ice skating tape? SAM Mom, no. LARGE Absolutely. OLIVIA She was so ahead of her time. She could have gone to the Olympics. SAM No, I couldn't have. OLIVIA Yes, you could have. Don't blame it on the epilepsy, you had a gift. Large looks to Sam, but she avoids eye contact with him- LARGE C'mon let me see it. 69 OLIVIA Let's just show him the "Florida Stars of the Ice" opening; the Gator costume. SAM Mom. I'm asking you seriously. LARGE Don't be shy. Just let me see it. OLIVIA Oh, she wants you to see it. How could you not want him to see how talented you are? SAM Were. They cross to the TV room where they find Titembay wearing rubber gloves, seated next to an open tool box, dusting the coffee table for fingerprints and referring to an open text book. White powder reveals fingerprints (and pawprints) everywhere, including the TV screen. OLIVIA Honey what are you doing? TITEMBAY I'm dusting for prints. OLIVIA Well do you think we could move the crime scene to the kitchen? I want to show Andrew Sam skating. TITEMHAY But someone's been pissing on my Gamecube and I'm about to close the case. OLIVIA It wasn't me your honor. TITEMBAY The pawprints point to a canine. OLIVIA Andrew come sit down here next to me. Large sits next to Olivia on the couch between snoring Dobermans. He places his glass of water on the table. Sam stands in the doorway. SAM I can't believe you're showing him this. 0 70 THE SHAKY, AMATEUR VIDEO comes up on the screen: a person in a full alligator costume wearing white gloves skates onto the ice. The lights come down except for a spotlight on the alligator. OLIVIA There she is. LARGE You're the alligator? OLIVIA You can tell by the hands. The alligator skates in and out of the white fingerprints on the TV screen to classical music. We begin to see that Sam is a talented skater. In a very odd way, it's beautiful. TITEMBAY Here comes the Double Axle... OLIVIA And... land! I mean come on. Isn't she good? Large, Titembay and Olivia APPLAUD. As they do, the LIGHTS in the room SWITCH ON and OFF. Titembay CLAPS twice to turn them back on. OLIVIA (CONT'D LARGE SAM LARGE That was so good. You're Mom's right you were amazing. Titembay has begun brushing white powder on Large's water glass revealing his fingerprints. SAM Okay this was great, but we have to go now. OLIVIA All right, well I just wanted to show you how talented she is. My baby. SAM Mom. ¬Ä¢ ¬Ä¢ 1 OLIVIA Okay get out of here. Wait, Give me a hug. Sam crosses to her mom. They hug. OLIVIA (CONT'D) I love you so much. I'm so proud of you. SAM I love you too. Olivia kisses Sam on her forehead. OLIVIA Okay, have a good night. She pats Sam's butt as she walks toward the door. LARGE Bye. Thank you so much for dinner. OLIVIA C'mon, you're giving me a hug too. SAM Mom. LARGE I'll take a hug. They embrace. SAM Okay, good-night. (calling to Titembay) Night, Tim. LARGE Good-Night. TITEMBAY (0.5.) Rolla! INT. BAR -- NIGHT Sam and Large sit in a booth of a local Irish pub drinki ng pints. They're buzzed. LARGE It was the only thing I ever really liked doing; pretending to be someone else. (BEAT) But I've been so out of it the only parts I ever get offered are to play handicapped people. 72 She tries to hold it together, but she bursts out laughing. LARGE (CONT'D) It's not funny. SAM Oh c'mon. Don't ya see that it's a joke. If you can't laugh at yourself life's gonna seem a lot longer than you'd like. LARGE So what should we laugh at you about? SAM I lied again. I have epilepsy. LARGE Which part are we laughing about? SAM I had a seizure in the law office where I work and they said their insurance would only cover me if I wore "preventative covering". LARGE Preventative covering? SAM The helmet I was carrying. Large is silent. SAM (CONT' D) Oh come on, that's funny. I'm the only person in the world wearing a helmet to work who isn't putting out fires or racing for NASCAR. But what do you do? I can't quit; their insurance is amazing. What can you do? You laugh. I'm not saying I don't cry a lot, but in between I laugh and realize how silly taking anything very seriously is. And plus, I look forward to a good cry. I just love the way it feels. LARGE I haven't cried since I was a little kid. I didn't cry at my mother's funeral. I wanted to- (A SMILE) I... tried. I thought of all the saddest things I could think of; things in movies, this image from Life magazine that haunts me... nothing came. (MORE) 73 That actually made me sadder than anything; the fact that I felt no numb. SAM What do you mean? MARK (O. S.) Vagina! LARGE Oh, no. Mark, Dave and Jesse appear with some others. LARGE "(CONT'D) Hey, guys, this is Sam. This is Mark, Dave and you met Jesse. MARK Hey. Nice to meet you. JESSE Hey. DAVE T'sup. MARK I'm sorry I yelled- 'vagina' just now, I didn't see you. SAM It's okay. MARK Nice. Let's get fucked up. Off Large's smile we: DISSOLVE TO: EXT. JESSE'S POOL -- NIGHT A palatial swimming pool in the backyard of Jesse's mans ion. The Manhattan skyline twinkles far in the distance. Large, Sam, Mark, Dave, Jesse and a couple of high school girls from the bar stand in their underwear on the edge of the pool. MARK One, two, three! Everyone jumps into the pool SCREAMING except for Large. He stands there staring at the water. SAM Hey! what are you doing? 74 DAVE Largeman, get the fuck in the pool. GIRL oh, it's so warm! SAM Can you swim? LARGE 'Course I can swim. JUMP CUT TO. Large in the shallow-end doing the most pathetic doggy paddle you've ever seen. Everyone stares in disbelief. JESSE Dude maybe you should stay on the steps; I don't know CPR. MARK You look like a drunken beaver. They all laugh- Sam swims over to him sitting on the steps. She smiles at him. LARGE (in a whisper) I never learned how to swim. SAM Fooled me. I thought you just had a cramp. (BEAT) Or two. He smiles. SAM (CONT'D) (in a whisper) I can't whistle if it makes you feel any better. LARGE There's a handful of normal kid things I kinda missed. SAM There's a handful of normal kid things I kinda wish I'd missed. She floats on her back beside him. SAM (CONT'D) So how long are you gonna stay here? LARGE Probably till my fingers get wrinkly. 75 SAM (with a laugh) No, I mean in Jersey. LARGE Oh. I think I'll probably head home the day after tomorrow. well, LA. That's not my home. Rer smile fades. LARGE (CONT'D) You know that point in your life when you realize that the home you grew up in isn't really your home anymore? And all of a sudden, even though you have a place where you put your Shit, the idea of "home', is gone. SAM I still feel at home in my house. LARGE You'll gee when you move out. It just kind of happens one day and it's gone. And you feel like you can never get it back. it's like you feel homesick for a place that doesn't even exist. But maybe it's like this rite of passage, you know? And you won't ever have that feeling again until you create a A new idea of "home" for yourself, for the family you start, for your kids. It's like this cycle. (BEAT) Maybe that's all a family really is; a group of people who miss the same imaginary place. They hold eye contact. The SPLASH of a CANNONBALL swings their gaze to the others horsing around in the deep end. Sam leans her head over and rests it on his shoulder. SAM Maybe. INT. JESSE'S MANSION: LIVING ROOM -- LATER An enormous and desolate LIVING ROOM devoid of any furniture or decoration. Mark, Jesse, Sam and Large sit huddled under towels at the foot of a colossal fire place that houses a small blaze. They eat potato chips and drink canned beer. They are all pretty tipsy. Mark plays with a "Silent Velcro" sample. MARK How 'bout some fucking furniture dude. 76 JESSE I bought a chair but I didn't like it. SAM Where is it? JESSE Its keeping us warm. MARK Silent Velcro. Lucky motherfucker. I got an idea: loud tape, we'll make millions. LARGE I feel like if I had showed up at school and presented the idea of silent Velcro they would have sent me away a whole lot sooner. They all laugh. SAM So why did they send you away? She takes a sip of her beer. JESSE Whoa, listen to this girl. LARGE They didn't send me away. MARK You're the one who said they sent you away. LARGE I mean they did, but... they sent me to boarding school. "Sent me away" implies I went to some asylum or something. There were no straps involved. SAM Why did they send you to boarding school? Large looks to Jesse and Mark. LARGE They sent me to boarding school because uh... they thought I might be dangerous. (IMPERSONATING SAM) Oh are you freaked out? You're so freaked out right now. 0 77 SAM (SARCASTIC) That's funny. (NORMAL) Why did they think you might be dangerous? MARK I'm dangerous and I didn't get to go to boarding school. LARGE I was a kid and I was - they just... I was a teenager and they were depressed and it just wasn't a good combo. SAM But obviously something happened. I mean there must have been an event. JESSE You're like a little detective. LARGE I know. You and Titembay should go into business together; solve mysteries out of a van. SAM Am I being too nosey? LARGE No. No. I just... it's fine.. I just haven't ever really talked about it. JESSE To be honest, I never really knew either. I mean I heard stories. LARGE You wanna know? SAM Yeah. LARGE Really, really? MARK You're gay. LARGE No. Drumroll... I was the reason she was in a wheelchair. (BEAT) I pushed her. (MORE) 78 (BEAT) So there that is. SAM Shut up. MARX Fuck you. LARGE No, it's the truth. SAM Why? LARGE It was a complete freak accident. I mean its one of those things that you replay a million times in your head and you see so clearly what a freak thing it was. I... Say whole life she was depressed for no reason. Look at this picture. He pulls the picture of he and Cynthia as children wearing chicken slippers out of his wallet. LARGE (CONT'D) Look at her face.. That's how, she. was every single day of her life. And one day... I was nine years old and I just really hated, her for that, and I pushed her. (BEAT) I mean it was innocent. I was just frustrated 'cause... SAM You couldn't make her happy. LARGE Yeah. Fuck yeah. And any other time, she would have just yelled at me and sent me to my room, but this time, in that moment, the door of the dishwasher was open. The latch on it was broken and it would just randomly fall open. That fucking latch; it's funny how so much of my life hasbeendetermined by a quarterinchpiece of plastic. So she fellbackover the door and her neck hitthekitchen counter; paralyzing her from the waist down. Sam's eyes are wide in shock. SAM Oh my God. E 79 LARGE Still want to compare fucked up families? JESSE But your Mom was in the wheelchair long before you left. LARGE Well I was nine. They sent me to therapy and my Father put me on these drugs that were supposed to "curb my anger". And I've been on some form of them ever since. My Mother who was clinically depressed before the accident, sank even lower to the point where she just ignored everyone but our housekeeper, Janice and her daughter, Cynthia. And when I was sixteen my psychiatrist Dad came around to the conclusion that it might not be the healthiest environment for me to be growing up in. So he sent me to boarding school. And I haven't been home since. SAM Until now. MARK For her funeral. LARGE Until now for her funeral. I'm off to a ripping start in this life, huh? Next time through I think I'll lay low out of the gate. He takes a sip of his beer. LARGE (CONT ' D) The thing is though, when I think about it, I wasn't really abnormally angry at all. I mean it all happened so quickly; I got prescribed all these drugs for anxiety and depression and anger so I just kind of became what they are. SAM It sounds like a punishment. LARGE I think it was. So I left them in LA. I'm taking myself off punishment. 80 MARK Please don't remind me. JESSE All he heard of that whole story was "left drugs in LA". MARK Fuck you. JESSE Crackhead. A 19 year old girl from the pool comes around the corner DRIPPING WET_ GIRL Mark? Where's the sauna? Mark and Jesse look at each other. They race towards her tripping drunkenly on towels and pushing each other out of the way. Sam smiles at Large. Her face glowswarm from the fire. LARGE What? SAM You're "in it" right now aren't you? LARGE what do you mean? SAM My Mom always says that when she can see I'm like working something big out she'll say, "Are you in it right now?" And I look at you, and you tell me this story and... you're... you're definitely "in it" right now. LARGE I think you're right. I'm "in it". But I'm so glad I'm "in it" 'cause I'm working it all out, you know? I haven't swallowed a pill in four days now and I can already feel this eerie clarity. It's probably the reason I just can't stop fucking talking; these.rusty cogs in my brain have started spinning... fast. SAM Maybe that's why you've been getting those headaches. N 81 LARGE Alright can we just forget about all that stuff please and talk about good etuff. SAM Good stuff? LARGE Yeah, glass half-full shit. What do you got? SAM I got a little buzz. That's what I've got. What do you got? LARGE I got a little buzz going. (BEAT) And I like you. Sam smiles and looks away. A beat of silence. She tries to stifle her smile by pursing her lips as she turns back and looks him in the eyes. She's so cute. LARGE (CONT'D) So... there's that. I got that. INT. LARGEMAN SOUSE - KITCEEN -- MORNING Large with bedhead in his boxers hunches over into the refrigerator. He pulls out orange juice and closes the door to reveal Gideon standing there. LARGE Ah! Jesus, you scared the shit out of me. You're always doing that. Why are you always doing that? GIDEON I haven't seen you in awhile. LARGE Yeah I've been kind of catching up with people around here. GIDEON Dr. Cohen called. There's nothing wrong with you. LARGE Yeah I think I'm starting to figure that out myself. GIDEON when are you thinking of leaving? 82 LARGE I think probably tomorrow. I gotta lot of stuff I got to do back in LA. I'm gonna have to find a new job. So... GIDEON We need to talk. LARGE Yeah. How? I mean when? GIDEON what are you doing... now? LARGE Well actually I was supposed to meet my friend Mark. But how about later tonight? GIDEON okay. And well talk. we owe that to each other. LARGE Yeah. GIDEON We owe it to her. LARGE Yeah. GIDEON Good. (BEAT) I'm sorry I scared you. CUT TO INT. MARK'S BEDROOM -- MORNING Mark sits on his sheetlese mattress on the floor, playing classical guitar; impressively. His MUSIC scores the scene. MARX Don't mesa with all my shit; what are you. doing? Large picks up a small brown egg wearing tiny clothes. LARGE You still have your egg baby? Mine broke the first day. MARK Don't you fail if it breaks? 83 LARGE Yeah, well she gave us a C cause my partner fell on some ice. My-wife tell on some ice and killed our egg baby. MARK Jesse cooked his. They both laugh. LARGE Why's it brown? MARK 'Cause my wife was Tanisha Lubin. LARGE Oh. Large laughs at Mark's earnestness. LARGE (CONT'D) You kept her little blue skirt on. MARK He's a boy. His name's Shantel. ¬Ä¢ LARGE It's a girl, she's wearin' a skirt. MARK They're shorts. LARGE Shorts? MARK Yeah, he's a boy, Shantel. They're shorts. LARGE Oh. They laugh. Large flips through an album. LARGE (CONT'D) You collect "Desert Storm Trading Cards"? MARK Fuck yeah, dude. Those are collectors items. Do you have any idea how much those things will be worth some day. 84 LARGE Really? MARK Hell yeah. That shit's like an investment. I have lots of little investments - all over the place. I'm gonna sel3. 'em all one day and just live off 'em. LARGE So like how much is this one worth? MARK Which? LARGE "Night Vision Goggles." MARK I don't know. Mint; maybe two, three. LARGE Dollars? MARK Yeah. But it's too early. You don't sell'em yet. Don't you know anything about investing. I'm gonna live off that shit. That "Schwarzkopf" card is worth at least five something. And if you have the complete set it's worth like thousands. LARGE So do you have the complete set? MARK Almost. The corners are bent on my "Friendly Fire" and someone stole my "Wolf Blitzer". LARGE Someone stole it? MARK One of my Mom's Medieval Times friends, man. Drug addicts. LARGE For drugs they sold it? MARK Yeah. LARGE Wolf Blitzer. 85 MARK It doesn't matter if you're a rich house wife looking for your muscle relaxers or some crack head drying cars: people will do anything in this town to get their drug money. Now look, what do you gotta do today? I gotta little going away present for you. But I kinds gotta track it down. So, can you give me a ride? LARGE Yeah, sure I just... MARK What? LARGE Nothing I just... MARK Say it... speak. LARGE Nothing I just, I told Sam I was gonna hang out with her today... MARK She can come, I don't care. EXT. SUBURBAN STREETS- DAY GREAT MUSIC PLAYS. They drive the motorcycle through the Jersey suburbs; Sate on the back and Mark in the sidecar wearing a lacrosse helmet and ski goggles. LARGE'S POV: A mother and her stroller. A huge group of Black teenagers coming home from school. An old crossing guard. An ambulance. Two powerwalkere. OMIT INT. HANDI-WORLD - LATER They walk down an aisle. LARGE What are we doing in the mall. I don't wanna be in the fucking mall. 86 MARK We're making some money for your present. Just don't look so guilty. LARGE What do you mean, how do I look guilty? VOICE (0.S.) Andrew Largeman? They turn. KARL BENSON, greasy hair wearing a wrinkled, red "Nandi--World" vest and dirty pants stands holding a small box. MARK Oh, no. Benson. LARGE Oh, no. SAM Who's that? MARK Don't give him your number. Karl approaches. KARL Hey, what's up, man. LARGE Hey. KARL Holy shit, I haven't seen you since like junior year. LARGE I know. KARL I thought you killed yourself. LARGE What? KARL I thought you killed yourself, that wasn't you? LARGE (BEAT) No. That wasn't me? KARL Who killed themselves? 87 MARK Just that Gleason kid. Oh, and Tina. LARGE Tina who? MARK You remember Tina. She was like anorexic. She did gymnastics... Sam is horrified by this conversation. LARGE oh yeah, gymnastics Tina. How'd she do it? MARK I don't know. She wasn't Jewish, I didn't bury her. KARL I think sleeping pills. or that car in the garage thing. I forgot. Sam is yanking on her ear for Large to see, but he doesn't notice. LARGE This is Sam. Sam this is Karl. SAM Hey. MARK Listen I'm gonna go grab that thing. So just hang here and I'll be back. LARGE Oh. He walks off. KARL He's such a dick.' LARGE Why'd you say that? KARL He stole my little brother's last dose of Ritalin and the little fucker glued his lips closed. Weren't you on TV or something? LARGE Yeah. Yeah I was. Just this thing. So you're like what, working here? 88 KARL (DISMISSIVE) Only for awhile I'm opening my own business. Actually, I should tell you about it. I'm looking for smart people like you, Large. I should get your number. LARGE Yeah, definitely. (BEAT) So what 'a in the box. KARL Oh, washers. I'm s'posed to count'em. LARGE Washers? KARL (picking one out) You know these little round metal things you put between a bolt and a nut. LARGE Oh, washers. I never use those. I never knew what they were for, so. I just always threw them away. I never used washers. Silence. KARL Oh, well listen, I want to talk to you both about a good opportunity. (like he's memorized it LAST NIGHT) For you and your loved ones. We all have dreams. I know I do. I know of an exciting opportunity that people are talking about. Mark returns holding a box with a picture of steak knives on the side. MARK Hey. We gotta get going. LARGE Yeah, well it was great to see you, man. I'm sure I'll see you around. KARL Yeah, well let me get your number. 89 LARGE oh, well we gotta run. I'm listed. Just call information. It's been so long since I've been home I don't even remember it. SAM Nice meeting you. INT. HANDI-WORLD CHECKOUT -- CONTINUOUS MARK Why is it always the losers who get into the pyramid schemes? Why isn't it ever some charming hot girl nagging you incessantly to buy shit? LARGE Oh, is that what it is? MARK Detergent or some shit. The thing I don't understand is, if it worked, why would he be working here. The guy's a freak; he pops Darvocet like it's Ritalin. LARGE Why are you buying knives? I don't need knives. They arrive at the counter. A young Black woman with enormous gold earrings and long fingernails stands at the register. MARK I'd like to return these. WOMAN You got a receipt. MARK Actually, no. It was a gift. She clicks her tongue. She begins filling out a form. WOMAN Why are you returning these? MARK They're not sharp enough. WOMAN They're not sharp enough? MARK No. Not for what we need them for. They couldn't cut cans. 90 WOMAN You bought them to cut cans? MARK No, but in the commercial they say that if I wanted to cut cans I could. But with these knives I can't. WOMAN Well it comes with a sharpener. Did you try it? MARK Yeah, they're just... I don't want them; not sharp enough. She rings it into the register and counts out bills to Mark. WOMAN Thirty-nine, fifty-three. I hope we came in handy at Handi-World. Please come again. They exit the store and enter the mall. EXT. MALL - DAY They walk past stacks of lumber. MARK A major loop-hole in the Handi- World return policy permits returns without receipts on items below forty dollars. LARGE So how often do you go? MARK I hit every employee once, then wait for them to. hire. new ones. Luckily, no one works at Handi- World for very long. Except Karl Benson. LARGE You know, Mark, it's my last day in town. I have money. I can give you some. MARK I don't need your money, I'm making my own right now. LARGE Or fuck, take Jesse's - the guys a millionaire. 91 Mark stops and looks at Large in the eyes. MARK i don't take anybody's money, Andrew. I make my own. Favors are bad news. And the only thing worse than a favor, is a favor involving money. EXT. RESCUE SQUAD -- LATER The motorcycle pulls up behind two ambulances being cleaned with hoses. Large sees Cynthia changing the sheets on a stretcher. They climb off. MARK This will only take a second. (TO CYNTHIA) Is Aaron here? CYNTHIA LARGE CYNTHIA LARGE This is Sam. SAM Hi. CYNTHIA Hey. LARGE ` (re: the stretcher) Did he live? CYNTHIA She... had an eight pound boy. SAM You delivered him? CYNTHIA Yeah. SAM Wow. CYNTHIA Yeah. (TO LARGE) What are you doing here? 92 LARGE Mark's picking up something. CYNTHIA He's as friendly as always. The three stand in awkward silence. CYNTHIA (CONT'D) Help me with this. He stands at the other end of the stretcher as she gu des him through making it. CYNTHIA (CONT'D) Grab that one... over... once more... good. That side... crease the corner. . .under.. .good. Same thing on this one... Voila. LARGE So were you there? CYNTHIA Where? LARGE Were you on the call to my uh... to the house? CYNTHIA No. LARGE Ch. CYNTHIA Do you wish I was? LARGE Yeah. (BEAT) She loved you_ Mark exits carrying a large gym bag. MARK Got it, let's go. SAM Nice to meet you. CYNTHIA You too. Sam leaves them alone. LARGE I should go. 93 CYNTHIA (SOFTLY) Youknow, Andrew, the hour will comeone day when you atop avoiding allthe people that love you.And whenit does I sure hope youcome findme... 'cause I'd love toknow whoyou are. He backs away. LARGE You know me enough to know I'd travel for your funeral right? I was kidding yesterday; where ever it was... you know I'd be there right? CYNTHIA Yes. He backs away and mounts his bike. Cynthia turns to the stretcher and quickly uses her thumb to swipe a tear,welling in her eye. INT. HOLIDAY INN EXPRESS/ROUTE 22 --- MORNING Mark, Sam and Large enter the tacky lobby. Mark carries the gym bag. Large and Sam follow Mark down a corridor and into a vending machine room. He opens a door labeled "Private" into a kitchen area. They weave through the kitchen down another hall... INT. BACK ROOM -- CONTINUOUS They arrive at a locked door. Mark knocks. After a beat it's opened by an Asian teenager with bad acne blasting his walkman. The far wall is entirely covered with a blown-up mural of a New Jersey Driver's License used for making fake ID's. The space where the face would go is missing, revealing an opening in the wall. They climb through. INT. SECRET HALLWAY -- CONTINUOUS DURING THE FOLLOWING SCENE, THE CHARACTERS WILL ONLY WHISPER IN EACH OTHER'S EARS. WE WILL ONLY KNOW WHAT THEY ' RE SAYING FROM SUBTITLES. They squeeze down a long dark corridor filled with graffiti. They come upon a young teen staring through a peep hole in the wall. Mark taps him on the shoulder. He turns his head and nods in recognition. When he pulls away from the peep hole, the LIGHT PROJECTS THE IMAGE OF THE MOTEL ROOM ON HIS FACE . 94 (Yes, that really happens.) As he looks at Mark, Sam and Large, his forehead is filled with the image of a BUSINESS MAN brushing his teeth. Mark leans into his ear. MARK (SUBTITLED) Where's Diego? TEEN (SUBTITLED) Down the hall. There's a hooker in room 112.. It's crazy down there. I figured I'd just chill with this. SLOW MOTION: Mark gestures for Large and Sam to follow him down the hall. The hall is strewn with young men staring into peep holes. As Mark, Sam and Large pass them, the Peeping Tom's each turn to see who it is. As they turn, each one has the image of what they're watching projected on their face. We hear the ECHOES of the SOUNDS FROM the ROOMS. -- An old couple slow dancing projected on another teen. REGULAR MOTION: They arrive at the end of the hall where a group of six young guys are glued to the image being projected onto the wall opposite the peep hole. An old camera lens has been ducked taped to the peep hole causing the image to appear in perfect focus. The projection shows a very hot, YOUNG HOOKER getting taken from behind by an OLDER GREASEBALL. Her face is no more than three feet from the peep hole. The HOOKER'S MUFFLED MOANING can be heard from the other side of the wall. Everyone's eyes are glued to the wall. Large notices one kid has duct tape over his mouth, while another is sweating profusely. Sam's jaw is dropped open. GRBASESALL (0.5.) I'm fucking you! I'm fucking you. Large notices another kid lip-synching along with the Greaseball. Mark spots DIEGO, a Hispanic guy, 32, wearing a bell-hop uniform and gestures him closer. MARK (SUBTITLED) T'sup dog? She's fuckin' hot. DIEGO (SUBTITLED) This is the most exciting day of my life. We've never had anything close to this. MARK I've got that Nitrous tank for you, so can I get that info? ¬Ä¢ 95 DIEGO You're gonna have to wait a couple. The HOOKER MOANS. GREASEBALL (O.S.) Who's fuckin' you? Hub? Who's fuckin' you? The Lip-Synching Kid mouths, "You are." MARK Dude we're kind of in a rush. DIEGO You can wait, he's about to cunt. GREASEBALL I'm gonna fucking cum! Diegogestures, "Told you." HOOKER Cum on my back! The group responds in silent shock. Jaws drop, Diego grabs his hair with his fists. Just as they are about to climax, we CUT TO: INT. OUTER ROOM --- DAY Mark, Diego, Large, Sam and others rush out into the outer room.They speak in quiet whispers. DIEGO HOLY SHIT3 MARK Wow. DIEGO That shit was hot! I got to go drop some knowledge on that ho. SAM How do you know she's a hooker? DIEGO of course she's a fucking hooker. Girls that look like her do not fuck guys that look like him unless it's for money, coke or fame. SAM Julia Roberts married Lyle Lovett. DIEGO Who the fuck are you? 96 MARX Oh, this is Sam and Large. DIEGO No offense. (TO MARK) Why are you bringing these people here? MARK He's the guy who needs that thing. Look I brought you the tank, so can you just tell us where to go now? DIEGO Tank come with balloons? MARX Am I a fucking birthday clown, Diego? No I don't have balloons. Suck it off the tap. And I need it back when you're done; the guy's holding my thirty-nine bucks. DIEGO All right. Hold-up. Who here just saw some titties?! They all stare. DIEGO (CONT'D) Raise your hand if you just saw some titties?! They all raise their hands. (Including Sam.) DIEGO (CONT'D) Thank you. So everybody needs to calm the fuck down. MARK we're in a hurry. DIEGO All right. You know where Kiernan's Quarry is? EXT. KIERNAN'S QUARRY -- LATER They pull up on the motorcycle. MARK (V . O . ) Down in Newark, right? DIEGO (V.0.) Yeah, its at the bottom of Hillside and Rivington. (MORE) 97 You can't really see it from the street, but it's there. Park your car at the gate and hop the fence. They do. DIEGO (V.O.) (CONT'D) At the bottom of the quarry there's this Junkyard run by this guy named Albert. lie's the one that tracked down the piece you're looking for. I'll call him right now and tell him to expect you. LARGE Okay, stop. What the fuck are we doing? MARX Just be patient. LARGE Dude, we've been patient all day, but it's my last day in town and you haven't told me what the fuck we're doing. I mean if you told me we were going on a six hour scavenger hunt for blow I would have passed. MARK Blow? Please. If I was gonna give you coke we'd have gone to the high school football practice and we'd a been reeling five hours ago. LARGE Well I think we've corrupted this innocent girl enough for one afternoon. SAM I'm not innocent. LARGE (getting worked up) Yes, you are. And that's what I like about you. And I don't want this fucking guy taking you to the bottom of a quarry in a sketchy-ass neighborhood to find some Pitbull's raping each other or... crack whore's huffing turpentine or whatever it is that you have us DOINGS MARK Wow. That's the most worked up I've ever seen you. 98 SAM He was protecting me. LARGE So. SAM He likes me. LARGE Don't be cute. SAM You're my knight in shining armor. LARGE Don't talk about knights in front of Mark. It's a sore subject. MARK I'm gonna kill that motherfucker. LARGE Pun intended? Beat as Mark gets it. He comes after him. MARK You're dead. They play wrestle as Sam watches. EXT. KIERNAN'S QUARRY -- MOMENTS LATER The three of them reach the top of a small hill to reveal... AN ENORMOUS ABANDONED QUARRY Colossal old cranes and construction trucks loom in the distance like ancient dinosaurs frozen in rust and graffiti. The center of the quarry goes so deep they can't see the bottom. They stand on the edge. Rain clouds rapidly drift overhead. This glace is surreal. SAM Wow. LARGE I never even knew this was here. MARK I've heard about it. They were supposed to build a mall here I think. SAM Yeah I remember reading about it in the paper. (MORE) ¬Ä¢ 99 They were digging one day and they broke through into this like natural phenomenon. It's like an underground Grand Canyon or something. So now they're in some huge legal battle over whether they can build here or not. LARGE Can you imagine the guy who's job it is to fight for the right to build his mall on some like geological phenomenon? MARK They love their mall's here man. Okay let's just find this guy and get outta here. LARGE You're not gonna tell us what we're getting? MARK It's a surprise, you'll see. Mark walks on ahead of them down a path that winds down alongside the abyss. EXT. 1CTERNIAN'S QUARRY -- LATER Further down the path. Sam looks to Large. He uses an old mop handle he's found as a walking stick. As they continue along the path it begins to get continually cluttered with rusty junk. An old bedframe, a porcelain tub, remnants of a "Jungle-Gym", dirty broken toys. Further along down the path amidst the junk they see a THIRTY FOOT DILAPIDATED SOUSE BOAT perched on cement blocks that sits right on the edge of the cliff. It's windows glow warm and welcoming. Mark stands in front of the boat. This isn't what he expected. Rain begins to fall. MARK I guess this is it. LARGE So... knock. Knock and barter for "Dessert Storm Trading Cards". MARY Please don't tease me about my hobbies. I don't tease you about being an asshole. They stand in the pouring rain staring at the boat. Mark steps up and pounds his fist on the wooden hull. 100 After a moment, ALBERT, a very gentle looking man in his mid- thirties with a newborn baby asleep on his shoulder appears on the deck. He smiles warmly- ALBERT (in a whisper) Mark? MARK Yeah. Are you Albert? ALBERT (with a smile) Yes. Come on in out of the rain. Sam and Large look at each other, then follow Mark up an A- frame ladder that sits next to the hull. INT. ALBERT'S BOAT -- CONTINUOUS They step inside and the door closes behind them. It's very cozy and warm. GREAT MUSIC PLAYS. A wood burning stove heats the room and throws warm amber light onto a small LIVING ROOM with deep cushy couches. ALBERT You guys must be freezing. Make yourselves warm by the fire. I'm just gonna go put her down. I'll be right out. The three of them huddle by the fire. They speak in quiet whispers. SAM I must say, I've been continually impressed today with how each new place you bring us manages to be weirder and weirder. MARK What do you mean, this is nice. LARGE ah nothing, just hanging out in an old boat at the bottom of a quarry in Newark. MARK It's hardly the bottom, dude. Did you see that cliff? Albert returns with FAYE, an equally gentle and caring looking woman in her early thirties. ALBERT This is my wife, Faye. ALL Hi. Hello. 101 FAYE Hi. Welcome. ALBERT This is Mark and Sam and Large, right? MARK YEAH_ ALBERT Diego told me when he called. Please have a seat, make yourselves comfortable. FAYE Its really coming down out there, huh? LARGE Yeah, it just started pouring all of a sudden. ALBERT Well in a bad storm I like to pretend this old boat's my own private "ark". Unfortunately, if this is the apocalypse, I'm not quite sure it still floats. FAYE Would any of you like some tea? SAM I'd love some tea. Large and Mark look at her. LARGE No thanks. MARX No.. thanks. Faye crosses to a small kitchen. They all sit there politely nodding at each other. LARGE What is it that you do here? What is this place? ALBERT Good question. We're calling it Kiernan's Fault. And no one's really quite sure what it is because they haven't been able to explore it. They're locked in a legal battle over who has the rights to the land. (MORE) 102 So one of these days it will either be a national park or a shopping mall. But while their locked in litigation, I was hired to make sure no one comes inside. LARGE Oh. Wow. ALBERT What they don't know is that I'm a geologist working undercover for the preservation lobby. So, at night... I go down. FAYE He's documenting it to support their case. SAM Wow. So how deep does it go? ALBERT No one really knows. I've been in the furthest and that was about two miles down. But I like to pretend it's infinite. 11 Faye brings them tea. SAM It's kind of an odd job isn't it? Guardian of an infinite abyss? ALBERT Yeah, I guess it is. We also trade and deal in antique jewelry. I suppose it's pretty odd for you that we live down here like this- SAM No. LARGE Not at all. MARK Never crossed my mind. ALBERT But we think it's important. LARGE Why? What do you think you'll find? ALBERT I don't know. It's exciting. New frontiers are hard to come by these days. I guess I just like the idea of discovering something. (MORE) 103 Doing something completely unique that no one's ever done before. Large looks to Sam. LARGE Yeah. "Albert's Abyss". ALBERT Who knows? Maybe. But I used to think that was all that mattered. No matter what it was, as long as I could put my name on it. Like it would somehow justify the fact that I lived; that I was here. "I did that. That's mine. I got this plate on my travels." But you know what? That's all ego; none of that stuff really matters. If at the end of the day I get to be with her, if I get to be with this person right here and the baby we created, then that's all I need. Just having felt that... If I die in an hour, I know I've lived. Faye kisses his forehead. LARGE You know "my whole life I've had that same anxiety that if I didn't discover something or... save something or... SAM Save something from being discovered. LARGE Yeah. That I'll have somehow wasted my time here. And that somewhere, whatever force created us, would resent me for it. ALBERT Well I think that force would rather remind you that "breathing's all it takes to be a miracle". He takes a deep breath. Large, Sam and mark stare at Albert; TRANSFIXED. He's like a sage. GREAT MUSIC BEGINS. ALBERT Well i suppose you want what you came all the way down here for. MARX Yeah, that would be great. 104 ALBERT It took me awhile to track this piece down. But I owe Diego huge. He pulls a small paper bag off the counter and hands it to Mark. Mark looks inside and nods his head. MARK That's it. Thank you. They all stand. SAM Well thank you for the tea. LARGE Yeah, thanks. FAYE Okay, good luck in the rain. Would you like some garbage bags or something? LARGE Yeah, that would be great. EXT ALBERT'S HOUSE BOAT--DAY They open the door and venture into the, DOWN POUR in their garbage bag parkas. ALBERT Good-bye. Albert stands with his arm around Faye in their warm doorway. As the three of them climb down the ladder and head up the path. Large turns back' around. LARGE (yelling over the rain) r, Hey Albert l ALBERT Yeah? LARGE Good luck exploring the infinite ABYSS1 ALBERT (with a smile) Thank you. (BEAT) HEY] (BEAT) YOU TOOT EXT. KIERNAN'S QUARRY -- CONTINUOUS 105 THE GREAT MUSIC CONTINUES SLOW MOTION: Mark, Sam and Large in black garbage bag rain parkas head up the incline away from the trailer at half speed. Large leads them to an old yellow crane that's rusty arm hangs out over the 'edge. He climbs up onto it's base. REGULAR MOTION; Large SCREAMS as loud as he can, with everything he has, like he's emptying himself into the abyss. Sam and Mark look up at him and climb up alongside Large to join hint. The three of them, in their black parkas, with their hair drenched against their heads, SCREAM as loud as they can, with everything they have in the POURING RAIN. FREEZE FRAME: The three of them smiling. A release. A perfect moment. UNFREEZE: Sam locks eyes on Large. He stares back at her. They kiss. He wraps his hands around the back of her head and they kiss, in the pouring rain, on the edge of something. CUT TO: EXT. MARK'S HOUSE -- LATER The rain has stopped as Large's motorcycle pulls up in front of Mark's house. mark gets out of the sidecar. LARGE So I don't know if I'm gonna see you. MARK I know. Don't you wanna know what's in the bag? LARGE To be honest, I don't even care anymore. Mark pulls out the bag. It practically falls apart it's 80 wet from the rain. He pulls out an ANTIQUE NECKLACE with a square pendant on it. He puts it in Large's wet hand. MARK I'd be lying to ya if I told ya this was my plan all along. (BEAT) But I got it back. That's got to be worth something, right? LARGE This whole day was about this? 106 MARK (NODDING) And anyway you didn't want it down there with her. It's better for you to have it. Large shakes his head; he's shocked. Mark backs away, still wearing his garbage bag parka. MARK (CONT'D) Hey, if you ever need a Kato, you know where to find me. Large sits back down on the bike into Sam's wet arms. He stares at the pendant in his hand. SAM What is it? LARGE It's my Mom's favorite necklace. FADE TO BLACK: INT. MASTER BATHROOM -- NIGHT They sit, soaked from the rain in the empty bath tub where Sarah Largeman drowned,, cross-legged facing each other. Large wears the necklace around his neck. He plays with the pendant... EXTREME CLOSE-UP INSIDE TEE PENDANT: It's an antique game where you try to get three tiny lead balls to sit in three separate indentations. LARGE No. I don't want to play this game. SAM Why not? I'm curious. She's sitting here, across from you and you can say anything at all. All the things you never got a chance to say. (BEAT) No? I (BEAT) Well I don't want to push you. I just thought it might help. I mean isn't that what you came home for? Re stops playing with the necklace and takes a deep breath. LARGE Okay. (BEAT) I would... (BEAT) If she were sitting here. (REALLY THINKING) (MORE) 107 if my mother were sitting here I would tell her... Silence. The faucet DRIPS behind him. SAM What? LARGE I really don't wanna... (BEAT) I would tell her that I'm sorry. (BEAT) I'm sorry that she wasn't happy. And I'm sorry I couldn't make her happy. And you know if I could have had anything I ever wanted to have happen in my life actually ever happen, it would have been that she would be happy. And... A tiny tear wells in his lid and. spills over. SAM Oh, my God, Large I think I see one. LARGE Shut-up. SAM Yeah, I do. Don't move, we should save it or something. She finds a clear plastic cup. SAM (COUT' D) Here don't move, I'm gonna get it. She tries to coerce the- tear off his cheek into the cup, like a child capturing an inch worm. LARGE I guess I could put it in my scrapbook, if I had a scrapbook. They wait. SAM Is that it? LARGE I think so. I don't feel any more coming. SAM Well if you do, let me know and I'll grab the cup, okay? 108 LARGE Yeah. SAM This was a good idea. Keep talking. LARGE It's funny; this thing reminds me of this really random memory of my mother. Its so weird, I haven't thought about this in so long, but this great memory I have where I was a little kid and I was crying for one reason or another and she was kind of holding me and rocking me back and forth. And I could see the little balls in this thing just rolling back and forth. And there was just snot dripping down my nose. (HE LAUGHS) And she just handed me her sleeve and told me to just blow my nose into it. And I remember thinking, even as a very little kid, "Wow. This is love." More tears start to well and overflow from his eyes. He tries to stifle them with a LAUGH. He cradles the pendant. LARGE (CONT'D) This is love. And it just felt so... good to be there. So safe. And I didn't feel safe very often, but at that moment... Tears are now streaming down his face as well as Sam's. She holds the plastic cup in her hand. SAM oh, Large I'm never gonna be able to get all these. They laugh. She moves closer, wrapping her legs around his waist to hug him close. She kisses his-'wet cheeks. SAM (CONT'D) I'm never gonna be able to get all these, am I? LARGE It's so funny isn't it? But I think that's the single most amazing moment I remember of my Mother. 'Cause she wasn't sad and she wasn't being prodded to be happy, she was just there. SAM To be your Mom. 209 He node and tightens his lips; trying to hold in the faucet that his eyes have become; a monumental release. He almost looks like a different person. They stare directly into each other's eyes. He turns away; it's too vulnerable a place for him. SAM (CONT'D) Look at me. (BEAT) Look at me. He does. And we see a vulnerable, lonely, little boy. SAM (CONT'D) (in a whisper) Let go. Listen to me. Just don't hang onto any of it anymore. You're holding on so tight and you just... you don't have to hang onto any of it anymore. Just let it all go. LARGE (THROUGH TEARS) I just don't... SAM Just let it all go. He cries with his elbow over his eyes. SAM (CONT'D) What do you feel? Describe it. That always helps me. My mom always says, "What's the word that's burning in your chest..." She touches his chest with her hand. SAM (CONT'D) What is it? He looks away. Soared. SAM (CONT'D) Look at me. He does. SAM (CONT'D) (GENTLE) What is it? LARGE (in a whisper) I would say that it's Love. (BEAT) It's this Love that I have. 0 110 SAM Yeah, it is. (BEAT) And you've got so much of it in you... God, you do. You've got so many years of it in you, pleading to come out. LARGE This fucking hurts. SAM I know. But that... that is life. if nothing else... (pointing to his chest) That is life. St's real. And sometimes it burns. But maybe... it might be all there is. (BEAT) Look at you. Look at you. You look like you just came back to life. He just stares at her. LARGE (BAFFLED) who are you? SAM (SMILING) I'm your new friend, Sam. Holding up her sleeve. SAM (CONT'D) Tissue? They both laugh; a release. LARGE Fuck. I feel like I just get so much thrown at me; like there's so much speeding by me in a day that I feel like if I look up from the sidewalk, I'll get dizzy and fall down. So it's like I just... barrel through and don't look up, so I'll just never fall, you know? And that's really... and you know it's so sad to say this, but that's really how I've been living my whole life. SAM Trying to barrel through. LARGE Yeah. 111 SAM Well it sounds like you were due to fall. LARGE Yeah. (REALIZING) Yeah I was. (beat. Then with a laugh.) Thanks Mom. (beat, realizing) That's funny. The definition's always confused me, but I'm pretty sure that's irony. He smiles. He wipes his tears away with his own sleeve . LARGE (CONT'D) Come here. She comes in for a tight embrace. He kisses her gently on her cheek with his eyes closed, then rests his head on her - shoulder. SAM How do you feel? On Large's face as he thinks about that question. LARGE Safe. (BEAT) When I'm with you, I feel so safe... like I'm Rome. A WIDE SHOT of the bathroom as Sam and Large embrace in the middle of the empty tub and the faucet continuee to DRIP. DISSOLVE TO: INT. LARGE'S BEDROOM -- LATER Large's STEREO PLAYS: ("I Just Don't Think I'll Ever Get Over You" by Colin Ray) Large and Sam lie naked in each other's arms. She's asleep. He lies wide awake resting his cheek on top of here. A SERIES OF DISSOLVES: of Large as he lies awake in different positions staring at the ceiling; processing. S am turns to him. He gets up out of bed and puts his clothes on. TNT. MASTER BEDROOM -- CONTINUOUS Large stands at the end of the bed staring at Gideon lying propped up with a book on his cheat, asleep. The EVENING NEWS is on the TV. 112 LARGE Dad? He sits up startled. GIDEON Oh, hey, hey c'mon in. He finds his glasses on his chest and lifts the remote to turn off the TV. LARGE Sorry to wake you. GIDEON No, no, it's uh... I was just reading. LARGE I've been on a pretty crazy little journey these last couple of days. GIDEON You've been avoiding me. LARGE No, I just... maybe I have been. GIDEON I'm sure you can find plenty of things in your life to be angry about, but what I don't understand is why you're so angry at me. All I ever wanted was for everybody to be happy again, Andrew. That's all I ever wanted. LARGE But when were we ever all happy, Dad? I mean you always say that, but when was that? When was this time that you have in your mind that you wish we could all get back to? 'Cause I don't have it in my memory. Maybe if I did I could help steer us back there. But we should... (BEAT) You know... you and I need to work on being okay if that's not in the cards for us. GIDEON Well we might have a shot at it if you could just forgive yourself for what you did. 113 LARGE What I did? What I did?! You know what, Dad? I'm gonna forgive myself for what I did right now: I was a little boy and somebody made a shitty latch. That's what I think now. And I'm not gonna... I mean I'm not gonna take all those drugs anymore. Because they've left me completely numb. I have felt so fucking numb to everything I have experienced in my life. And for that; I'm here to forgive you. Gideon site up against the headboard. LARGE (CONT'D) You've always said you wanted us to have whatever it is we wanted. Well maybe what Mom wanted more than anything, was for it to all be over. And for me, what I really want more than anything, is for it to be okay with you for me to feel something again; even if it's pain. GIDEON Going against your doctor's recommendation; that's a pretty weighty experiment to take on don't you think? LARGE (with a chuckle) This is my life, Dad. This is it. I've spent twenty-six years waiting for something else to start. So no, I don't think it's too much to take on. Because it's everything there is. (BEAT) I see now it's all there is. GIDEON Perhaps the great tragedy of my life, will be that you both deserved more than I knew how to give? LARGE We deserved nothing more than you. And you deserved nothing more than us. Large puts his hand on the center of his father's bare chest. LARGE (CONT'D) You and I are gonna be okay. You know that, right? (BEAT) (MORE) 114 We may not be as happy as you always hoped we'd be. But for the first time let's allow ourselves to be whatever it is that we are... and that'll be better. OK? I think that'll be better. DISSOLVE TO, INT. NEWARK AIRPORT STAIRCASE -- MORNING Large sits next to Sam on a staircase between two escalators. SAM What are you doing? LARGE I don't want to hurt you. SAM No. Why? How can you... how could you... What's going on? What happened? We can figure out the long distance thing. Don't... this is a good thing, Large. Don't... you're gonna be... please don't do this. Shestarts crying. LARGE Sam. SAM (THROUGH TEARS) You don't realize. This is good. This doesn't happen often in your life. We can figure this stuff out. I wanna help you. We need each other; I haven't even lied in two days. LARGE Is that true? SAM No. LARGE Look at me. Sam, look at me. This is not over. I'm not putting a period at the end of this thing. I'm putting like... an ellipses on it. Because I'm worried that if i don't go figure myself out, if I don't go land on my feet and be okay on my own, I'm gonna fuck this up. And I don't want to do that . This matters too much to me. 115 He checks his watch. LARGE (CONT`D) This isn't a conversation about this being over. It's about me needing time to... Look, I just fired my psychiatrist, I gotta go out and find a new one. He stares off. Decision time. LARGE (CONT'D) - I gotta go. I'm gonna call you. As soon as I get there I'm gonna call you. She nods; heartbroken. LARGE (CONT'D) Look at me. She doesn't. LARGE (CONT' t ) Look at me. She turns. LARGE (CONT'D) You've changed my life, Samantha. And I've known you for four days. This is the beginning of something big. But right now I gotta go. He kisses her on her mouth. As he pulls away she arcs her head to touch his lips for one more second. FADE TO BLACK: ANCHOR (O.S.) Well Paul is off tonight, but we're lucky enough to have Ryan Walker here to tell us about our weather. INT. MASTER BEDROOM - NIGHT Gideon sits on the edge of the bed cutting his toe-nails. He's naked except for white underwear. The SOUND OF WATER running in the bathroom. ANCHOR (O.S.) Ryan, how's it lookin' out there? FEMALE VOICE (O.S.) Gideon? R 116 Gideon doesn't hear the voice as he bends over and tries to pick each toenail he's cut out of the thick carpet. RYAN (O.S.) Thank you, Dan. Well I have some good news. We are in for some gorgeous weather coming our way out of the northwest. FEMALE VOICE Gideon? A SCREAM and a BANG from the FEMALE VOICE in the other room! GIDEON'S FACE as it whips up into frame from his task on the floor. FEMALE VOICE (CONT'A) GIDEON! SHE SCREAMS AGAIN THROUGH WATER! He darts up off the floor and races to the open bathroom doorl He is about to enter and then he's STOPPED ABRUPTLY. SARAH GIDEON I SARAH IS DROWNING. Through the door we see SPLASHES OF WATER as they land on the bathroom floor. GIDEON'S FACE. he can't move; fro2en. His mind is racing; ADRENALINE. We can almost see how fast:his, mind is processing through his EYES. The WEATHER REPORT continues low in the background. SARAH (CONT'D) (THROUGH GASPS) GIDE... And then silence. GIDEON'S FACE; Wide-eyed in terror. HIS FINGERS as they slide down off the bathroom door frame. He backs away slowly to the bed and site down; staring blankly at the bathroom door. And then he starts to SOB. Quickly his whole body seems to surrender into it and he WEEPS hard. His whole back lurches upward with each SOH. RYAN (O.S.) So there you have it folks; get out the picnic baskets, push up those storm windows, 'cause it appears that Spring has arrived. 117 Gideon looks up; lost. His face is covered with tears. He reaches down to the phone and dials 911. GIDEON I need an ambulance. BLACK. INT. AIRPORT BAGGAGE CLAIM AREA-- DAY Sam cries in a phone booth. A KNOCK on the glass spins her around to see Large. He opens the door. SAM What are you doing? LARGE Remember that idea I had about growing and working stuff out on my own and then finding you when I'd figured myself out? SAM The ellipses? LARGE Yeah the ellipses. Its dumb. It's an awful idea. And I'm not gonna do it. Because like you said, this is it. This is life. And I'm in love with you, Samantha. (with a laugh) I think that's the only thing I've .ever been really sure of in my whole life. I'm really fucked up right now, but I don't want to waste any more of my life without you in it. Okay? SAM Yeah. LARGE Because I think I can do this. I know I can. I want to. We have to. Yeah? Tears stream down her face. She smiles her angelic smile. SAM LARGE SAM 118 LARGE Okay. (beat, nodding) What do we do? He looks at her and smiles like we've never seen him smile; ALIVE; AWAKE; CHARGED! LARGE (CONT - D) What do we do? They pause for a moment, staring at each other, transfixed by adrenaline and spontaneity. Slowly Large leans in and they kiss amidst an almost desolate baggage claim area. MUSIC CUE: Radiohead: "Sulk" As one lone bag circles an empty carousel waiting to be found. FADE OUT: \ No newline at end of file diff --git a/unformated_scripts/Script_Gattaca.txt b/unformated_scripts/Script_Gattaca.txt new file mode 100644 index 0000000000000000000000000000000000000000..714c78bbc0b4f62fcf2a63f12111d39f1e98b0ce --- /dev/null +++ b/unformated_scripts/Script_Gattaca.txt @@ -0,0 +1 @@ +U N T I T L E D A Screen Play by Andrew M. Niccol FADE IN A white title appears on a black screen. "As night-fall does not come at once, neither does oppression...It is in such twilight that we all must be aware of change in the air - however slight - lest we become victims of the darkness." Justice William O. Douglas The title fades off, replaced by a second title. "I not only think that we will tamper with Mother Nature, I think Mother wants us to." William Gaylin The second title fades off, leaving a dark screen. The darkness gradually gives way to a dawning light. We are confronted with sight of a barren, empty landscape. A wide expanse of wasteland. Suddenly, without warning, an elephant tusk falls from the sky and crashes onto the parched ground. The earth-shuddering impact causes the tusk to rebound once in slow motion before finally settling to the desert floor in a cloud of dust. The first tusk is quickly followed by a second, also dropping from the heavens. It lands near the first. Another tusk smashes to earth several yards away. Yet another comes crashing into the foreground. Finally the dust settles upon a graveyard of tusks. DISSOLVE TO A BARREN, EMPTY LANDSCAPE In another region of the wasteland, a forest of tree trunks suddenly rains down from the sky. The trunks thump to the hard ground, also rebounding in slow motion. Cleanly sawn, branchless, palm-like trunks, they come to rest in the dust only to be followed by a second cascade of lumber. When the dust finally clears. the felled tree trunks lie in a huge, log-jam in the desert. DISSOLVE TO A BARREN, EMPTY LANDSCAPE Next to descend from the sky, a torrent of firewood. One shower after another, crashing to the plain. Enough chopped lumber to fuel a thousand hearths. DISSOLVE TO A BARREN, EMPTY LANDSCAPE Joining the rest of the debris is a deluge of slate - sheets of shale from a great unseen quarry in the sky come slamming to earth. Some of the pieces shattering, some rebounding into the air until the granite litters acres of landscape as far as the eye can see. TITLES ARE SPACED APPROPRIATELY THROUGHOUT THE PRECEDING SEQUENCE. THE FINAL TITLE READS: T H E N O T - T O O - D I S T A N T F U T U R E The camera commences a long, slow pull-back from the pile of elephant tusks. Gradually they are revealed as human fingernails magnified many hundreds of times. The tree trunks are mere hair follicles. The firewood, whiskers. The slate, flakes of skin. INT. INCINERATOR. EARLY MORNING. A naked MAN, thirties, seen in profile, is crouched upon a metal floor inside a small, brushed stainless steel tank, rubbing his skin raw with a wire brush. JEROME MORROW. Having completed his scrupulous ablutions, Jerome arches his lean frame through the small, oval door of the metal room with practised ease. Securing the thick, fireproof windowed door behind himself, he turns a switch to release gas into the vacated chamber. The gas instantly ignites in what is now revealed to be a gleaming modern stainless-steel custom-made incinerator. We refocus on a MAGNIFIED CLOSE UP of his exfoliated flesh in the incinerator as it blackens, curls and burns. Jerone covers himself with a silk robe and steps into a pair of backless slippers. INT. EUGENE'S CONDOMINIUM. EARLY MORNING. JEROME emerges from the incinerator room into a large, luxurious loft-style condo containing a bizarre assortment of equipment - arranged somewhat like a production line. Long, scrupulously clean metal work benches are arranged along one entire wall. Laid out on the benches in neat rows are dozens of plastic bags - some filled, some unfilled. Instruments on trays - various types of tweezers, scissors and other less familiar utensils. Round, stainless steel containers filled with hairs of differing lengths and other body matter. JEROME approaches another man slumped over one of the benches. EUGENE. He clutches an empty vodka bottle. He is snoring lightly - sleeping off the night before. As JEROME gently prises the bottle out of his hand, we are struck by the similarity of Eugene's face to Jerome's. Jerome pulls Eugene's chair back from the desk with surprising ease. A wheelchair - a modern, ergonomic design. Jerome wheels Eugene to a bedroom and, with some difficulty, hauls the larger man onto the bed. Through his alcoholic fog, Eugene feebly co- operates - his paralyzed legs a particular dead weight. After covering Eugene with a blanket, Jerome enters a bathroom containing a surgically-clean stainless steel basin, sink, shower and toilet. Beside the toilet stands a large, industrial-style stainless steel refrigerator. Donning protective gloves, Jerome opens the liquid-nitrogen cooled refrigerator. A cloud of condensed water vapor billows out. Revealed inside the fridge are racks of labelled jars and silicon pouches - some containing a yellowish liquid, some a deep, red liquid. In front of one of the jars is a handwritten shopping list - "TRUFFLES, CIGS, VODKA". Jerome smiles to himself as he retrieves the note along with one of the jars. He checks the jar's label. Satisfied with the date written there, he breaks the seal and pours the contents into the clear, silicon pouch of an IV-like device lying on the steel bathroom counter. He seals the pouch and checks the apparatus by opening the valve on its fine tube and squirting a small quantity of the liquid into the nearby toilet bowl, as one would test a syringe. We remain on Jerome's face as he reaches between his legs and inserts the pouch. Reopening the refrigerator, Jerome slides out a tray containing neat rows of slim, fingertip-sized plastic sachets filled with a deep, red-colored liquid. He removes his gloves, selects one of the sachets and carefully adheres the sachet to the pad at the end of his index finger. He prepares a second sachet for his middle finger. Jerome then applies skin-colored cover-up makeup to the sachets, blending them in with the color of his fingers. JEROME, still dressed in his robe, climbs a large, spiral staircase to the floor above. INT. JEROME'S CONDOMINIUM. EARLY MORNING. He emerges at the top of the staircase into a similarly large, loft-stlye condominium. Through the floor to ceiling window that opens onto a balcony we see that dawn is only just starting to leak into the night sky. In the bedroom JEROME removes a shirt from a drycleaning bag. Printed on the bag - "Confidentiality Guaranteed". He emerges from his bedroom, dressed in a smart albeit unconventionally cut suit. He adjusts his tie in the mirror, careful not to disturb the sachets attached to his fingertips. INT. INVESTIGATOR'S POOL. MORNING. A lone MAN swims a ferocious lap of freestyle in what appears to be a pool of enormous length - yet he never reaches the pool's end. We pull wider to reveal that the man is swimming against an artificial current in a pool barely larger than himself. Abruptly, the man stops and stands up - the fast-flowing current instantly stilled. We glimpse the face of INVESTIGATOR LUCAS. Thirties, he has a youthful yet rigid face. We have the impression that he does not swim for pleasure. EXT. CONDOMINIUM COMPLEX. MORNING. It is still early as JEROME exits the building's underground parking garage in an immaculate Studebaker Avanti and proceeds down the long straight driveway. He exchanges a wave with a GARDENER trimming a lawn. The whir of the car's electric powered engine belies its conventional appearance. EXT. GATTACA AEROSPACE CORPORATION. DAY. JEROME's car exits a highway and turns up the sweeping road leading to the parking lot of "GATTACA AEROSPACE CORPORATION". A sleek, modern, low-rise industrial compound boasting perfectly manicured landscaped gardens. INT. GATTACA AEROSPACE CORPORATION. DAY. JEROME strides purposefully up to the entranceway with hundreds of other GATTACA EMPLOYEES. He carries himself with a certain arrogance, a cool detachment. All employees wear similarly unconventionally-cut suits, short coiffed hair and robust tans. The Gattaca employees are a seemingly equal split of men and women and a diverse range of ethnicities. They filter through a row of channels supervised by SECURITY GUARDS. Each channel contains a computerized security device, featuring a slim groove in which the employee places a finger under the watchful eye of a Security Guard. Jerome gives a polite nod to a Guard as he places his index finger in the groove. His fingertip is jabbed with the finest of needles and a minute blood sample taken. The blood specimen confirms Jerome's identity - an ID photograph appearing on a computer screen. Out of the corner of his eye, Jerome spies a young woman entering through the adjacent channel. She is also sneaking a glance in his direction - IRENE. Catching each other looking, they both quickly avert their eyes. As Jerome enters the computer facility of Gattaca Aerospace Corporation he furtively glances at the pin-prick puncture in his fingertip sachet. SOMEWHERE IN DEEP SPACE. A GATTACA spacecraft skirts an asteroid. Taking advantage of the rock's gravitational pull, the craft slingshots deeper into the black void. Then abruptly the craft and the asteroid freeze in mid-space, suddenly reverse direction and proceed forward again - the spacecraft taking a slightly adjusted course. We pull back to reveal that the journey is merely a highly realistic graphic representation on a GATTACA computer screen operated by JEROME. Appearing simultaneously alongside the computer animation is a seemingly never-ending column of computer instructions for this celestial navigation - the incomprehensible language of the computer programmer. 140 #x20x08x$$x20x08x$$x20x08x$$x20{ 150 #x00x00x00x00x00x00x00x00x00x00 160 #xfexfexfexfexfexfexfexfexfexfe Jerome is transported - plotting a path through the heavens. As his fingers fly across the keys he does not once take his eyes from the screen. His is one of hundreds of ergonomically designed work stations, arranged in ever-widening circles in a huge, curcular, well- appointed if antiseptic room. Each curved desk contains a computer terminal consisting of a keyboard and a slim, transparent screen behind which is seated a PROGRAMMER, designing software for the aerospace agency. At the center of the room is a donut-shaped command console, chairs facing outwards, from which operations are monitored. Floor to ceiling smoked-glass curved walls offer the only concession to nature - a tinted view of a man-made, meticulously landscaped garden. Jerome tears himself away from his screen and picks up a discreet mini-vac. He vacuums between the keys of his keyboard. DIRECTOR JOSEF, 50's, a shorter, official-looking man approaches. His assistant IRENE stands at his shoulder. DIRECTOR JOSEF You keep your work station so clean, Jerome. JEROME --Next to Godliness, isn't that what they say? The Director smiles at the notion and places a computer disc on Jerome's desk. DIRECTOR JOSEF I reviewed your flight plan. Not one error in a hundred thousand keystrokes. Phenomenal. (placing a hand on Jerome's shoulder) It's right that someone like you is taking us to the Belt. (glancing to notification on Jerome's screen) You have a substance test. The Director briskly departs, Irene in tow. At a nearby work station, a painfully thin programmer, NAPOLEON, perks up at the mention of the test. Jerome merely shrugs and pretends to reach down and scratch his ankle. However he surreptitiously produced one of Eugene's transparent specimen bags from his sock. An EXTREME CLOSE UP reveals the bag's contents - flakes of skin, hair follicles, eyelashes, a fingernail. Cupping the bag in his hand to avoid detection, Jerome sprinkles the fraudulent body matter over his keyboard, desk surfaces and the floor around his work station. He opens his desk drawer and casually scatters the remainder of the bag. Finally he inspects a comb already laced with two hair follicles. Jerome rises from his work station and makes his way towards the testing lab. INT. GATTACA AEROSPACE CORPORATION - TESTING LABORATORY. DAY. White-coated LAMAR, forties, buzzcut, a man's man, checks JEROME's eyes with an instrument. Satisfied with his examination, he passes a transparent plastic container to JEROME. Standing directly in front of the technician with his back to camera, Jerome opens his fly. A steady stream of urine begins to flow into the container from Jerome's hidden pouch. LAMAR (staring admiringly at the discharge) Jerome...never shy. Pisses on command. You've got a beautiful cock. I ever told you that, Jerome? JEROME (deadpan as he continues to urinate) Only every time I'm in here. Jerome hands the container to Lamara who seals and label it as Jerome refastens his trousers. LAMAR I see a lot of cocks. I speak from experience. Yours is a beautiful example. Why didn't my folks order a cock like that for me? LAMAR pours the urine sample into a high-tech device where it is instantly analyzed. The urine identifies Jerone while also registering a negative drug reading. The computer reads "VALID". LAMAR (walking Jerome to the door) If everything goes to plan, this could be the last time I see you for a while. One week to go. Please tell me you're the least bit excited. JEROME I'll tell you at the end of the week. Jerome departs. INT. GATTACA - RESTROOM. DAY. JEROME enters the restroom and glances at the toilet stalls. Only three in the bank of twenty is occupied. He tarries at the mirror above the uniform line of basins, unnecessarily reknotting his tie. A toilet flushes and a COLLEAGUE exits one of the stalls. He and Jerome exchange a nod. When the man has exited the restroom, Jerome enters the man's vacated stall. INT. GATTACA - TOILET STALL. DAY. JEROME immediately feels around the back of the toilet bowl and detaches a secreted stainless steel container. With surprising swiftness and dexterity, Jerome removes an extremely fine contact lens from each eye and drops the pair into the toilet bowl. He inserts two replacement lenses from the container and reattaches it in its hiding place. Jerome flushes the toilet and exits the stall. He checks in the mirror that his new contact lenses are properly inserted. INT. GATTACA - CORRIDOR. DAY. Walking back along one of the long, glass-walled corridors, JEROME becomes aware of a peculiar noise in the complex - or to be more precise, a lack of noise. The incessant tapping of computer keys has stilled. As Jerome gazes through the glass walled corridor, we see the reflection of his face, deep in thought. JEROME (VO) The most unremarkable of events. Jerome Morrow, Navigator First class, is only days away from a one-year manned mission to 951 Gaspra in the Outer Asteroid Belt. Nothing so unique in that. Last year over one thousand citizens from every walk of life embarked on some space mission or other. Besides, selection for Jerome was virtually guaranteed at birth. He is blessed with all the physical and intellectual gifts required for such an arduous undertaking, a genetic quotient second to none. Jerome's gaze drifts to the sky. JEROME (VO) No, there is truly nothing remarkable about the progress of Jerome Morrow, except that I am not Jerome Morrow. EXT. BEACH. DUSK - THIRTY-ODD YEARS EARILER A starry sky. The camera tilts down to find palm trees swaying against a setting sun. JEROME (VO) I was conceived in the Riviera. Not the French Riviera. The camera tilts down further to find a Buick Riviera parked in a deserted beachfront parking lot on a polluted stretch of beach. JEROME (VO) The Detroit variety. Through the car's steamed windows we see Jerome's mother and father, MARIA and ANTONIO, early twenties, making love. JEROME (VO) They used to say that a child conceived in love, has a greater chance of happiness. They don't say that any more. INT. FAMILY PLANNING CLINIC. DAY. MARIA, wearing a medical gown, lies on an examining table, feet in stirrups. A NURSE, forties, wheels an instrument tray towards her. Maria suddenly disengages her feet from the stirrups and swings her legs off the table. NURSE What are you doing? MARIA (shaking her head) I can't do this. NURSE (misinterpreting the problem) I told you, the government pays. It's all taken care of. MARIA No, you don't understand. I can't. The nurse places a comforting hand on Maria's shoulder. NURSE (reassuring) The doctor will give you something. MARIA (removing the hand, adamant) I'm not doing it. NURSE (trying to make her see reason) Honey, you've made one mistake-- The remark stings Maria. NURSE (softening her tone) --I've read your profile. I don't know about the father but you carry enough hereditary factors on your own. (pause) You can have other children. MARIA (holding her swollen stomach protectively) Not like this one. NURSE (trying to be diplomatic) Honey, look around you. The world doesn't want one like that one. Maria gets off the table and reaches for her clothes laying across a chair. MARIA (irate) You don't know what it will be! The nurse watches Maria as she dresses, genuinely bewildered. NURSE (calling out to Maria as she disappears out of the door) The child won't thank you! INT. DELIVERY ROOM. DAY. We focus on a crucifix dangling on a rosary. Tilting up we find the rosary clasped between MARIA and ANTONIO's intertwined hands. JEROME (VO) Those were early days--days when a priest could still persuade someone to put their faith in God's hands rather than those of the local geneticist. Bathed in sweat, Maria gives a final push on the delivery table. While still attached to his umbilical cord, the heel of the NEWBORN BABY BOY is immediately pricked by a masked NURSE. A minute drop of blood is inserted into an analyzing machine. Even as the baby is put into Maria's arms, page after page of data begins to appear on a monitor, pulsing warning signals throughout the spreadsheets. Two assisting NURSES exchange a look. Antonio senses something amiss. ANTONIO What's wrong? JEROME (VO) Of course, there was nothing wrong with me. Not so long ago I would have been considered a perfectly healthy, normal baby. Ten fingers, ten toes. That was all that used to matter. But now my immediate well-being was not the sole concern. Antonio turns his attention from his baby to the data appearing on the monitor. We see individual items highlighted amongst the data - "NERVE CONDITION - PROBABILITY 60%", "MANIC DEPRESSION - 42%", "OBESITY - 66%", "ATTENTION DEFICIT DISORDER - 89%"-- JEROME (VO) My destiny was mapped out before me-- all my flaws, predispositions and susceptibilities - most untreatable to this day. Only minutes old, the date and cause of my death was already known. Antonio focuses on a final highlighted item on the monitor's screen, "HEART DISORDER - 99% - EARLY FATAL POTENTIAL.". "LIFE EXPECTANCY - 33 YEARS". NURSE The name? (typing details into birth certificate) For the certificate. MARIA Antonio-- ANTONIO (correcting her) --No, Vincent Antonio. With a computer stylus he signs the nurse's handheld screen. EXT. TRACT HOME - BACKYARD. DAY. 2-YEAR-OLD JEROME (REFERRED TO BY HIS GIVEN NAME OF "VINCENT" FOR MOST OF THE FOLLOWING FLASHBACK) running with a toy rocket falls more in clumsiness than fatigue. MARIA suddenly whisks up the toddler. MARIA (hysterical) Oh, Vincent, Vincent, Vincent...I can't let you out of my sight. Maria frantically listens to her young son's heartbeat. For his part, Vincent appears surprised by the attention. Maria places a portable oxygen mask over Vincent's mouth. JEROME (VO) I was born Vincent Antonio Luca. And from an early age I came to think of myself as others thought of me - chronically ill. Every skinned knee and runny nose treated as if it were life-threatening. INT. DAY CARE CENTER. DAY. MARIA and ANTONIO drop off dark-haired 2-YEAR-OLD VINCENT at a Day Care Center. JEROME (VO) And my parents soon realized that wherever I went, my genetic prophecy preceded me. While HEALTHY CHILDREN play outside on tricycles, clamber over jungle-gyms and finger-paint, the PRE-SCHOOL TEACHER shows Vincent into a room where CHILDREN WITH OBVIOUS DISABILITIES sleep on mats. Maria wheels around and marches out of the center with Vincent in her arms. Antonio follows close behind, pleading with his wife to see sense. JEROME (VO) They put off having any more children until they could afford not to gamble - to bring a child into the world in what has become the "natural" way. EXT. HOME. DAY. ANTONIO reluctantly shows off his spotless Buick Riviera to a prospective BUYER. JEROME (VO) It meant selling the beloved Buick. The two men haggle over the price while MARIA, holding VINCENT in her arms, looks on. Finally money and a pink slip are exchanged. VINCENT (VO) My father got a good price. After all, the only accident he'd ever had in that car was me. As the BUYER drives away, Antonio shrugs to Maria to hide his disappointment. EXT. GENETIC COUNSELLING OFFICE BUILDING. DAY. ANTONIO, MARIA and 2-YEAR-OLD VINCENT exit a packed commuter bus and enter a Genetic Counselling office building bearing the sign - "PRO-CREATION". INT. GENETIC COUNSELLING OFFICE. DAY. A GENETICIST stares into a high-powered microscope as ANTONIO, MARIA and 2-YEAR-OLD VINCENT are shown into the office by a NURSE. On the counter beside the Geneticist is a glass-doored industrial refrigerator containing petri dishes arranged on racks several feet high. GENETICIST (to the nurse, without taking his eyes from his binocular microscope) Put up the dish. While Antonio and Maria take a seat in front of a television monitor, the Nurse puts a labelled petri dish under a video- equipped microscope. The Geneticist swings around in his chair to greet his clients. Four magnified clusters of cells - eight cells on each cluster - appear on the television screen. GENETICIST Your extracted eggs... (noting the couple's names from data along the edge of the screen) ...Maria, have been fertilized with... Antonio's sperm and we have performed an analysis of the resulting pre-embryos. After screening we're left with two healthy boys and two healthy girls. Naturally, no critical pre-dispositions to any of the major inheritable diseases. All that remains is to select the most compatible candidate. Maria and Antonio exchange a nervous smile. GENETICIST First, we may as well decide on gender. Have you given it any thought? MARIA (referring to the toddler on her knee) We would like Vincent to have a brother... you know, to play with. The Geneticist nods. He scans the data around the edge of the screen. GENETICIST You've already specified blue eyes, dark hair and fair skin. I have taken the liberty of eradicating any potentially prejudicial conditions - premature baldness, myopia, alcoholism and addictive susceptibility, propensity for violence and obesity-- MARIA (interrupting, anxious) --We didn't want--diseases, yes. ANTONIO (more diplomatic) We were wondering if we should leave some things to chance. GENETICIST (reassuring) You want to give your child the best possible start. Believe me, we have enough imperfection built-in already. Your child doesn't need any additional burdens. And keep in mind, this child is still you, simply the best of you. You could conceive naturally a thousand times and never get such a result. ANTONIO (squeezing Maria's hand) He's right, Maria. That's right. Maria is only half-convinced, but the Geneticist swiftly moves on. GENETICIST Is there any reason you'd want a left-handed child? ANTONIO (blank) Er, no... GENETICIST (explaining) Some believe it is associated with creativity, although there's no evidence. Also for sports like baseball it can be an advantage. ANTONIO (shrugs) I like football. GENETICIST (injecting a note of levity) I have to warn you, Mr Luca, he's going to be at least a head taller than you. Prepare for a crick in the neck in sixteen years time. Antonio beams proudly. GENETICIST (scanning the data on the screen) Anything I've forgotten? MARIA (hesitant about broaching the subject) We want him--we were hoping he would get married and have children. We'd like grandchildren. GENETICIST (conspiratorial smile) I understand. That's already been taken care of. (an afterthought) Now you appreciate I can only work with the raw material I have at my disposal but for a little extra...I could also attempt to insert sequences associated with enhanced mathematical or musical ability. MARIA (suddenly enthused) Antonio, the choir... GENETICIST (interjecting, covering himself) I have to caution you it's not fool-proof. With multi-gene traits there can be no guarantees. ANTONIO How much extra? GENETICIST It would be five thousand more. Antonio's face falls. ANTONIO I'm sorry, there's no way we can. GENETICIST Don't worry. You'll probably do just as well singing to him in the womb. (rising to end the appointment) We can implant the most successful pre-embryo tomorrow afternoon. Maria is staring at the four magnified clumps on the screen. MARIA What will happen to the others? GENETICIST (reassuring) They are not babies, Maria, merely "human possibilities". Removing the petri dish from beneath the lens of the microscope, he points out the four minuscule specks. GENETICIST Smaller than a grain of sand. DISSOLVE TO INT. TRACT HOME. DAY. A red pencil draws a mark on a doorway at the height of a child's head. The child moves away and the name, "ANTON 11" is written beside the mark by proud father, ANTONIO. JEROME (VO) That's how my brother, Anton, came into the world - a son my father considered worthy of his name. There is little physical similarity between 11-YEAR-OLD ANTON and 13-YEAR-OLD VINCENT standing beside him, apart from their height. In fact Vincent is mortified to see that his younger brother's mark is a fraction of an inch higher than the mark beside his own name, "VINCENT 13". Vincent runs from the room. EXT. BEACH. DAY. 13-YEAR-OLD VINCENT and 11-YEAR-OLD ANTON sit together on a windswept beach. Anton picks up a broken shell and deliberately slices the tip of his thumb with the sharp edge. He hands the shell to Vincent who hesitantly follows suit. JEROME (VO) By the time we were playing at blood brothers I understood that there was something very different flowing through my veins. The two brothers press their thumbs together, merging the blood. JEROME (VO) And I'd need an awful lot more than a drop if I was going to get anywhere. EXT. BEACH. LATER IN THE DAY. While ANTONIO and MARIA doze under a beach umbrella, ANTON and VINCENT enter the water, diving through the waves. From above we watch their two young bodies swimming beside each other beyond the breakers. JEROME (VO) Our favorite game was "chicken". When our parents weren't watching, we used to swim outside the flags, as far out as we dared. It was about who would get scared and turn back first. Suddenly VINCENT stops swimming, pulling up sharply in the water, exhausted and fearful. He watches ANTON swim on into the distance. JEROME (VO) Of course, it was always me. Anton was by far the stronger swimmer and he had no excuse to fail. INT. SCHOOL - CLASSROOM. DAY. A TEACHER gives a physics lesson. The bespectacled 13-YEAR-OLD VINCENT has his arm energetically raised at each opportunity but is never called upon. Eventually he lowers his arm in defeat. JEROME (VO) My genetic scarlet letter continued to follow me from school to school. When you're told you're prone to learning disabilities, it's sometimes easier not to disappoint anybody. EXT. STREET. NIGHT. 13-YEAR-OLD VINCENT stands at a cul-de-sac at the end of a long, straight deserted street. He places a basketball in the middle of the street to represent the SUN and begins to unwind the huge reel of string attached to the ball. 11-YEAR-OLD ANTON walks a pace behind him. Several yards along the trail a bead is threaded through the string to represent the planet MERCURY. ANTON How many astronauts are there, anyway? Vincent ignores him and continues to reel out the string. ANTON I bet I could be one. Vincent stops and regards his younger brother with contempt. VINCENT You're standing on Venus. Anton lifts his foot. There is a bead beneath it. INT/EXT. CAR / SATELLITE DISH. DUSK. VINCENT has developed into a handsome 17-YEAR-OLD. His spectacles hidden, he and a YOUNG WOMAN are necking in the front seat of a beat-up car, parked overlooking a huge satellite dish. JEROME (VO) I was popular enough until it got around that I wasn't a long-term proposition. The love-making intensifies. The YOUNG WOMAN moves down Vincent's chest and unzips his fly. JEROME (VO) Those who didn't know already could easily find out for themselves. It was certainly no problem coaxing the information out of me. We remain on Vincent's face as he climaxes. The YOUNG WOMAN turns her head away from the spent Jerome and, out of his view, trickles semen from her mouth into a clear specimen vial. JEROME (VO) I didn't blame them. You need to know if a prospective husband can qualify for a mortgage or life insurance or can hold down a decent job. INT. HOME. DAY. In the living room of their modest home, the dark-haired, 17- year-old, bespectacled VINCENT sits opposite his PARENTS. The crestfallen Vincent has a book on his lap entitled "CAREERS IN SPACE". MOTHER (trying to break it gently) Vincent, you have to be realistic. A heart condition like yours-- VINCENT --I don't care. I'll take the risk. MOTHER It's not just you they have to be concerned about. Perhaps we could get you one of those new pacemakers. They're not perfect but-- FATHER (letting his frustration show) For God's sake, Vincent, don't you understand. The only way you'll see the inside of a space ship is if you're cleaning it! Vincent looks at his father in disbelief. On a dinner table on the other side of the living room, 15-YEAR- OLD ANTON looks up from the biological specimen he is studying with a magnifying glass. INT. PERSONNEL OFFICE - WAITING ROOM. DAY. 17-YEAR-OLD VINCENT hides his glasses in his pocket as he enters a WAITING ROOM. He gazes around at other APPLICANTS. JEROME (VO) My father was right. It didn't matter how much I lied on my resumÈ, my real C.V. was in my cells. Why should anybody invest all that money to train me, when there are a thousand other applicants with a far cleaner profile? Of course, it's illegal to discriminate - "genoism" it's called - but no one takes the laws seriously. As Jerome enters the office, we focus on the doorhandle he has just touched. JEROME (VO) If you refuse to disclose, they can always take a sample from a doorhandle... Vincent hesitates before shaking the PERSONNEL OFFICER's outstretched hand. JEROME (VO) ...or a handshake... We focus on Jerome's envelope attached to his application form sitting on the Manager's desk. JEROME (VO) ...even the saliva off your application form. Sitting opposite the manager, Jerome's face falls. The manager puts a clear, plastic cup in front of Jerome. JEROME (VO) But for the most part we know who we are. And if all else fails, a legal drug test can just as easily become an illegal peek at your future in the company. Vincent saves the Manager the trouble and exits the office, leaving the cup where it sits. EXT. BEACH. DAY. 17-YEAR-OLD JEROME walks up the beach to find 15-YEAR-OLD ANTON sitting with the YOUNG WOMAN Vincent had previously dated. JEROME (VO) I didn't blame Anton for his free ride. You can't blame someone for winning the lottery. The Young Woman hastily departs. LATER the two brothers face each other on the sand. Anton is the more statuesque of the two. ANTON (cocky) You sure you want to do this? Vincent's answer is to walk towards the water. Anton smiles mockingly at his brother's grim "game face" and follows. From an aerial view we watch VINCENT and his younger brother, ANTON, swim beyond the breakers. JEROME (VO) It was the last time we swam together. Out into the open sea, like always, knowing each stroke towards the horizon was one we had to make back to the shore. Like always, the unspoken contest. We watch the two young men swimming stroke for stroke. They swim far out, beyond the point. Suddenly ANTON starts to slow, his strokes becoming labored until he becomes motionless in the water. He begins to sink like a stone. VINCENT, realizing Anton is no longer beside him, turns back to lend support. Vincent takes him in a lifeguard hold and begins to nurse him back to shore. Finally the two boys are coughed up onto the shallows. They collapse, just beyond the waterline, exhausted, gasping for air. ANTONIO and MARIA arrive on the scene. ANTON is the first to recover while VINCENT clutches his side, his face screwed up in pain. Maria kneels down and starts to administer to Vincent but his father, Antonio, is unable to conceal his anger and contempt for Vincent. ANTONIO Vincent, you damn fool! You could have killed Anton with your ridiculous contest! Why should he risk his life to save yours?! When are you going to get it through your thick head--you can't compete with your brother! Why try?! Maria takes Antonio aside. Anton and Vincent exchange a look. ANTON Why didn't you say anything? VINCENT Why didn't you? (staring back at his father knowingly) It's okay. It's the way they want it. JEROME (VO) It confirmed everything in the minds of my parents - that they had taken the right course with my younger brother and the wrong course with me. It would have been so much easier for everyone if I had slipped away that day. I decided to grant them that wish. INT. HOME. NIGHT. ANTON stands at the mantlepiece in the dimly-lit living room. He gazes at a framed family portrait - Vincent's face has been torn out of it. He suddenly spies VINCENT exiting the front gate, carrying a suitcase. Anton goes to shout Vincent's name but the words don't get out. EXT. GATTACA. DAWN. A pick-up truck, packed with a CLEANING CREW, pulls into the rear of the building. They are no longer strictly the migrant workers we have come to expect but rather a mixture of ethnicities - all members of a genetic underclass that does not discriminate by race. As VINCENT exits the truck and turns towards the camera, we discover that he has now matured into the man we have come to know as JEROME. The only visible differences are the glasses he wears and his hair, still naturally dark. JEROME (VO) Like many others in my situation, I moved around a lot in the next few years, getting work where I could. I must have cleaned half the toilets in the state. We follow VINCENT through the course of a day. Cleaning restrooms, toilets, picking up litter, sweeping, washing windows - gazing at the AEROSPACE WORKERS below. The building is part of the Gattaca facility, located near a shuttle launch site. Throughout the day, with the regularity of 747's, Vincent spies rocket ships in the distance, launching into the sky. Jerome's is the only head that turns and looks up. Long after the sun has set, Vincent is still working. Another rocket ship lights up the darkness. Vincent gazes forlornly into the heavens. EXT. GATTACA - GLASS WALL. DAY. VINCENT cleans a window from the outside, staring in at the arrogant GATTACA EMPLOYEES entering the security channels - a smaple taken from their fingertips. Jerome, in a trance, constantly cleans the same spot of glass. He fails to notice an Older Janitor, CAESAR, appear beside him. CAESAR When you clean the glass, Vincent, don't clean it too well. VINCENT (confused) What do you mean? CAESAR (glancing to the Gattaca workers) You might get ideas. VINCENT But if the glass is clean, it'll be easier for you to see me when I'm on the other side of it. Caesar smiles at Vincent's cockiness. INT. GATTACA. DAY. VINCENT empties garbage into a dumpster adjacent to Gattaca. His attention is drawn to something in the trash. A discarded manual on Celestial Mechanics and Navigation. He wipes food residue off the corner. INT. ASTRONOMY & TELESCOPE SHOP. DAY. A forest of telescopes on tripods in an astronomy shop. VINCENT enters the store with a bucket and squeegee and immediately goes to clean the storefront window. The STORE OWNER looks up from his tabloid - "STAR" magazine. OWNER Where's Earl? JEROME He fell. Lucky it was only the second floor. The owner nods and returns to his magazine. When he looks up again one of his tripods is missing its telescope and Jerome is nowhere to be seen. INT. IN-VALID HOUSING PROJECT. NIGHT. JEROME returns to his bare apartment. He removes the cloth covering the bucket to reveal a dumpy-shaped telescope snugly wedged inside. He starts to pour over his collection of textbooks. Other tattered space paraphenalia adorns the wall. JEROME (VO) Of course the best test score in the world wasn't going to get me in the front door unless I had the blood test to go with it. EXT. GATTACA. NIGHT. While his fellow WORKERS sit on the steps at the service entrance to Gattaca, passing around an unlabeled bottle of clear liquor, VINCENT sits some distance away studying his text book. In the absence of a computer, he practices typing commands on a keyboard handdrawn on the flap of a cardboard box. A tiny, seedy-looking man, GERMAN, forties, appears from nowhere and takes a seat beside him. GERMAN (offering his hand) Vincent, I'm German-- (anticipating Vincent's response) That's my name. He looks the apprehensive Vincent up and down. VINCENT What do you think? GERMAN (shrugs) I think I could do something (glancing to the text book) provided you know what you're doing and you can meet the terms. Vincent pulls a plastic e-money card from his overalls. GERMAN You got a photo of yourself? Vincent produces a snapshot of himself - torn from the family portrait. German feeds the snapshot into the pocket-sized computer he carries. The picture is instantly scanned and appears on the computer's small color screen. German returns the photograph and hastily departs. CAESAR, the elderly janitor, notices German's exit. CAESAR (to Vincent) I thought I told you not to get any ideas. High up the side of a building, washing windows, VINCENT pauses occasionally to practice typing commands on his cardboard keys - viewing a screen in his imagination - or the nightsky itself. He hears his name being called. GERMAN Vincent...Vincent... VINCENT (staring through his glasses) German, is that you? GERMAN Vincent, come down. I've found him. INT. IN-VALID HOUSING PROJECT. NIGHT. GERMAN leads VINCENT through a maze of corridors. JEROME (VO) For the genetically superior, success is easier to attain but is by no means guaranteed. After all, there is no gene for fate. And when, for one reason or another, a member of the elite falls on hard times, their genetic identity becomes a valued commodity for the unscrupulous. One man's loss is another man's gain. He gives a conspiratorial nod to another passing DNA BROKER, both men carrying their palm-top computers. GERMAN (enthusiastically reading from data on his portable screen as he walks) He has the heart of an ox. He could run through a Goddamn wall--if he could still run. Actually, he was a big college swimming star. VINCENT I hope he's not just a body. GERMAN No problem. Before he dropped out he was an honor student, the right majors-- VINCENT How do I square the accident? GERMAN (still reading data from his palm-top computer) It happened in Australasia. He checked in yesterday. No family complications, no record he ever broke his neck. As far as anybody's concerned, he's still a walking, talking, fully-productive member of society. You just have to get him off the pipe and fill in the last two years of his life. (correcting himself) Excuse me, your life. German has stopped walking as if they have arrived. VINCENT (looking around for a likely candidate but finding none) Where is he? German reaches towards a PARAPLEGIC sitting in his wheelchair in the stairwell directly in front of them, his head slumped, an incriminating bong nestled in his lap. German pulls the man's head up by the hair. EUGENE. Depsite the patchy, unkempt beard and thick glaze over his eyes he bears a striking similarity to Vincent. Vincent holds a mirror beside the face of the lethargic Eugene to compare his own reflection. GERMAN (smiling confidently What did I tell you? Which one's the mirror? VINCENT (still not fully convinced) That's the hair color in his profile? German checks an entry in his computer: "HAIR: BLONDE" GERMAN Yeah. VINCENT (touching his own dark strands) I'd have to bleach my hair. GERMAN (irritated, impatient) Why are you inventing problems? You two are a couple of goddam clones. You look so right together, I want to double my fee. VINCENT (a thought occurs, addressing the paraplegic for the first time) How tall are you? EUGENE (deadpan) Four foot six. Vincent grins, realizing that Eugene is referring to his seated height. There is an instant connection between the two men. VINCENT Okay, how tall did you used to be? EUGENE (apathetic, still under the influence of whatever he's been smoking) Six one. VINCENT (to German, disappointed) He's too tall. GERMAN (shrugs) You can wear lifts. VINCENT Even with lifts I'm never that tall. GERMAN There's a way. INT. BACKSTREET SURGERY. NIGHT. In a primitive operating theatre, VINCENT lies on a table, his lower legs masked off for surgery. The SURGEON switches on a surgical saw and lines it up with handdrawn incision marks. Metal struts are ready to elongate his legs. INT. IN-VALID HOUSING PROJECT - APARTMENT. DAY. GERMAN wheels the dazed EUGENE into the apartment, cluttered with space paraphenalia. One wheel of his rusting wheelchair is flimsily held on with wire. VINCENT follows behind on crutches, both lower legs in casts and cross-braces. Vincent signs the contract German puts in front of him. EXT. STREET OUTSIDE A BAR. DAY. EUGENE, glassy-eyed, strides out of a bar, past camera and into the street. We hear a squeal of brakes and a sickening thud. INT. HOUSING PROJECT - APARTMENT. DAY. EUGENE awakens with a scream, bathed in sweat, arms bound to a bed - the only real piece of furniture in the room. VINCENT, sitting on a crate beside him, soaking a towel in a bowl of water, is taken by surprise. Eugene continues to scream and thrash, fighting against his bindings. Vincent stuffs the towel into Eugene's mouth and holds onto his arms. JEROME (VO) I confess, at first I wondered if I had rescued a man who was already dead. INT. HOUSING PROJECT - APARTMENT - BATHROOM. NIGHT. VINCENT holds EUGENE's head over the toilet bowl as he vomits violently. Eugene's paralysis and Vincent's broken legs make the operation doubly difficult. Finally Eugene has nothing left in his stomach to vomit. He drops to the floor in exhaustion. Vincent, also exhausted from the effort of holding Eugene over the bowl, joins him on the broken linoleum. Both men stare up at the ceiling that carries a map of the constellation. VINCENT You okay, Jerome? EUGENE (ironically referring to their mutual immobility) Yeah. You want to go dancing tonight? Vincent smiles. INT. HOUSING PROJECT - APARTMENT. NIGHT. EUGENE turns his nose up at the plate of boiled meat and potatoes that VINCENT puts in front of him. Vincent catches the look. VINCENT What's wrong with it? EUGENE I think I'd better choose the menu. After all, you're learning how to be me, I'm not learning how to be you. VINCENT (shrugs) Suit yourself. EUGENE (trying to be more diplomatic) Listen, I don't want you to think I'm ungrateful --I know you and that little broker--what do you call him? VINCENT German. EUGENE You're both going to a lot of trouble-- (trying to be tactful) Maybe you can con somebody into believing you're me to get your foot in the door--but once you're inside, you're on your own. I'm sure you're sincere... (glancing to the space paraphenalia) ...but I was being groomed for something like this myself. Even without the accident I don't think I would have made it. My point is--how the hell do you expect to pull this off? Jerome merely stares back as if the thought of failure has never occurred to him. VINCENT (shrugs and states it simply) I don't know exactly, Jerome. EUGENE (laughing) At least you're honest. (a thought occurs) Call me by my middle name--Eugene--If you're going to be Jerome, you may as well start getting used to it. NB: FOR THE REMAINDER OF THE SCREENPLAY "VINCENT" IS REFERRED TO AS "JEROME". INT. HOUSING PROJECT - APARTMENT. NIGHT. JEROME looks through Eugene's personal effects, including a photograph album. He is drawn to a swimming medal inside the album at a page displaying a photo of a wealthy, austere MOTHER - Eugene evidently comes from money. Even as he wheels into the room in his rickety wheelchair we see that EUGENE has the bearing of someone of good breeding. He has a bag of blood on his lap. More blood is being drawn from his arm through an IV. Eugene catches Jerome looking at the album. JEROME (guiltily closing the book) I have to know where you come from. EUGENE If anybody asks, tell them the truth-- your family disowns you. You are a disappointment, Jerome. JEROME (referring to Eugene's medal, impressed) What about this? EUGENE Wrong color. It's silver. (tossing the bag of blood to Jerome) It's not easy living up to this. Eugene wheels away. INT. HOUSING PROJECT - APARTMENT. DAY. JEROME practises writing with his right hand, trying to replicate Eugene's signature. EUGENE (wheeling by, looking over Jerome's shoulder at the signature) It needs work. JEROME (rueful) You had to be a right-hander. EUGENE Noone orders southpaws anymore. INT. HOUSING PROJECT - APARTMENT. DAY. A pair of spectacles lie on the bed. JEROME, still wearing his twin casts, sits behind an optometrist's portable examining device. GERMAN hovering in the background, an OPTOMETRIST custom-fits JEROME with gossamer thin contact lenses. JEROME (VO) Myopia is a dead giveaway - one of the earliest and most justifiable of the quality-of-life corrections. Anybody with impaired vision is certain to be suffering from all the other deficiencies of a "nonadvantaged" birth. GERMAN (inspecting the lens in Jerome's eye) It's no good. I can see an edge. He may as well walk in there with a cane. INT. HOUSING PROJECT - APARTMENT. DAY. The Optometrist has been replaced in the living room with a BLACK MARKET DENTIST who bonds JEROME's small, gapped teeth to match EUGENE's perfectly straight, white picket fences. INT. HOUSING PROJECT - APARTMENT. DAY. Hair already bleached and cut to match Eugene's hairstyle, JEROME sits in a chair against a hastily erected white paper backdrop. From his wheelchair, EUGENE puts the finishing touches to Jerome's hair. He wheels himself out of the way. The final accomplice in Jerome's deception, a BLACK MARKET COMPUTER GRAPHICS DESIGNER, takes Jerome's photo with a video camera. Manipulating the captured image, the Designer morphs Jerome's face into the face of Eugene. The resulting photo that spits out of a printer is neither one nor the other but an acceptable combination of the two. INT. HOUSING PROJECT - APARTMENT. DAY. EUGENE is starting to prepare Jerome's specimen bags for the first time. He winces in pain as he plucks several hairs from his head. JEROME, now out of his casts, prepares job applications. EUGENE (still grimacing, referring to the follicles) You really need that much? JEROME More than that. You'll get used to it. EUGENE (yanking out another hair) God, what wouldn't you do to leave the planet? JEROME (inspecting a hair follicle) Leave? Just a few million years ago every atom in this hair--in our bodies--was a part of a star. I don't see it as leaving. I see it as going home. EUGENE (marvelling at Jerome's earnestness) God, you're serious, aren't you? Jerome ignores him. Having learnt his lesson, he hands the envelopes to EUGENE to lick the flaps. INT. HOUSING PROJECT - APARTMENT. DAY. JEROME is doing a late-minute cram on a geriatric computer from the late 1990's. Checking the time, Jerome hurriedly picks up the shirt that EUGENE has been ironing from a prone position on the floor. JEROME It's not too late to back out. EUGENE You don't know what a relief it is not to be me. Are you sure you want the job? Jerome contemplates the question for a moment. JEROME What about you? What's in this for you, Eugene? EUGENE (referring to the bladder bag he wears) Listen, I bag this stuff anyway. It may as well pay my rent. Jerome hurrise to the bathroom where, with some difficulty, he inserts his urine device for the first time. The new improved Jerome emerges into the living room ready for his interview. INT. GATTACA CORPORATION - TESTING LAB. DAY. JEROME emerges from a bathroom and hands a TECHNICIAN his plastic cup full of fraudulent urine and inserts it into the analyzer. TECHNICIAN (reading off the profile) Congratulations. JEROME (perplexed) What about the interview? TECHNICIAN (referring to the cup) That was it. EXT. GATTACA. DAY. JEROME, scarcely able to disguise his delight, exits Gattaca, trying not to stare at the superb specimens who are now his "colleagues". JEROME (VO) The majority of people are now made-to-order. What began as a means to rid society of inheritable diseases has become a way to design your offspring--the line between health and enhancement blurred forever. Eyes can always be brighter, a voice purer, a mind sharper, a body stronger, a life longer. Everyone seeks to give their child the best chance but the most skilled geneticists are only accessible to the priveleged few. In a nearby park MODEL CHILDREN from MODEL PARENTS play together. JEROME (VO) Anyone who is the product of an altered DNA is proudly referred to as a "DAN", "self-made man or woman", "man-child". INT. HOUSING PROJECT - APARTMENT. NIGHT. JEROME wheels EUGENE out of their housing project. He takes in the neighborhood for the last time. We focus on a POOR COUPLE cradling an INFANT. JEROME (VO) Those parents who, for moral or, more likely economic reasons, refrain from tampering with their offspring's genetic makeup or who fail to abort a deprived fetus condemn their children to a life of routine discrimination. We glimpse other PEOPLE in the neighborhood. They appear poor but, for the most part, physically normal. However a pall of gloom hangs over them. JEROME (VO) Officially they are called "In-Valids"*. Also known as "godchildren", "men-of-god", "faith births", "blackjack births", "deficients", "defectives", "genojunk", "ge-gnomes", "the fucked-up people". [* "IN-VALID" pronounced as in "an invalid license"] JEROME (VO) They are the "healthy ill". They don't actually have anything yet - they may never. But since few of the pre-conditions can be cured or reversed, it is easier to treat them as if they were already sick. As they enter a car, driven by GERMAN, Jerome spies a beautiful young GIRL, 11, sitting on the steps of the housing project, staring forlornly into space. While there is no outward sign of any deficiency, she is somehow aware that she is damaged goods. Jerome glances in the rearview mirror. JEROME (VO) By means of a donor I have cheated the system for the last four years to open doors that would otherwise be closed to me. Jerome wheels Eugene into the palatial condominium complex where the two men now reside. INT. GATTACA. PRESENT DAY. We return to JEROME's reflection in the glass. Other GATTACA EMPLOYEES are gradually gathering behind him. JEROME (VO) In the guise of Jerome Morror I have risen quickly through the ranks of Gattaca. Only one of the Mission Directors has ever come close to discovering my true identity. We now see what Jerome has been gazing at through the window the whole time - the sight that has brought a hush to the complex. Through an open office door lies the body of a large man - the MURDERED DIRECTOR, lying where he has just been discovered, in a pool of his own blood. JEROME (VO) Strange to think, he may have more success exposing me in death than he did in life. Jerome wipes his eye and also goes to investigate. We focus on an extreme close up of his EYELASH. Loosened by Jerome's hand, it breaks free and floats gently down to the floor where it comes to rest. INT. GATTACA AEROSPACE CORPORATION. MORNING. DETECTIVE HUGO, late-forties, wearing a crime-scene hygenic suit and gloves and a full clear mask - looking more like a surgeon or a toxic waste worker than a detective - places a blood- spattered computer keyboard alongside the Director's shattered skull. The indentations match the blunt corner of the keyboard. Hugo detaches the dangling keyboard from its parent computer and seals the likely murder weapon in a marked, transparent plastic bag. A CREW of similarly-suited homicide detectives systematically vacuum the surrounding office area with metallic, industrial- looking mini-vacs. Once each work space has been vacuumed, the transparent plastic vacuum bag is detached, sealed and labelled. OTHER DETECTIVES video the scene with camcorders. Video prints spit out of the cameras for instant inspection. EXT. GATTACA - LANDSCAPED GARDENS. DAY. A silicon police tape cordons off the crime scene. From the landscaped garden, a crowd of GATTACA EMPLOYEES view the proceedings through the glass walls. EMPLOYEE 1 (staring at the Director's body) Awful. EMPLOYEE 2 Yeah, awful it didn't happen sooner. Nervous smirks from nearby employees. We focus on JEROME. Standing slightly apart from the others, he does not appear to share the joke, or perhaps even hear it. Jerome watches, wide- eyed, as a DETECTIVE approaches his work station with a mini- vac. A chill goes through Jerome as the detective's cleaner passes over his desk. Jerome is distracted by a smear on the window, obstructing his view. Without thinking, he breathes on the glass and rubs the smear away with his elbow. Nearby, elderly janitor, CAESAR notices Jerome's fastidious act and reads the panic in Jerome's eyes. DIRECTOR JOSEF suddenly appears at Jerome's shoulder. Standing a pace behind the Director, computer notepad in hand, is IRENE. DIRECTOR JOSEF You're lucky to be getting out of this. JEROME We're still going ahead as planned? DIRECTOR JOSEF The launch window is only open until week's end. Tragic though this event may be, it hasn't stopped the planets turning. He glances towards a group of Detectives headed by HUGO. DIRECTOR JOSEF You'll have to excuse me, Jerome. I have to meet with the authorities--naturally, we're co-operating in any way, although I won't tolerate a major disruption. (as he departs) I wish I was going with you, Jerome. As the pair depart, Jerome and Irene exchange a glance. Irene is also aware of Jerome's unease. INT. GATTACA - CORRIDOR. DAY. We focus on JEROME's eyelash, still lying on the floor. A huge crescent-shaped hair that fills the screen. Suddenly there is a roar of a mini-vac and the eyelash is sucked up. We follow the eyelash's journey, down the throat of the cleaner into the specimen bag where it is sucked against the bag's clear, plastic wall. INT. GATTACA - COMPUTER COMPLEX. DAY. The DIRECTOR's corpse is sealed in a plastic bodybag and wheeled away on a gurney. The blood and other body matter from the murder scene is sucked up by a portable wet-vac and the sample bag appropriately labeled. EXT. GATTACA - COURTYARD CAFETERIA. DAY A chime sounds over the P.A. follwed by an announcement. ANNOUNCER (OC) Thank you for your co-operation. Please return to your work stations immediately. The PROGRAMMERS get to their feet en masse and begin filing into the work room. EMPLOYEE 3 (sarcastic aside) What, no counselling? INT. GATTACA COMPUTER COMPLEX - DIRECTOR'S OFFICE. DAY. A WOMAN ASSISTANT whose keyboard was used in the attack has to pause as a MAINTENANCE WORKER gives her work station a final spray to return it to its former pristine condition. A new keyboard is plugged into her monitor to replace the one taken as evidence. INT. GATTACA COMPUTER COMPLEX. DAY. JEROME opens his desk drawer to check his comb, now plucked completely clean. He carefully places two of Eugene's hairs to the comb and scatters another bag of fraudulent matter around his work station. INT. GATTACA - SIMULATOR ROOM. DAY. In a large, bare room a simulator does a slow dance back and forth on its hydralic legs, miming the path of the space craft Jerome will soon be aboard. The simulation ends and JEROME exits the simulator through a small door. IRENE hesitantly approaches, carrying a slim electronic tablet. IRENE Excuse me, Jerome. I'm sorry to bother you. Jerome turns, not displeased by the interruption. JEROME No bother. IRENE (referring to her notepad) I've been asked to compile a log for the investigators--they want to know everyone's whereabouts last night. JEROME Last night? I was at home. Irene makes a note with her stylus. IRENE Can that be, er, verified? Were you alone? JEROME No it can't be verified. Yes I was alone. Irene makes another note. JEROME (wry smile) Looks bad, doesn't it, Irene? What about you? Where were you last night? IRENE I was at home. JEROME Were you alone? IRENE (hesitant) Yes. JEROME (teasing) So we don't know for sure about you, either. IRENE (wary, wondering where the conversation is headed) No. JEROME Why don't we say we were together? IRENE (confused) Why would we do that? JEROME I have better things to do this week than answer the foolish questions of some flatfoot. Don't you? Irene contemplates the question. JEROME (gently pressing) Well, shall we say we spent the evening together? Irene is still unsure whether or not Jerome is serious. IRENE To be convincing, Jerome, I would have to know what that was like. Irene turns and departs. Jerome watches her go. INT. EUGENE'S CONDOMINIUM. NIGHT. The paraplegic EUGENE, seated by the window, meticulously cuts a long fingernail into numerous clippings. He places the clippings in small plastic bags and seals them. He then begins to fill tiny sachets with blood. He turns as he hears JEROME enter down the spiral staircase with the groceries. EUGENE You didn't forget the truffles? JEROME places the items in the refrigerator in the bathroom and retrieves a bottle of vodka - the vodka incongruous-looking beside the blood and urine specimens. Joining Eugene at his workbench, he pours them both a drink. EUGENE (sensing something amiss, trying to keep his humor) Who died? JEROME The Mission Director. EUGENE (misinterpreting the deadpan remark) You wish. JEROME They found him in his office this morning-- beaten so bad they had to check his nametag. Eugene takes in the news, a smile broadening across his face. EUGENE What an act of benevolence--a service to the community. So that's it. Now there's nothing between you and ignition. JEROME He was still warm when they confirmed. EUGENE (confused by Jerome's attitude) This calls for a celebration. Doesn't it? JEROME The place is crawling with Hoovers. EUGENE So what? You didn't kill him, did you? Jerome shoots him a glance for the inappropriate remark. JEROME That's not the point. EUGENE (scoffing) Hey, how much of you can be there? Even if the "J. Edgars" do find something, in a week-- (glancing up to the night sky) you'll be slightly out of their jurisdiction. (gently chiding) Come on, we've got to get drunk immediately. JEROME (still tempering Eugene's enthusiasm) You're going to have to earn your supper. I've got my final physical tomorrow. Jerome wheels Eugene's chair to a specially constructed platform that allows the wheels to spin in mid-air. Jerome tapes an electrode to Eugene's chest and attaches the wire to a slim recording device. Eugene begins to spin the wheel of the chair faster and faster. Jerome monitors Eugene's steady heartbeat through a set of headphones. INT. GATTACA AEROSPACE CORPORATION - COMPUTER COMPLEX. NIGHT. The complex is virtually empty - only a handful of the hundreds of PROGRAMMERS working late into the night. IRENE approaches JEROME's work station on the pretext of delivering some documents. Trying to act casually, she looks under the papers on his desk, then opens the top desk drawer. We see an EXTREME CLOSE UP of the comb lying there - the two hairs trapped between the teeth of the comb. Irene removes one of the follicles and drops it into an envelope she is carrying. INT. 24-HOUR SEQUENCING LAB. NIGHT. "SEQUENCING-WHILE-U-WAIT". Similar to a 1-hour photo lab, the store - little more than a booth - displays a price list on the wall. "FULL SEQUENCE - $80". IRENE waits in line with a cross- section of other CUSTOMERS. She checks the contents of the envelope that contains the hair. The YOUNG WOMAN in line ahead of her allows the TECHNICIAN to take a swab from her full lips with a Q-tip. TECHNICIAN How old? YOUNG WOMAN (confused) Me? TECHNICIAN (mustering patience, referring to the Q-tip) The specimen. YOUUNG WOMAN (proudly) I kissed him five minutes ago. A real good one. Overhearing, several PEOPLE in the line snicker. TECHNICIAN (long-suffering) I'll see what I can do. The technician hands the swab to an ASSISTANT. The Young Woman is handed a number and takes a seat. Irene hands her envelope over the counter. She too is handed a number. We follow Jerome's follicle as another TECHNICIAN places it in an analyzing machine. INT/EXT. SEQUENCING LAB / PARKING LOT. NIGHT. The TECHNICIAN returns the envelope to IRENE along with a miniature compact disc. TECHNICIAN (remarking on the profile result) 9.4...very nice. Irene does not appear to share the technician's enthusiasm. She emerges from the sequencing lab and enters her car. Taking a palm-top computer from her purse, she inserts the disc into the computer. Jerome's counterfeit genetic profile appears on the screen. The details confirm her worst fears. EXT. MICHAEL'S DINNER CLUB. NIGHT. JEROME and EUGENE, dressed to the nines, pull up in the car to a darkened doorway in a poorly lit street. A VALET appears out of the shadows. Familiar with the car, he goes immediately to the trunk to retrieve Eugene's collapsible wheelchair. Jerome tips the valet - a credit card wiped through a device. INT. MICHAEL'S DINNER CLUB. NIGHT. The chic, elegant establishment inside belies its darkened exterior. JEROME wheels EUGENE into a decadent dinner club full of an odd assortment of people. They are immediately greeted respectfully by MICHAEL, the owner and maitre d'. Jerome and Eugene are obviously regulars. MICHAEL Good evening, gentlemen. Your table is ready. (referring to Jerome's mission) Not long now, sir. You'll be upstairs before you know it. We're going to miss you. JEROME Not as much as I'll miss your Stroganoff. I'd like to take one of your chefs with me. INT. MICHAEL'S DINNER CLUB. NIGHT. In a secluded booth JEROME and EUGENE toast from a bottle of 1999 vintage Bordeaux. Eugene drinks longer than Jerome. Jerome dabs his mouth with a napkin. He fails to notice a minute FLAKE OF SKIN dislodged from his chin. We follow the flake as it comes to rest beneath the table. LATER, Eugene and Jerome watch COUPLES dancing a samba on the dance floor. A WAITER vacuums the table with a discreet, handheld miniature vacuum while a WAITRESS clears the plates. She accidentally drops a knife onto Eugene's leg. WAITRESS (aghast at the sight of his lifeless legs) I'm so sorry. Did I hurt you? EUGENE (smiling, a trace of bitterness) Honey, if you'd hurt me, I'd be cured. Eugene, the worse for drink, gropes for the waitress's leg but she easily avoids his clumsy pass. EUGENE You want to meet a real-life spaceman? Jerome, always aware, scanning the club, suddenly spies NAPOLEON, his Gattaca colleague, on the other side of the room. Napoleon is taking a hit from a vial concealed in his hand. Jerome abruptly turns his back to avoid being recognized. JEROME Let's get out of here. EUGENE (knocking back his drink, misinterpreting the hasty departure) You're right, there's more atmosphere where you're going. INT/EXT. CAR. NIGHT. Driving along the freeway, Jerome's car suddenly dives down an escape road. EUGENE looks sideways at JEROME. JEROME You drive. INT/EXT. CAR. NIGHT. The car careens around and around a small circular building - a cloud of dust billowing up behind the car. We focus on a BRICK wedged against the car's gas pedal. EUGENE is at the wheel, JEROME in the passenger seat. The hard turn is repeated with increasing recklessness, Eugene fighting to control the bucking car. EUGENE (screaming in both fear and exhilaration) I gotta stop!! I gotta stop!! JEROME Keep going!! Keep going!! Finally the car spins to a halt in a cloud of dust. When the dust settles it is revealed that they have been circling the base of a huge satellite dish in a desolate location. EXT. SATELLITE DISH. NIGHT. EUGENE lies on the hood of the car, leaning against the windshield, drinking from a bottle of vodka. In the background, the unmanned satellite dish. JEROME relieves himself against the building at the base of the satellite. EUGENE (gently chiding Jerome over the joyride) You idiot. You could ruin everything with a stunt like that. Eugene spies a spacecraft launching from Gattaca city. EUGENE (gazing up into the night sky) At least up there your piss will be worth something. (smiling at the thought) You'll all be showering in it, right? JEROME (zipping his fly) And drinking it. It's like Evian by the time it's filtered. EUGENE (referring to the rocket ship) What is that one? Jerome doesn't bother to look in the direction of the craft but merely glances to his watch. He joins Eugene on the hood of the car. JEROME (looking at his watch) 11.15 to the port. A maintenance crew. EUGENE How long do you stay up there before you go? JEROME A day or so. EUGENE (beaming) I still can't believe they're sending you to the Belt--you of all people--never meant to be born, on a mission to discover the origin of life. Eugene laughs to himself and passes the bottle to Jerome. JEROME You should be going instead of me. Jerome taps Eugene's lifeless legs with his foot. JEROME Up there they wouldn't be a problem. EUGENE (glancing heavenwards, shaking his head) You know I'm scared of heights. INT. CRIME LABORATORY - AUTOPSY ROOM. NIGHT. The body and clothing of the MISSION DIRECTOR, lying on a metal examining table is scanned with a blue-light magnifying instrument. Fingernail specimens are taken for analysis. In another area of the laboratory, the labelled vacuum bags are attached to analyzers and the contents sucked out and automatically identified. ID names and photographs of GATTACA EMPLOYEES begin appearing on a computer screen at high speed along with other personal details - all data automatically logged for later review. The photographs and personal details of JEROME and IRENE flash past, amongst the faces of other employees. We focus on a magnified close up of JEROME'S EYELASH, still clinging stubbornly to the side of its specimen bag. We continue to follow its journey as it is finally sucked into the analyzer. INT. CRIME LAB - ANALYZER MACHINE. NIGHT. Inside the machine, a minute, cell-thin sliver is sliced from JEROME'S EYELASH and analyzed. INT. INVESTIGATOR'S CRIME LAB. NIGHT. A severed HUMAN TONGUE sits on a tray in a sterile, sealed chamber. Using gloves that protrude through the chamber's glass wall, face buried in a binocular eyepiece, the INVESTIGATOR takes a swab from the tongue. INVESTIGATOR (to the tongue, as he inserts the tip of the swab into an analyzer) Let's see what you've got to say for yourself. A FEMALE ASSISTANT, looking on, hardly has time to smile at the remark before information begins to appear on a nearby computer terminal. The computer gradually builds a portrait of the owner of the tongue using genetic predictors. The Investigator wanders over to the window as his Assistant reads the information from the screen. ASSISTANT The tongue is male. Mature. Blonse hair. Brown eyes. Light complexion. Between 5'11 and 6'1. Pronounced Caucasian nose. Thin lips. Weak chin. Lobeless ears. Prematurely balding. Slightly bow-legged. Broad shoulders. Barrel chest... (pause) Blind. INVESTIGATOR (interest piqued) Blind? (mildly amused, checking the monitor for himself) The tongue is blind? ASSISTANT (confused) Who cuts out the tongue of a blind man? INVESTIGATOR (shrugs) Someone who is mindful that the blind still speak. The INVESTIGATOR is alerted by the chime of his nearby computer. On the screen, he discovers the face of 20-YEAR-OLD VINCENT and the accompanying flashing message: TRACKING IN-VALID 883000181105-10 - NEW DATA - INT. CONDOMINIUM COMPLEX - PARKING GARAGE. NIGHT. Having plugged his car into an overnight charger, JEROME pushes EUGENE in his wheelchair to the elevator. Bottle in hand, Eugene leans over and vomits on the ground. Jerome shakes his head resignedly. Eugene looks drunkenly up at Jerome. EUGENE (sarcastically referring to the pool of vomit) I'm sorry. Did you want it? Jerome meets Eugene's gaze. There is a trace of bitterness in Eugene's drunken smile. EUGENE Let me get it for you. Eugene bends down to scoop up some vomit with his hand but the elevator arrives and Jerome quickly wheels him away. Eugene's head flops to the side as he passes out. INT. EUGENE'S CONDOMINIUM. NIGHT. JEROME unlocks EUGENE's condo and wheels his chair inside. We see their reflection in a full-length mirror as Jerome pushes Eugene to the bedroom. After removing Eugene's soiled clothing, he heaves the tall man from the chair and onto the bed. EUGENE (maudlin, sobbing like a child) I'm sorry. I'm sorry. JEROME (attempting to comfort) It's okay, Eugene. EUGENE You know I wasn't drunk--I knew what I was doing when I walked in front of that car-- JEROME --What car?--Go to sleep. EUGENE --I walked right in front of it. I was never more sober in my life. Jerome looks at Eugene's lifeless legs, trying to cover his shock at the revelation. JEROME It's all right. EUGENE (grabbing Jerome by the collar) I'm proud of you, Vincent. Eugene's head falls back onto the pillow. JEROME (smiling to himself) You must be drunk to call me Vincent. But Eugene does not reply, drifting into sleep once again. Jerome pulls a blanket over him. On the verge of leaving, Jerome's attention is drawn to a wall on the far side of the room. Approaching the wall, near Eugene's mirrored closet, he detects a faint mechanical whir coming from inside the adjacent condominium. Jerome contemplates investigating but exits the condominium instead - climbing the spiral staircase to his own condominium. INT. JEROME'S CONDO - LIVING ROOM. NIGHT. JEROME fastidiously vacuums with an upright cleaner. Using a hose attachment he cleans around a picture frame that contains Jerome's original computer keyboard handdrawn on the flap of a cardboard box. INT. GATTACA - COMPUTER COMPLEX. DAY. In the vast room of COMPUTER PROGRAMMERS we pull-focus to discover that we have been filming the complex through the transparent specimen bag containing JEROME'S EYELASH. On the mezzanine floor overlooking the scene of the crime, the INVESTIGATOR holds the bag, transfixed by the lash. The lead homicide detective, DETECTIVE HUGO, finishes interviewing a GATTACA SECURITY GUARD and approaches the Investigator. A large telescope in the background. Although Hugo is deferential to his more youthful superior, his body language betrays his displeasure. Hugo clearly does not relish the Investigator's involvement in his case. DETECTIVE HUGO I don't understand why you were dragged out here, Sir. It's hardly worth wasting your time--a no-nothing case like this. INVESTIGATOR (gently rebuking his subordinate) A man's dead, Detective. DETECTIVE HUGO Of course, Sir. We're checking the entry log, alibis, grudges... INVESTIGATOR Grudges? DETECTIVE HUGO (looking out over the balcony) I look around, I see a lot of dry eyes. The Director was not... (searching for the words) ...universally loved. He was leading the cut-backs in the program. You're looking at a room full of motives. INVESTIGATOR (shaking his head adamantly, referring to the bag in his hand) No, this is your man. DETECTIVE HUGO (not so convinced) With respect, Sir--it may be the only unaccountable specimen but the profile suggests-- INVESTIGATOR --What about his profile? Hugo refers to a print-out of 20-YEAR-OLD VINCENT's profile including his Genetic Quotient. (The fifteen-year-old photo of Vincent now bears little resemblance to his assumed identity.) DETECTIVE HUGO According to this, he's a sick man. Congenital heart condition. Who knows how long the specimen has been here but there's an 80 percent chance the owner of that eyelash has already died himself from natural causes. INVESTIGATOR (terse) So there's a 20 percent chance he's not dead. Detective Hugo goes to comment further, then revises his remark in his head before speaking. DETECTIVE HUGO Even if this Vincent Luca is alive, is it likely he could bludgeon a man to death? INVESTIGATOR No. Not likely. The Investigator's tone suggests that the identity of the culprit is no longer a matter for debate. There is an awkward pause before the Detective falls into step with his superior. DETECTIVE HUGO I take it you're thinking along the lines of a robbery gone sour--a thief disturbed in the act? The Investigator merely shrugs. DETECTIVE HUGO (skeptical) Of course that doesn't jibe with what we found. This was an angry killing. INVESTIGATOR (glancing to the profile in Hugo's hand) Who knows with these "deficients"? His profile indicates a proclivity for violence. DETECTIVE HUGO (trying to appear co-operative) I'll run a crossover on the eyelash for any family or associate connections-- INVESTIGATOR --I've already run it. There's no record of any living relative. DETECTIVE HUGO What a pity. INVESTIGATOR (irritated, glancing to the sample bag) Detective Hugo, it's a simple case of lost and found. All we have to do is locate the man who's minus an eyelash and this murder will solve itself. We focus on JEROME at his work station. Although he continues to work, he clrarly feels the presence of the INVESTIGATORS on the mezzanine floor behind him. A MEDICAL DIRECTOR approaches the programmer in the neighboring work station - NAPOLEON, the programmer Jerome encountered in the nightclub the previous evening. MEDICAL DIRECTOR Napoleon, you're late for your substance test. Napoleon looks up, ashen-faced. Jerome intervenes. JEROME Director, Napoleon's helping me today. The Director regards both men suspiciously. MEDICAL DIRECTOR Well, you take it for him, Jerome. The Medical Director departs. Napoleon, stunned by the reprieve, approaches Jerome's work station and pretends to study the program on his computer screen. NAPOLEON Why did you do that? JEROME (exiting to the testing lab) Don't worry about it. INT. GATTACA - TESTING LAB. DAY. From behind we observe JEROME standing in front of LAMAR, issuing forth his steady stream of fraudulent urine. EXT. GATTACA AEROSPACE CORPORATION - WORKOUT CENTER. DAY. Twenty GATTACA EMPLOYEES, identically-outfitted men and women, run in a perfectly straight line towards the tranquil lake of the picturesque grounds, never getting any closer to their goal. They run at a steady 10mph on twenty identical state-of-the-art treadmill machines sunken into the floor and arranged in a uniform row facing a floor to ceiling window. The strain is beginning to show on many of the faces. The heartrate of each employee is monitored via a wireless electrode attached to the chest. Outside in the sunshine the next batch of twenty EMPLOYEES limbers up in readiness for their physical. JEROME's only preparation consists of thoughtfully dragging on a cigarette while staring out at the man-made lake. His nonchalant attitude disheartens nearby colleagues, including IRENE who is amongst a group of workers excused from the run by benevolent, over-protective TRAINERS. TRAINER You're excused, Irene. You may resume your duties. On the way into the work-out facility Jerome stubs out his cigarette in a stainless steel ashtray. Only we are aware of the slim credit card-sized recording device that he furtively slips out of his cigarette pack and secrets in his hand. As he takes his place on one of the treadmills and adheres the cordless electrode to his chest, Jerome surreptitiously attaches his device to the underside of the running machine's control panel. INT. GATTACA - WORK-OUT OBSERVATION ROOM. DAY. From a mezzanine floor above the work-out room, LAMAR, the medical officer, monitors computer read-outs displaying the pace and pulse of the runners on each treadmill machine. INT. GATTACA - WORK-OUT CENTER. DAY. One by one the GATTACA EMPLOYEES drop out until JEROME is the sole remaining runner. Several of the other employees stand around and watch Jerome run as they towel off. He appears under little duress, staring directly ahead, seemingly in a trance. As we focus on his chest, only we are aware of the sound of his furiously pounding heart making a lie of his calm exterior. INT. GATTACA - WORK-OUT OBSERVATION ROOM. DAY. Jerome's heart registers a far more measured beat on the computer in the observation room. The DIRECTOR is at LAMAR's shoulder, beaming proudly. LAMAR (marveling at Jerome's heartrate) Six miles later it's still beating like a Goddamn metronome. I could play piano by that heartbeat of his. The INVESTIGATOR and DETECTIVE HUGO enter the observation room, escorted by IRENE. DETECTIVE HUGO Director Josef, this is our lead Investigator. The two men exchange a polite handshake. However the Investigator is immediately taken with the SOLE RUNNER with his back to him, on the treadmill below. INVESTIGATOR How often do you test, Director? DIRECTOR JOSEF Often. INVESTIGATOR (intrigued) Surely you know what you have. DIRECTOR JOSEF We have to be certain. Once they're up, we can hardly turn the boat around. On the treadmill below, Jerome glances to his watch as he runs, the distress starting to show. Caught up in the conversation, Lamar has forgotten to end the work-out. Remembering, he finally presses the "WARM-DOWN" button, slowing the treadmill. LAMAR (still marveling at Jerome) I swear if I went to lunch and came back, he'd still be there. We focus on Jerome's recording device attached to the bottom of the control panel. It clicks to a stop, indicating that the bogus heartbeat recording has ended before the workout. The heartbeat monitor in the observation room suddenly races from 80 to 250 beats per minute. Lamar catches the discrepancy out of the corner of his eye but before he can take a second look, Jerome has whipped his electrode from his chest. The physician shrugs it off as a glitch in the machine. The Investigator has turned his back on Jerome to face the Director. INVESTIGATOR We believe we have a suspect. DIRECTOR JOSEF What a relief. INVESTIGATOR (referring to the profile of VINCENT on Hugo's computer notepad) This unaccountable specimen was found in the south wing corridor. In the room below, Jerome nonchalantly steps off the treadmill, stealthily retrieves the recording device from beneath the control panel and returns it to his cigarette pack. He casually wipes off drops of sweat from the machine with a towel, briefly glances to Irene with the Investigators and exits to the locker room. The Director idly regards the image of VINCENT on Hugo's handheld screen. He does not recognize the face. DETECTIVE HUGO An age enhancement is being prepared as we speak. DIRECTOR JOSEF (referring to his assistant) Irene will make it available to security. INT. GATTACA - LOCKER ROOM. DAY. JEROME wears his assured smile all the way along the corridor and into the now empty locker room. He exchanges a cheery greeting with an exiting COLLEAGUE, enters a shower stall, closes the door behind him and promptly collapses on the shower stall floor. The effects of the gruelling work-out are only now apparent. No longer sucking up the pain, he gulps air into his oxygen-starved lungs, his heart looking for a way through his tightened chest. He writhes in agony on the white-tiled floor - a brutal reminder of the physical frailty he seeks to disguise. EXT. GATTACA - GARDEN. LUNCHTIME. In Gattaca's perfectly landscaped gardens JEROME, dressed and recovered from his ordeal, joins his COLLEAGUES for lunch at one of the umbrella-covered tables. While most of the others pick at unappetizing salads and take their individualized medication, Jerome carries a steak sandwich on his tray. The sight of the juicy steak is greeted with envious looks from his colleagues. Jerome pretends not to notice and rubs it in by liberally sprinkling salt onto the meat. However when Jerome looks over towards IRENE, she avoids eye contact. When she abruptly gets up and leaves, Jerome follows - thinking twice before depositing the napkin in the nearby trashcan. A janitor reaches for the napkin. It is the Old Janitor, CAESAR, from Jerome's former life. CAESAR I'll take care of that for you, Mr Morrow. The two men exchange a conspiratorial smile. EXT. GATTACA - WIND FARM. AFTERNOON. A forest of wind turbines, supplying energy to the aerospace complex. However the blades of the turbines are motionless in the still afternoon. JEROME finally catches up with IRENE. She turns, unsurprised by his appearance. Standing beside her, he looks out over the complex as if he too has come for the view. JEROME (eyes fixed on the view) We were looking at each other. You stopped. Irene, also keeps her gaze ahead. IRENE I'm sorry. I didn't mean anything. JEROME (shrugging as if it makes no difference to him) We were just looking. IRENE I know about you. Jerome turns to her, startled, trying to read her face. Irene takes a deep breath and abruptly plucks a long, dark hair from her head. IRENE (offering the hair to Jerome) Here, take it. Jerome, confused, takes the hair - more in reflex than intent. IRENE (a challenge) If you're still interested, let me know. Jerome contemplates the hair in his fingers for a moment, then deliberately lets it fall to the grounf. JEROME (never taking his eyes from her) Sorry, the wind caught it. Irene meets his gaze. There is not a breath of wind. The hair lies, plainly visible on the ground. EXT. GATTACA AEROSPACE COMPLEX. AFTERNOON. As JEROME and IRENE walk between the wind turbines, Jerome pretends not to notice that Irene keeps furtively checking the pulse on her wrist. They pause in the shade. JEROME (as if making conversation) Have they found our friend? IRENE Friend? JEROME (shrugs) It was a mercy-killing after all. IRENE They found an eyelash. JEROME Where? IRENE In the South Wing. JEROME Does it have a name? IRENE Just some In-Valid. Vincent-- (trying to come up with the last name) --somebody. Jerome turns away to disguise his alarm. He quickly recovers. JEROME Perhaps we ought to celebrate, Irene. IRENE (a smile playing around her lips) You celebrate, Jerome? INT. EUGENE'S CONDO. NIGHT. EUGENE talks irritably on the phone, examining a container from a newly opened case of hair bleach. EUGENE (into phone) --I know what I ordered. I ordered "Honey Dawn" and you sent me "Summer Wheat". JEROME descends the staircase, taking the steps two at a time. He immediately goes to the refrigerator, removing trays of samples. Eugene abruptly hangs up the phone. JEROME (OC) Call German. EUGENE Any particular reason? JEROME (collecting up sample bags from the work bench) We can't stay here. EUGENE What are you talking about? JEROME They think I offed the Director. Eugene wheels himself over to Jerome, unconcerned. EUGENE What makes them think that? JEROME They found my eyelash. EUGENE (a flicker of anxiety) Where? JEROME In a corridor. EUGENE (blasÈ once again) Could be worse. They could have found it in your eye. Jerome half-smiles despite the situation. JEROME (resuming his collection of samples) Come on--we're taking off. EUGENE I'm not going anywhere. Less than a week to go. Not on your life-- JEROME --You don't understand, they'll make the connection, they'll hoover again. We should cut our losses. EUGENE (angrily grabbing a tray from Jerome's hands) Where is your head, Jerome? You're acting like a guilty man. They won't marry the eyelash to you. They won't believe that one of their elite navigators could have suckered them for the last five years. JEROME They'll recognize me. EUGENE (scoffing) How could they recognize you? (referring to the torn photo of 20-year-old Vincent on the wall) I don't recognize you. Anyway, you don't have a choice. You run, you may as well sign a confession, turn us both in right now. No, we stick this out-- find out what we can but change nothing. This is a minor inconvenience is all it is. We've taken worse heat than this. (angry now) Jesus, if I'd known you were going to go belly up on me at the last fucking gasp, I wouldn't have bothered. You can't quit on me now. I've put too much into this. (returning the samples to the fridge) Besides, this stuff is mine. I had other offers, you know. I could have rented myself out to somebody with a spine. You want me to wheel in there and finish the job myself? (meeting Jerome's gaze) We'll take off all right, from pad 18 just like we planned. Jerome slumps down in a chair, Eugene's tirade starting to get to him. EUGENE And keep your lashes on your lids where they belong. How could you be so careless? JEROME I'm sorry. (reluctant admission) I think I was crying. Eugene is uncomfortable at the notion. EUGENE Well save those tears. Jerome shrugs awkwardly and pours them both a drink. JEROME You really had other offers? EUGENE (shrugs) I'm sure I could have. INT. CONDOMINIUM - INCINERATOR. NIGHT. The naked JEROME scrapes away at his skin with even greater ferocity than usual. After exiting the incinerator, he deposits all the incriminating trash he has collected during the day into the furnace and ignites the gas. INT. EUGENE'S CONDOMINIUM. NIGHT. From outside, a car horn sounds. JEROME, in a formal suit and spectacles, abruptly enters the condominium. He goes to a closet and starts searching through Eugene's clothes. JEROME Mind if I borrow a tie? EUGENE is more interested in the car parked outside the condominium. IRENE sits in a convertible Citroen DS, dressed in a classic but provocative black suit. Unaware that she is being observed she touches up her lipstick in the rearview mirror. EUGENE So it's not just the Hoovers who've got you rattled. JEROME You're the one who said not to change anything. She's my ear to the investigation. EUGENE (skeptical) Is that all? JEROME I've got enough on my mind without that. EUGENE If you say so. (referring to the ties in Jerome's hand) The stripe. JEROME (agreeing with the selection) Good choice. Jerome fumbles with the knot. From his chair, Eugene knots Jerome's tie for him. Jerome is intrigued that for once Eugene is abstaining - he has not touched his drink. JEROME Not thirsty? (referring to the fridge) We've got enough virgin samples to last us the week. EUGENE I don't feel too good. I think I'm still drunk from last night. JEROME Never stopped you before. (regarding Eugene's head) And for God's sake stop plucking your hair. Someone went to a lot of trouble to make sure you wouldn't go bald. EUGENE If I were you I'd worry about myself. (nodding to Jerome's spectacles) Haven't you forgotten something? Jerome pockets the spectacles and enters the bathroom for his contact lenses. The horn sounds outside the window a second time and Jerome hastily exits. We stay with Eugene. Irene catches a glimpse of him before he moves away from the window. Jerome emerges from the building. As the couple drive away, Eugene wheels himself to the full length mirror. He regards his own reflection for a moment and opens the mirror - a disguised door opening into the adjacent apartment. A cloud of condensed water vapor billows out. GERMAN, the DNA Broker, emerges with an ENGINEER. He sends the engineer on his way and joins Eugene at his desk. Eugene hands German a credit card that he wipes through his computer. GERMAN We still need to overhaul the back-up generator. (fixing Eugene with a penetrating stare) What's going on, Eugene, I thought he was going away, not you--you going on vacation? EUGENE (looking away) You got it, German. GERMAN (nodding thoughtfully) You deserve it. INT. CONCERT HALL - AUDITORIUM. NIGHT. JEROME and IRENE step over feet, apologizing as they go, eventually finding their seats in a box in a sold-out concert hall. On the stage below, a YOUNG PIANIST - a teenage prodigy - has already taken his place at the keys of a grand piano. The pianist removes his white gloves and begins to play - an extremely complex and beautiful piece we have never heard before. IRENE looks to JEROME. He is clearly caught up in the music. EXT. IN-VALID HOUSING PROJECT. NIGHT. The music from the piano recital continues under the following contrasting action. A huge, brooding housing project. PEOPLE hang around on street corners. Menace in the air - a feeling of impending violence. Suddenly unmarked police cars appear from all directions, blocking any escape route. Dozens of PLAINCLOTHES DETECTIVES pour out of the cars and onto the street. People scatter, many running straight into the arms of the Detectives. OTHERS, spilling out of the housing project, are also immediately apprehended. The Detectives quickly weed out those suspects not fitting Jerome's description - WOMEN, OLD MEN and TEENAGERS. They are shepherded off the street. A line of IN-VALIDS is formed several hundred yards long. Detectives begin to laboriously move along the line, taking finger-prick blood samples from each suspect - instantly confirming their identities with portable analyzers worn on their hips. As if having the idea at the same time, TWO SEPARATE MEN suddenly bolt from the line, knowing that their blood will incriminate them. Other Detectives, watching for such escape attempts, esaily apprehend them and escort them to a waiting police van. With the raid under control, DETECTIVE HUGO indicates to the INVESTIGATOR that it is safe to exit his car. The Investigator appears irritated, only half-glancing at the TWO MEN already in custody, apparently certain that neither one is his suspect. DETECTIVE HUGO (enthusiastic) Not our fish, but sometihng stuck in the net. The Investigator clearly does not share Hugo's enthusiasm. The Detective offers the Investigator an age enhanced photograph, computer-generated from the last existing photo of VINCENT as a 20-year-old. DETECTIVE HUGO This is the age enhancement we're working with. The Investigator ignores the photo, preferring instead to trust his own eye as he wanders along the line of suspects. DETECTIVE HUGO (referring to the line-up) As you requested, we've kept the parameters wider than usual. The MEN they scrutinize are hardly mutants - the differences between an IN-VALID and a DAN are subtle at best. Some shorter, some wearing glasses, some with receding hairlines or bald, many with no discernable physical difference at all. The Investigator is only halfway down the line before he turns and starts walking back to his car. The mystified Detective Hugo follows his superior. INVESTIGATOR We're in the wrong place. We're wasting time. DETECTIVE HUGO This is the most likely location-- The Investigator wheels on Hugo, suddenly angry, clearly unused to having his judgement questioned. INVESTIGATOR --There's that word again. I have a feeling This man doesn't play the odds, Detective. Not exactly a slave to probability. Is it "likely" that a man who has successfully eluded authorities for fifteen years--a brutal killer--is going to come to us now like a lamb? DETECTIVE HUGO (taken aback by the outburst) Is there something more we should know about this suspect, Sir? I mean besides what's on his sheet. INVESTIGATOR Since going underground, traces of this In-Valid have shown up at the scene of four serious felonies. Do you need any more than that? DETECTIVE HUGO With respect, Sir, many perfectly innocent citizens have left specimens at as many crime scenes. Maybe he's just unlucky. INVESTIGATOR I don't like anybody this unlucky. (pause) Widen the sweep. The West side. Draw a five mile radius around Gattaca. Hoover some of the classier establishments. Random car stops. DETECTIVE HUGO We're already getting complaints about frivolous search. INVESTIGATOR This is a murder investigation. The public should be happy to co-operate, to get this disease off the streets. INT. CONCERT HALL. NIGHT. A standing ovation. The YOUNG PIANIST on the stage bows deeply, soaking up the applause of the AUDIENCE. The pianist tosses one of his white gloves into the front row where it is caught by an adoring FAN. The second glove he tosses up to the box where JEROME and IRENE are standing. Jerome snares the glove out of the air and immediately hands it to Irene. She promptly slips the glove on her own hand. The glove fits snugly over her five fingers. However one finger of the glove remains unfilled. Jerome is stunned to realize that it is a six-fingered glove. IRENE (catching his look of astonishment) You didn't know? JEROME (trying hard to convince) Yes...yes... IRENE (picking up a resentment, confused) You're angry-- JEROME Why would I be angry? It was beautiful. He quickly turns away to lead the applause. On stage, the pianist raises his hands to acknowledge the crowd. Both his hands contain a perfectly formed extra finger. INT. IN-VALID HOUSING PROJECT - PROSTITUTE'S BOUDOIR. NIGHT. From an upstairs window we observe the INVESTIGATOR's car cruise slowly back into the squalid housing project. A MAN is buckling his pants at the window. JOHN Shit! One of those Hoovers is back. A prostitute, VALERIE, a slender, sylphlike beauty, joins him at the window. VALERIE It's alright. He's here to see me. Her client looks at her askance. Despite her assurances, he hurries into his clothes anyway. VALERIE (to an unseen woman in the next room) Sonja, I can't see anyone else tonight. INT. IN-VALID HOUSING PROJECT - PROSTITUTE'S BOUDOIR. NIGHT. The INVESTIGATOR, sits up in the bed, glass in his hand. VALERIE lies on the tangled sheets, naked, making no effort to cover herself. She regards the Investigator curiously. VALERIE I don't understand you, Investigator. The Investigator glances idly in her direction. VALERIE (teasing good-naturedly) You hunt us by day and fuck us by night. Do you only get it up for In-valids? The Investigator smiles and rejoins her on the bed. VALERIE Wouldn't you be happier with one of your made-to-order whores? INVESTIGATOR (gently stroking her hair) You are so beautiful, are you sure you weren't altered? This is not the face, the body, of a Godchild. How could something so lovely be a product of chance? VALERIE Is that what keeps you coming back? (meeting his gaze) Look at you. Such angry, beautiful, perfect eyes. Do you ever wonder what they would see if they weren't quite so perfect? They will never see what I see. The Investigator tries to laugh off her assertion but his tight-lipped smile betrays his displeasure. INVESTIGATOR (a cruel edge to his voice) You have so much wrong with you, you'll be lucky to see next year. He roughly forces himself on top of her but she remains defiant. VALERIE Are you so much more alive, Investigator? INVESTIGATOR (parting her legs) I'm not paying you to talk. INT/EXT. IRENE'S CAR. NIGHT. IRENE drives, JEROME at her side. Cars are being flagged down by uniformed POLICE OFFICERS. Irene slows down behind the car in front. Spying an OFFICER shine a flashlight in the eyes of the MALE DRIVER up ahead, Jerome wipes the contact lenses from his eyes and flicks them out of the passenger window when Irene is not looking. An OFFICER approaches Jerome and, without a word, opens an electronic testing kit worn on his hip. He removes a sterilized Q-tip and motions for Jerome to open his mouth so he can scrape a culture. Jerome waves his hand in front of his mouth, feigning embarrassment. JEROME (conspiratorial) Better not. (nodding in Irene's direction) Don't want to give you a contaminated specimen...if you get my meaning. IRENE plays along, shrugging coyly at the cop. We see an EXTREME CLOSE UP of Jerome's hand as he furtively retrieves a hair follicle attached to his shirt cuff. With the hair already in his fingers, he pretends to pluck a hair from his head, faking a wince at the appropriate moment. The cop, wearing transparent latex gloves, takes the follicle and places it in a receptacle in his kit. After a short moment the hair confirms JEROME's driving ID which appears on the kit's electronic screen. As the cop departs, Irene looks questioningly at Jerome. JEROME Thanks. (answering her unasked question) You never know where those swabs have been. Irene nods, however clearly not convinced. She shakes the doubt from her mind. IRENE I want to show you something. She accelerates away. We see the road ahead from Jerome's POV. Without his contact lenses, it is a blur. INT. MICHAEL'S CLUB. NIGHT. After closing time, suited DETECTIVES vacuum the club in which Jerome and Eugene dined the previous evening. MICHAEL, the owner, looks on disdainfully. Waiting in the background, the regular CLEANERS - most likely In-valids themselves - smirk to each other, enjoying watching the cops do their work for them. EXT. OCEAN HIGHWAY. NIGHT. With no place to turn the car around, IRENE parks on the cliff side of the six-lane highway. In the darkness she dashes from the car and, without a second thought, runs directly out into the heavy commuter traffic. Easily negotiating the on-coming cars, she emerges safely on the other side of the highway. JEROME, rounding the car from the passenger side, is about to follow, when he suddenly pulls up sharply at the curb. We focus on his eyes, deprived of the benefit of their contact lenses. From Jerome's POV, we see that the headlights rushing towards him are nothing but a series of fast-moving blurs - blurs that merge together. He is unable to distinguish between the vehicles or judge their distance. IRENE (calling back urgently from the other side, mindful of the light beginning to leak into the sky) Come on! We'll miss it! Irene stares expectantly back at Jerome with her 20/20 vision, unaware of his predicament. Jerome puts a foot off the curb at the wrong moment and is almost collected by an on-coming car. Irene is taken-aback at his mistiming. Does she detect a squint on Jerome's face? To Jerome, the figure of Irene on the other side of the highway is merely a featureless shape but he feels her expectation. He touches the spectacles, still in his pocket, but they are an unthinkable option. He shakes the idea from his head and turns back to the swiftly- flowing highway. He makes up his mind - he cannot allow himself to be shamed, even at the risk of life and limb. Hardly even glancing at the traffic, he suddenly bolts blindly across the road. Headlights hurtling towards him, cars fortuitously brushing past his heels, horns blaring. Jerome makes a final leap to the haven of the far curb, the rush of air from a large, fast-moving truck blowing him the final inches to the sidewalk. Irene is stunned by the near miss. She is about to comment but Jerome takes her by the arm and ushers her towards the dunes. JEROME Come on. We'll miss it. EXT. BEACH. DAWN. JEROME and IRENE huddle beneath an overcoat as the sun crests the horizon, staining the sky with an ochre blush. IRENE What did I tell you? Jerome nods. However, to his eyes the rising yolk is nothing but an out-of-focus, abstract ink blot. IRENE I envy you, Jerome. JEROME You'll be next. IRENE I don't think so. The only trip I'll make in space is around the sun-- (letting a handful of sand slip through her fingers) --on this satellite right here. Irene turns to Jerome. IRENE (blurting out what's really on her mind) --Listen, I don't want to waste your time and I really don't want you to waste mine. I don't know what you're after but I have a feeling I'm not it. Irene suddenly takes Jerome's hand and puts it up her sweater, onto her breast. Although taken aback, Jerome makes no effort to withdraw his hand. IRENE (enjoying his unease) It's here. My heart. (adding quickly) I'm careful--weekly check-ups. I'm on a drug maintenance program, blood thinners, diet-- (slowly removing his hand) I just want you to know what you'd be getting yourself into. JEROME What exactly is wrong? IRENE Nothing yet. I'll start experiencing symptoms in my late-fifties. (matter-of-fact) But unless they come up with something between now and then, I won't live much past 67. Jerome's mouth drops a little, betraying his surprise at the statement from a woman plainly still in her twenties. IRENE Of course I think about it every day. JEROME (still not quite recovered from his surprise) Of course. INT. POOL. MORNING. The INVESTIGATOR swims his race with the unseen opponent. The Investigator's ASSISTANT, carrying a phone, tries to attract his attention. EXT. JEROME'S POOL. MORNING. JEROME sits at his own poolside in his robe, feet dangling over the edge, smoking a cigarette. EUGENE, from his wheelchair, is applying bleach to Jerome's hair and eyebrows with gloved hands. At the same time, Jerome plays a sleight-of-hand game with a syringe. EUGENE How was your evening? JEROME Complicated. I couldn't stop her apologizing. EUGENE (teasing) You are a catch. No doubt she's worried that she would lower the standard of your offspring. Everybody wants to "breed up". (idly curious) What's wrong with her? JEROME (trying to be blasÈ) You know how it is with these altered births --somebody told her she's not going to live forever and she's been preparing to die ever since. EUGENE You're not thinking of telling her, are you? JEROME Of course not. But she's have to know eventually. EUGENE (adamant) She doesn't have to know. She doesn't want to know. The camera travels down Jerome's scarred legs to find that the pool is completely drained. We now realize that it never contained water. A BARREN WASTELAND. A desolate landscape, resembling the surface of the planet Mars. We pull back to find that we are peering at this forbidding desert through a circular aperture. INT. CRIME LAB. DAY. The INVESTIGATOR lifts his head from the eyepiece of an electron microscope through which he has been examining a tiny fragment of skin - the skin is identified as belonging to 20- YEAR-OLD VINCENT. DETECTIVE HUGO stands at the Investigator's side - his attitude more respectful in light of the discovery. Detective Hugo points out a location on a computer-generated map. DETECTIVE HUGO (chagrined) The skin flake was found in Michael's Restaurant. The employees are all accounted for. INVESTIGATOR A customer? Does this Michael's cater to misfits? DETECTIVE HUGO (shifting the view of the map to include the Gattaca complex) No. But one or two "borrowed ladders" have shown up there in the past. The Investigator understands the significance. They wander over to a blow-up photograph of the 20-YEAR-OLD VINCENT. DETECTIVE HUGO We have to consider the possibility that he's playing somebody else's hand. A smile gradually broadens across the Investigator's face. INVESTIGATOR (taking a perverse pleasure in the slowly dawning revelation) Of course. He's a "de-gene-erate". (glancing to a photo of the Gattaca crime scene) He works at Gattaca. Why else would we find the eyelash near the washroom? Nobody stops to take a leak during a murder. DETECTIVE HUGO (quickly covering himself) It's still possible the eyelash specimen came from a janitor, delivery man--it could have blown in through an open window. The Investigator appears not to be listening, his mind made up. INVESTIGATOR (mind racing) He was afraid of being exposed. That's why he did it. DETECTIVE HUGO (puzzled) It is hard to believe he could be one of their elite workers. You've seen their security system. They know who works there. (referring to 20-year-old Vincent's profile) Even if you ignore the man's expiration date, his profile suggests that he doesn't have the mathematical propensity let alone the stamina to pass their physicals. INVESTIGATOR Don't underestimate these imposters. DETECTIVE HUGO (skeptical, referring to a file of Gattaca employee ID photos) None of the ID photos match the enhancement. INVESTIGATOR (smiling to himself) A man can change his face--but blood is forever. Sample every employee within the parameters I gave you. (pause) Intravenous. Hugo's mouth drops open at the mention of "intravenous". DETECTIVE HUGO (immediately protesting) You know their workforce. Two-thirds at least fall into the category. We'll be closing down their operation for days. (seeking a compromise) At least go with a fingertip sample or urine. INVESTIGATOR (shaking his head) Blood. From the vein. The Investigator turns on his heel to prevent further protest. The Detective and his ASSISTANTS exchange looks of exasperation behind the Investigator's back. INT. GATTACA. DAY. JEROME, drinking water, stands in front of a large video bulletin board. Among other things, it displays the electronic mugshot of 20-YEAR-OLD VINCENT alongside the recent computer generated age enhancement of his face. Some distance away, CAESAR, the elderly janitor, discusses the mugshots with a YOUNGER JANITOR. CAESAR Look like anybody to you? YOUNGER JANITOR Not to me. CAESAR Ugly sonofabitch though, isn't he? Jerome half-smiles, realizing that the conversation is for his benefit. Having made it clear that they do not intend to expose their former colleague, the two janitors continue their rounds. Jerome crushes his paper cup. Forgetting himself, he drops the cup into the wastebasket. INT. CRAFT. DAY. JEROME familiarizes himself with the interior of a spacecraft under the supervision of DIRECTOR JOSEF and the MISSION COMMANDER. The screen that Jerome sits at is identical to the one he operates in the computer complex - displaying asteroid 951 Gaspra. DIRECTOR JOSEF --Somewhere in the dust of Gaspra is the key. (warming to his theme) Back to the beginning of the book--the life we became. With the original building blocks who knows how far we can take "the godding". MISSION COMMANDER (wry smile) Even someone as advanced as Jerome will be last year's model by the time we're done. JEROME (smiling back) I wouldn't get your hopes up, Commander. Irene enters the craft. IRENE Excuse me, Mr Morrow. The investigators have begun their testing. DETECTIVE JOSEF This is so inconvenient, Irene. They can make an exception for Jerome. IRENE I'm afraid not. DIRECTOR JOSEF I apologize, Jerome. JEROME It's not yor fault, Director. (afterthought) If your predecessor were still around we may not be going to Gaspra at all. That's what I would call inconvenient. Jerome exits the craft with Irene. INT. GATTACA CORPORATION - CORRIDOR. DAY. A line of MALE GATTACA EMPLOYEES snakes out the door and down the corridor. The INVESTIGATOR walks slowly down the line, trying to eyeball his suspect. Concentrating on the shorter, dark-haired men in the line, he looks straight past JEROME. However, as the Investigator ignores him and walks by, we see a haunted look in Jerome's eyes. INT. GATTACA - TESTING LAB. DAY. Every available TECHNICIAN is working to accommodate the testing of the thousand or so PROGRAMMERS. Twelve testing stations operate simultaneously. A HOMICIDE DETECTIVE supervises each station. JEROME reaches the head of the line. He notes an exiting COLLEAGUE holding a cotton ball to his arm. A NURSE directs Jerome to LAMAR's testing station. Lamar deposits the previous patient's labeled vial into a blood carousel under the watchful eye of a large DETECTIVE, clearly not relishing his assignment. Jerome rolls up his sleeve. JEROME (referring to the table lined with syringes) What's with the plungers, Lamar? What are you doing, opening a blood bank? The syringes are clearly not Lamar's idea. LAMAR (sarcastic) The gentlemen of law enforcement are concerned that my testing methods may have been compromised. Lamar inserts a fresh syringe into Jerome's arm. As Lamar draws the blood, Jerome suddenly flinches and flexes his arm violently, causing the needle to bend and buckle, exiting the skin from a second puncture point. JEROME Damn!! Having pulled away from Lamar's grasp, Jerome withdraws the bent needle himself, blood still squirting from his vein. LAMAR (grabbing a nearby wad of gauze) Jesus--I'm sorry, Jerome. The large Homicide Detective winces and turns away from the red arcing spray, a splash of blood spattering his shoes. In the midst of the commotion, with his practised sleight-of-hand, Jerome removes the vial from the syringe and replaces it with another concealed vial. JEROME (unfazed, putting Lamar at his ease) You must be out of practise, Lamar. Lamar hurriedly takes the syringe from Jerome. LAMAR (examining and removing the switched vial from the bent syringe) I've got enough here. JEROME (regarding the squimish detective, as he holds the gauze to his arm) Need any more, you can always get it off his shoes. The Detective notices the spatter of blood across his brogues and, with a look of disdain, wipes it clean. He tosses the incriminating tissue down a hygenically sealed garbage shoot. Lamar places Jerome's labelled vial in the carousel where it is immediately analyzed by the computer. Jerome's "legitimate" Employee ID code appears on the screen - "VALID". Another EMPLOYEE enters the testing lab. INT. GATTACA. DAY. JEROME exits the testing lab with the gauze held to his arm. IRENE is standing outside the door. IRENE So you didn't do it after all. JEROME (joking darkly) I guess somebody beat me to it. INT. GATTACA - MEZZANINE FLOOR. LATER IN THE DAY. From above, the INVESTIGATOR and HUGO observe the final EMPLOYEE exit the testing lab. LAMAR, following the employee out of the lab, throws a look of vindication to the two cops. DETECTIVE HUGO That's the last. INVESTIGATOR Something's not right. DETECTIVE HUGO (losing his patience) He's not here. It's a blind alley. INVESTIGATOR (resolute) No, we've missed something. We Hoover again. DETECTIVE HUGO We don't have the manpower. INVESTIGATOR Get it. From outside, if you have to. DETECTIVE HUGO From what budget? INVESTIGATOR (angered by Hugo's excuses) I'll take it out of your damn pension if you question my authority one more time! The INVESTIGATOR turns his back on his subordinate and idly contemplates the nearby telescope. Hugo resignedly relays the news to Director Josef who is standing some distance away. Josef's immediate reaction is to march towards the Investigator, Hugo trailing behind. DIRECTOR JOSEF collects himself as he notices the Investigator's hand on the telescope. DIRECTOR JOSEF Would you care to look--in the telescope? INVESTIGATOR Thank you, no. DIRECTOR JOSEF (still referring to the telescope) One look through there and you would know why I can't possibly allow you to disrupt operations any further. INVESTIGATOR (unfazed) You're so unconcerned that you have a killer in your midst. DIRECTOR JOSEF Right now, your presence is creating more of a threat. I don't think you have any concept of what we do here--how meticulous our preparations must be. We are about to send twelve people through 140 million miles of blackness to rendezvous with an object the size of a house and the color of coal. So it's rather critical to point them in the right direction. And we certainly don't need you looking over our shoulders. Besides, I don't believe there is any evidence that the killer is amongst us. I don't see too many other dead bodies littering the place. INVESTIGATOR (surveying the mostly empty facility) No, but since there aren't too many live ones tonight either, you won't mind us conducting one further sweep. If he does not work here, then there should be no other trace of him. (to Hugo) I think you'd better get some people out of bed, Detective. (a thought occurs) In the meantime we can re-check his favorite haunt. Director Josef quietly seethes. INVESTIGATOR (to Josef, referring to the telescope) You see, Director, I prefer my microscope. INT. EUGENE'S CONDOMINIUM. DAY. JEROME readies himself for an evening out - a bandage around his arm from the needle puncture. EUGENE wheels himself in. EUGENE Where are we going? JEROME (slightly guilty) I'm sorry. I've got plans. EUGENE (feigning hurt) Again? JEROME (referring to his bandage) She's already got her doubts. I have to act like nothing's wrong. EUGENE I'm sure you'll be very convincing. Jerome ignores the remark. EUGENE Where are you taking her? JEROME Michael's. Eugene looks at him askance. JEROME Everybody goes there. EUGENE (incredulous, glancing around the room) You may as well invite her here. JEROME (afterthought as he picks up his jacket) Will you be okay? EUGENE Don't worry about your little pin cushion. To be honest, I'm looking forward to having the place to myself. JEROME (seeing through the bravado) We'll still be able to talk when I'm away. The conversation will just keep getting longer. EUGENE How long? JEROME By the time I'm at the Belt, you phone and say, "How are you?" Forty-five minutes later I reply, "Not bad. How are you?" EUGENE I guess I'd better have something important to say if it takes that long to get an answer. INT. MICHAEL'S CLUB. NIGHT. IRENE and JEROME step off the dance floor of the smoky, decadent dinner club and take a seat at their table. Irene is agog at the strange assortment of PATRONS, the cigars, the laden dessert trolleys. It is all slightly off from the pristine world she is accustomed to. IRENE What is this place? JEROME (wry smile, enjoying her fascination) You've never been here? (a dessert trolley is wheeled up) Let me order for you. Jerome selects a chocolate torte from the trolley. Jerome savors a spoonful. Irene is tempted but then remembers herself. IRENE I'd better not. She reaches for her elegant pill box. Jerome takes another spoonful. JEROME So sure of what you can't do. Do you even know what it tastes like, Irene? Irene goes to deny it but cannot. MICHAEL suddenly approaches the table with a WAITER in tow. Irene is about to steal a taste of the dessert with her finger when their plates and glasses are whisked away and the table immediately hoovered. Michael whispers in Jerome's ear. MICHAEL Take the side door. Jerome looks up in time to see DETECTIVE HUGO coming through the front entrance with several other DETECTIVES. DETECTIVE (to his colleagues) Check for lenses, hairpieces-- A Detective shines a flashlight in the eyes of a MALE PATRON. A SECOND DETECTIVE tugs the hair of a SECOND PATRON. Jerome takes Irene by the hand and escorts her out of the side exit. Several other COUPLES make for the parking lot. IRENE Why are we leaving? JEROME (attempting to explain the hasty exit) Those checks take forever. EXT. MICHAEL'S CLUB - SIDE ALLEY. NIGHT. Spilling out of the exit, JEROME and IRENE find a burly plain clothes DETECTIVE barring their way. Before the Detective can say a word, Jerome has wrapped his fist in his jacket sleeve and smashed him in the face. He continues to beat the Detective until he lies motionless on the ground. IRENE (stunned) Jerome! Spying other Detectives some distance away in the parking lot. Jerome leads Irene out of a hidden side gate. IRENE What about the car? JEROME (grabbing her by the hand) Let's walk. IRENE Who are they? JEROME (holding his bruised knuckles) It's not safe. I shouldn't have brought you here. Jerome drags Irene across a vast, desolate lot, lit only by moonlight. Feeling exposed, he breaks into a run. IRENE I can't. JEROME (anxious) Come on. IRENE My medication. I left it back there. JEROME We'll get it later. (forcing her to look him in the eye) Irene, please. Irene realizes his seriousness. She begins to run with him. The clearing is wider than Jerome anticipated. They are only halfway across - extremely vulnerable if the Detective think yo look in their direction. INT. MICHAEL'S. NIGHT. The INVESTIGATOR is grilling MICHAEL, the club's owner. The investigator suspiciously regards the multitude of mini-vacs in the kitchen and the incinerator burning the refuse. INVESTIGATOR (an accusing tone) You run a clean establishment. MICHAEL Are you a health inspector? INVESTIGATOR (showing Vincent's mugshot) Do you recognize this man? MICHAEL My eyes aren't so good. INVESTIGATOR I bet. Hugo calls out from the side door where he has discovered his fallen colleague. HUGO Sir. The Investigator hurries to him. INVESTIGATOR (to the still dazed Detective, examining his injuries) Did he hit you with his fist? DETECTIVE (head in his hands) More like a hammer. INVESTIGATOR (reprimanding the beaten Detective) Don't touch your face. Don't swallow. Don't spit. (to Hugo) Quick, clean his teeth. Hugo uses a flashlight and a small dental-like implement to try to pick skin from Jerome's knuckles from between the Detective's teeth. The Investigator finds the hidden side door. EXT. DESOLATE LOT. NIGHT. JEROME and IRENE continue to sprint across the enormous vacant lot in the moonlight, splashing through deposits of mud and water. Just as the gate opens in the distance, Jerome hurls Irene into the safety of the undergrowth on the other side. Irene, out of breath, desperately feels for her pulse. IRENE (upset, a strangled protest) Are you trying to kill me? Are you?! Don't you understand, I can't do that! Jerome tenderly removes Irene's hand from her pulse. JEROME You just did. Irene looks back across the vast clearing they have just negotiated, realizing what she has just done. From across the other side of the clearing comes an echoing cry from the center FIGURE. INVESTIGATOR (OC) Vincent! Vincent! EXT. MICHAEL'S. NIGHT. The INVESTIGATOR is about to cry out Vincent's name once again when he realizes DETECTIVE HUGO and the other DETECTIVES are watching him, askance. INVESTIGATOR (to Hugo, covering his frustration) What are you waiting for? DETECTIVE HUGO Where do we start? INVESTIGATOR We'll vacuum these streets if we have to. DETECTIVE (handing the Investigator Irene's pill box) We caught them trying to flush these, Sir. The Investigator carefully examines the heart pills. EXT. IRENE'S APARTMENT. NIGHT. JEROME walks IRENE to the steps of her apartment. Jerome thinks about departing but Irene takes him gently by the hand. IRENE So sure of what you can't do. Jerome follows her inside. INT. IRENE'S BEDROOM. NIGHT. JEROME and IRENE climb a staircase to her bedroom. Without another word they begin to make love. LATER THAT NIGHT, JEROME cannot sleep. He rises quietly so as not to disturb IRENE. He silently opens the double-windows of the upstairs bedroom. He carefully gathers his pillow from the bed and shakes it out of the window. Slowly Jerome turns to gaze at the wood floor. In the moonlight we see an EXTREME CLOSE UP of a single hair lying on the floorboards. Jerome bends and picks up the hair, trying to identify it in the dim light. On his hands and knees he tries to clean the floor with a towel. Irene turns over in the bed. Jerome freezes but she continues to sleep. He realizes he may be spreading even more of his skin and hair over the floor. Overcome with frustration and the enormity of his task, he begins to quietly weep. EXT. A FIELD. DAWN. A light shroud of mist hangs over the trees that encircle a grassy clearing beyond Irene's building. Something lies in the center of the clearing. We jump-cut to an EXTREME CLOSE UP of two or three blades of grass. Bristles rain down on the blades. Withotu access to his incinerator, the crouched, naked figure of JEROME disposes of his whiskers, skin and hair in an open field. His clothes sit in a neat pile at his side. He pours glycolic acid over his body and scrubs at his back, feet and hands with a brush. There is a haunted, tortured look in his eyes as he tries desperately to rid himself of himself. INT. POOL. MORNING. The INVESTIGATOR swims obsessively in his aquatic treadmill. INT. IRENE'S APARTMENT. LATER THAT MORNING. Back in the bedroom, JEROME, partially dressed, holds IRENE in bed. She softly touches the scars on his shins. IRENE (referring to the shins) What happened? JEROME You remember the '99 Chrysler LeBaron? It's the exact height of the front fender. (shrugs) Looked right instead of left. IRENE (comforted by the thought) So you're not so smart after all. (awkward about raising the subject) I want you to know--if it ever came to it-- I'd be willing to get an ovum from the Egg Bank. In fact, I'd rather use a donor egg-- (quickly covering herself again) --if it came to it. JEROME But "if it came to it" then it couldn't have your-- (searching for an appropriate body part) --nose. (stroking her face) How perfect does your child have to be? IRENE (mildly irritated by what she perceives as his mocking) You hypocrite. Do you think for one moment you'd be doing what you're doing if it wasn't for who you are--what you are? Don't you get any satisfaction knowing that your children will be able to live to a ripe old age unless they do something foolish? JEROME That's precisely what scaresme--that they won't do anything foolish or courageous or anything--worth a Goddamn. Irene is taken aback by Jerome's passion, regarding him in a new light. INT. EUGENE'S CONDOMINIUM. MORNING. EUGENE urinates into a large plastic container while drinking bottled water at the same time. He already has several other containers of urine on the table beside him. INT. GATTACA. MORNING. The INVESTIGATOR and DETECTIVE HUGO keep a wary eye on the outfitted DETECTIVES re-vacuuming the empty computer complex with their mini-vacs. HUGO (reading newspaper) My wife and I--we're thinking of starting a family. INVESTIGATOR (shrugs, ambivalent) Why not? HUGO These new personality corrections I've been reading about. INVESTIGATOR You worried about the cost? HUGO Not that. INVESTIGATOR (regarding Hugo with a condescending smile) They said the same thing about myopia and obesity. You think your children would be less human if they were less violent, angry, spiteful? Maybe they'd be more human. From where I sit the world could stand a little improving. We dwell on one DETECTIVE in particular, snatching a garbage bag from CAESAR, the janitor. DETECTIVE Don't touch that. It's evidence. He puts a pile of discarded paper cups aside for later testing. INT. GATTACA CORPORATION. LATER THAT MORNING. In the vast, empty Gattaca complex the INVESTIGATOR inspects a specimen bag containing Jerome's paper cup with DIRECTOR JOSEF and DETECTIVE HUGO. DETECTIVE HUGO Positive saliva match. The cup was definitely used since the original sweep. INVESTIGATOR So we have two choices. Either our suspect came back to the murder scene for a drink of water and I don't know anybody that thirsty or... (looking out over the empty complex) ...he is here. (resolute) We test again. You're right, Hugo, this was a desperate act. Someone had a lot to lose that night--perhaps their place in line. (to Director Josef) I'd like the profiles of everyone with an upcoming mission. DIRECTOR JOSEF (nervous) Twelve have a mission within the week. INVESTIGATOR This time I will supervise each test personally. INT/EXT. GATTACA. MORNING. JEROME and IRENE walk towards the entrance to Gattaca. Spying the Homicide Investigation trucks parked at the rear of the building and the silhouette of the INVESTIGATOR in the doorway, Jerome pulls up sharply. Irene notices his unease. IRENE What is it? JEROME I forgot something--something at home. I'll see you later. Jerome kisses her. Irene, also aware of the trucks, interrogates Jerome with her eyes. IRENE I'll miss you. Jerome is still focussed on the entranceway. IRENE (looking skywards) --when you go away. JEROME We could go together one day. Irene considers the idea. She enters Gattaca alone. INT. GATTACA AEROSPACE CORPORATION - COMPUTER COMPLEX. DAY. IRENE prepares a stack of ID photos of CREW MEMBERS for the INVESTIGATOR. She closely inspects the doctored photo of JEROME, hesitating before adding it to the file. The camera dwells on JEROME's vacant work station. The INVESTIGATOR curiously regards the empty chair. He is accompanied by DETECTIVE HUGO, DIRECTOR JOSEF and IRENE. DETECTIVE HUGO He's the only absentee. DIRECTOR JOSEF A little nausea. Quite common. INVESTIGATOR At least it's nothing contagious. DIRECTOR JOSEF (unduly agitated) I will not permit any further testing on the eve of a mission. We're already counting backwards. The INVESTIGATOR ignores Josef and takes a pocket knife from his jacket. He prises out the "ESC" key from Jerome's keyboard, places the key in a specimen bag and deposits it in his jacket. IRENE (picking up a phone) I'll call and let him know. The Investigator gently but firmly removes the phone from Irene's hand and replaces the receiver in the cradle. INVESTIGATOR Let's not spoil the surprise. (to Irene) I understand you can show us the way. The anxious Director Josef calls out to protest one further time but the Investigator is on his way out of the door. EXT. STREET OUTSIDE GATTACA. DAY. Outside the entrance to Gattaca, trying to hail a taxi, JEROME is startled to see a car carrying the INVESTIGATOR, DETECTIVE HUGO and IRENE roar out of the driveway. JEROME calls on his portable wristphone. INT. EUGENE'S CONDOMINIUM. DAY. EUGENE, at his window, filling sachets as usual, hesitates before answering the phone. EUGENE Hello? JEROME (OC) How would you like to be yourself for the day? EUGENE (nonchalant) I was never very good at it, remember? INT. EUGENE'S CONDOMINIUM / HALLWAY. DAY. With a look of resolve, EUGENE hangs up the phone. He wheels his chair up to the sweeping staircase and regards the first of many dozen steps. The daunting staircase spirals away above him. INT. INVESTIGATOR'S CAR. DAY. HUGO drives. The INVESTIGATOR looks to IRENE in the rear seat. INVESTIGATOR (taunting) You don't know who he is, do you, Irene? He hands her the pill box found in Michael's. INVESTIGATOR You think you have problems? INT. EUGENE'S CONDO/JEROME'S CONDO. DAY. Having wheeled his chair out of sight, EUGENE eases himself out of his wheelchair and onto the floor. Using his elbows, commando-style, dragging his lifeless legs behind him, he proceeds to crawl across the floor and up the first step of the long spiral staircase. We observe his agonizingly slow progress up a staircase that, from Eugene's point of view, appears to have doubled in length. EXT. CONDOMINIUM COMPLEX. DAY. The INVESTIGATOR and DETECTIVE HUGO emerge from their car with IRENE in tow. They take in the impressive complex - the Investigator gets a glimpse of the empty pool. They approach the intercom at the entrance. INT. JEROME'S CONDOMINIUM. DAY. EUGENE, bathed in sweat, finally crests the landing of the staircase. No respite. As he drags himself across the floor the internal phone rings. He frantically stretches up and knocks the phone off its hook so he can talk from his prone position on the floor. INT. CONDOMINIUM - LOBBY. DAY. IRENE is on the phone, closely watched by the INVESTIGATOR and DETECTIVE HUGO. EUGENE (OC) (through intercom, no trace of his distress) Hello. IRENE (a moment's hesitation) Jerome--? EUGENE Hello, sweatheart. Come on up. INT. JEROME'S CONDOMINIUM. DAY. With no mean effort, EUGENE finally manages to replace the phone on its cradle. He desperately crawls up onto the sofa. However, spying the upright vacuum cleaner in the open closet, he is forced to crawl there and remove the vacuum bag. He frantically crawls back towards the sofa and stuffs the bag behind a cushion. INT. JEROME'S CONDOMINIUM. DAY. IRENE enters the door deliberately left ajar, closely followed by the INVESTIGATOR and DETECTIVE HUGO. EUGENE is propped up on the sofa, TV remote control placed in his useless hand to cover his paralysis. He has a stainless steel bowl next to him and has crossed his lifeless legs for a more natural effect. Eugene calmy motions the confused Irene towards him. EUGENE Where's my kiss? The Investigator scrutinizes Irene's reaction. With only the merest hesitation she takes her cue from Eugene and kisses him affectionately on the forehead. She perches herself on the arm of the sofa. Eugene takes the opportunity to rest his arm on her leg. IRENE Good to see you're feeling better. EUGENE Now you're here. Who are your "friends"? IRENE It's about the Director. EUGENE (feigning boredom) Again? The Investigator slowly circles Eugene, regarding him with the utmost scrutiny. He compares his face to the doctored Gattaca ID photo - a passable likeness. Eugene bends towards the bowl and dry retches. EUGENE Forgive me for not getting up. Irene puts a comforting hand on Eugene's shoulder. IRENE (to the Investigator) Couldn't we do this another time? INVESTIGATOR I don't believe so. Detective Hugo takes a seat in the chair beside the sofa and unpacks a syringe from the kit he carries. DETECTIVE HUGO This won't take a moment. Detective Hugo swabs Eugene's inner arm. All eyes are trained on the tip of the needle as it punctures the vein. EUGENE (reassuring to Irene, referring to the blood flowing into the syringe) It's okay. Maybe they can find out what I've got. Under the Investigator's watchful eye, Detective Hugo withdraws the syringe and immediately inserts a small amount of the blood into the portable analyzer he wears. Naturally, it confirms that Eugene is Jerome. Irene does her best to conceal her shock. Hiding his frustration, the Investigator distractedly tours the room while Hugo packs up his gear. The Investigator idly toys with the telescope pointed out of the window. Next he wanders towards the closet and reaches for the doorknob. INVESTIGATOR Mind if I take a leak? EUGENE As long as you don't do it in my closet. (nodding to the other side of the room) Over there. INT. JEROME'S CONDOMINIUM - BATHROOM. DAY. The INVESTIGATOR immediately pulls a specimen bag from his jacket pocket and closely inspects the stainless steel toilet and sink. They are both spotless. The shower stall is also scrupulously clean. He flushes the toilet and exits. Lost in thought, the INVESTIGATOR approaches the closet again and wheels out Jerome's upright vacuum cleaner. He is disappointed a second time to find no vacuum bag inside. The Investigator returns the vacuum cleaner to the closet and produces a mini-vac from Detective Hugo's crime bag. INVESTIGATOR (to Eugene, referring to ther mini-vac) May I? EUGENE Clean the whole house if you want. IRENE (taking Eugene's lead) Actually, the kitchen needs doing. The Investigator switches on the mini-vac to take a specimen from the floor, then promptly kills the machine. Looking down, the Investigator notices the trail of Eugene's perspiration on the highly polished floor leading to the spiral staircase. Eugene, reading the Investigator's mind, goes to call out but the words remain frozen on his tongue. Hugo follows his superior as they start to descend the stairs. Irene and Eugene are left staring at one another. INT. CONDO - STAIRCASE. DAY. JEROME catches the merest glimpse of the INVESTIGATOR and DETECTIVE HUGO before he slips behind a doorway in Eugene's condominium. Jerome anxiously regards Eugene's empty wheelchair sitting there. On the stairs, Hugo's phone rings. DETECTIVE HUGO (OC) (into phone, increasingly encouraged) Yes?...Yes...yes... The Investigator is already at the foot of the stairs in Eugene's condo when the Detective calls to him. DETECTIVE (urgent, to Investigator) Come quickly. We have him. The Investigator's eyes light up. He retraces his steps up the staircase after Detective Hugo. INT. JEROME'S CONDOMINIUM. DAY. JEROME, white as a ghost, climbs the stairs, emerging into his own condominium. He embraces the beaming EUGENE, still sitting on the sofa. JEROME (numb) How are you, Jerome? EUGENE Not bad, Jerome. JEROME How the hell did you get here. EUGENE (deadpan) I could always walk. I've been faking it. Jerome almost laughs, despite the situation. Only now does he notice Irene on the other side of the room, her mind racing. She looks at Jerome and Eugene together and runs from the apartment. JEROME (calling after her) Irene. Jerome goes to follow but Eugene stops him. INT. CRIME LABORATORY. DAY. An EXTREME CLOSE UP of dried blood - brittle and cracking - on a pair of soiled latex gloves. A latex head mask, suit of clothes and shoe covers are similarly caked. The INVESTIGATOR and DETECTIVE HUGO watch as a white-coated FORENSIC TECHNICIAN feeds a minute sample of the dried blood into an analyzer. The INVESTIGATOR wanders over to a one-way glass window through which he can observe DIRECTOR JOSEF, sitting numb but strangely serene in an interrogation room. The Investigator, in a state of shock himself, cannot yet bring himself to believe what is plainly obvious. INVESTIGATOR (gazing at the Director, struggling to come to grips with the turn of events) This can't be him. The Detective regards his superior incredulously, intrigued that he could still cling so stubbornly to his theory in the face of such overwhelming evidence. DETECTIVE HUGO (intrigued) We found his spit in the dead director's eye. He's signed a confession--supplied us with the suit he wore on the night. What more do you want? INVESTIGATOR (a trace of desperation, grasping at straws) Luca could still be an accomplice. The Investigator turns away, unwilling or unable to accept the explanation. Hugo regards the Investigator with a trace of sympathy. He furtively retrieves the Investigator's tissue from the trash. INT. GATTACA. DAY. JEROME sits in a formal briefing room with the other CREW MEMBERS of his mission, receiving their final pre-flight instructions. LAMAR looks on approvingly. MISSION COMMANDER --Finally, I'd like to welcome Navigator Morrow on his debut mission--if we get lost out there, nobody has a map of the heavens in his head like Jerome. Jerome looks up bashfully. MISSION COMMANDER (adopting a more serious tone) I'm gratified that there is no longer a cloud hanging over tomorrow's launch. Now we can put this unpleasantness behind us and concentrate on the task at hand. I don't have to tell you how important this mission is--the Belt could hold the key to the origin of life - why we are what we are. (injecting a note of levity) I know many of you have been asking that question about me for long enough. (referring to a projected photograph of a misshapen asteroid behind his head) Gaspra--how could something so ugly hold so many beautiful secrets? Polite smiles from his colleagues. MISSION COMMANDER Enjoy your final evening with your families. We'll all be a year older when they see us next. And don't be late tomorrow. You don't want to miss this. We focus on Jerome. He appears to have his head in the heavens already. INT. CRIME LAB. NIGHT. The tormented INVESTIGATOR lies on the floor of his lab, staring at the ceiling. he winces in discomfort. He is lying on something. He rolls over and retrieves the irritation from his pocket. It is the "ESC" computer key he prized from Jerome's keyboard. He gazes at the key for a moment and then gets to his feet. He resurrects an old fingerprint kit from a cupboard. Carefully removing the key from the specimen bag - marked, "MORROW, Jerome" - he begins to dust it for a fingerprint. He places the key under a camera. The enlarged print appears on the lefthand side of his computer screen. The word "MATCH" blinks onto the screen. However the face that appears from the computer's databank is not that of "MORROW, Jerome" but "LUCA, Vincent". The Investigator regards the photograph in disbelief. DETECTIVE HUGO casually enters the lab, something odd in his nonchalant demeanor. INVESTIGATOR (excited) Hugo! I've found him! HUGO I've found him too. INVESTIGATOR (not listening, referring to his discovery) A fingerprint. There's something to be said for nostalgia. (realizing what Hugo has said) What did you find? Hugo puts a specimen bag on the counter. It contains the Investigator's discarded tissue. The Investigator does not recognize it. DETECTIVE HUGO It's not exactly him. INVESTIGATOR (interest piqued) Where did you get this? The Investigator immediately deposits the tissue into an analyzer. DETECTIVE HUGO (referring to the tissue) But this man does share some common characteristics with your suspect. Not so many but enough. It appears the eyelash has a brother--of a kind. The Investigator realizes the significance and looks guiltily to Hugo. Hugo exits the lab, leaving the Investigator to stare at his own FACE in his analyzing machine. INT. GATTACA - JANITOR'S LOCKER ROOM. NIGHT. CAESAR, the old janitor, enters the locker room. He is about to wearily open his locker when he senses another presence in the room. He turns to find JEROME sitting there on a bench. Although clearly delighted, CAESAR tries to disguise his pleasure. CAESAR So you've finally seen sense and come back to your old job, Vincent. JEROME Not yet, I'm afraid. CAESAR No? What's keeping you? JEROME I guess I'm a slow learner. CAESAR I guess so. (looking up through the small window) Well, while you're up there, maybe you could tidy the place up a bit. JEROME I'll see what I can do. The two men embrace, Caesar breaking off before Jerome. CAESAR And don't go getting everybody lost out there. You'll give us a bad name. You won't have me to keep an eye on you, you know. JEROME (glancing to Caesar's locker) By the way, I left some trash in your locker. CAESAR (happy to oblige) I'll take care of it. Jerome departs. Caesar watches him go and turns back to his locker. He opens it to find a brand new, high-tech telescope sitting inside. The old janitor gets over his surprise and beams broadly - he looks back in Jerome's direction but he has gone. The old janitor cannot help himself and reverently reaches for the telescope's eyepiece. INT. GATTACA - COMPUTER COMPLEX. NIGHT. In the dimly-lit, empty computer complex, JEROME takes a last look around. He sits at his computer, one final time replaying the graphic representation of his path through the cosmos that he is on the eve of taking for real. He notices the key missing from his keyboard. Instantly realizing the significance, he rises from his seat to flee. INVESTIGATOR Vincent-- Jerome is stopped in his tracks by the sound of his given name and the voice that calls it. He makes no further attempt to flee but turns to face his pursuer. The Investigator steps out of the shadows. INVESTIGATOR Vincent, what are you running from? JEROME (disturbingly calm) From Vincent. The two men face each other for the first time in a long time. The Investigator is transfixed by Jerome's face - scarcely able to believe his eyes. INVESTIGATOR Has it been so long, you don't remember who I am? JEROME (nodding to the Investigator's badge) Maybe it's you who's forgotten. (meeting his gaze) What are you doing here, Anton? It is finally apparent the Investigator is Jerome's younger brother Anton [AS WE SHALL REFER TO THE INVESTIGATOR FOR THE REST OF THE FILM]. ANTON I could ask you the same question. (glancing to the impressive complex) I have a right to be here, you don't. Jerome smiles at him condescendingly. JEROME You almost sound like you believe that. ANTON (ignoring the remark, extending his hand) Come with me now, Vincent. You've gone as far as you can go. JEROME (refusing Anton's hand, glancing to the telescope above them) There are a few million miles to go yet. ANTON (adamant) It's over. JEROME (shaking his head) Is that the only way you can succeed, Anton, to see me fail? ANTON It's for the best. JEROME (increasingly angered) God, even you want to tell me what I can't do. In case you hadn't noticed, Anton, I don't need rescuing. But you did, once. Anton is clearly stung by the memory. JEROME (goading) Well? You have all the answers. How is that possible? ANTON (resolute) You didn't beat me that day. I beat myself. JEROME Who are you trying to convince? ANTON (angry) I will prove it to you. Come swim with me now, Vincent. Now--tonight. Jerome regards Anton with a knowing smile. Somewhere in Gattaca a phone rings. INT/EXT. IRENE'S CAR OUTSIDE CONDOMINIUM COMPLEX. NIGHT. IRENE, sitting in her car outside Jerome's condominium, hangs up her portable phone. In her agitation, her finger involuntarily goes to her pulse. She catches herself and removes the finger from her wrist as if it has burned her. She exits the car. INT. JEROME'S CONDOMINIUM/EUGENE'S CONDOMINIUM. NIGHT. IRENE quietly knocks on Jerome's door but there is no response. Trying the handle, the door opens. Her curiosity takes her inside. All is quiet. IRENE calls out. IRENE Hello. No reply. Irene hesitantly ventures further, drawn to the spiral staircase. She tentatively makes her way down the stairs and into Eugene's dimly lit condominium. With wonder and reverence, she examines the instruments and samples laid out on Eugene's work benches. She opens the refrigerator in the bathroom and inspects the samples and sachets. Finally she regards the empty incinerator. EUGENE (OC) Quite something, isn't it? Irene turns. Eugene has entered through the mirrored door, not at all displeased by her unexpected visit. EUGENE (referring to the incinerator) That's where we get rid of the traces of him although we never truly succeeded. IRENE I've been looking for him. Do you know where he is? EUGENE (unconcerned) He's probably leaving some more of me around the place before he goes. Eugene idly inspects one of the blood sachets. EUGENE Don't be deceived, Irene. These are just the clothes. He has to wear them. Something I could never do. IRENE What's wrong with him? EUGENE (sympathetic smile) You have more in common than you know. Irene's hand involuntarily goes to her heart. EUGENE But they say hisis already ten thousand beats overdue. I have my doubts. (wry smile) For all my gifts, they could never engineer me a heart like Vincent's. Irene turns back to the incinerator, lost in though. EXT. BEACH. NIGHT. JEROME and ANTON walk down a dune together towards the beach not far from Gattaca - an ocean beach pounded by an angry, black sea. Jerome picks up a sharp piece of shell and slices the end of his thumb. A drop of blood oozes out. He offers the shell to Anton but Anton does not take it. Both men begin to disrobe. The brothers stand beside each other on the sand once again - Anton still the more athletically-built of the two. Together, they enter the raging surf. Diving through the breaking waves, they begin to swim. In the moonlit night, we watch their two bodies swimming side by side. They swim a long distance, Anton waiting for his brother to tire. But the pace does not slacken. Anton pulls up in the water. Sensing his brother is no longer beside him, Jerome also pulls up. They tread water several yards apart. ANTON (attempting to conceal his distress) How are you doing this, Vincent? How have you done any of this? JEROME Now is your chance to find out. Jerome swims away a second time. Anton is forced to follow once again. Angry now, gritting his teeth, Anton calls upon the same determination we have witnessed during his constant swimming in the pool. He puts on a spurt, slowly reeling in Jerome. Anton gradually draws alongside Jerome, certain that this effort will demoralize his older brother. But Jerome has been foxing - waiting for him to catch up. Jerome smiles at Anton. With almost a trace of sympathy, he forges ahead again. Anton is forced to go with him. They swim again for a long distance. It is Anton who gradually becomes demoralized - his strokes weaken, his will draining away. Anton pulls up, exhausted and fearful. Jerome also pulls up. However his face displays none of Anton's anxiety. They tread water several yards apart. The ocean is choppier now. The view of the lights on the shore is obscured by the peaks of the waves. ANTON (panic starting to show) Vincent, where's the shore? We're too far out. We have to go back! JEROME (calling back) Too late for that. We're closer to the other side. Anton looks towards the empty horizon. ANTON What other side? How far do you want to go?! Do you want to drown us both? (becoming hysterical) How are we going to get back?! Jerome merely smiles back at his younger brother, a disturbingly serene smile. JEROME (eerily calm) You wanted to know how I did it. That's how I did it, Anton. I never saved anything for the swim back. Anton stares at Jerome, aghast. The two men face each other in silence, treading water several yards apart in the dark, rolling ocean. Jerome turns and heads back towards the shore. Anton is left alone with the terrifying realization. The only sound, the wind and the water. EXT. CONDOMINIUM. NIGHT. JEROME, dishevelled and distressed, arrives back at the condominium. He notices IRENE standing at the edge of the pool. She turns. He approaches her. They stand several yards apart. Looking into each other's eyes, they do not speak. Jerome abruptly pulls a hair from his head - for once one of his own. JEROME (wry smile, offering the hair to Irene) Here, take it. Irene takes the hair, the significance not lost on her. JEROME (echoing Irene's words from their first encounter) If you're still interested, let me know. Irene contemplates the hair in her fingers for a moment, then deliberately lets it fall to the ground. IRENE (never taking her eyes from him, echoing Jerome's words from their first encounter) Sorry, the wind caught it. Once again there is not a breath of wind. The hair lies, plainly visible on the edge of the pool. From an upstairs window, EUGENE observes the couple. INT. JEROME'S CONDOMINIUM. NIGHT. We watch the silhouette of IRENE and JEROME making love in the bedroom. INT. EUGENE'S CONDOMINIUM. NIGHT. EUGENE, sitting in his darkened room, unscrews the cap of a plastic container and places it on a nearby table. We remain on Eugene's face as he opens his fly. INT. JEROME'S CONDOMINIUM. NIGHT. IRENE and JEROME lie in bed together after making love. For once Jerome is able to sleep unconcerned. It is Irene who lies awake, head against JEROME'S chest, listening to the sound of his erratically beating heart. However it has a soothing effect on her. She kisses Jerome and reluctantly rises from the bed. JEROME (awakening) A year is a long time. IRENE Not so long--just once around the sun. Jerome smiles. For once Irene seems to be looking forward to the trip. She exits the room. INT. INCINERATOR. MORNING. Inside the incinerator, JEROME scrapes away at himself - for the final time. He wistfully regards the brush in his hand. INT. EUGENE'S CONDOMINIUM. MORNING. JEROME, dressed for his departure, emerges down the spiral staircase into Eugene's condo. Jerome notices several suitcases at the foot of the stairs. EUGENE wheels into the room. EUGENE I have your samples ready. JEROME (confused) Have you forgotten? I don't need any samples where I'm going. EUGENE (meeting Jerome's gaze) No, but you might need them when you get back. Eugene wheels across the room and opens the mirrored door. The water vapor billows out. Jerome regards Eugene. Eugene leads Jerome inside for the first time. Inside are two rows of four identical, industrial refrigerators. They contain thousands of blood and urine specimens. Jerome regards them with awe and more than a little unease. EUGENE Everything you need to last you two lifetimes. EUGENE points out an extra specimen of semen in the first refrigerator. EUGENE There's an extra specimen. I wish I could give it to her myself. (afterthought) But then, you always were better at being me. Eugene leads the way out of the refrigerator room. JEROME (struggling to come to terms with the discovery) Why have you done this? EUGENE (as he seals the mirrored door) In case you get back before I do. JEROME Where are you going? EUGENE (glancing to the suitcases) I'm travelling too. Jerome goes to question Eugene's travel plans but thinks better of it. He kneels before his friend and embraces him. JEROME Thank you. EUGENE I got the better end of the deal. I just lent you my body--you lent me your dream. Jerome smiles and hugs Eugene a final time. Eugene stuffs an envelope into Jerome's pocket. EUGENE (referring to the note, glancing heavenwards) Not until you're upstairs. Jerome exits. Eugene watches him go. INT. GATTACA - DEPARTURE LOUNGE. NIGHT. JEROME enters a large holding area along with his other eleven CREW MEMBERS. Jerome's heart sinks as he recognizes LAMAR, greeting the crew for one final unexpected substance test. His colleagues groan good-naturedly but it is clearly far more than an inconvenience to Jerome. He looks towards the door he has just entered but there is no way back. One by one the crew are ushered behind a screen. Before he can think of a way out, it is Jerome's turn. He enters the cubicle. JEROME (as he takes the plastic cup from Lamar) What's this, Lamar? LAMAR New policy. From behind, we see Jerome unzip his fly. However for once Jerome does not urinate on cue - unused to operating his own equipment in front of the physician. LAMAR (intrigued by the out-of-character discharge) Flight got you nervous? JEROME There's a problem, Lamar. LAMAR (apparently not listening) Did I ever tell you about my son, Jerome? He's a big fan of yours. He wants to apply here. Jerome realizes he has no choice. Resigned to his fate, he begins to fill the cup. JEROME (as he urinates) Just remember, Lamar, I could have gone up and back and nobody would have been the wiser-- LAMAR (cutting him off) --Unfortunately my son's not all that they promised. But then, who know what he could do. Lamar takes the cup from Jerome in his gloved hand. Jerome anxiously watches his sample poured into the analyzer. Confirming Jerome's worst fears, the face of 20-YEAR-OLD VINCENT appears on the computer screen. However Lamar does not look at the screen. He stares Jerome in the eye. LAMAR For future reference-- (a brief glance to where Jerome has just zipped his fly) --righthanded men don't hold it with their left. It's just one of those things. Never lookig at the screen, Lamar presses a button marked, "VALID". LAMAR (knowing smile) Have a safe trip, Vincent. Jerome exits up a long enclosed escalator, realizing that Lamar has known all along. INT. EUGENE'S CONDOMINIUM. NIGHT. EUGENE knocks back a vodka. With a certain reverence he places his silver medal around his neck. INT. ESCALATOR. NIGHT. At the top of a long escalator, the door to a craft is secured. INT. EUGENE'S CONDOMINIUM. NIGHT. Eugene's wheelchair, empty, sits beside the door of the incinerator, also secured. EXT. LAUNCHPAD. NIGHT. A CLOSE UP of the flame of a rocket's engines igniting - the ball of fire engulfs the launchpad - filling the screen. INT. EUGENE'S CONDOMINIUM - INCINERATOR. NIGHT. Inside the incinerator another ball of fire - this time engulfing the unseen figure of EUGENE. We glimpse the medal around his neck, melting in the fierce blaze. EXT. GATTACA - LAUNCHPAD. NIGHT. As we have seen so often in the past, a rocket launches into the sky over Gattaca - however on this occasion it carries Jerome. INT. SPACECRAFT. NIGHT. We focus on JEROME's face - seeing little if any of the craft. Jerome's eyes are closed. His head is still - alarmingly still. Could the launch itself have been too much for him? He hear the thoguhts in his head. JEROME (VO) We came from the stars so they say, now it's time to go back. If I was conceived today, I would not get beyond eight cells, and yet here I am. In a way they were right, I don't have the heart for this world. (pause) The question is, why am I having so much trouble dying? Jerome's eyes blink open. He holds the letter from Eugene in his hand. It contains no words, merely a lock of EUGENE'S hair - for once preserved solely for its sentimental value. The hair, weightless, floats off the page. We focus on a porthole looking out upon a starscape. A STARSCAPE As we pan across the constellations, a title is superimposed upon the starscape: In a few short years, scientists will have completed the Human Genome Project, the mapping of all the genes that make up a human being. After 4 billion years of evolution by the slow and clumsy method of natural selection, we have now evolved to the point where we can direct our own evolution. The first title is replaced in the heavens by a second title. If only we had aquired this knowledge sooner, the following people would never have been born: A succession of portraits and photographs of RENOWNED and HISTORIC FIGURES fades in and out of the constellations - the accompanying titles list their affliction rather than their accomplishments. HOMER Blind from birth NAPOLEON BONAPARTE Epileptic COLETTE Arthritic LOU GERHIG Amyotrophic Lateral Sclerosis (Lou Gerhig's Disease) RITA HAYWORTH Alzheimer's Disease HELEN KELLER Blind and deaf STEPHEN HAWKING Lou Gerhig's Disease JACKIE JOYNER-KERSEE Asthmatic CHARLES DARWIN Chronic invalid The face of Charles Darwin fades off and another title appears out of the stars. Even Charles Darwin, the man who told of the survival of the fittest, numbered amongst our frailest. The title fades off and is replaced by one final title in the night sky. Of course, the other birth that would surely never have taken place is your own. CUT TO BLACK diff --git a/unformated_scripts/Script_Get Carter.txt b/unformated_scripts/Script_Get Carter.txt new file mode 100644 index 0000000000000000000000000000000000000000..1669bf768b3924f5786afab1a73dcd5c5bc9e1ed --- /dev/null +++ b/unformated_scripts/Script_Get Carter.txt @@ -0,0 +1 @@ + GET CARTER Screenplay by Mike Hodges Based on the novel Jack's Return Home by Ted Lewis Revised Draft, 1971 Copyright (c) 1971 Turner Entertainment Co All Rights Reserved. Copyright (c) 1971 Mike Hodges All Rights Reserved. FADE IN: EXT. PENTHOUSE APARTMENT - LONDON - NIGHT Framed in the large picture window stands JACK CARTER, alone, looking out at the night. He turns away as the heavy satin curtains close, wiping him from view. INT. FLETCHER'S APARTMENT - NIGHT A blinding beam of light cuts across the room. One pornographic slide after another hits the screen at the opposite end of the room. They show a dowdy group in some anonymous bedroom, frozen in various stages of a sexual orgy. GERALD FLETCHER is slumped on a sofa. His young wife, ANNA, is curled up beside him. SID FLETCHER, operating the projector's remote-control, has the same flaccid appearance as his twin brother. Jack Carter, drink in hand, watches from an armchair. Clunk. Another slide hits the screen. Gerald is getting turned on. He runs his hand along his wife's stockinged leg. Anna shudders momentarily. She obviously finds his touch repulsive. Carter watches Gerald's hand. GERALD (removing the cigar from his mouth) Bollock naked with his socks still on? SID (thoughtfully) They do that up North. GERALD What for? Protective purposes? He laughs. SID Ask me? GERALD Ask Jack. It's his old stamping ground. Carter turns sharply away to the cocktail cabinet. Lights and sweet music happen when he opens it. Clunk. The slide changes. SID Must be a bloody contortionist Still looking at the screen, Gerald continues. GERALD We don't want you to go up the North, Jack. Jack and Anna look at each other momentarily. There is definitely something between them. JACK No. Clunk. The slide changes. GERALD (groans) Not suede boots! SID Knock it off, Gerald. GERALD What? And get the clap? Clunk. The slide changes. GERALD You work for us, Jack. We have connections in those parts. I'd hate you to screw 'em up. Clunk. The slide changes. GERALD What's that? A python. Sid laughs raucously. Clunk. The slide changes. GERALD What are you going for? JACK To find out what happened. Clunk. The slide changes. GERALD Some hard nuts operate up there, Jack. They won't take kindly to someone from London poking his bugle in. JACK Too bad. GERALD I smell trouble, boy. Clunk. The slide changes. SID The law was satisfied. JACK Since when was that good enough? Clunk. The slide changes. GERALD Think again, Jack. JACK I will. EXT. RAIL TRACK - DAY Express train plunges into a tunnel Blackness. BEGIN TITLES: INT. TRAIN COMPARTMENT - DAY The compartment is full. Jack Carter sits in one corner, reading a Raymond Chandler paperback, Farewell My Lovely. EXT. RAIL TRACK - DAY The train speeds northwards. In the distance the stacks of a lonely power station belch a continuous stream of brown smoke. INT. TRAIN CORRIDOR - DAY Carter steadies himself as he comes along the corridor. EXT. RAIL TRACK - DAY A massive iron bridge crossing a river whips past. Its mesh sides create an almost hypnotic effect. INT. TRAIN TOILET - DAY Carter tips his head back and dispenses drops into his nose. EXT. RAIL TRACK - EVENING The train breaks from another tunnel. Evening light cuts across the track as the train hurtles on. INT. TRAIN RESTAURANT CAR - EVENING Carter pours himself a glass of water and takes out a small phial of brown pills. He swallows one. EXT. RAIL TRACK - NIGHT A chemical factory, brightly lit, passes by and the outskirts of the city appear. INT. TRAIN COMPARTMENT - NIGHT The train moves slowly along the platform and stops. Carter collects his coat and briefcase from the rack. EXT. NEWCASTLE STATION - NIGHT The street is fairly deserted. Carter exits with other passengers from the train. He pauses and looks about before crossing to the pub opposite. INT. THE LONG BAR - NIGHT A couple of youths are playing records on the juke box. An old man sits in the corner reading a newspaper. Carter enters through the swing door and a weedy BARMAN comes to serve him. CARTER Pint of bitter. The barman picks up a glass mug and begins to draw the beer. Carter snaps his fingers at him. CARTER In a thin glass. The barman sighs petulantly, transfers the beer into a thin glass and puts it on the counter. A telephone rings. The second barman answers it. BARMAN Is there a Mr Carter in the room? CARTER Yes. Carter walks to the far end of the bar and picks up the receiver. CARTER Hello? (pause) Margaret? (pause) Why the hell aren't you here? (he lights a cigarette.) What time? (pause) Is Doreen at the house? (pause) Who's with him then? (pause) When can I see you? Will you be there tomorrow? (pause) Now listen, Margaret... The line goes dead. Carter hangs up. INT. FRANK CARTER'S HOUSE - HALL - NIGHT A key hanging inside the letter box starts to move upwards and out through the flap. A moment later, the door opens. Carter is standing at the bottom of a flight of stairs in a worker's terraced house. He closes the door and climbs the stairs. INT. FRANK CARTER'S HOUSE - LANDING - NIGHT Carter moves cautiously. His eyes scan the peeling wallpaper, the mildew on the banisters. A roof leak hits an unseen bucket with depressing regularity. INT. FRANK CARTER'S HOUSE - BEDROOM - NIGHT An unmade bed with pyjamas on it, a beaten-up wardrobe, a dressing table and chair are about it. Carter hears a vehicle stopping on the street below. He eases back the ancient net curtain. Two men in a Land Rover are looking up. They see him and quickly drive off. Carter looks around the room. On top of the wardrobe there's an old shotgun. He reaches up and brings it down. Memories flood back. He reaches up again and finds a box of cartridges. More memories, jack and Frank grew up here. He leaves the gun on the bed and returns to the landing. INT. FRANK CARTER'S HOUSE - LIVING ROOM - NIGHT Pitch black. An overhead light snaps on to the face of a dead man FRANK CARTER. He is lying in a coffin. His eyes are closed, his skin made-up, like porcelain. Carter stands over the coffin. He gently touches his brother's crossed hands and folds the shroud over his face. He exits, turning out the light and closing the door. Darkness returns. INT. 'LAS VEGAS' BOARDING HOUSE - ENTRANCE HALL - NIGHT The landlady, EDNA GARFOOT, is climbing the stairs. She's well built, sexy, experienced. Carter follows with his baggage. He watches her appreciatively from behind. CARTER I won't be using the room tonight. EDNA (stops and turns) I see. CARTER I'm staying with a friend. EDNA (continuing up the stairs) Her husband docks tomorrow, does he? CARTER (smiles) It's not like that, luv. EDNA It never is. INT. BOARDING HOUSE - BEDROOM - NIGHT The door opens and the light goes on. It's a big room overlooking the road, furnished cheaply but comfortably. Edna and Carter enter, talking. EDNA Are you a traveller? CARTER (smiling) Definitely. EDNA (surveying the room) Will this do? CARTER (looking around) Very nice. (He takes his wallet out.) I'll pay you for tonight as well. EDNA Don't be bloody silly. You're the first since Monday. CARTER You sure? Carter gives her the money. EDNA Ta. CARTER (feeling the mattress) I'll bet this one's seen some action. Carter smiles and looks straight at her. Edna returns his look, dead pan. EDNA I'll give you the key when you come down. She closes the door. INT. FRANK CARTER'S HOUSE - LIVING ROOM - DAY Carter moves around the coffin as he shaves. His electric razor is plugged into the lamp above his dead brother. INT. FRANK CARTER'S HOUSE - LIVING ROOM - DAY The coffin lid is being screwed down. Carter stirs a cup of instant coffee while watching the undertakers at work. CARTER Was he in bad shape? UNDERTAKER They come worse. INT. HEARSE - DAY The hearse is parked outside the row of terraced houses. A youthful UNDERTAKER is minding it. He turns and looks through the back window as a young girl walks up the street. DOREEN CARTER is sixteen and, like most girls of her age, tries to look older. She wears all the right gear but it's cheap and doesn't fit properly. Her long hair is lank. There's something sad and embarrassing about her appearance. The young undertaker watches as she enters Frank's house. INT. FRANK CARTER'S HOUSE - LIVING ROOM - DAY The door opens slowly. Doreen stands there looking at the coffin. Carter sees her. CARTER Doreen? She seems mesmerized by what's going on. CARTER All right, are you? Doreen doesn 't answer. CARTER Been staying with a friend? Doreen nods. The undertaker coughs and thrusts another screw into the coffin. CARTER Sorry about your father. DOREEN (pause) Yeah. CARTER Tell me, Doreen, did the police say anything? DOREEN (dazed) They said he was drunk. INT. HEARSE - DAY The young undertaker is still in the hearse listening to the radio. In the driving mirror he sees the Land Rover moving slowly tip the road. It stops by the house. Two men suss the scene and drive off. INT. FRANK CARTER'S HOUSE - LIVING ROOM - DAY CARTER How's school? DOREEN I left last year. CARTER Oh, what you doing now? DOREEN Working at Woolworths. CARTER That must be interesting. DOREEN Yes. Carter and Doreen look at each other awkwardly. CARTER What you going to do? Live with Margaret? Doreen looks at him nervously, shakes her head and fumbles in her bag for a cigarette. Carter continues, slightly indignant. CARTER Well, why won't you come with us to South America? My fiancee won't mind, (pause) Your dad would have wanted it. The undertaker puts the final screw in. UNDERTAKER (to colleague) Get Hughbert up, will you? (to Carter) We're ready now, sir. EXT. FRANK CARTER'S HOUSE - DAY The undertakers struggle with the coffin down the narrow staircase into the street. Outside Carter and Doreen wait with two men. EDDIE APPLEYARD, a middle-aged man, is wearing a shabby tweed suit, cap and black tie. KEITH LACEY is a young barman who worked with Frank. EDDIE We weren't sure where it was taking place, like. CARTER Nice of you to come. EDDIE No. Frank was a good bloke. KEITH He was that. EDDIE One of the best. INT. LIMOUSINE - DAY Through the windscreen of the following limousine Carter can see his brother's coffin in the hearse as it moves slowly through the streets of the city. Sitting in front on fold-out seats are Eddie and Keith. KEITH I couldn't believe it when I heard. Carter is suddenly attentive. CARTER What? KEITH I mean, I was surprised when he didn't turn up for work. He was always on time. CARTER Did you work with him, Keith? KEITH At the Half Moon. EDDIE (not to be left out) It's a bloody funny thing. You know a bloke for six bloody years and all the time he's as calm as gentle Jesus... (pause) ...then he goes and does a thing like that. (he shakes his head.) It's a bloody funny thing. CARTER (quietly) Yeah. A bloody funny thing! EXT. CREMATORIUM GATES - DAY As the cortege drives into the crematorium, it passes the Land Rover parked outside. The same two men who passed Frank's house are in it. A long and expensive-looking funeral cortege passes out as they move up the driveway. INT. CREMATORIUM - DAY Carter, Doreen, Eddie and Keith are in the front pews facing the catafalque on which Frank's coffin rests. The vicar is already midway through the solemn words of the 'committal' when a woman enters. The clunk of her high heels cuts through the silence. Everybody looks round. CARTER (whispering to Doreen) Is that Margaret? Doreen nods. Frank's coffin sinks out of sight. INT. CREMATORIUM COMMITTAL CHAMBER - DAY Two men in long grey coats wait in silence. The coffin appears. Expertly, they take it and swing it on to a trolley. They push it up the wide corridor towards the furnace. One of the men starts whistling cheerfully. EXT. CREMATORIUM - DAY MARGARET is thirtyish, blonde, attractive in a tarty kind of way. Her heels are too high and she is wearing a cheap pair of sunglasses. She walks quickly away, down the cloisters, past the memorial tablets and urns. Carter comes out of the chapel and sees her. CARTER Margaret. Margaret stops and looks round. Carter joins her. I thought you weren't coming. MARGARET Changed me mind. They face each other in silence. Margaret looks past Carter and sees Doreen watching them at the end of the cloisters. She turns away and starts walking slowly. Carter moves with her. Margaret continues nervously. MARGARET Everyhing go off all right? CARTER Fine... (pause) I want to talk to you. MARGARET What about? CARTER Doreen. Margaret stops in her tracks and looks back at Doreen. She's still watching them. MARGARET (adamantly) She's nothing to do with me. CARTER (puzzled) What do you mean? You've been Frank's bird ever since her mother cleared off. You're closer to her than anyone. MARGARET (shaking her head) No. No. It's not like that. I've got a husband, you know. Margaret starts walking again, fast. Carter catches hold of her arm and stops her. CARTER Hold it! Hold it! (looking her in the eye) Who killed Frank, Margaret? MARGARET (nervously) Killed? I don't know anything about it. She moves off rapidly. Carter catches up with her. CARTER Really. MARGARET I must go. I'm in a hurry. CARTER I want to talk to you later. MARGARET I can't. CARTER Tomorrow morning, then? Margaret dithers. MARGARET Well, all right then. Twelve o'clock on the Iron Bridge. Margaret walks off as calmly as she can, her high heels clicking as she goes. Carter watches her disappear. Doreen watches too. INT. CREMATORIUM COMMITTAL CHAMBER - DAY Frank's coffin is slid inside the furnace. Flames start to lick it as the steel trap closes. INT. THE HALF MOON PUB - DAY It's a large room with a horseshoe bar in the centre, a real boozer. A handful of hard drinkers are already in position. Carter, Doreen, Keith and Eddie are sitting alone. Their table is already covered with glasses. Doreen appears to be slightly drunk on Babycham, Eddie on whisky and Keith on beer. Carter is stone-cold sober. EDDIE Absent friends. (He raises his glass and drinks, then continues thoughtfully.) You don't think he might have done it on purpose? KEITH What? You mean, like, kill himself? Eddie and Keith look at each other. Doreen watches them. She is getting very upset by the conversation. KEITH Naw. Frank? Kill himself? You what? Carter stares at Keith, who is getting uncomfortable. KEITH I mean, what for? CARTER That's what I was wondering. KEITH Come off it. Frank was... well... straight. He had no worries I know. Hell, we worked together every day for a year. It would have showed. CARTER Why would it? KEITH It just would. He was always the same. CARTER Since when did he drink whisky? KEITH Don't know. CARTER Nobody seems to know. Doreen is now crying openly. EDDIE (finishing off his drink) Bloody good bloke. One of the best. DOREEN (blurts out) How would you know? (She suddenly jumps up and empties her glass in Eddie's face.) Or you? Or you? None of you knew. I knew. He was me dad. She runs off out of the door crying. Keith goes to follow. Carter puts his hand out to restrain him. CARTER Let her go. She'll be OK. (to Eddie) Sorry about that. EDDIE (wiping his face with a handkerchief) Don't worry. She's bound to be upset. CARTER (to Eddie) Have another? EDDIE No. I'll be off now. I should be at work. Eddie stands up, cap in hand. Carter pulls out a wad of money. CARTER Look, look. (He peels off a note.) Get your suit cleaned. EDDIE No. It's all right. CARTER (standing, pushes the note in his top pocket) Thanks for coming. EDDIE Frank was a good bloke. It's the least I could have done. Eddie leaves. CARTER You work here, Keith? KEITH Yes. Carter thinks for a moment, then leans forward to Keith. CARTER Keith, if anybody comes in here and asks for me, you let me know. Right? KEITH Right. CARTER I'm at the Las Vegas. Behind the dance hall. (He casts an eye around the bar.) Do you know a man called Albert Swift? KEITH Yeah. He comes in here a bit. CARTER Where would I find him? KEITH Today? At the races. He always goes. Carter takes out his phial of pills. KEITH How'd you know Albert? CARTER Went to school with him. (smiles) He was leader of our gang. He'll know what's going on in this town. EXT. RACE TRACK - DAY The rain has just stopped. Bookies and punters lower their umbrellas. Horses thunder towards the finishing post. Turf flies in all directions as the jockeys whip their mounts in a last desperate effort and the crowd roars. EXT. TRACK ENCLOSURE - DAY Albert Swift is standing by a bookmaker's marking bis race card with a biro. A hot dog is sticking out of his mouth, like a cigar. A man of about thirty-five, be appears much older, probably from an excess of booze and women. He looks up, and his mouth drops open, the hot dog falling to the ground. He has seen Carter. EXT. TRACK ENCLOSURE - DAY Carter is pushing his way along the line of bookies, all the time looking about him. The track loudspeaker announces the winner of the last race. EXT. TRACK ENCLOSURE - DAY Albert pales. He holds his race card in front of his face and disappears into the crowd. As he moves off, his foot steps on the hot dog and tomato ketchup oozes out. EXT. TRACK SADDLING ENCLOSURE - DAY Carter stands alone, casting an eye over the punters. His eyes rest on someone the other side of the saddling ring ERIC PAICE. Dressed in a grey chauffeur's uniform, cap, dark glasses and gloves, he is standing close to three well-heeled-looking men with binoculars and shooting sticks. Horses for the next race are being led around the enclosure. Carter approaches from behind. He looks at Eric closely before speaking. CARTER Grey suits you, Eric. Eric swings round, startled. ERIC Good God! Carter smiles. CARTER Is he? ERIC Jack Carter. CARTER (amused) Eric. Eric Paice. ERIC What you doing around here then? CARTER Didn't you know this is my home town? ERIC No, I didn't know that. CARTER Funny, that. Carter takes out his cigarettes. Eric takes one. ERIC Thanks. So what're you doing? On your holidays? CARTER No. I'm visiting relatives. ERIC Oh, that's nice. CARTER It would be. If they were still living. ERIC Meaning what? CARTER A bereavement. A death in the family. ERIC Oh, I'm sorry to hear that. CARTER That's all right, Eric. Carter flicks bis lighter and gives Eric a, light. ERIC Well, well. Small world, isn't it? CARTER Very... (pause) So, who you working for these days Eric? ERIC Oh, I'm straight. (indicating uniform) Respectable. CARTER (smiling) What are you doing? Advertising Martini? ERIC Oh, you've been watching television. CARTER Yeah, (pause) Come off it, Eric. Who is it? Eric smiles back. CARTER Brumby? Eric shakes his head. CARTER Kinnear? Eric shakes his head ERIC What's it to you anyway? CARTER I've always ad your welfare at heart, Eric. Besides which, I'm nosy. ERIC That's not always a healthy way to be... CARTER And you should know, if I remember rightly. A track announcement interrupts them. CARTER So you're doing all right then, Eric. You're making good. ERIC Making a living. CARTER Good prospects for advancement, is there? A pension? (He can't resist it any longer. He lifts the sunglasses off Eric's nose and looks into his eyes.) Do you know, I'd almost forgotten what your eyes looked like. Eric stares back. CARTER They're still the same. Piss holes in the snow. ERIC Still got a sense of humour? CARTER Yes, I retained that, Eric. (He moves towards the saddling ring and turns to Eric.) Do you know a man called Albert Swift, Eric? ERIC Can't say I do. Carter looks across at the track. CARTER Don't miss the start on my account. EXT. RACE TRACK - DAY Starting gates slam open and the horses leap out. INT. HIRE CAR - AFTERNOON Carter is driving along a country road. Ahead, two cars are between him and a Cadillac with dark-tinted windows. The Cadillac turns on to a minor road. Carter follows. INT. CADILLAC - LATE AFTERNOON Eric Paice is driving. In the back sit the three men seen with him at the race track. The drinks compartment is open and they are helping themselves to champagne. Racing results come over the car radio. INT. HIRE CAR - LATE AFTERNOON Carter follows the Cadillac at a safe distance. It turns into a driveway. Carter slows down and reads a sign by the entrance: The Heights. He drives on and parks. EXT. THE HEIGHTS - LATE AFTERNOON Carter comes through a wooded area. He pauses by a lake, now overgrown with weeds. A big man stands tossing stones into the water. Carter silently picks up a dead branch then runs at the man. Carter whacks him on the head and he collapses unconscious into the lake. Carter moves on towards the house. MARTY and RAY the two men previously seen in the Land Rover, are playing with an Alsatian on the spacious lawn fronting the house. It's a Victorian building surrounded by acres of woodland. Carter breaks from the trees and darts for the side door. One of the men notices and shouts after him. INT. THE HEIGHTS - LATE AFTERNOON Carter runs into the house and slips into a small service room. Ray and then Marty charge inside but miss seeing Carter. INT. THE HEIGHTS - SITTING ROOM - LATE AFTERNOON A game of poker is in progress. Seated around the table are the three men with Eric at the race track. With them is an elegant man, CYRIL KINNEAR. On the sofa are GLENDA, a sexy-looking young woman, and Eric Paice. Ray bursts in. RAY Carter's here. Eric jumps up. ERIC Where? RAY I don't know. ERIC You stupid shit! Carter walks past Ray, blowing him a kiss. Kinnear watches with some amusement. KINNEAR You see what it's like these days, Jack. You can't get the material. Carter looks at Eric. CARTER Yes, I can see your problem, Mr Kinnear. KINNEAR Sit down, Jack, (pause) I could weep. I really could. Sometimes I think I'll retire. Just piss off to the Bahamas and let somebody else employ them, (to girl) Glenda, get Jack a drink. What is it, Jack? CARTER (to Glenda) Scotch, please. KINNEAR (to bouncer) Piss off, Ray. Ray closes the door behind him. Glenda brings Carter his Scotch. He looks at her as she sits beside him. KINNEAR Eric told me of your bereavement. CARTER Yep. KINNEAR Do you know, I never knew he worked in one of my places! CARTER No? Funny that. Neither did I. KINNEAR If I'd known, I'd have fixed him up with something better. CARTER Yeah. KINNEAR Nasty way to go. CARTER Yes. One of the three men sitting around the table with Kinnear gets impatient. PETER, LES AND HARRY are well-heeled, middle- aged, northern businessmen. HARRY Are we here to play cards or talk about the old days? KINNEAR Harry! Jack, I don't want to be rude, but these men have brought a lot of money with them. Glenda, you don't offer a man like Jack a drink in those piddling little glasses. Give him the bloody bottle. (He picks up his cards.) Now, where are we? Harry keeps a cold, wary eye on him. KINNEAR Oh... I think I'll stay as I am. HARRY (shaken) You're bluffing, you bastard! KINNEAR That's what you pay to find out. Right, Jack? CARTER Right. If you can afford it. HARRY (to Carter) Thought you were going soon. CARTER Soon. When you've lost your money. Won't take long. HARRY Clever sod, aren't you? CARTER Only comparatively. KINNEAR Harry, I don't like to push, but could you let us know how much your hand's worth? Harry looks at his cards. Glenda tucks her legs up, making sure that Carter gets an eyeful. GLENDA You know Sid Fletcher? CARTER What? GLENDA You know Sid Fletcher? CARTER I work for him. GLENDA Do you? CARTER (amused) Yes, I do. Carter looks back at the table. Kinnear pushes in some money. HARRY What's that? A hundred? KINNEAR That's right, Harry. HARRY Your hundred, and another hundred. Kinnear lays more cash on the table. HARRY What's that? KINNEAR That, Harry? That's another hundred - twenty-five pounds notes of the realm. HARRY Three hundred altogether? KINNEAR Three hundred altogether, Harry. Glenda attracts Carter's attention again. GLENDA I know him too. CARTER Who? GLENDA Sid Fletcher. CARTER (sending her up) Oh, do you? GLENDA (dumb) Yes. CARTER No, do you really? Carter turns to the table yet again. Harry nervously puts another hundred on the table. Kinnear purses his lips. KINNEAR I'll follow that and go two hundred. Harry looks sick. KINNEAR You can always see me, Harry. Harry sweats and then smiles nervously. HARRY All right. Two hundred. KINNEAR (raises an eyebrow) Ha. Kinnear takes a wad of notes out of his pocket. Glenda, shifts herself on the sofa. GLENDA Yes. I met him last year. CARTER Go on. GLENDA Oh yes. When he came up on business. CARTER Really? GLENDA He came to see Mr Kinnear. CARTER No. Carter, getting bored, looks back at the game. HARRY (panicking) What's that? KINNEAR That's six hundred pounds, Harry. Two hundred to follow you, and I've raised it four hundred. Harry sweats some more. HARRY Four hundred? KINNEAR That's right. HARRY You're not seeing me? KINNEAR No. Harry smiles nervously. He counts some money out. HARRY I'll see you, then. KINNEAR Calling my bluff, are you, Harry? Harry nods. Glenda speaks, but this time Carter keeps his eyes on the table. Kinnear lays out his hand ó a hearts flush, queen high. GLENDA We went about together. CARTER Really? GLENDA Yes, while he was here. CARTER While he was here. You went about together? GLENDA He was here for four days. CARTER Was he? GLENDA Could you do me a favour? CARTER Yeah, I'll do you a favour. GLENDA Could you please put my glass on the table? Carter smiles and does just that. KINNEAR Oh, come on, Harry. I haven't won, have I? Go on, you're pulling my leg. Kinnear leans across to pick up Harry's cards. Harry grabs them and puts them in the pack. Kinnear turns to Carter. KINNEAR How about that, Jack? Old Harry thought I was having him on. HARRY Shut up. Carter gets up from the sofa. KINNEAR Not going, Jack? CARTER I have to. Things to see to. KINNEAR Of course, of course. Well, any time, just drop by. CARTER Yeah, I'll do that. (He points at Harry.) Told you it wouldn't take long, didn't I? Eric opens the door and follows him out. INT. THE HEIGHTS - HALLWAY - EVENING Carter moves towards the front door. ERIC Jack! I didn't like that. CARTER You should have told me who you were working for. ERIC Cyril didn't like it, either. CARTER Oh, Cyril, eh? So it's all girls together, is it? ERIC He's thinking Sid and Gerald won't like it much when they hear you've been sticking your nose in. Carter carries on walking to the front door. He opens it. CARTER He's right. Tell him to save the cost of the phone call. Carter leaves. Eric signals Ray to follow him. EXT. SCRAPYARD - DAY Huge metal claw catches hold of an old car and lifts it like it was a toy. The yard is beside the River Tyne. In the distance a train crosses the Iron Bridge. Carter is examining a beaten-up Hillman when the yard owner, BILLY LAWS, approaches. BILLY (suspicious) What do you want? CARTER What happened to this car? BILLY What's it got to do with you? CARTER This is my brother's car. BILLY Oh ay? CARTER Yeah. BILLY Well, he drove it into the river. CARTER Was the steering faulty? Billy shakes his head. CARTER What about the brakes? BILLY Fine. Nowt wrong with them. CARTER How'd it happen, then? BILLY He was drunk. Drunk as a lord. CARTER Was he? INT. THE HALF MOON - NIGHT A big, busty pub singer is performing on the small stage. A trio on her right plays a good, grinding, up-tempo number. Carter comes through the door. He pushes his way through the packed drunken crowd to the bar. Keith serves him. KEITH What you having, Jack? CARTER Large Scotch. Carter watches the singer. The customers cheer and whistle. Keith returns with the Scotch. He looks nervously around and speaks to Carter quietly. KEITH Heard of a man called Thorpe? CARTER Old Thorpey? Haven't seen him in a long time. KEITH (picking up Carter's money) That's what he was saying about you. Keith takes the money to the till. The music grinds away. Keith returns. KEITH Said he'd heard you were up in town. Wondered if I knew where you was staying. Wanted to look you up. Old time's sake. CARTER That's nice. What'd you tell him? KEITH Nowt. CARTER Good lad. Carter watches the singer, then finishes his drink. CARTER See you later. KEITH Where you off to? CARTER (smiling) Las Vegas. Carter makes for the door. The singer is now moving through the tables. She pauses to give some man a kiss. Everybody cheers. The woman sitting with the man snaps. She picks up his glass of beer and throws it over the singer; then grabs her hair and pulls her to the ground. Carter stops to watch. The two women roll on the floor, punching and scratching. Carter smiles and leaves. EXT. ALLEY IN TOWN CENTRE - NIGHT On the corner is a neon-lit snack bar. Doreen and another young girl are sitting inside sucking milk shakes. Somewhere a drunk is singing. His voice echoes up the alley. Carter draws alongside and notices Doreen. He stops and watches her. She hasn't seen him so he goes to the window and knocks on it. She looks up and he beckons her outside. Reluctantly, she comes. CARTER (gently) You all right now? DOREEN Yeah. CARTER You coming to South America? DOREEN No. Carter's hurt and slightly irritated by this rejection. CARTER Where you going to live, then? DOREEN At me friend's house. CARTER Where's that? DOREEN Wilton Estate. CARTER Nice family, are they? Church-goers and all that? Doreen nods. CARTER Good. I'm off tomorrow, so I don't suppose I'll see you again. (He pulls out a wad of money, and peels off some notes.) There. Go and get your hair done. DOREEN (Can't believe it) Thanks. He lifts her chin with his finger and looks at her. CARTER Be good. And don't trust boys. Doreen blushes and turns away. She rushes back to the snack bar with the money to show her friend. INT. BOARDING HOUSE - HALL/SITTING ROOM - NIGHT The front door opens and Carter enters. Standing on the hall table is a small wooden casket with an envelope taped to it. Carter pockets the envelope and picks up the casket. EDNA (O.S.) That was left for you this evening. Carter walks past her into the sitting room. EDNA What is it? CARTER My brother, Frank. EDNA Is he staying the night? CARTER Funny. (He puts the casket on a side table.) Can I phone London? EDNA It'll cost you. INT. FLETCHER'S HOUSE - BEDROOM - NIGHT Anna is undressing. She's alone. Pulling the short black- silk underslip over her head, she stands in front of a long mirror, clad only in black panties, bra and tights. She looks at herself appreciatively. The phone rings. She flops on the bed and picks up the receiver. ANNA Hello. A voice speaks on the end of the line. ANNA How I miss you. (She stretches herself out sexily and smiles.) Stop it, darling. INT. BOARDING HOUSE - SITTING ROOM - NIGHT It's a cosy room. Carter is on the telephone. EDNA sits in a rocking chair. CARTER (looking at Edna) I fancy you. I wish I was touching you right now... Edna turns towards him. Carter fixes her with his eyes. Edna rocks herself gently. Carter continues softly. CARTER ...making love to you. I want to stroke you and kiss you all over. Where are you? INT. FLETCHER'S HOUSE - BEDROOM - NIGHT Anna is lying full-length on the bed. ANNA In the bedroom. Carter speaks on the other end. ANNA My black underwear. INT. BOARDING HOUSE - SITTING ROOM - NIGHT Edna rocks backwards and forwards. CARTER (quietly) The sexy, silk ones? Anna replies. He continues softly. CARTER Take your bra off. (pause) No, go on. INT. FLETCHER'S HOUSE - BEDROOM - NIGHT Anna unhooks her bra. There's a flash of breasts. INT. BOARDING HOUSE - SITTING ROOM - NIGHT The scene as before. CARTER Now hold them. Gently. INT. FLETCHER'S HOUSE - BEDROOM - NIGHT Anna's hands cover her breasts. Her head moves slowly from side to side, eyes closed. INT. BOARDING HOUSE - SITTING ROOM - NIGHT Scene as before. CARTER Slowly. Imagine it's me. INT. FLETCHER'S HOUSE - BEDROOM - NIGHT Anna's hand caresses the inside of her leg. Her head rolls from side to side slowly. She's breathing heavily. CROSS-CUT between Edna's head rocking backwards and forwards and Anna's head moving from side to side. CARTER (V.O.) When we're in South America, we'll make love in the sun. Roll over... and make love again... and again... For me... I fancy you... THE SPEED OF THE CUTTING BUILDS. INT. FLETCHER'S HOUSE - BEDROOM - NIGHT Suddenly the door opens and Gerald comes in. He sees Anna groaning on the bed. GERALD What's the matter? You got gut trouble or something? Anna sits up abruptly and puts her hand over the receiver. ANNA No, darling. Just doing some exercises, (into telephone) Listen, Janet, Gerald's just got in, so I must ring off. (pause) Yes. Yes. I'll come tomorrow. INT. BOARDING HOUSE - SITTING ROOM - NIGHT Scene as before. CARTER Save it till Sunday. I'll be back then. Carter replaces the receiver. He still holds Edna's eyes. She rocks to and fro. The rocker creaks. The front door bell breaks the mood. CARTER That'll be for me. INT. BOARDING HOUSE - HALL - NIGHT Carter opens the door. Keith is outside. He's sweating. His tie is somewhere round the back of his neck and his suit is covered with dirt. KEITH Thorpey. They were waiting for us in the car park. CARTER How many? KEITH Four of them. Carter pulls Keith inside and turns out the light. A Ford Zodiac comes along the road. It stops. Four faces peer into the darkness where they're standing. Nobody gets out. The back window winds down. Thorpe's nervous voice floats out. THORPE Jack? CARTER Good evening. THORPE I'd like a word with you, Jack. CARTER That's nice. THORPE Confidential, like. CARTER You stay in the car. I'll come and listen. ( (He leaves the darkness and walks to the car.) What you want to tell me, Thorpey? Thorpe holds out his hand. THORPE I've been asked to give you this. He hands Carter a railway ticket. Carter smiles. THORPE Train goes at four minutes past twelve. You've just got time. CARTER That's very kind of somebody. Who do I have to thank? (pause) What happens if I miss the train? THORPE I've been asked to make sure you don't. CARTER Oh, really. You're getting very optimistic in your old age, aren't you, Thorpey? One of the men inside mutters. MAN Let's stop pissing about. THORPE Are you coming, Jack? It'd be best. Carter tears the ticket in half and drops it in the gutter. THORPE Right lads. The front passenger door starts to open. Carter grabs it and pulls it wide open. With all his force, he slams it against the man as he gets out. The window shatters over his head. Blood spurts everywhere. The driver panics. He accelerates away as the man in the back is getting out. His foot is trapped in a safety belt. He's upended and dragged along the tarmac, his head dangerously close to the back wheel. His yells make the driver brake. In the confusion Thorpe escapes from the car and makes off. Carter spots him and begins to run. CARTER (roars) Thorpe! Thorpe turns into the main road. He makes for the dance hall and disappears inside. Carter follows. INT. DANCE HALL - NIGHT The dance floor is full, mainly with miniskirted girls, their handbags at their feet. A rock band play mechanical music to match the dancing. Thorpe vanishes into the crowd circling the floor. Carter arrives. He scans the place, then sees Thorpe as he disappears down into the gents' lavatory. INT. DANCE HALL - GENTS' LAVATORY - NIGHT Carter enters. There's no sign of Thorpe. He checks the cubicles until he finds the one that's occupied, then goes into the next one. He climbs on the seat and looks over the partition. Thorpe is sitting down looking at the door. Carter quietly leans across and pulls the chain. Thorpe jumps up, terrified. CARTER Time's up, Thorpey. Carter smiles. EXT. BOARDING HOUSE - NIGHT Keith kicks broken glass into the gutter while he waits. Edna's next-door neighbour, an OLD WOMAN, watches. Carter and Thorpe come down the street. CARTER Hello, Keith, (pause) Stay there, Thorpey. He knocks on Edna's door. It flies open. Edna is furious. EDNA What the bloody hell do you think you're at? CARTER (smiles) I'm sorry. EDNA You don't look it. CARTER No. Really, I am. EDNA Don't come that bloody flannel with me. If you're a traveller, I'm bloody Twiggy. (She points at Thorpe.) And who's he? OLD WOMAN What's going on? Have you no thought for others? CARTER We're going inside. EDNA Inside? Why should I give house- room to your sort? CARTER Up the stairs, Keith. The door on the right. OLD WOMAN Everybody knows you, Edna Garfoot. Everybody knew there'd be trouble when you moved in. Carter, Keith and Thorpe enter the house. EDNA You keep your trap shut, Ma. OLD WOMAN I'll send my old man to see you! EDNA And wouldn't he love it! INT. BOARDING HOUSE - HALL - NIGHT Carter, Thorpe and Keith are climbing the stairs. Carter stops to pick up Frank's casket. Edna rushes in and slams the door. EDNA Where do you think you're going? Carter opens the door to his room. CARTER Why don't you go and make us all a nice cup of tea? Carter shoves Thorpe into the room. Keith follows. EDNA And what you going to do? CARTER Make us a nice cup of tea and I'll tell you. I might even let you watch. EDNA I'll call the police. CARTER (He knows she fancies him) No, you won't. Carter closes the door. INT. BOARDING HOUSE - BEDROOM - NIGHT Carter carefully places the casket on the chest of drawers. CARTER Well now, Thorpey. It seems I've got a secret benefactor. (He moves into the room and opens his briefcase, which is lying on the bed.) It's nice to know that. Isn't it, Keith? (He takes out a bottle of whisky.) There's only one trouble, I don't know who to thank. Thorpe looks longingly at the bottle of Scotch. Suddenly Carter punches him hard in the stomach. He grunts and collapses into a chair. CARTER Now, I want to know who it is, Thorpey. Carter tosses the whisky bottle to Keith and continues wearily. CARTER All right. If you like, Thorpey, we'll stop mucking about. Somebody doesn't want me poking my nose into something and I happen to know what that something is. (pause) Now stand up. Thorpe looks at him, terrified. Slowly he stands. Carter grabs him by the testicles and applies preasure. Thorpe screams. CARTER Who paid you to see me off? THORPE I can't Jack. How can I? CARTER Yes you can. Carter applies more pressure. Thorpe screams. THORPE No, don't Jack, don't. CARTER Who sent you, Thorpey? THORPE (desperate) Brumby! Carter gives him a final squeeze and lets go. Thorpe groans and slips to the floor, doubled up in agony. CARTER There you are, you see. Now you could, couldn't you? (pause) And quickly. There's a knock on the door. Carter lets in Edna, who is carrying the teatray. CARTER Ah, Edna, come in. Join the tea set. KEITH Who's Brumby? CARTER Cliff Brumby. Ever been to Westsea? Keith nods. CARTER Ever been into an arcade there and put a penny in the slot machine? KEITH Yeah. CARTER Ten to one, it belonged to Cliff Brumby, and like as not the bloody arcade as well. Right along the coast. Isn't that right, Thorpey? Thorpe drags himself painfully to a chair. CARTER Where's he living these days? THORPE He's got a new place at Burnham. CARTER Address? THORPE On the Durham Road. The Pantiles. EDNA (furious) Suppose you tell me what the bloody hell's going on. It's my house, you know. CARTER Yes, Edna, and I must say you've been great about the ... EDNA Stick the soft soap. Let's be having it. Thorpe's plaintive voice interrupts. THORPE Can I go now? CARTER You must be joking, (to Keith) Keep him away from the telephone. I'm going out for a bit. EDNA Now just a minute... CARTER Ta-ra. THORPE Don't let on I told you, for God's sake. Carter laughs and closes the door. EXT. THE PANTILES - NIGHT It's a large, new, ranch-style house, set back from the road. The front garden is a landscape gardener's nightmare, with its phoney brick and wrought-iron wishing well, porcelain dwarfs, lily pond, the lot. Fairy lights hang over everything. There's a party going on. Lights are on in every room and the rock music is loud. The drive is lined with sports cars. Carter parks and gets out. Out of a side door a young man stumbles towards the lily pond. There, he promptly throws up. Carter watches from behind a tree. His attention shifts to the white Bentley turning into the drive. It brakes sharply and the driver jumps out. CLIFF BRUMBY has been to a police ball. He is impeccably dressed in tuxedo and white scarf. Now he's hopping mad. BRUMBY Jesus wept! MRS BRUMBY cowers in the passenger seat. MRS BRUMBY Now, Cliff, don't get mad. BRUMBY I'll murder the little bitch! MRS BRUMBY Cliff ... Brumby roars up to the front door, banging it furiously. A young woman in a party dress, expecting to greet a latecomer, is stunned to see who it is. SANDRA Daddy! BRUMBY That's right, bloody Daddy. SANDRA I wasn't expecting you until three o'clock. BRUMBY And this is what you call having a few friends back for coffee, is it? Brumby pushes past her into the house. BRUMBY Running bloody riot over my bloody furniture, drinking my bloody booze... The rest is lost as he disappears inside. He then powers out through the side door BRUMBY ... spewing over my fucking goldfish. He aims a kick at the young man's backside, sending him face-down into the lily pond. Mrs Brumby gets out of the car and hovers for a moment. As she approaches the house, people pour out. Brumby appears at the door with a boy pulling up his trousers. MRS BRUMBY Cliff ... Brumby throws the boy out. BRUMBY Shut up, Phyllis. (He walks back into the house.) Sandra! Mrs Brumby goes into the house and closes the door. Brumby passes an upstairs window as Sandra locks herself in a bedroom. BRUMBY Sandra! Unlock the door, you bitch. Carter pauses outside the front door and listens to the row going on upstairs. He opens the door and goes in. INT. THE PANTILES - NIGHT Carter passes silently through the hall into the large sitting room. Mrs Brumby is sitting in an armchair. Brumby is still yelling at his daughter upstairs. CARTER Good evening. Mrs Brumby jumps. The front door is open. MRS BRUMBY (standing) Who are you? CARTER I'm an old friend of Cliff's. I want to see him. Mrs Brumby looks at her watch irritably. CARTER It's urgent. MRS BRUMBY What's it about? CARTER Business. MRS BRUMBY I know all about Cliff's business. Carter moves further into the room. CARTER Yeah, well, tell him the Fletchers sent me. Mrs Brumby is uncertain what to do. Carter sits in an armchair to make his point. She leaves. A moment later Brumby storms into the room. BRUMBY What the bloody hell's all this? Carter doesn't move. BRUMBY You know what the bloody time is! (pause) It's two o'clock in the bloody morning! CARTER I know. BRUMBY Well? Carter still doesn 't move. BRUMBY The wife says the Fletchers sent you. Carter just looks at him. Weighing him up. BRUMBY What's so bloody important it couldn't wait till the morning? Carter starts to laugh. He realizes Thorpe has lied to him. Brumby isn't his man. BRUMBY Listen, I'm not in the mood for bloody silly buggers. Carter stands. CARTER I made a mistake. BRUMBY What? CARTER I made a mistake. BRUMBY What about? CARTER Never mind. Brumby looks confused. BRUMBY It's not business? Carter moves to the door. CARTER See you. Brumby moves between him and the door. BRUMBY Listen, I don't like it when some hard nut comes pushing his way in and out my house in the middle of the night. Carter again makes to leave. Brumby stops him. BRUMBY Bloody well tell me who sent you. CARTER You're a big man, but you're in bad shape. With me, it's a full- time job. Now behave yourself. Brumby swings at him. Carter moves away from the punch, then applies several sharp blows to Brumby's head and neck. Brumby groans and collapses into the armchair, hurt. Carter walks into the hall and out of the front door. CARTER Good night, Mrs Brumby. EXT. 'LAS VEGAS' BOARDING HOUSE - NIGHT Carter walks up the deserted street to Edna's place. He finds the front door unlocked. INT. BOARDING HOUSE - HALL - NIGHT Carter enters cautiously. There is no sound. He closes the door quietly and pauses at the foot of the stairs. Still there is no sound. He waits. A sudden rustle attracts his attention. Quietly, he moves to the sitting-room door. INT. BOARDING HOUSE - SITTING ROOM - NIGHT Carter switches on the light. Edna is pressed against the far wall, holding a poker. Her dress is torn and her hair dishevelled. When she sees Carter, she sighs with relief. EDNA You sod. CARTER They came back? EDNA (sarcastically) No. Carter helps himself to a glass of water from the tap. Edna looks at her torn dress. EDNA Look at this. You bastard. Carter puts the glass on the table. EDNA You don't care a stuff, do you? Carter takes out his phial of pills. CARTER I'll buy you another. Carter swallows a pill. EDNA What about the lad? They took him away. Carter shrugs his shoulders. EDNA What'll they do to him? CARTER Don't ask me. Edna rubs her wrists. EDNA They bloody hurt me. CARTER You're lucky. They kill as well. EDNA (mocking him) And what about you? Did you kill Brumby? Carter shakes his head. EDNA Thorpey nearly died laughing. CARTER That little shit! EDNA What about Keith? CARTER What about Keith? EDNA What you going to do? CARTER Pension him off. EDNA You're a bastard. CARTER (angry) What am I supposed to do? I don't know where they've taken him. Do you? Edna shakes her head. CARTER So shut up. EDNA What's that gun doing in your room? Suppose I phoned the police and told them there's a bloke staying in my hotel who's planning to shoot somebody? CARTER You wouldn't. EDNA How'd you know I wouldn't? CARTER (smiling) 'Cos I know you wear purple underwear. EDNA What's that supposed to mean? CARTER Think about it. Carter takes hold of her torn blouse and rips it open. She is wearing purple underwear. EXT. BOARDING HOUSE - DAY It's Sunday morning. A girls' marching band rehearses on the wasteground in front of the terraced houses. The Pelaw Hussars march back and forth carrying their proud banner, led by the drum majorette. INT. BOARDING HOUSE - DAY Above the bed hangs a sign 'What would Jesus say?' In the bed lie Carter and Edna. The distant sound of the marching band helps them surface. EDNA Are you awake? CARTER No. EDNA Do you want breakfast? CARTER You must be joking. I never eat breakfast, (pause) Did you sleep well? EDNA Uh-huh. EXT. BOARDING HOUSE - DAY The Pelaw Hussars keep on marching. The back of their banner a stirring motto For Youth and Valour. INT. BOARDING HOUSE - DAY Scene as before. EDNA Did you sleep well? CARTER Yes, thank you. He puts his arm around her and moves on top. EXT. BOARDING HOUSE - DAY As the band executes another movement, a red Jaguar slides to a halt outside Edna's house. Two men get out. PETER the Dutchman and CON MCCARTY are definitely not local lads. They look, and are, lethal. They try Edna's front door. It opens. INT. BOARDING HOUSE - DAY Scene as before. CARTER Are you tired? EDNA No. Are you tired? CARTER No. I'm not tired, (pause) Do you eat breakfast? Edna laughs. They start to make love. Gently. Below the undulating bedsprings rests a large chamberpot and, beside it, Carter's shotgun. Beyond is the bedroom door. It opens slowly and the two men enter. Only their legs are visible. CON (O.S.) Put us in it, Jack. Carter is off the bed, and Edna, in a flash. Edna screams and tries to stop the bedclothes following Carter on to the floor. Peter and Con stand beside the bed smiling. Peter is a queer and dressed fancy in a leather coat, wide- bottomed trousers and a loud silk scarf. His hair is bleached blond. Con is more traditional, more butch. He's in a camelhair overcoat, suit and tie. Both are in their thirties. PETER Don't let us interrupt you, Jack. CARTER I might have guessed. CON Sorry about this. But there you are. Orders are orders. CARTER And what orders would they be, Con? Carter's hand runs over the carpet. It's going towards the chamber pot instead of the gun. CON Gerald phoned us in the middle of the night, said he'd heard you've been making a nuisance of yourself. PETER We've got to take you back to London. CON He said it'd be doing him a big favour. Carter's hand finds the chamber pot and quickly moves on towards the gun. CON We know why you're all steamed up, and so do Gerald and Sid. PETER But they have to be diplomatic. Carter pulls out the gun and jumps up. CARTER Right. Now take me back to London. CON (smiling) It'd be best if you got dressed first. Carter moves around the bed towards them. He's naked. CON Put it away, Jack. You know you won't use it. PETER The gun he means. Both men are laughing. CARTER Out. Peter and Con back down the stairs. Peter looks up at Carter's cock. PETER If Anna could see you now. CARTER Out. CON Now, Jack. Be reasonable. You know we're going to take you back - sooner or later. CARTER Out. EXT. BOARDING HOUSE - DAY Con is the first to emerge from the front door. CON Mind you don't catch cold. Peter follows. PETER I hope she's got understanding neighbours. Then Carter comes out, shotgun held across his chest. CON See you when you've got your drawers on. The old woman next door chooses that moment to come out for her milk. As she straightens up, she sees Carter. The bottle flies from her hand and smashes on her doorstep. Carter, never taking his eyes off Peter and Con, slowly backs into the house. INT. BOARDING HOUSE - BEDROOM - DAY Carter watches from the window as he pulls on his jacket. The gun lies across the armchair. Outside, he can see Peter and Con talking by the Jaguar. Con exits. Edna, now in her dressing gown, enters. CARTER Do us a favour? EDNA What, and get myself beaten up again? CARTER No chance of that. EDNA Not much. CARTER They're friends of mine. EDNA And that'll make me feel better? CARTER I don't want to get rough, do I? Carter picks up the gun. He hands Edna, bis case and the casket. INT. REAR OF BOARDING HOUSE - DAY Edna comes out of the back gate into an alley, carrying the casket and case. Con emerges from his hiding place holding a handgun. CON Hold it! Where do you think you're going? Carter appears from the gate next door, covering Con with the shotgun. CARTER Strawberry Fair. He takes Con's handgun and signals him to go into Edna's yard. CARTER In. Turn right. (He points the gun at the coalshed.) Open that door. Con unbolts the door. CARTER And go inside. Con goes in. Carter closes and bolts the door. He moves quickly back to Edna and the car. EDNA What you going to do? CARTER I'm going to sit in the car and whistle 'Rule, Britannia'. Carter jumps into the car. EDNA You coming back? CARTER How could I stay away? The car roars off. EXT. BACK ALLEY - DAY Washing hangs behind each house as far as the eye can see. Carter drives full tilt through it, collecting towels and sheets on the windscreen. EXT. EDNA'S YARD - DAY The coalhouse door is getting a terrible battering. It finally gives and Con bursts out. He runs into the alley, following after Carter. EXT. BOARDING HOUSE FRONT - DAY Carter's car screeches as it corners from the alley on to the road. Peter is leaning against the open door of the Jaguar. When he sees Carter coming straight at him, he scarpers for the pavement. Carter hits the Jaguar's door at speed, tearing it off. It flies up and crashes on to the tarmac as Carter careers over the wasteground. Soon he is out of sight. Con comes running. Peter is looking at the damage. PETER Where were you, then? Con sees what's happened to the car and is not pleased. CON Bollocks. EXT. BACK STREET - DAY Carter pulls up outside a house and gets out. He takes the washing off the car's bonnet, and throws it into a neglected garden. EXT. FRONT DOOR - DAY Carter presses the bell. The door's opened by a young man, SHAMIR. CARTER Keith in? SHAMIR (shouts) Keith. No answer. Shamir watches Carter as he walks into the hall. CARTER (O.S.) Which is his room? INT. KEITH'S ROOM - DAY Carter enters and closes the door. Keith is in a had way, his face like a piece of raw steak. He is lying on a bed, still in the clothes of the night before. CARTER What happened to you, then? KEITH How'd you find me? Keith lifts his head painfully from the pillow. CARTER Did they give you a rough time? KEITH No. (He lowers his head to the pillow.) You bastard. You knew they'd come back. CARTER No, I didn't, (pause) Does Albert Swift still live over the ferry? KEITH Get knotted. CARTER All right. All right. I want to square things with you first. KEITH Oh yes? How? Carter takes out of his wad of money. Keith's bloodshot eyes watch him through the surrounding puff of flesh. KEITH Stuff it! My girl friend's coming from Liverpool tonight. Nice surprise, isn't it? CARTER I'm sorry. Here. This'll pay for a course in karate. He throws some money on the bed. Keith tries to kick it off, but it's too painful. He clutches his testicles. KEITH Frank said you were a shit and he was bloody well right. Carter turns to leave. Keith continues, crying and angry. KEITH You even screwed his wife, didn't you? Carter shuts the door, leaving Keith shouting after him. KEITH The poor bastard didn't even know if the kid was his. He falls back on to the bed, crying out in pain. EXT. RIVERSIDE - DAY A wide road runs alongside the Tyne. It passes below the vast steel bridges that link the two parts of the city. A carpark lies at the foot of the 'Iron Bridge'. Carter pulls up and parks. He gets out and moves quickly. EXT. THE IRON BRIDGE - DAY The bridge is a, massive structure. The traffic lanes are flanked each side by pedestrian walkways. It is here that Carter and Margaret have arranged to meet. CARTER How were things between you and Frank? MARGARET He was all right to me. CARTER Nothing more? Just another feller? MARGARET Nicer than most. CARTER But he was just another feller, wasn't he? MARGARET Yes. CARTER Though nicer than most? MARGARET Yes. I can't help the way I am. CARTER (ignoring the statement) Why'd you see him so regular? MARGARET Once a week? CARTER I call that regular. MARGARET He was gentlemanly. I like that. CARTER Once a week you like a gentleman? MARGARET (angrily) Look, I'm me, right. You're not. We are what we are, like it or not. (She turns and walks slowly along the bridge.) Why all the bloody needle? CARTER What was bugging Frank? MARGARET He wanted me to leave Dave and marry him. Last Friday I told him it wouldn't work. Dave would have killed us both! (pause) He followed me home and kicked up a stink in the street, (pause) I had to tell Frank I couldn't see him any more. It was getting too dodgy. That was on Sunday. (She stops and looks over the bridge.) He said he'd kill himself. I was frightened what you might do. They look at each other for a moment. Carter shakes his head. He gently takes the sunglasses from Margaret's face and folds them up. CARTER I don't believe you, Margaret. Frank wasn't like that. (pause) I'm the villain in the family, remember? MARGARET It's the truth. Carter snaps her glasses in two and throws them away. MARGARET It is. Honestly. CARTER (shouting) You bloody whore. Frank was too careful to die like that. Who killed him? MARGARET I don't know nothing. Carter holds her arm. She winces like she's been hit before. CARTER Listen, the only reason I came back to this craphole was to find out who did it. And I won't leave until I do. You understand? Behind Carter Peter's Jaguar comes slowly along the bridge. It stops. The passenger side is a gaping hole. CON Hello, Jack. Carter swings round to see them, then swings angrily back to Margaret. CARTER You bitch! It was you who told them I was here, wasn't it? He smacks her hard across the face. Margaret cries out. The car draws alongside. A steel mesh separates the pedestrian way from the traffic, so the two men can't get to Carter until he reaches the end of the bridge. Con leans out, his usual cheery self. CON Peter's very upset about his car. He's going to shit all over you. CARTER I'll catch up with you later, Margaret. And with that he vaults over the handrail on to a corrugated roof. Con jumps out of the Jaguar. PETER (shouts above the revs) Come on, get in. Con does and they race off. EXT. WASTELAND - DAY Carter arrives at the top of some narrow, steep, overgrown steps leading down to the river road, where his car is parked. He leaps down the steps as the Jaguar screeches to a halt at the top. Con leaps out of the Jaguar and gives chase. Peter backs the Jaguar and roars off. EXT. RIVER ROAD - DAY Carter comes running down the steps with Con not far behind. He arrives at the river road. In the distance, he can see his parked car. As he nears the car park, Peter's Jaguar comes down the hill. It's going to cut Carter off from his car. A Sunbeam Alpine sports car waits there. Its engine roars into life and it races out of the car park. It reaches him just before the Jaguar and slows down. GLENDA Over here, Jack. Carter sees that the driver is GLENDA. The hood is down, so he vaults into the car as it accelerates off. The Sunbeam swings round, narrowly missing the oncoming Jaguar, and roars away. Peter hasn't a chance. He's facing the wrong way and has little room to manoeuvre. Glenda laughs as the car swings wildly around a corner at the top of the hill. INT. SUNBEAM - DAY Every movement Glenda makes is sexually charged manual gear changes, steering, even braking. Carter can't take his eyes off her. GLENDA You didn't know you had a fairy godmother, did you? CARTER No. I didn't know that. GLENDA A fairy godmother, all of your own. Aren't you lucky? CARTER So where are we going, Princess? GLENDA To the demon king's castle, of course. CARTER Of course. Where else? The car screams off the road into a multi-storey carpark. INT. MULTI-STOREY CAR PARK - DAY Glenda really puts her foot down. The car hurtles around each deserted floor. CARTER How'd you know where I'd be? GLENDA You were seen parking your car. The demon king waves his wand and I was dispatched to bring you to him. Lucky for you I waited. CARTER Very lucky, I should think. You're drunk! GLENDA Nasty. CARTER He must have been pretty sure I'd come. GLENDA Oh, he was. He told me a magic spell that would make you come. CARTER (smiling) And what was that? GLENDA We're there now. She brakes to a split-second stop. INT. PENTHOUSE RESTAURANT - DAY It's one large empty concrete box with big picture windows all the way round. Wires are hanging from the ceiling and walls where the lights will eventually be fixed. A tall figure stands at the opposite end, facing the setting sun. He is just a silhouette. Carter and Glenda enter and walk towards the man. The silhouette turns as he nears it. It's Brumby. BRUMBY A new venture of mine. It's going to be a restaurant. (pause) Do you like it? CARTER Yes. BRUMBY Last night, after you'd gone, I did a little bit of asking around. Seeing as you weren't very forthcoming, (pause) It seems that you are concerned about the death of your brother? (pause) I got to thinking it would be nice if the bloke you were after was the same bloke I wanted off my back, (pause) You know my life. Machines. The arcades. Nice business. Looks after itself. People put money in. I take it out. Not much rough stuff. It's a business that makes me very happy. But recently, I've had a spot of bother, (pause) One of my lads gets a bit over- anxious and flogs some machines in a club that's already got some. The upshot is I've had to eat shit and stop flogging my machines to other clubs. (pause) So far as I'm concerned, that's it. Apparently not. These people I've offended get the idea that it would be good to take over my whole outfit, (pause) So I'm worried. I can't fight them ó I haven't that kind of set-up. But I've got to fix them before they fix me. Trouble is, if I try and they find out, I'm dead. Brumby picks up a black briefcase. He holds it up to Carter. BRUMBY Five grand. It belongs to you. Along with a little name I'm going to give you. CARTER What name? BRUMBY Kinnear. Cyril Kinnear. (pause) Kinnear did it. CARTER Why? BRUMBY I don't know. All I know is that people were shitting bricks up at his place last Saturday. Your brother's name was mentioned. Next day, he was dead. CARTER Why? BRUMBY I don't know. That's all I was told. Carter takes a last look at Glenda and walks slowly back towards the entrance. CARTER That's not good enough. BRUMBY Christ, what... CARTER (shouting) Do me a favour. You don't really expect me to fix Kinnear on your say-so? (pause) Just because they tried to get me on you last night, don't think you can pull the same trick. Stroll on. BRUMBY Jack, you're wrong. CARTER Good afternoon, Mr Brumby. Carter exits. BRUMBY Jack... EXT. MULTI-STOREY CAR PARK - DAY Carter steps out of the elevator as Glenda's Sunbeam comes down the bottom ramp fast. The car brakes hard and stops. Carter opens the door and gets in. Not a word is said. INT. GLENDA'S APARTMENT - DAY The apartment is one of many in a modern block and Glenda has only recently moved in. There is a mattress on the floor. A large mirror leans against the wall behind it and a film projector stands close to the window, which has makeshift curtains. Carter and Glenda are on the mattress. The bedding is all over the place. They have just finished fucking. CARTER (looking around) Who's setting you up in this place? GLENDA Brumby. CARTER Is he coming here? GLENDA Don't worry. He's meeting the architects at the restaurant. Carter plays with her hair. CARTER Aren't you scared Kinnear will find out? GLENDA He won't. He thinks I'm simple. Carter kisses her neck. CARTER What does he want that bloody great country place for? GLENDA (knowingly) Entertaining. CARTER What kind of entertaining? GLENDA Now you're asking. Carter looks at the film projector by the bed and points. CARTER Does Brumby get a kick out of that crap? GLENDA (giggling) Especially when I play the lead. Carter wraps his arms about her. CARTER Did Kinnear say anything? After I'd left the other night? Glenda sits up sharply. GLENDA That's why you waited for me. CARTER (kissing her on the neck) Not entirely. No. GLENDA You sure about that? CARTER Sure I'm sure. Glenda pushes him away and gets out of the bed. GLENDA You bastard. Glenda leaves for the bathroom. Carter, curious, looks at the film projector. It's loaded. He switches it on. A beam of light hits the opposite wall. He settles down to watch the film. The leader flashes by, then a title being chalked on a school blackboard 'The Teacher's Pet'. A zoom back reveals Glenda, bare-breasted, holding the chalk. This is followed by a long shot of a young girl, dressed in school uniform, waiting at a bus stop. A car approaches and stops. A woman driver offers the girl a lift. The woman is Margaret. The identity of the girl not revealed. INT. GLENDA'S BATHROOM - DAY Glenda is in the bath. Lots of foam. The hot water is still running. She's smoking. She leans forward, turning off the tap. INT. GLENDA'S APARTMENT - DAY Carter is sitting up on the mattress, amused by the soft porn unfolding on the white wall in front of him. The schoolgirl accepts the lift and the car drives off. The door to an anonymous apartment opens and Margaret comes in with the girl. Her school hat still hides her identity. Glenda is there to greet them. The girl is very awkward. Glenda tries to make her relax, sitting her down and showing her a magazine. Glenda brings her into a bedroom. She takes her own top off and goes to do the same with the girl. She takes her hat off. A close-up shows that it is Doreen. Carter tenses but never flinches from what's happening in the film. Margaret comes into the bedroom and feigns shock at what she sees. She slaps Glenda and they start fighting, eventually rolling off the bed. The apartment door opens and a man smoking a big cigar comes in. Carter sits up. It's Albert Swift. Albert opens another door, looking for someone. He leaves. Another door opens and he's in the bedroom. He sees the two women fighting on the floor, but on the bed is his prize Doreen. Carter watches. Doreen bites her nails and looks terrified. Reflected in the mirror behind Carter is the image of Albert taking off his trousers. The reel runs out and flaps like a fish. Carter doesn't move. Tears form in his eyes. He looks old and defeated. His is a wasted life. Then the anger that drives him explodes again and he throws back the bedclothes. INT. GLENDA'S BATHROOM - DAY Carter, now dressed, moves slowly towards her in the bath. CARTER I want to give you an Oscar. GLENDA (laughs) You've been watching the film. CARTER Tell me about the girl. GLENDA What girl? CARTER The young girl. Who pulled her? GLENDA I don't know. CARTER Was it Albert? GLENDA Shouldn't think so. CARTER Is it one of Kinnear's films? GLENDA Yeah. CARTER Who set it up? Eric? GLENDA Yeah. CARTER Then he must have pulled her. GLENDA Expect so. CARTER Did my brother Frank find out? GLENDA Your brother? What you talking about? Carter's fury bursts. He's out of control. He seizes Glenda and plunges her under the bathwater, holding her there. CARTER You're a lying bitch. Carter lifts her up, out of the water. She is spluttering, nearly drowned. CARTER Now tell me the truth. GLENDA The girl's name was Doreen. That's all I know. CARTER And you didn't know her last name? GLENDA No. CARTER Well, it's Carter. That's my name, (pause) And her father was my brother. And he was murdered last Sunday. Now get up and get dressed. He pushes her ahead of him. EXT. GLENDA'S APARTMENT BLOCK - DAY Carter manhandles Glenda towards her Sunbeam. He opens the boot. CARTER Get in. Glenda climbs in and he slams the boot shut. The car scorches away. EXT. JETTY. TYNE FERRY - DAY Carter parks the sports car as the ferry docks. He moves down the gangway towards it. INT. CAFE - DAY A girl with a baby in a pram is having a cup of tea. The door slams open. There's Carter. CARTER Where's Albert? The girl is numb with fear, unable to answer. Carter grabs her by the throat. CARTER Where's Albert? The girl is frozen with terror. He lets go as suddenly as he grabbed her. CARTER I know where I'll find him. EXT. BACK STREET - DAY Carter walks fast. There's the sound of a phone being dialled. It's the GIRL in the cafe. GIRL (V.O.) Eric, he's come for Albert, (pause) I don't know, (pause) On the ferry, I reckon. Carter reaches the front of a betting shop. He walks in. INT. BETTING SHOP - DAY Carter closes the door. Race results and odds are coming over the Tannoy. He moves into the shop until he reaches ALBERT SWIFT. Albert is making out a betting slip and doesn't see him. CARTER Hello, Albert. Albert looks like he's going to be sick. ALBERT Hello, Jack, (snivelling) I don't know anything, Jack. CARTER Yes, you do, Albert. Talk or I'll kill you. ALBERT I know. I know. Carter sees a door at the back. There's a sign for the toilets. CARTER Do you want to go to the toilet, Albert? At first Albert doesn't understand. CARTER Do you want to go to the toilet, Albert? This time it clicks. Albert moves to the door and Carter follows. EXT. BETTING SHOP BACKYARD - DAY Carter turns to close the door. Albert runs for it. He reaches the high double-gate at the end. It's locked and he tries to climb it. No luck. Carter easily pulls him down. Albert faces him. CARTER You can't get away from me, Albert. ALBERT I know. He feels for his cigarettes but can't find them. ALBERT For Christ's sake, give us a fag. Carter takes out his cigarettes. Albert takes one. ALBERT I didn't know who Doreen was. Thought she was just another bird. CARTER Did Eric Pake pull her? ALBERT Yes. CARTER How? ALBERT I dunno. He's got his ways. He knows Margaret. CARTER When did you find out? ALBERT A couple of weeks back. CARTER How? ALBERT No choice. I had a visit from somebody. CARTER Who? ALBERT Cliff Brumby. He'd seen the film. He wanted to meet Doreen. CARTER And you told Brumby? Albert nods. CARTER Who killed Frank? Albert doesn 't answer. CARTER Do you want to be dead, Albert? ALBERT Last Sunday afternoon, Eric and two of his boys arrive with Frank and tell me that he's rumbled. Somehow, he's seen the film and was about to shoot his mouth off. They ask me for some whisky and start forcing it down his throat. (pause) I thought they'd just duff him up a bit. Honest. CARTER What did you do? Albert? ALBERT Nothing. What could I do? CARTER Did Eric know that Frank was my brother? ALBERT Yes. I told him. CARTER What did he say? ALBERT 'Good.' Albert draws deeply on his cigarette. They drove Frank away in a car. CARTER Is that all there is? Albert nods. CARTER Then that's it, Albert. Carter takes something from his pocket. There's a loud click. It's a. knife. ALBERT Jack, for Christ's sake ... He falls to his knees. CARTER You knew what I'd do. ALBERT (crying) Yes, but listen. Christ, I didn't kill him. Carter drives the knife into him with all his might. CARTER I know you didn't kill him. (and again.) I know you didn't. A ship's horn calls mournfully from the harbour. Albert leans back. Blood seeps from his chest. He pitches forward, twitches, and is dead. INT. BETTING SHOP - DAY Carter comes in from the back and walks calmly through to the street. A blind man is at the counter placing a bet. EXT. JETTY - TYNE FERRY - DAY The Sunbeam waits in the car park. Eric, Con and Peter arrive in the Land Rover and park behind it. They go down the gangplank to the floating jetty. A ferry is chugging across the water. INT. FERRY - DAY Carter sits, watching the other passengers. A mother and two young children take his attention. His look is tinted with regret even remorse. EXT. JETTY - DAY As the ferry comes alongside, Eric, Con and Peter move up to the rail. The passengers disembark, leaving Carter standing alone. He's holding Con's handgun. Eric, Con and Peter hack slowly away to the steel shelters. Peter, impatient as ever, pulls a sawn-off automatic shooter from under his coat, cocks it and fires. Too late. Carter is already safely behind the ferry's superstructure. Eric shouts. ERIC No shooters. Cyril said no shooters, you stupid bastard. PETER Get stuffed. He's reloading. CON Gerald wants to see him first. PETER Shut up. Carter is listening to all this. CARTER (shouting) Are you coming in? Or do we piss about all day? Eric laughs. ERIC You're finished, Jack. You know that, don't you? I've bloody finished you. CARTER Not till I'm dead, Eric. Eric laughs. ERIC Oh, you've still got your sense of humour? Tell him how I've fixed him, Con. CON He's told Gerald about you and Anna. ERIC Didn't believe us at first, did he, Con? Then Peter talked to him. PETER Didn't even say goodbye. Just asked us to take you back - alive. ERIC He's probably talking to her right now. Are you still going to fancy her when Gerald's finished with her face? Carter shows no emotion. Or are his eyes just that bit sadder? Peter lets rip again. Another window is shattered. Carter ducks back, allowing Peter time to board the ferry. Carter catches a glimpse of Peter as he climbs up the ferry's superstructure to the roof. By the time he heaves himself into position, Carter is waiting. CARTER Stay where you are, Peter. Peter is helpless, clinging to the roof, unable to even raise his shooter. PETER (screaming) Don't. There's a long pause while Carter looks at him, then he cold-bloodedly shoots. Peter is blown away. By the time he hits the deck, he's dead. Con and Eric panic. They run up the gangplank, safely out of range. ERIC Carter, your car needs a wash. Eric signals to the driver in the Land Rover to bump the Sunbeam into the water. Two hits and the task is done. Glenda's screams are lost as the river wraps itself around the sinking car. Carter watches impassively. EXT. BRUMBY'S RESTAURANT COMPLEX - DAY Carter's hire car corners at speed into the high-rise carpark. INT. RESTAURANT - DAY Brumby and two architects in a site meeting. Plans are laid out on a table. BRUMBY I don't want them cooking in here. You can put a hatch in that wall. INTERIOR DECORATOR Yes, it's all a question of ... The sound of a car screeching up the ramps interrupts him. BRUMBY Who in Christ's name is that? It's a bloody madman. He strides away to investigate. EXT. RESTAURANT - DAY Brumby comes out to the top tier. On the floor below, Carter, unseen by Brumby, has parked and is now making for the concrete spiral staircase. EXT. STAIRCASE - DAY Brumby pounds down to the first level. Carter comes around the corner. BRUMBY Jack! Carter slams his fist hard into his gut. CARTER You shouldn't have shown the film to Frank. BRUMBY I had to. It was the only way I could get at them. INT. BACK STREET POST OFFICE - EVENING. It's a combined shop and post office. Carter is on the phone. CARTER The guy on the swing-bridge? (pause) OK. Carter hangs up. He takes a can of film from his pocket and slips it into a large envelope. At the counter two women are talking. FIRST WOMAN They don't know how it happened. SECOND WOMAN How far did he fall? FIRST WOMAN What did Betty say... Ninety floors, I think it was. SECOND WOMAN Really. Was he dead? FIRST WOMAN Oh, yes. The envelope is passed across to the post office assistant. It is addressed to Vice Squad, Scotland Yard, London Sw1. SECOND WOMAN Better to go quick like that. EXT. SWING-BRIDGE - EVENING The huge steel superstructure pivots on a large man-made island in the middle of the river. On top is a structure not unlike a small lighthouse, from which a man operates the bridge. Carter climbs the outside ladder. A man waits for him at the top. The man hands him a small cloth package. Carter opens it. Inside is heroin and a hypodermic. He wraps it up again and hands over an envelope. The man checks the money as Carter disappears down the outside ladder. INT. BINGO HALL - NIGHT The hall is crowded. The compere calls the numbers. The atmosphere is tense as the audience look at their cards. Someone calls, 'Bingo.' A buzz goes round the hall as everybody starts talking again. Carter enters, surveying the audience. Eventually, his eyes alight on the person he's been looking for Margaret. She's involved with a woman friend and doesn't see him. The next game starts up. EXT. BINGO HALL - NIGHT Crowds of people come pouring out. It's the end of the evening's entertainment. Margaret walks out with her friend. Carter follows them and turns up a side street. EXT. STEPS LEADING TO BACK STREET - NIGHT The place is deserted. Margaret and her friend descend the steps. The clop of their high heels is the only sound. Carter follows discreetly. At the bottom, Margaret and her friend chat for a moment and part. Carter follows Margaret. EXT. BACK ALLEY - NIGHT The clop of Margaret's shoes is heard in the distance. She appears. Carter is following behind. He slips into another dark alley to get ahead of her. As she reaches her home Carter's arm shoots out from behind a pillar. It's holding Con's handgun. CARTER I've come for you, Margaret. INT. THE HEIGHTS - SITTING ROOM - NIGHT There's a big party going on. The music is loud. It's mainly rich-looking middle-aged men and young dolly birds. Different things are obviously going on in different rooms in the house. Dancing in one room, blue movies in another, etc. Kinnear flits from one to another. Eric Paice is on the phone. He puts the receiver down and crosses to Kinnear. ERIC Gerald Fletcher wants a word with you Cyril. Kinnear crosses to the telephone. KINNEAR Hello, Gerald. EXT. VILLAGE TELEPHONE KIOSK - NIGHT Carter stands in the dimly lit kiosk with Margaret. The hire car is parked alongside. CARTER It's Carter. Listen carefully, you hairy-faced git. I've got the film and enough evidence to put you away for a long time. All it takes is one call to the police. INT. THE HEIGHTS - SITTING ROOM - NIGHT Kinnear listens. KINNEAR Really? (pause) So? EXT. VILLAGE TELEPHONE KIOSK - NIGHT Carter into phone. CARTER I'll do a simple deal with you. All I want is ... INT. THE HEIGHTS - SITTING ROOM - NIGHT Kinnear is still listening to Carter. He looks over at Eric, who's fixing a drink. KINNEAR I see. I think that can be arranged. Kinnear continues listening. INT. VILLAGE TELEPHONE KIOSK - NIGHT Carter into phone. CARTER ... but I don't want him there until six in the morning. OK? (pause) Right. Carter hangs up. He pushes Margaret towards the car. INT. THE HEIGHTS - LIBRARY - NIGHT The noise of the wild party is heard off. Eric comes into the room. ERIC You want something, Cyril? KINNEAR Yes, Eric. A word with you. EXT. DESERTED WOOD - NIGHT Headlights, through the thick trees, as Carter's car comes bouncing over rough ground. INT. HIRE CAR - NIGHT Carter stops in a clearing and leaves his headlights on. He turns to Margaret. CARTER Get out. Carter and Margaret get out. They appear in the beam of the headlights and move further into the wood. EXT. WOOD - NIGHT Carter and Margaret stop. CARTER Take your clothes off. Margaret is confused. Take your clothes off. Margaret does just that: coat, blouse, skin. She goes to remove her knickers. CARTER Keep your pants on. (pause) Lie down. Again she obeys. He kneels on her, pinning her arms with his knees, then stuffs a gag in her mouth. He takes out the hypodermic, places it against her arm, and injects the heroin into her. She struggles, her eyes moving frantically about. She screams, but its muffled by the gag. Carter holds her down and she quickly goes under. Carter removes the gag. He stands, picks her up and walks into the darkness with Margaret in his arms. INT. THE HEIGHTS - LIBRARY - NIGHT Kinnear is alone, speaking on the telephone quietly. The party is still going on. KINNEAR I want you to listen very carefully. Jack Carter, (pause) You know what he looks like? INT. HOTEL BEDROOM - NIGHT A bedside light is on. A man in bed is listening on the phone. MAN Yes. He taps his cigarette against the ashtray. On his middle finger is a large ring with the initial 'J' on it. He listens until the line goes dead. The woman beside him stirs. He stubs out the cigarette and switches off the light. Darkness. EXT. THE HEIGHTS - DAWN Eric comes out of the front door. Inside the party is still in progress. He gets into a Cadillac and drives off. EXT. COUNTRY ROAD - DAWN Carter is parked where he can see the drive up to Kinnear's house. The Cadillac appears and swings on to the road. There's the sound of a phone being dialled. CARTER (V.O.) Police. EXT. THE HEIGHTS - DAWN A long line of police cars move slowly up the drive, followed by a police bus. They park by the front door and around fifty policemen pour out. They move silently around the building. A chief constable opens the front door and walks in. INT. THE HEIGHTS - DAWN The police move through the house and grounds. In the bedrooms they find groups of people in bed together. The men in particular protest and are obviously concerned about being identified. The police find evidence of drugs, pornography and so on. Outside, police are combing the grounds. In the long grass leading down to the lake they find women's clothes. They follow the trail until they discover a woman floating naked, face downwards, in the lake. A policeman with waders goes in and pulls her to the side. As others heave her out, we see that it's Margaret. EXT. THE HEIGHTS - DAWN The house is surrounded by police measuring and photographing, and outside the house are police cars and ambulances. The lawn is crowded with the party crowd. In the early-morning light, they look like dolls. Kinnear comes out of the front door with two plain-clothes officers and gets in a police car. Sirens going, it comes down the short drive to the gate. INT. HIRE CAR - DAWN Carter is driving along a coast road. The sea and a wide beach lie on his right. Long rows of houses are to his left. The sun is still low. It's very quiet. He arrives at a harbour and drives on until he reaches the end of a vast wooden jetty running out into the estuary. It's a coal loader for tankers. This jetty is very high, a complex of wooden staves and pillars, interwoven with steps and gangways. On its top tier is a complex of railway lines, signals and black coal chutes. EXT. COAL JETTY - DAWN Carter parks his car and picks up the shotgun and a bottle of Scotch off the back seat. He get out and walks over to the jetty and along a lower gangway. At the far end, a man is standing. It's Eric Paice. Eric turns around abruptly. He sees Carter and disappears up the nearest stairway. Carter follows. At the top he stops to listen, but can see and hear only the harbour waters lapping below. Carter looks back to the coal jetty, just in time to see Eric scamper down to the level below. Eric sprints for the roadway. Carter waits and then starts running directly above him. Eric keeps running. Carter stays always overhead. He's playing cat and mouse with Eric. CARTER (calling out) You couldn't win an egg and spoon race, Eric. ERIC (wheezing) Sod off. Paice darts down another staircase to ground level and makes for the roadway. Carter stops above the roadway. Below, Paice makes for the parked car. Carter holds the gun up. Eric stops and looks up. CARTER Stay away from the car or I'll blow you apart. Eric darts under the jetty. Carter runs on down the steps. He can see Eric scampering along the row of cottages towards the beach. Carter starts after him. EXT. BEACH - EARLY DAY Eric runs out on to the beach. The only sounds are his feet pounding the pebbles and his hurtful panting. In the distance, factory chimneys belch out smoke. Carter appears. For a moment he watches Eric stumbling along at the far end of the beach. He climbs down to the beach and starts running. EXT. BEACH - EARLY DAY Carter is gaining on Eric rapidly. Eric looks round and panics. He stumbles and falls over. He gets to his feet quickly and disappears round the headland. Carter follows. EXT. BEACH - EARLY DAY On the other side of the headland, the scene is extraordinary. The deserted beach is like the edge of the world. The sand is black as far as the eye can see. It's littered with rubbish. Several old lorries are sunk deep in the sand. High, grass-covered cliffs flank it on the left. It's deserted. In the distance, a continuous line of giant black buckets move, like cable-cars, out to sea, before they deposit their load of coal slag and move inland again. The coal mine itself is inland, hidden away behind the cliffs. The sea, like the sand, is black as it crashes on to the shore. Eric is half-way along the beach, struggling in the mud. Carter closes on him. EXT. BEACH - EARLY DAY Eric nears the line of buckets and cuts inland towards the mine. Carter has nearly caught up. The buckets grind and crash as they move along the cable. Eric scrambles up the narrow valley down which the coal slag travels. He is panting horribly. Carter is close on his heels. Near the top, where the buckets are practically at ground level, Eric stumbles and falls. He is too exhausted to get up. Carter stands over him. CARTER (panting slightly) Stand up, Eric. Stand up. Eric just manages it. Carter pulls the bottle of Scotch out of his pocket. CARTER I bet you could use a drink, could you, Eric? He throws the bottle to Eric. CARTER Eh? Have a drink. ERIC Still got your sense of humour. Eric takes the cap off and looks at Carter. He's in a terrible state. CARTER Drink up, Eric. Drink up. I want you to drink all of that. Do you understand? Drink up. Just like it was with my brother, Frank. Go on, son. Drink up. Eric pours the whisky into his month. It spills over and runs down his face. CARTER Drink up, Eric. Eric begins to stagger about. CARTER It was you who poured it down him. Eh, Eric? Eric takes a breather and looks pathetically at Carter. No mercy there. CARTER Did you all have a good laugh, eh? Did you have a good laugh when he was spewing it up? The whisky is pouring all over Eric's face and suit. It's disgusting to watch. Suddenly, he retches, but nothing comes up. CARTER Drink it! Drink it! Did you all pass the bottle round after the car went over the top? Eric is choking. CARTER Don't stop, Eric. Carter leans forward and with his free hand lifts the bottle up to Eric's mouth again. In the other, he holds the shotgun. Eric chokes and retches. Carter has seen enough. CARTER Goodbye, Eric. Carter raises the butt of the gun and brings it down on Eric's head. EXT. BEACH - EARLY DAY Eric's body, loaded on to a a coal bucket, moves off on it's final journey. Carter, laughing, walks beside it, gun riding on his shoulder. The bucket shudders and grinds as it moves along the cable. Eric's body moves of on its final journey. It reaches the end of the line, where an automatic catch tilts it. Eric's body drops into the sea. The coal slag follows in a cloud of black dust. The waves pass over and everything is gone. Carter stands for a moment, turns and walks back along the beach. He stops, looks at the shotgun, and decides to get rid of it. EXT. CLIFF TOP - EARLY MORNING Below, Carter moves slowly by the edge of the sea. He raises the shotgun to throw it away. High on the clifftop a rifle and telescopic lens line up on Carter. A finger curls around the trigger. On the middle finger of the same hand is a large gold ring with the letter 'J' engraved upon it. It is the man Kinnear contacted after sending Eric to his death. The finger tightens on the trigger and pulls it. There's a quiet, whooshing sound. Carter drops to the ground. EXT. BEACH - EARLY MORNING Carter lies on the beach. The waves lap around his head. A small trickle of blood pours out of a hole in his temple. He's dead. EXT. CLIFF TOP - EARLY MORNING Kinnear's hit man coolly dismantles his rifle. He carefully wraps it in a cloth fishing-rod carrier. He walks off and is soon lost as he drops out of sight. FADE OUT: THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Get Low.txt b/unformated_scripts/Script_Get Low.txt new file mode 100644 index 0000000000000000000000000000000000000000..df75cded03502c89ae154bc428e18220bc7c5fdc --- /dev/null +++ b/unformated_scripts/Script_Get Low.txt @@ -0,0 +1 @@ + GET LOW Written by Chris Provenzano, Scott Seeke & C. Gaby Mitchell 1 EXT. HOUSE - NIGHT 1 From a distance and through the trees we see a raging hell fire engulfing a small two story house. It burns and burns. Out of nowhere a man bursts through a second story window, lands hard and rolls to smother his burning clothes. He crawls away and staggers up and for a moment looks as if he might run back into the flames. But the heat is unbearable. He runs toward us then past us through black shadows. We cannot see his face, 1A EXT. WINDOW - EARLY MORNING (WINTER 1930S) 1A Glass in a weathered window glitters with early morning sun. A rock shatters one of the remaining glass panes! 2 EXT. YARD - EARLY MORNING/CONTINUOUS 2 The rock thrower, TOM ( 10) is hightailing it away from an isolated Appalachian SHACK as the door bangs open, a shotgun barrel appears, and a chicken comes SQUAWKING out from under the porch! Thinking he's sure to be shot, Tom runs into the old barn! 3 INT. BUSH'S BARN - EARLY MORNING/CONTINUOUS 3 Panting in terror, Tom is hunkered down in strips of light, trying to see through the cracks. There is a loud SNORT and the huge face of some kind of beast suddenly appears at his shoulder. Tom jumps, panicked, just as a SHADOWY FIGURE creeps into the barn and levels a glinting shotgun at him! Tom freezes, bends over, and throws up! When Tom looks up, a ray of light reveals the half face of a fierce gray bearded man, FELIX BUSH. He is holding out a handkerchief to the boy. Shaking hard, Tom hesitates then takes it and wipes his mouth. Bush pushes open the door and gives Tom a sad look that the boy will never forget before waving him away. 2. 4 EXT. BUSH'S BARN - MORNING 4 Looking back over his shoulder, Tom runs for the road. Two of his BUDDIES are already kicking up dust. BUSH (72) steps into the sun and watches the boy run off with a look of muted anger, sadness, and something much deeper. 5 INT. BUSH'S BARN - DAY 5 Bush enters the barn to check on his companion. MULE is older than Bush in mule years and just as gray. He wears an old mule blanket everywhere to keep out the cold. He fidgets nervously from all the excitement. Bush comforts him. BUS H Just a boy, that's all. 6 SERIES: 6 7 Bush rips down an old faded sign at the road and posts a 7 fresh one:'No Damn Trespassing/Beware of Mule'. Bush checks the road in both directions. All clear for now. 8 Bush splits firewood with powerful cleaving strokes. Mule 8 dozes in the shade. Bush sees a Model-T approach and turn into his road, right past his new sign. He glances at his shotgun leaning against the shack. The Model-T comes to a shaky stop. A MAN climbs out, sees Bush swinging the axe and approaches with trepidation. HORTON Mornin', sir. BUSH Hard life if you can't read.. HORTON Pardon? I'm uh, Reverend Gus Horton, sir, how you doing? Bush stops his swing and turns and stares coldly at Horton. BUSH Don't need saving, preacher. 3. HORTON Uh, well, Mr. Wiley Starke has passed on, sir. His funeral is tomorrow and I thought you might want to know since.. BUSH (SOFTLY) What got him? HORTON Just got old, sir. BUSH Yeah, well.. Bush returns to chopping wood. Feeling awkward, Horton hesitates, starts for his car, stops. HORTON Mr. Starke told me that you and him ran away from home when you were 6 years old. Is that true? BUSH I talked him into it. Bush doesn't turn, just keeps chopping. HORTON Well.. anyway.. I.. alright.. Horton shrugs, get in his car, and leaves. Bush strikes the log hard and a cleaved piece goes flying. 9 EXT. CEMETERY - EVENING 9 The loneliness of the empty cemetery is broken by Wiley Starke's fresh grave. The mounded earth is covered with beautiful flowers and wreathes, a loving send off from his family and friends. As we pan past the flowers and cards.. we realize that the cemetery is not quite empty. Hunkered down nearby, Bush is as still as a gravestone, staring at the last resting place of his old friend. As Bush gets up to leave he stops abruptly and stands frozen, staring at a pot of YELLOW FLOWERS on a distant grave. Now he turns and walks quickly away in the opposite direction. 4. 10 INT. BUSH'S SHACK - NIGHT 10 Rain drums hard on the tin roof as Bush, soaked to the bone and shaking with chills, rummages through an old hat box by lamp light: Letters, news clippings and keepsakes. He finds what he's looking for: A PICTURE of a BEAUTIFUL YOUNG WOMAN. She smiles at us from happier days. Realizing that he is raging with a serious fever, he tries to stand up only to collapse back on the bed. 11 OMIT 11/12/13 11 14 EXT. BUSH'S SHACK - NIGHT 14 Wrapped in his quilt and carrying the oil lamp, Bush moves slowly toward the barn. But he is so wracked with fever he has to stop. It stuns him that he can't go on. He never thought anything could stop him. Stuck in the rain with the shaking lamp sizzling, he stares into the forever darkness, the muscles in his jaw rippling in the pale light. BUSH Well hell.. 15 INT. BUSH'S BARN - NIGHT 15 Somehow he has made it. Sopping wet and shivering, Bush is in bad shape and knows it. Mule sees Bush and grunts anxiously as he rises. Bush blindly pours Mule some feed and the poor old thing snatches his first meal in days. Bush tries to think through the fever. He stumbles back to the door and swings it wide open so Mule can get out if Bush doesn't make it. Satisfied, he comes back and drops hard onto a pile of hay near Mule. BUSH Always thought you'd go first.. White as cotton, Bush stares into the lamp that is running out of oil, the light fading fast to darkness. Thoughts tumble through his mind, troubling him, stirring the dark waters of memory. 5. 16 EXT. BUSH'S BARN - MORNING 16 PAN across the stillness of the foothills to the barn. The door is still swung wide open. Back from the brink of death, Bush emerges into the blinding sunlight. Mule is dozing in his favorite spot. He swings his big gray head over at Bush. BUSH Ahh, don't look so disappointed. 17 OMITTED 17 18 EXT. BUSH'S BARN - MORNING 18 Mule watches Bush heave a creaky old wagon out from behind the barn. Mule climbs up on all fours. Bush gets a set of reins and walks toward him. Mule starts to take a stroll, knowing what the reins mean. BUSH You better not. Mule looks back, sees an apple in Bush's hand, and stops. BUSH And coffee when we get there. 19 EXT. MAIN STREET - DAY 19 Old wheels creak and moan. Bush and Mule ease up Main street with the cart. PEOPLE try to catch a glimpse of the infamous recluse. Mule comes to a wearied stop, breathing hard. Bush climbs off the cart and walks Mule, ignoring the eyes upon him. 20 INT. CHAPEL - DAY 20 Reverend Horton, stoking the wood stove, hears FOOTSTEPS. HORTON Buddy? 6. But as he turns he sees Bush silently looking around. HORTON Oh! Hello.. Horton comes to Bush but Bush ignores him and keeps critically looking around. HORTON What can I do for you, sir? Suddenly BUDDY and KATHRYN ROBINSON (20's) enter from the vestibule with their new BABY. In their own world, and not realizing that there is anyone in the chapel, Kathryn picks some lint from Buddy's jacket. He catches her fingers and kisses them. Bush is transfixed by the loving moment. BUSH I can wait. Buddy and Kathryn see Horton and double-take Bush. Buddy nods to Horton and he and Kathryn step back into the vestibule to give Bush and Horton privacy. HORTON It's alright, have a seat. Bush sits down uneasily in a pew. Horton sits down in the pew in front of him and twists around to face him. The wintry light from the near window washes over them. HORTON What's on your mind, sir? BUSH Bout time for me to get low. HORTON Get what? BUSH Down to business Bush reaches into his overalls and puts a balled-up wad of MONEY on the pew. Horton's eyes bulge. BUSH Need a funeral. Horton looks up from the money. 7. HORTON For who? BUSH Me. Buddy peers around from the vestibule, listening, curious as hell, until Kathryn pulls him back. HORTON For you? (off Bush's impatient nod) You want to buy a funeral for you? BUSH Am I not talking right? HORTON No, yes, I'm sorry. Are you sick sir? BUSH Everybody dies. HORTON True, but.. BUSH I don't take care of my bones it won't get done, will it? HORTON All right, I see. Well the church can help you get your affairs in order, arrange a service.. Horton glances at the strange wad of money again. BUSH What would you say? HORTON About what? BUS H Me. HORTON A eulogy? I.. don't know. What do you want me to say? 8. BUSH Say what you'd say right now to my face. HORTON Well. I uh, I don't know much about you, Mr. Bush. I mean, I've heard stories but.. BUSH What stories? Bush leans in and stares into Horton. It feels like everything in the world stops dead. Buddy peeks in again, this time Kathryn peeks too. HORTON Just stories.. (off Bush's intense look) .you know, people talking. BUSH What kind of stories? Say one. HORTON Sir.. my mother used to say that gossip is the devil's radio.. (UNFORTUNATE ASIDE) .not that she didn't play that radio at full volume now and then, bless her heart, but.. (back to business) .what matters when you come to the end of your life is that you're ready for the next one. Have you made peace with God, sir? BUS H I paid. Horton has no idea what Bush means. He looks at the money, back at Bush. HORTON Well.. you can't buy forgiveness, Mr. Bush. It's free. But you do have to ask for it. BUSH Nothing in this world is free, preacher. 9. Bush abruptly grabs his money and starts out. His hand bangs into the pew and the money FALLS. Buddy stares wild-eyed at the big wad of money then drops back into the vestibule. Bush storms past Buddy, Kathryn and the baby like a hot wind. 20A EXT. CHURCH - DAY 20A Bush heads off down the road on his wagon. Horton, Buddy, and Kathryn appear at the door and watch him go. HORTON That was, uh, different. KATHRYN I heard such awful things about him when I was a kid. HORTON My mother probably told you some of them. Kathryn goes back into the church with Horton who is cooing at the baby. Buddy lingers, staring at Bush, thinking.. 21 EXT. MAIN STREET - DAY 21 Bush's wagon loaded with bags of feed and supplies, sits in front of the Diner. Bush is holding a big tin cup of coffee for Mule who is drinking it and loving it. Tom (the kid who threw the rock) comes from behind the diner with a full garbage can to empty into the big trash barrels on the back of an old pick-up truck. He sees Bush and freezes. Bush looks up and stares at him. The diner door snaps open and BONNIE (30's), Tom's mother, steps out. She sees Tom and Bush staring at each other. BONNIE What are you doing, son? Now Tom is scared to death that Bush is going to tell on him. Bonnie doesn't like this staring match at all. 10. BONNIE Empty those cans in your daddy's truck and get back in here. Now. Finally Bush drops his gaze and lets Tom off the hook. Relieved, Tom heaves the can up into the truck. Bonnie hesitates then goes back into the diner just as... .CARL (30s), his sidekick, GARY, and two other MEN come across the street toward the diner. Gary sees Mule slurping coffee from the big tin cup. GARY Look at that. A mule drinking coffee! CARL Finally found somebody that likes Bonnie's coffee. As they move past, they see Bush standing there.. WORKER Ya'll better hush, that's old Bush. Carl eyes him. Gary and the others throw curious glances as they head into the diner. Carl stops. CARL Hey.. (NO RESPONSE) I'm talking to you.. Carl picks up a handful of gravel, tosses some over nonchalantly in Bush's direction. Bush ignores it. CARL We know about you. You stay out of this diner. There's women and children here and we don't want you around them. Bush stands to mount up, never turning around. CARL You better hear me. I see you here again, I'll.. Hey! Hey! Hearing the hollering, Tom looks up from the pick-up. Carl throws a stone, harder this time to get Bush's attention. 11. But the rock misses Bush and hits Mule, startling him. Old instincts kick in and he has a VIOLENT FIT. CARL Shit.. Carl moves up to try and calm him.. .as Bush tries to ease Mule down the cart hitch grinds a GASH in Mule's hind-quarter. Mule whinnies painfully, slowly surrendering. As Carl steps up, Bush yanks the BRAKE HANDLE off the cart and hits Carl in the chest. Air explodes from Carl as he gasps with pain. Before he can move, Bush hits him again in the same place. Carl wants to hit back but he has no air. Lightning quick, Bush steps back and hits Carl again in the exact same place. Carl falls like a bag of bones. He looks up and sees Bush towering over him with a terrible bottled up darkness in him. It has all happened so fast it feels like an awful dream to Carl. TOM Daddy! Wild with fear, Bonnie and Tom run toward Bush. BONNIE Stop it!! Get away! Gary, the Worker burst from the diner but see the brake handle in Bush's hand and slow down. Bush comes to himself, sees everyone staring, sees Carl in tears, and now Tom and Bonnie, trying to get him away.. Gary and the others slowly move toward Bush. More patrons step out from the diner. Buddy races up, sees Mule bleeding, and eyes Bush as he grabs the reins and leads Mule down Main street, still holding the brake handle. CARL (GASPING) I'll kill him! Bonnie shushes him softly as Carl moans in pain. Tom stares after Bush, mirroring his father's hatred. 12. 22 OMITTED 22 23 INT. FUNERAL HOME - DAY 23 An EMPTY CASKET, awaits its passenger in a small but serviceable funeral hall. Through the office door, FRANK QUINN sits at his desk, his head completely buried behind a paper that he shakes hard every few seconds. His feet are up on the desk revealing a pair of lovely burgundy silk socks. 24 INT. FUNERAL HOME/OFFICE - SAME 24 Frank's hand slips the flask next to his coffee cup into a drawer when he HEARS the front door open. But his face remains hidden as Buddy enters. Buddy is troubled by the fight. BUDDY Frank? (off Frank's grunt) There was a fight. It was.. FRANK .let me guess. Hmm. Carl? BUDDY Well yeah but this time it was with that old man Bush. FRANK Old man? (DISTANTLY HOPEFUL) Is there a body? BUDDY No, the old man did the beating. Never seen anything like it. FRANK Social event of the year and I missed it. Frank lowers the paper so just his eyes appear. He has no southern accent and doesn't look small town. 13. FRANK Read the paper today? (off Buddy's no) Something strange is happening in the world right now. BUDDY What? FRANK People are dying in bunches. (off Buddy's look) Everywhere. But here. He puts the paper down and studies his socks. FRANK I wonder what the odds are of a funeral home going broke? I mean you have a business everybody on earth needs, you can't make that work, it's got to be you right? And yet.. I don't know.. what do you do when people won't die? BUDDY Well.. FRANK Onethingabout Chicago, people knowhowto die; they drown, get runover,shot, whatever it takes. BUDDY We get it done down here, we're just not in a hurry about it. FRANK It's them or us. Frank sighs and stares forlornly out at a casket. BUDDY (QUIETLY) I might know someone who is looking for a funeral. Frank's eyes crawl over to him. 25 OMITTED 25 14. 30 EXT./INT. FRONTAGE ROAD/FRANK'S CAR - DAY 30 The Quinn Funeral Home Packard Hearse makes it way down the road. Frank drives as Buddy searches ahead. FRANK How much did he have? BUDDY It was all wadded up. FRANK Ooo, hermit money. That's good. Buddy sees Bush's signs. BUDDY There it is.. 31 INT/EXT. FRANK'S CAR/FRONTAGE ROAD - DAY 31 They stop at Bush's sign: 'No Damn Trespassing." Frank squints up at the old shack and doesn't like what he sees at all. Buddy opens his door but Frank doesn't. BUDDY What are you doing? FRANK You've been wanting a shot at sales.. BUDDY But.. FRANK As of right now, you're on commission. (off Buddy's look) Remember; foot in the door, establish trust, and drop the hammer. Buddy hesitates, crawls out, and eyes the shack. BUDDY I'd feel better if you'd go too. 15. FRANK No doubt but if you don't do this by yourself, you won't know if you're any good. And you'll never be any good if you don't know you are. Go get him! 32 EXT. BUSH'S SHACK - DAY 32 As Buddy uneasily approaches the shack, he feels the beautiful stillness and mystery of the place. He KNOCKS timidly on the door, pressing an ear to listen. BUDDY Hello? Nothing. He shoots a look back to the hearse - miles away, and knocks a little louder. Nothing. He inches to the window and peeks in one of the remaining glass panes then starts to slide away.. CLICK. Buddy spins and discovers Bush standing on the ground behind him, his shotgun barrel pointed between Buddy's eyes. BUSH Want to see in my house, do you? BOOM! Bush blows away several windowpanes and re-aims at Buddy's head. BUSH How's it look? Buddy closes his eyes, his last words are for his wife.. BUDDY Oh, Katie.. It makes Bush peek out from behind the barrel. BUS H You was at the church with your wife and baby. Buddy opens his eyes and can't believe he is still alive. BUDDY Yes, sir. 16. BUSH What the hell you doing here? BUDDY I can't remember. BUSH What? They stand there while Buddy thinks.. BUDDY Oh yeah, I heard.. you wanted a funeral. BUSH Funeral? BUSH Yes sir. I work at uh.. I work at.. (tries to think of it) .Quinn Funeral Home. I thought I could help you. Bush glances at his blown out window: 'Damn'. He lowers his gun, walks up onto the porch. BUS H You like rabbit? BUDDY What? Bush goes inside. Buddy looks desperately back at the hearse but can't see Frank. He doesn't know whether to run for it or not. 33 INT. BUSH'S SHACK - DAY 33 The shack is spare as a monk's chamber but has wonderful HAND MADE FURNITURE in it. BUSH Sit down. There is only chair at the table so Buddy dumps the glass off a small stool under the window and sits down low. The wonder of not being dead makes him look at everything with new eyes. On a window sill he sees a beautiful little CARVED MULE emerging from a block of wood. 17. Bush is at the stove tending to a iron skillet of rabbit pieces covered with bacon and white gravy. BUSH It's how you put things together, see? Some things go, some things never will. Indians said that everything spoke to them. That's how they made medicine and knew what to eat. Things talked to them clear as we talk. You believe that? BUDDY I.. I don't know, sir. BUSH If you don't listen you won't hear nothing. Bush puts the big skillet on the table and sits down. Buddy is so low he can look under the table and sees how the table legs run right into the top without screws or nails. BUDDY Did you make this furniture, sir? Never seen any like it. Can't even tell what's holding it up. BUSH Magic. Buddy looks up. Bush is dead serious. The word lingers. Finally.. BUDDY Alright. Well. Sir, if you do want to plan for a funeral service, which I hope will be a long long time away, we'd treat you with respect and offer a good.. BUSH What'd everybody say about what happened in town? BUDDY I don't.. BUSH That crazy old son of a bitch tried to beat a man to death for no reason? That it? 18. Buddy is caught off guard by Bush's lucid candor and finds himself automatically responding differently to him. BUDDY There's two sides to every story. As Bush puts some rabbit on Buddy's old yellowed plate.. BUSH People say that. But they don't mean it. They think what they think and they don't want to know anything else. BUDDY Yes, sir, but I think people are so scared of what they don't know that they make things up to feel better about it. BUSH Like life after dying. Heaven. BUDDY (THINKS) I hope that part's true, don't you? (BEAT) But I don't think we know the actual truth about much of anything. I know I don't. I'm just guessing most of the time. Bush gives Buddy a closer look and motions for him to try the rabbit. Fearing the worst, Buddy bends into the steam, takes a cautious bites and mutters with shocked surprise.. BUDDY Lord, that's good.. BUS H You boys been coming out here to throw rocks through my window for 20-30 years. BUDDY I never.. BUSH Ya'll know lots of stories about me? 19. BUDDY (SQUIRMS) Yes, sir, I guess, but.. BUSH Tell one. BUDDY I'd rather not. Bush eases forward, his eyes slit. The old Bush is back. BUSH I rather you did. BUDDY (startled/leans back) Well. When I was kid I heard you killed some men in a fist fight. BUSH Is that all? Bush leans back stone-faced. In the silence, Buddy looks over again at the wondrous carving of the mule on the window sill, at the big ears and long face that are being born from the rough block. It makes him smile. But when he glances back, Bush is staring a hole through him. BUS H What's your name again? BUDDY Buddy Robinson, sir. BUS H Well, if I need you -- I know where you are. It sounds almost like a threat. It shorts Buddy out. He stops eating and realizes that Bush has taken another turn and that he's been dismissed. 34 EXT. BUSH'S SHACK - DAY 34 Buddy heads to the hearse, glancing back over his shoulder. As he recalls his encounter, he stops, looking back at the shack. The old legend has gotten deep under his skin. 20. 35 OMITTED 35 35A EXT. BUSH'S LAND/FIELD 35A The morning sun breaks over the mountains. 36 EXT. BUSH'S SHACK - MORNING 36 Bush is on the porch, straining boiled herbs, grass, and bark into a jar. There is something not right with him and he knows it. While the medicine cools he looks out across the mountain and draws a deep breath. 37 EXT. FUNERAL HOME - MORNING 37 A well crafted live-in home doubling as a funeral parlor. A sign, 'QUINN FUNERAL HOME', hangs from the porch. FRANK (O.S.) Oh yes Ma'am, I do respect your wishes but you see.. 38 INT. FUNERAL HOME/FRANK'S OFFICE - SAME 38 Frank is looking a little hung over. Buddy walks in. Frank points at the phone and rolls his blood shot eyes. FRANK .state law requires.. No ma'am, we can't bury him under the house.. There is a loud KNOCK at the door. Buddy goes to get it. 39 EXT. FUNERAL HOME/FRONT DOOR - DAY 39 Buddy swings the door open. Bush is standing there. Buddy leans back unconsciously, not knowing what to expect. FRANK (O.S.) Well just for argument's sake, Ma'am, how would we get the casket under the house? No casket? BUDDY (TO BUSH) Would you like to come in, sir? 21. Bush stares suspiciously into the room then back at Buddy. FRANK (O.S.) But you have to have a container of some kind, Ma'am for decency and uh, sanitation. Bush enters the Funeral Home. As Buddy starts to close the door, Bush catches it. BUSH Leave it. 40 INT. FUNERAL HOME - CONTINUOUS 40 Frank is still on the phone and pouring himself a drink from the flask into his coffee cup in the drawer. FRANK Yes, Ma'am, but there's lots of natural things that aren't decent. (listens, eyes widen) He did what?! Good God. No, Ma'am, I didn't know that about your husband. Well, yeah now I understand why you want him under the house but still.. The phone goes dead. FRANK sighs as Bush walks in. BUDDY Frank Quinn, Mr. Bush. Frank takes a quick swallow from his cup to fortify himself, then jumps up, smiling, and goes to Bush with his hand out. FRANK Come in, come in, pleasure. Coffee? As Bush shakes Frank's hand, he stares into him, taking everything in, his bloodshot eyes, the wrinkled shirt beneath his suit, his breath. Frank feels downright naked. BUSH You from anywhere? FRANK A little bit of everywhere, I guess. Get him a chair, Buddy! Buddy stands behind the waiting chair. 22. Bush scrapes up a different chair. Frank goes behind the desk. Buddy pulls up a chair. Bush reaches into his coat and pulls out the wad of hermit money and lays it on the desk. Frank does something phenomenal. He ignores the money. FRANK How can we help you, sir? Bush gives Buddy a look, then looks back at Frank who steadfastly refuses to look at the ball of money. BUSH I'm after a funeral. FRANK Boy, are you in luck. (GETTING UP) Follow me. 41 INT. FUNERAL HOME - DAY 41 Frank and Buddy stand with Bush in a room dedicated to sales. Three caskets are lined up for display. All tanks. Bush steps up to a cheap cloth covered box, bangs it with his knuckles, and scowls. Frank points to a wooden casket. FRANK Solid pecan, steel handles.. Bush eyes it, repulsed. BUDDY Mr. Bush is an amazing carpenter. BUSH Forget the box. What else? FRANK Whatever you want, flowers.. BUSH No. FRANK Burial plot.. BUSH Got it. 23. FRANK A service? BUSH Party. FRANK A what? BUSH A party. BUDDY What kind of party? BUSH Funeral party. Stumped for once in his life, Frank looks at Buddy. Then years of honed instincts surge back to life. FRANK We can do that. 42 INT. FUNERAL HOME/OFFICE - DAY 42 As they come back into the office.. BUSH And I want to be there. Frank goes behind his desk. Buddy and Bush start to sit.. FRANK You will be, I guarantee it. BUSH I want to be there now. BUDDY You want to be at your funeral.. party.. alive? (off Bush's nod) But.. it's not a funeral if you're not, you know, deceased.. FRANK Hold on now, it's a detail, we can look at it. BUDDY Pretty big detail. 24. Frank cuts Buddy a look then smiles at Bush. FRANK So you'd like to have a funeral party while you're alive so you can go? BUSH Yes or no? FRANK Yes. Buddy is lost. FRANK Buddy, get some paper. We need to make of list of who Mr. Bush wants to invite.. As Buddy starts to get up. BUSH Sit down. Buddy sits right down. BUSH I want everybody to come who's got a story to tell about me. FRANK Say again. BUDDY That probably covers 4 counties.. Bush shoots him a look. Frank shoots him a look. Buddy thinks about how great an outdoor life would be. BUSH Then I want 4 counties worth of people at the party. FRANK Well, sir, the thing is, how would you get people to come and tell stories about you that I'm guessing might get them, you know.. shot? Bush scoops up the ball of money and heads out. Now all Frank can see is the money, leaving. 25. FRANK You know what, you go ahead, don't worry about it, we'll think of something. A couple of ideas just came to me. BUDDY Like what? 43 EXT. FUNERAL HOME - DAY 43 As Bush starts out the open door, he nearly bumps into Buddy's wife, Kathryn, and MATTIE DARROW. Mattie is carrying Kathryn and Buddy's baby boy. Frank sees Mattie and flicks his hair back nervously and quickly brushes his teeth with his finger as.. .Bush gives Mattie a glance and tries to be invisible. MATTIE Felix?! Feigning deafness, Bush walks on. Sensing something, Kathryn takes the baby so Mattie can go after him. MATTIE Felix! Say hello to me! Frank, eyes wide with surprise, mouths, "Felix?". Bush's shoulder hunch then fall as he turns. He looks into her, taking everything in. When he speaks his eyes and voice are soft. BUSH Hey Mattie. Buddy comes out, surprised to see Mattie and Bush together. Frank walks up behind him and scowls. Kathryn steers them back inside to give Mattie privacy. BUSH Heard you moved off. MATTIE I've been back a while. BUSH (LOOKING AWAY) Well. 26. MATTIE How are you? BUSH You look like you always did. He abruptly rips himself away and is gone. 44 INT. FUNERAL HOME - DAY 44 Buddy and Frank are peeking out the window. They see Mattie standing alone as Bush walks away. FRANK How would she know him? KATHRYN (O.S.) It's none of our business. FRANK So? We got to know. Kathryn shakes her head and goes back outside. FRANK has another look at Mattie then lets the curtain fall back. FRANK See the size of that thing? BUDDY What? FRANK What do you mean, what? Goddamn ball of money! He wants a party with pink balloons on his ears, we're gonna give it to him. BUDDY But.. FRANK I sold 26 of the ugliest cars ever made one December, in Chicago, with wind blowing so hard up my ass I was farting snow flakes in July so don't tell me we can't do this. BUDDY But.. 27. FRANK That's the last "but" I want to hear out of you. You're a salesman now, sell! FRANK (looking out again) She called him Felix. 45 EXT. FUNERAL HOME - DAY 45 Kathryn rocks the baby in a carriage. Mattie is beside her. MATTIE A thousand years ago he was the most interesting man I'd ever met. KATHRYN Get out of here. MATTIE He was. And I don't mean just the way he looked. KATHRYN I hope not. MATTIE Oh no, listen, he was beautiful. KATHRYN Are you serious? MATTIE (SIGHS/THINKS) Most people are just laid out nice and simple, you know? You always know what they're thinking and where you are with them. But he was this.. big old cave that went deeper and deeper. You'd never get to the end of him. KATHRYN Good Lord, you had a crush on him! MATTIE All the girls did. I know he's something wild that crawls out of the hills once in a while and gets into trouble now but there's still nobody like him. 28. 46 EXT. BUSH'S BARN - MORNING 46 Bush comes out of the barn. Frank and Buddy are there. FRANK We have a plan. All we need is a little bit of your time. BUSH What for? BUDDY Seeing it is better than hearing about it. Bush looks at the hearse, back at Buddy and Frank. BUSH How much is it gonna cost? FRANK (TO BUDDY) Did you say anything about money? (touches his own chest) I didn't say anything about money. (TO BUSH) If we can't get you what you want you don't owe us anything. 47 INT. HEARSE - DAY 47 Frank, Buddy, and Bush ride in the front seat of the hearse. They are together but in very different worlds. They don't even look at each other when they talk. Buddy is lost in serious thought. Frank is preoccupied about the deal and driving too fast. Bush is scrunched up to the door. He is going much faster than he is used to going. He kinda likes it and kinda doesn't. BUSH It moves, don't it? FRANK (DISTRACTED) This is nothing. 29. BUSH Fancy car for the dead. FRANK Didn't buy it for them. BUDDY (out of nowhere) We say that funerals are "For the Living" but we forget what that means sometimes, I guess. (to Bush but almost to HIMSELF) I was thinking about your funeral party before I went to sleep last night and I think I understand it a little now. When I was a kid, my folks where killed in a bad car wreck and the people at the funeral home... they did the impossible as far as I was concerned. I don't know what I would've done without them. And I remember wishing that my mother and daddy were there to see how beautiful they made everything. Frank is hearing this for the first time and is shocked. Bush glances softly at Buddy then looks out the side window at the world rushing by too fast. All at once he gives in to it. 48 EXT. TOWN STREET - DAY 48 The hearse pulls up on main street. Frank, Buddy, and Bush get out and head toward Feldman's Clothing Store. 48A INT. FELDMAN'S CLOTHING STORE- DAY 48A Frank and Buddy enter the store and find MR. FELDMAN and a PHOTOGRAPHER setting up a large camera and backdrop. As they turn to show Bush what is happening they see him go by the window outside. FRANK Where's he going? 49 OMIT 49 30. 50 INT. TOLLERUDE'S BARBER SHOP - DAY 50 A barber's drape falls over BUSH who is seated in a chair. Frank and Buddy rush in. The barber, an anxious Mr. Tollerude, pumps Bush's chair upward. FRANK (TO BUSH) I wish you wouldn't do that yet. Bush gives him the hairy eyeball then speaks to Mr. Tollerude, a clear threat. BUSH Don't leave me naked. FRANK Mr. Bush, you can get all the hairs cut you want after we take your picture, I'll pay for it. Mr. Tollerude doesn't know whether to cut or not. BUSH Why you want my picture made? BUDDY That's what we're trying to tell you. We're gonna run an ad in some papers about your party and put up posters of you. BUSH And you want me to look like this? FRANK Yes. BUSH Why? FRANK Why? BUDDY It's how people recognize you, sir. FRANK And you want as many people to come as possible so.. 31. BUSH So a crazy old nutter draws more. FRANK Basically. Don't you think? BUSH Do you ever say what you mean? Bush rips the bib off as Tollerude whooshes him to the floor. 51 INT. FELDMAN'S CLOTHING STORE 51 Bush is seated in front of a backdrop painted with a bridge, a swan, and a pond. The Photographer is trying to tidy up Bush without offending him. As he walks back to camera, Bush roughs himself up and looks truly wild. Buddy snickers. When the Photographer gets back to the camera, he cocks his head, what?! FRANK Take it. (leans in to Buddy) I'd go see that. 52 INT. TOLLERUDE'S BARBERSHOP - DAY 52 Mr. Tollerude, nervous as hell, brings Bush up from his reclining position and turns the chair to the mirror. Bush studies his well trimmed hair and beard for a moment. It's impossible to tell what his thoughts are as he looks into his own eyes. Buddy and Frank are in the mirror too, staring at him. BUDDY (GENUINELY SURPRISED) Damn. You look pretty good.. Bush suddenly gets up and nods at Frank. BUSH He's paying. As Bush blows out the door, Mr. Tollerude leans against the chair with relief. 32. 53 INT. FELDMAN'S CLOTHING STORE - DAY 53 Bush stands in front of a full length mirror. He has on a decent black suit, pinned to be hemmed, and a plain white shirt, open at the collar. It is a startling change. But we still can't tell what he is thinking. Buddy is staring at him with honest disbelief. Frank is quietly trying to get Mr. Feldman to lower the price for the suit. He looks over and double-takes Bush. FRANK Son of a bitch, it's almost worth it. BUSH (TO BUDDY) What do you think? BUDDY I wouldn't know you, sir. BUSH Maybe the Devil won't either. Might work out. (TO FRANK) Where's the shoes? FRANK Well, normally people don't wear shoes in a casket so.. (off Bush's scowl) .what are you, about a 10D? 54 INT. FELDMAN'S CLOTHING STORE - MOMENTS LATER 54 Buddy stands beside Frank who is still trying to get a deal on the clothes. Bush walks up with two pairs of pants and two new shirts, puts them on the counter, gives Frank a hard look, and walks away. Frank looks down at the clothes, over at Buddy. FRANK Pretty optimistic taking a change of clothes to the grave. (calls over his shoulder) How you set for underwear? BUSH (O.S.) Don't wear none. 33. FRANK One question too many. 55 OMIT 55 56 INT. HEARSE - DAY 56 Everyone is back in the hearse. Something is eating at Frank. FRANK I don't mean to be nosey but uh.. how do you know Mattie? BUSH She's a peach. Frank and Buddy cut Bush a look. He looks ahead. BUSH We had a go. Frank nearly drives off the road. 57 INT. FUNERAL HOME/ FRANK'S ROOM - NIGHT 57 Late night Poker. Cigarette smoke drifts into the air. Frank, Carl, Rev. Horton, Mattie, and RAY, a banker, are at the table. Ray has the untouchable presence of someone privileged which appears to be driving Frank up a tree tonight. Horton gathers up his winnings. HORTON "The Lord loves a cheerful giver.." MATTIE Oh please.. you think the Lord's taking sides in a poker game in a funeral home? Horton shrugs and points to the divine evidence. FRANK If He is, the Divine's cheating. RAY Exactly. FRANK Don't agree with me Ray, it makes me doubt myself. 34. Ray sighs and studies his perfectly cut nails. RAY I would have turned down your loan if you were my own dear mother, Frank. FRANK You made my point and don't even know it. MATTIE Jesus, would you two stop it! You're worse than two old women.. Ray shrugs, sweetly blase. Frank tries to rein in his temper for her. The loss of the hand is especially hard on Carl who has only a couple of dollars left. CARL (TO FRANK) What were you doing with that old bastard in town today, anyway? RAY Oh yes. Buying him clothes, getting him a haircut..on credit. Frank shoots him a look. HORTON Took out ads in a bunch of papers too, something about a party? FRANK God, I love small towns. MATTIE Who are you talking about? RAY That hermit, what's his name.. FRANK (a knowing look at Mattie) "Felix" Bush. MATTIE You're giving him a party? FRANK A funeral party. 35. MATTIE Whatever you're drinking is not being good to you at all. CARL What the hell is a funeral party? FRANK Hey, the man wants to be at his own funeral. What can I say? I'd like to be at my funeral so I could tell my ex-wife to kiss my.. MATTIE What makes you think she'd show up for you? FRANK Because, Dear, vultures are constitutionally unable to ignore the dead. Mattie grins which delights Frank, no end. Horton stops counting his money and stares at Frank. HORTON It's that big wad of money of his you're after. There is a crack in Ray's disinterest that he tries to hide. RAY What money is that? MATTIE Felix has money? Everyone is looking at Frank but he shuffles the cards. HORTON He came to see me, wanting a funeral, had a big old greasy ball of money. Talked like he thought he could buy his way to heaven with it. RAY (SERIOUSLY) How much has he got? Maybe he can. Hearing that Bush wants or needs a real funeral Mattie is suddenly truly concerned. 36. MATTIE Is he sick, Gus? Horton shrugs. Frank notes the concern and doesn't like it. Carl coughs and his ribs make him break out into a sweat. CARL I'll tell you one damn thing, ain't nobody gonna go to a funeral for that son of a bitch. Mattie gives Carl a look HORTON Language.. FRANK They might. He's inviting everyone who has a story about him to come. You could tell about him kicking your ass, Carl. Carl looks at Frank as if he wants to cold cock him. RAY Old man is going to ride the Weird Train right into the ground, isn't he? FRANK Wouldn't you like to know what everybody says about you behind your back, Ray? (off his look) Yeah, probably not. HORTON I already know way more about people than I need to. MATTIE Or want to. HORTON Amen. FRANK Let's play some cards. 37. RAY Oh for God's sake, face it Frank, you're broke. This is not about cards. It's a declaration meant to embarrass Frank in front of everyone. Frank feels their eyes on him as he starts to pull off his watch. Ray waves it off. RAY Please. I've won that 4 times already. FRANK It's who has it last that counts. CARL Say what you want but if there hadn't been anybody there the other day he would've killed me. And I guarantee you it wouldn't have been his first time. It sounds true and everyone is quiet except Mattie. MATTIE Everybody knows you started it. (off his glare) Don't look at me like that. I remember when you were born. You were the sweetest little boy. What is wrong with you? Momentarily shamed, Carl's face softens and we can see a better man there. He struggles to hold on to it but.. CARL I made a mistake. But there's a line.. and he crossed it.. and everybody knows that too. Ya'll go on and have a party with the devil for his money but I'll dance on his grave someday. Carl snatches his few dollars up and heads out. HORTON You kind of hate to admit it when it comes to Carl but he's got a point. You don't know what Bush is doing. What if he just wants to get everybody in one place so he can turn his shotgun on them? 38. MATTIE He wouldn't.. HORTON I looked in his eyes. The truth is nobody knows what he's capable of. Maybe even he doesn't know. She looks into him. Frank starts to deal the cards. RAY Go ahead and lay your watch down, Frank. But I am going to keep it this time, alright, on principle. FRANK I got an idea. Let's try something different. (TO RAY) The cards in your sock? Leave'em there. Everyone freezes. Ray shakes his head. RAY What are you trying to pull now? FRANK You really think you're that good that nobody sees? RAY Sees what? FRANK You cheat at everything you do. Even at the bank, you loan people just enough to get'em deeper in so you can foreclose on them. RAY You are a pathetic man. And a goddamn.. FRANK Am I? Then stand up and roll down your socks. (a deep dark look) Stand up or I'll stand you up. Ray looks around the table and suddenly realizes that he is irreversibly exposed and alone. The sound of Frank's chair scraping the floor makes him jerk up. 39 He walks out, trying to find his old confident rhythm and failing. Everyone sits in uneasy silence. 58 INT. HALLWAY - NIGHT 58 Horton waves and walks out, leaving the door open. Frank walks Mattie to the door, helping with her coat, trying to work up his nerve to say.. FRANK I'll walk you home. MATTIE No. Thank you. FRANK (HURT) You sure? (off her firm nod) You're not going to play anymore, are you? MATTIE Oh, I don't know. Thank you for inviting me though. FRANK I'm sorry about the..we don't always fight, okay, we do, but he's had that coming for.. MATTIE It's not that. I just..(trails off) FRANK You came because you don't know what to do with yourself. (off her look) I slept on the same side of the bed my whole life, right? But after my wife left me, I switched sides, just like that, and never been able to go back. MATTIE When someone you love is gone, you can pour everything, even a lifetime of things into the place where they were but it's still always empty. 40. He sees that her thoughts are not with him at all but a million miles away. She hardly glances up when she says.. MATTIE 'Night. He stares after her, wishing that she could see him the way he sees her. 59 OMIT 59 60 INT.BUSH'S SHACK - NIGHT 60 Dim lamp light glows. We see Bush sitting on the edge of the bed wiping the sweat from his face with a sheet. He looks up at the picture of the beautiful woman. 61 INT.BUDDY'S HOUSE - NIGHT 61 Buddy sits in the dark, rocking his son who is asleep. A small lamp casts a shadow across them. Kathryn comes in. KATHRYN I didn't hear him wake up. BUDDY He didn't. KATHRYN (KNEELING DOWN) Everything's all right, hon. BUDDY I'm glad you don't know how quick it can change. She gently kisses his arm and the baby's head. Buddy looks at her, haunted by the very possibility of their absence. 62 EXT. STREET - DAY 62 Mattie is standing on the sidewalk at Feldman's store with her coat collar pulled up against the cold, giving someone we can't see a bemused affectionate scolding.. MATTIE Good Lord. Have you completely lost your mind? (MORE) 40A. MATTIE (cont`d) Straighten up for heaven's sake before somebody throws a net over you! But she smiles in spite of herself, glances around to see if anyone was watching and moves discretely on. As she does we see that she was talking to a striking WANTED POSTER of a wild man sitting in front of a pond, a swan, and a bridge. The text reads: 41. MYSTERIOUS HERMIT OF CALEB COUNTY THROWS A FUNERAL PARTY! EVERYONE IS INVITED. MUSIC! FOOD! STORIES! DANCING! 63 INT. WCGM RADIO STATION - NIGHT 63 A tiny PLACE, cramped with radio gear. Buddy and Frank peer through a glass window into a small control booth.(We will cut back and forth between the glass) Buddy is having misgivings about being here. But Frank gives the thumbs up to the young WCGM ANNOUNCER in the booth, a hopeful kid with a smooth voice and dreams of the big-time. The Announcer hands Bush a set of headphones. Bush is wearing his new clothes and truly looks like a different man. Bush is puzzled by the headset. The kid takes it and clamps it onto Bush's head. He starts to yank them off then hears a song playing inside his head and loves it. But now the announcer cuts the record off and Bush scowls. ANNOUNCER Friends, we have a treat for you today on WCGM. Our special guest is going to tell us about an event that everyone is talking about. And here he is, Mr. Felix Bush, the mysterious hermit of Caleb County! How are you today, sir? BUSH I am. Bush is surprised by the sound of his own voice. ANNOUNCER So tell us, sir, exactly how did you come up with the idea of having a funeral party before you die? BUSH I dreamed it. 42. ANNOUNCER Really? BUSH Why would I make that up? Two seconds of dead air as the announcer finds his feet. ANNOUNCER Okay. Now I have to say that you don't look quite like you do on the posters. BUSH I got pruned. ANNOUNCER Well, you're a bit of a local legend, sir. I was a little nervous about our interview. I've heard some pretty wild stories.. BUSH Like what? ANNOUNCER Well uh, just.. from what I understand, you want everyone who has a story about you to come and tell it. Is that right? BUSH You come and tell yours. ANNOUNCER Thank you. Now how long have you been living out there by yourself? 64 INT. MATTIE DARROW HOUSE - NIGHT/CONTINUOUS 64 Mattie is cutting the stems of some lovely yellow flowers and arranging them in a vase. BUSH (O.S.) 40 some years. ANNOUNCER (O.S.) 40 years with nobody to talk to? BUSH (O.S.) First 38 are the hardest. 43. Mattie grins. 65 INT. WCGM - CONTINUOUS 65 ANNOUNCER But why would you do that, Mr. Bush, shut yourself off like that? Frank isn't happy with this but Buddy wants to hear. BUSH Come to the funeral and maybe you'll find out. ANNOUNCER You heard it here on WCGM, folks, find out the answer to the mystery February 16.. BUSH One more thing, boy. FRANK and Buddy tense. What's this? 66 INT. DARROW HOUSE - CONTINUOUS 6 6 Mattie tenses at the sound in Bush's voice. BUSH (O.S.) Gonna be a drawing. ANNOUNCER (O.S.) What kind of drawing, sir? BUSH You buy a ticket for $5.00 The day of the funeral we draw names. Then when I die, the winner gets my place, 300 acres of timber that hasn't been touched in 40 years. Mattie accidentally cuts a bloom off of a flower. 67 INT. WCGM - SAME 67 Dead air. The kid, Frank, and Buddy are all staring at Bush. ANNOUNCER For 5 dollars? 44. BUSH Send it to the Quinn Funeral Home. Frank's eyes light up like fiery pinwheels and he almost yelps! Buddy looks oddly perplexed and sad. ANNOUNCER You heard him! If you want a chance to win 300 acres of virgin timber worth thousands and thousands of dollars, send 5 dollars along with your name and address to.. (off Frank waving and pointing to himself) Frank Quinn at Quinn Funeral Home. As the Announcer begins a song, Bush moves his head in time with the music. Frank and Buddy rush into the control booth. FRANK (TO BUSH) I could almost kiss you on the mouth! ANNOUNCER I'll take a ticket. BUDDY You're betting on a man dying.. ANNOUNCER I didn't mean it like.. FRANK Hey, it's his idea! They look at Bush who has taken off the headset and looking at it like he wants to take it home. FRANK It's what you want, right? BUSH (TO BUDDY) Buy a ticket, son. 68 INT. DARROW HOUSE - SAME 6 8 Mattie puts the vase of flowers on table with a group of family photographs. The picture beside the vase is the SAME PHOTOGRAPH of the beautiful woman that Bush has. Is it Mattie? It looks a little like her. 45. INSERT PHOTO: The BEAUTIFUL YOUNG WOMAN stares at us as we PULL BACK TO REVEAL that we are now looking at the identical photo tacked to Bush's wall. 69 OMIT 69 70 EXT. BUSH'S BARN - LATE DAY 70 Bush starts out of the barn, draws back, and peeks through the wall boards: A FIGURE approaches. He jerks.. REVEAL Mattie walking BUSH Mattie? MATTIE Felix? Mattie enters, straining to see into the barn. Her eyes adjust to find him standing near Mule. She is startled and pleased by his new do. MATTIE Look at you. I wondered if you were still under that beard. BUSH Wasn't nowhere else to go. MATTIE I heard you on the radio. BUSH Well. MATTIE You've gotten downright chatty. BUSH I reckon so. MATTIE (GLANCING AROUND) This is nice. I drove by a few times after I got back but.. BUSH You want to see it? 46. MATTIE Do you want me to? 71 EXT. BUSH'S LAND - DAY 71 The first stop on the tour is a small fenced grave site near the shack. Three grave markers with names carved into them: KEEPER, CHARLIE, MAUDE. Bush is squatting down staring at the markers. Mattie stands close beside him. Since his attention is elsewhere she looks at him in an unguarded way. Her mind is full of questions, old and new. BUSH You always know where you stand with a dog. Want to lay here with them someday if they'll have me. 72 EXT. BUSH'S LAND - DAY/LATER 72 Mattie and Bush walks side by side through the last of the glimmering light and shadows beneath the trees. It is a chilly and Mattie's cheeks are flushed. She is enchanted by the place. Bush tries to hide how winded he is.. MATTIE It really is beautiful. Probably looked like this everywhere a hundred years ago. BUSH You leave things alone, they know what to do. MATTIE Like you? BUSH No, Ma'am. I don't know what to do about anything much. MATTIE You've been alone a long time. BUSH Some people are more suited to it than others, I reckon. 46A. MATTIE That's funny cause I never thought that it'd suit you. I knew you wouldn't be like anybody else but.. no one to talk to, no one to.. be with.. never. He looks into her then looks away at something. BUSH How you sleeping these days, girl? MATTIE How am I what? 47. BUSH You sleep good? MATTIE No, not lately. How'd you know? He veers off the path and pulls up a plant and brings it back to her. BUSH Chamomile, it's good when the nights get long. Helps you nod off. She takes it and smiles up at him. BUSH Want to go on a ways? MATTIE Yes. BUSH Would you stay for supper? MATTIE I don't want to be any trouble. BUSH A supper guest every 30-40 years is not much trouble, Girl. MATTIE Alright then. He holds out his arm. BUSH Better stay close, some big old wild cats been eating my chickens.. She looks around and takes his arm. BUSH .or maybe it was me.. She snorts and slaps his arm but doesn't let go.. 73 OMITTED 73 48. 74 INT. BUSH'S SHACK - NIGHT 74 They enter the dark room together. Bush lights a lantern, gets a chair from a corner and holds it out for her. She sits and watches him check a cast iron pot on the warm stove and put a log on the fire. She notices the beautiful table. MATTIE You always were good with your hands. He puts a glass of tea in front of her and sits down. BUSH You still play the piano? MATTIE I teach a few girls. BUSH I got a good feeling when you played. Remember that time you was playing and the lamp burned out? And you went right on in the dark? I hear that song sometimes at night. She shrugs shyly and sips the tea. Seconds tick by. MATTIE Sure is quiet out here. BUSH (cocks his head) What? MATTIE I said it's.. (stops/gets the joke) I tried to write you at times but I didn't know what to say. BUSH Well. I heard you married. MATTIE He was a Doctor; a real good man. We lived in St. Louis for awhile. He died unexpectedly about a year ago. I came back here because.. I have no idea why. (sips tea/thinks) (MORE) 49 MATTIE (CONT'D) The list of people who are gone is getting longer and longer and sometimes I feel like all I'm doing is waiting for my name to come up. BUSH You have a tender heart, always did. She gives him a curious look. BUSH You can't wait for anything, Mattie. Close your eyes, hold your breath.. stay in one spot your whole life, but you're still moving, like the world's moving under you. There's no waiting. MATTIE And there's no getting over some things either, is there? BUSH Reckon not, Little Bit. MATTIE Little Bit?! Oh my God, nobody's called me that in.. But suddenly she is lifted from the chair as if by strong ropes. She stares at the wall as she walks toward Bush's bed. Bush is stricken and white. He would stop her if he could but it is too late. She walks right up to the picture at the edge of the lamp light and stares into it as if it is a mirage that will disappear if she blinks. Finally she whirls and looks at him, her face a tortured mask. A strangled sob escapes her. He gets up and stands there staring at the floor. Suddenly she is moving toward him and then past him and out the door. Her shadow merges with the darkness. Bush stands with his head down, staring into oblivion. 75 OMIT 75 50. 76 OMITTED 76 78 INT. FUNERAL HOME/OFFICE - DAY 78 Buddy comes in frowning and lugging a heavy mail sack. What the hell? He looks up and sees more sacks dumped on the desk. Frank is grinning and ripping open envelopes from the sacks and each one has 5 dollars in it! Buddy looks down and sees even more mail sacks on the floor! FRANK Jesus, kid! BUDDY Yeah! But, but it's not our money. FRANK Well yeah, no, but some of it's gonna be! We're putting this thing on! Frank rips open two more envelopes and dollar bills rain down to the floor. He's beside himself. Buddy eyes him warily. BUDDY He should be here. I'm gonna go get him. They lock eyes. Frank finally tosses him the hearse keys. 79 OMITTED 79 80 INT. FUNERAL HOME/OFFICE - DAY 80 Buddy, Frank, and Bush are staring reverently at the money stacked across the desk and the full paper sacks all around the desk. Bush eyes Buddy who is still quiet. 51. FRANK I don't know exactly how much your land's worth but looks to me like you could get maybe 10 times that or more. I don't know what to do with it. I mean it's yours to do with what you want but I'm getting a little nervous about it. Never thought I'd see enough money to make me nervous. We should probably talk about the price for everything, the clothes, the ads, the food and drink for the party, the music.. our fee for everything, we'll be fair about that, I'm not worried about it. Bush is looking at Buddy who is looking across the room. BUSH What do you think, boy? Buddy jerks, looks at Frank, at Bush. BUDDY Money makes people do funny things. Frank scowls. BUDDY I think you should probably put it in the bank, sir. FRANK No! Ray is not.. (off Bush's look) I mean, if it was my money I'd put it in a bank out of town so everyone didn't know my business. This bank here, you can't trust, that's all I'm saying. BUSH Can I trust you? FRANK Every name, every dollar, is right there! BUSH Not what I asked. 52. FRANK I've done a hell of a job for you. I don't see why.. BUDDY Mr. Bush, I didn't mean to imply.. BUSH Hush. FRANK I've sold horses, cars, houses, hell, pocket watches pinned to the inside of my coat. I'm not ashamed of it. I don't rob banks, don't cheat at cards, and I sleep all right the nights I sleep. What was the question..? BUSH They goddamn.. He nods at the money and suddenly becomes the "other" Bush. BUSH Take out for the expenses you've already had and give me the receipts. As the bills come in for things, give them to me and I'll pay them. Put this money in a box and the boy and I'll take it someplace in the morning. Whatever new comes in, keep it in the bottom of one of them ugly caskets in there 'till I come get it. After the party, name a fair price for what you've done and we'll settle up. (WALKING OUT) I'll be at the car. After he's gone, Frank and Buddy stare at each other. FRANK Is it just me or is he extremely fucking articulate when he wants to be? BUDDY I don't know who's selling who what anymore. 53. FRANK It's not clear, is it? BUDDY Not only that but something feels really wrong. FRANK Hold on. I told you that you were working on commission.. BUDDY Yeah, but.. FRANK So whatever our end of this is, you get a piece. BUDDY A piece? FRANK Half. It could help set you up, Buddy. So whatever feels wrong is gonna feel right pretty damn quick,okay? We just have to close it out. From here on, watch me, do what I do, and we'll be fine. BUDDY But.. FRANK He wants you to go with him to take this money somewhere which means that it's you he trusts. And that's fine because I trust you too. Just don't trust him, okay? BUDDY I'm lost again. FRANK Look, that funny feeling you have.. I have it too. And it's not funny. So go along, be friendly, but that's it. (BEAT) There's a euphoria that comes with closing a deal, Buddy, and the bigger the deal, the higher you get. It's better than anything. (MORE) 54 FRANK (CONT'D) But the critical time is just before it closes. It's like a witching hour and everything tries to come apart. We're not going to let that happen. BUDDY All right. FRANK Now go. (as Buddy starts out) You know.. I always wondered why you wanted to work here. I thought you could do a lot better. (off Buddy's look back) I didn't know about your folks, I'm really sorry. BUDDY Thank you. He goes on. Frank turns and flips through a large stack of bills, hungrily entranced. 81 INT. BUDDY'S HOUSE/BEDROOM - NIGHT 8 1 Buddy's son is crying his heart out. Kathryn comes in unbuttoning her blouse, picks him up, sits down, slips her blouse off her shoulder, brings the boy to her breast and voila, his sorrow miraculously vanishes. Buddy appears in the doorway, his eyes soft with love. BUDDY I might have a crying fit coming on too. KATHRYN Is that right? BUDDY Feeling a little weepy. KATHRYN You boys.. BUDDY (leans against door frame) I can maybe do something really good for us, Katy. 55. KATHRYN You already have. BUDDY I mean, money wise. KATHRYN About Mr. Bush? BUDDY Yeah. I'm getting half of whatever we make off of him. KATHRYN So why aren't you happy about it? BUDDY Didn't know I wasn't. (off her look) I was happy for a minute. And then the whole thing of making a carnival out of a person's death, I don't know if it's right. KATHRYN Is it what he wants? BUDDY He says it is. KATHRYN You are not responsible for what other people do, Buddy, just you. BUDDY You're right. You're always right. KATHRYN At least I am when I'm half naked. BUDDY Right. 82 INT. MATTIE'S HOUSE - NIGHT 82 A very determined little GIRL is working her way through a song on the piano that is unrecognizable in this form, even to her. Mattie sits just behind the girl with tears in her eyes, not really listening. On the table beside the piano is a stack of picture albums and old yellowed newspaper articles. 56. 83 EXT/INT BUSH'S SHACK/HEARSE - MORNING 83 Sitting in the hearse outside of Bush's shack, Buddy watches Bush get in the car with his shotgun. There is a big wooden box of money on the seat between them. Bush props his shotgun against it. BUDDY Where to, sir? BUSH North. BUDDY (starting the hearse) How far? BUSH Till I say, son. Buddy gives him an uneasy look and pulls off down the tree- lined path. 84 EXT. ROAD - DAY 84 The hearse slips around the narrow road that cuts through miles of farm land lying fallow in the winter. 85 INT. HEARSE - DAY 85 Buddy looks out at the highway. He is driving slow. Bush is leaning against the money, thinking. BUDDY How much further now? Bush waves him on. Buddy scowls then decides to get serious about this. He presses on the accelerator and the hearse takes off down the highway. 86 INT. FUNERAL HOME - DAY 86 Frank is hopelessly lost in a sea of envelopes. The phone is ringing off the hook, there are full sacks around him, and some Reporter is trying to take a picture through the front window. Frank scowls and lowers the blinds. 57. 87 EXT. MATTIE'S HOUSE - DAY 87 Frank is at Mattie's door entranced by the troubled but beautiful piano music coming from inside. It stops abruptly when he knocks. In seconds, Mattie appears. FRANK Hey Mattie. He looks almost boyish and bashful as he drinks her in. FRANK Was that you? It was really.. MATTIE This is a surprise. FRANK Yeah, sorry. He stands, loving the view, forgetting why he is here. She waits it out as long as she can, not sure how she feels about this adoring look. MATTIE Was there something you..? FRANK Uh, yeah.. Help! MATTIE What? FRANK I'm up to my ears with this funeral and I thought, you know, we haven't had time to talk much lately so maybe you'd like to come over and rip open envelopes with me and MATTIE I'm sorry, I have lessons all afternoon. I have to get back in. FRANK Oh, okay, I just.. MATTIE Sorry. She slips back inside. Frank stares at the door. 58. 88 INT. MATTIE`S HOUSE - CONTINUOUS 88 Mattie leans against the door with her eyes closed. There is no student at the piano. 89 OMITTED 89/90 89 91 EXT. CHURCH/SOUTHERN ILLINOIS - AFTERNOON 91 The hearse is parked in front of a beautiful white board church. 91A INT. HEARSE - AFTERNOON 91A Close on Bush and Buddy. BUSH Don't say nothing. BUDDY To who? BUSH You can say "hi". Bush gets out. Buddy sighs, mimes "Hi" and gets out. 92 INT. ILLINOIS CHURCH ENTRY - AFTERNOON 92 Buddy quietly creeps in through the front door, looks back over his shoulder, scowls, and enters the church. 93 He stops and looks around, awed by the beautifully serene 93 sanctuary. Now he sees a tall BLACK MAN (70) come out of an office door behind the pulpit, walk up the aisle, glancing out the window at the driveway, and then at Buddy. BUDDY Hi. CHARLIE Hello. Buddy is out of words that he is allowed to say. He glances at the door but Bush is not coming in. 59. BUDDY Hi. Charlie holds out his hand, Buddy shakes it. CHARLIE Are you sure you're in the right place? Not expecting a funeral. Suddenly Bush steps into the church. Charlie squints over then stares at Bush with utter disbelief. CHARLIE Felix?! BUSH Hey, Charlie. They shake hands, then hug. Buddy is blown away that Bush would hug anyone. Bush looks up at the church rafters. BUSH Still standing. CHARLIE Yes. Charlie give Bush a look then holds out his hand to Buddy again. CHARLIE Reverend Charlie Jackson. BUDDY Hi! BUSH That's Buddy Robinson, he don't talk much. CHARLIE Someone better talk. A ghost pulls up in the driveway in a hearse, you expect a little bit of a story. 94 INT. CHURCH - LATER 94 Bush, Buddy and Charlie, sit in pews near a lovely altar. 60. CHARLIE My hearing is not what it was. It sounded like you said you want me to preach at your funeral party with you sitting there? BUSH Yes, sir. CHARLIE (shaking his head) You know I've talked to God a lot about you over the years and he said he broke the mould when he made you. Said you were sure entertaining to watch but way too much trouble. Buddy grins. BUSH Well. CHARLIE What would you want me to say at this funeral? BUSH Whatever you want to, Charlie. CHARLIE (TO BUDDY) Could you give us a minute? Buddy starts to get up. BUSH Sit still. Buddy plops back down. CHARLIE What's the matter? You scared to be alone with me? BUSH He can hear what's said. Buddy is surprised again. So is Charlie. CHARLIE All right. After you left here.. did you do the right thing? 61. Felix looks up at the beautifully crafted pulpit. BUSH I did.. what I thought was right. CHARLIE You confessed? Asked forgiveness? Bush looks off and the muscles jump in his jaw. CHARLIE Did you tell her, Felix? Charlie sighs, leans on his knees, and drops his head. CHARLIE You came a long way for nothing then. Bush's eyes jerk back to Charlie and they are hot. Buddy tenses. BUSH You self-righteous.. CHARLIE Don't you dare.. BUSH I built my own jail and put myself in it! And I stayed in it for 40 goddamn years! No wife, no kids, no friends! That's not enough? CHARLIE You know it isn't. BUSH (tears welling up) Well. Why don't you come and say that then, Charlie? Hell, say it all! I don't care. CHARLIE Not on your life. The air is so heavy you can't breathe it. Bush suddenly gets up and leaves. Buddy starts to follow. Charlie puts his hand on him to stay. They sit in silence a moment. CHARLIE How much do you know about him? 62. BUDDY Almost nothing, sir. I just work at the funeral home. CHARLIE Do you know he built this church? BUDDY No?! (LOOKING AROUND) How's a man like him make something like this? I mean, I know he's a good carpenter but this is.. CHARLIE Magic? (off Buddy's look) Maybe it's the best of him, maybe he put his soul into it, I don't know. BUDDY What ya'll were talking about.. what did he do? Who was he supposed to tell? CHARLIE (THINKS) For him and God to know I guess. I wish I'd never been put between them, that's for sure. (BEAT) I will tell you that he showed up here half dead. I had just started preaching. Over the next 4 years we built this. BUDDY Are you coming to the funeral? Charlie sighs and looks around. 94A Omitted 94A 95 INT. HEARSE/MOVING/PMP - NIGHT 95 Buddy and Bush are both lost in thought. Finally.. BUDDY Can I ask you something? 63. BUSH Do you have to? BUDDY Yes. What are we doing? Since the day you came into the funeral home, I don't think anything has happened that you didn't want to happen. I just don't know where it's going. BUSH There's a whole lot of things that you don't know. Like what a dog dreams. You can make up a story about him chasing rabbits but you don't know if there's rabbits in there or not. And he can't tell you, can he? BUDDY Not unless he's a very special dog. They snort together. BUSH People don't say what they mean either so you don't really know any more about them then you do about that dog's dream. BUDDY But what..? BUSH (LOOKING AWAY) That time you left my house I saw you stop and look back. You wanted to know what could make somebody like me. (off Buddy's uneasy look) Well here you are, son, here you are. 96 INT. FUNERAL HOME - EVENING 9 6 Frank is putting money into a casket. He checks his watch. FRANK (MUTTERS) Where are you..? Lighting flashes and the lights suddenly go out. 64. 97 EXT.OUTSIDE OF TOWN - NIGHT 97 The hearse creeps down the road 98 INT.HEARSE - NIGHT 9 8 Buddy looks tired. Bush is sitting up ramrod straight, thinking hard about something. BUDDY I better stop and tell Frank we're back. He's probably had 2 or 3 hissy fits by now. (looks out at the rain) Why don't you stay the night at the house and I'll take you home in the morning? The simple kindness seems to short Bush out. Buddy doesn't notice, he's still looking ahead. BUSH Well, I... I ain't stayed with nobody in a.. in a long while. BUDDY It's fine if you want to. Bush looks as if he might say yes but he NOTICES where the car is passing through and.. BUSH Let me out. BUDDY What? BUSH Stop the car. Bush starts to open the door. Buddy stops abruptly. BUDDY You can't walk. It's too far.. Bush climbs out with his shotgun. BUSH Put the money in a casket. 65. BUDDY You might as well get back in, I'll follow you all the way. BUSH (snaps the gun closed) Get the hell out of here, boy! Buddy's eyes are defiant. Bush slams the door and walks away, crossing over a fence and out into a dark field. BUDDY Not responsible. Not responsible. Shit. He slams the steering wheel. 99 OMITTED 99 100 OMITTED 100 101 INT. FUNERAL HOME - NIGHT 101 Buddy is putting the money into the foot of a casket. A lit candelabra sits nearby. There is NOISE, like the muted sound of something breaking. Buddy jerks and listens. BUDDY Frank? Hello? Mr. Bush? He stuffs the money into the casket, grabs the candelabra, comes back, seals the lid, and starts into the office. 102 EXT. CEMETERY - NIGHT 102 Under the trees crooked rows of cold ghostly headstones glisten in the darkness. An old pocket lighter flares to reveal Bush staring at a pot of yellow flowers. He holds the lighter to a tombstone and brushes away the debris. It reads: MARY LEE STROUP B. 1874 D. 1894. THUNDER rolls. Close on Bush's face as rain begins to fall.. BUSH They keep talking about forgiveness.. ask Jesus for forgiveness.. I never did nothing to Him.. 66. 103 OMIT 103/104/105 103 106 INT. FUNERAL HOME - NIGHT 106 Frank enters with a flashlight. He sees that his desk and files have been ransacked. He rushes into the casket room. Several caskets have been thrown to the floor. He goes to the one where the money is, finds that it is sealed tight, and sighs with relief. Hearing something he whips the light around and sees Buddy on the floor. 107 INT. FUNERAL HOME - NIGHT/LATER 107 Frank examines a cut and bump on top of Buddy's head by flashlight and dabs it gently with a cloth. FRANK The cut's not bad but how's the head? He moves his finger across Buddy's eyes. FRANK Follow it. He looks him over carefully. He's had experience. FRANK Dizzy? Double vision? Nauseous? (off Buddy's no) You'll be okay. Did you see who it was? BUDDY No. I was putting the money in.. heard glass breaking.. locked up the casket quick and.. boom.. FRANK You did good. BUDDY Doesn't feel good. 108 INT. DARROW HOUSE/LIVING ROOM - LATER 108 Mattie sits beside a fire, knitting a baby blanket by an oil lamp. All at once the lights sputter on, the radio lights up, warms, and begins to PLAY, as a KNOCK at the door.. 67. 109 INT./EXT. FRONT DOOR/DARROW HOUSE - CONTINUOUS 109 Mattie pulls the door open. Bush is standing there soaking wet, breathing hard, holding his shotgun. She draws back reflexively. He looks into her. BUSH Please, Ma'am. 110 INT. DARROW HOUSE/BEDROOM - NIGHT 110 Bush stands with a towel around him, shivering. Mattie opens a dresser drawer. Inside the drawer, is the carefully arranged tableau of a watch, a ring, a stethoscope, and some clothes. She hates to disturb the drawer but pulls out a pair of black pants and a white shirt, lays them on the bed, and walks out. 111 INT. DARROW HOME/LIVING ROOM - NIGHT 111 Mattie steps from the kitchen with a steaming mug as Bush comes down the stairs in clothes that are too loose. Still shivering, Bush steps uneasily in front of the fire. Mattie hands him the hot mug. He looks uneasily at the yellow flowers on the table nearby. BUSH Thank you. MATTIE What are you doing here? Burned through, a log falls in the fire. Bush jerks oddly and moves away. BUSH Can I sit a minute? She stares at him then nods at a chair. She keeps standing behind the other chair. He bends over the mug and seems to lock up inside. BUSH You want to know why I have your sister's picture on my wall? 68. MATTIE I'm not stupid, Felix. No, I take that back. How long was it going on? She was already married when I met you. Were you just making up to me to get to her? Bush is so still he looks like a gargoyle. MATTIE If you're not going to talk, leave. BUSH Can you help who you love? Mattie's face tells us that she has asked herself that question many times. BUSH I've had 40 years to think about it and I still don't know. MATTIE I don't know either, so.. Slowly the gargoyle unfolds. His eyes drill into her. BUSH I want to tell you how it was. If you don't want me to, I'll go. Mattie sighs from down deep in her shoes then comes around and sits down. MATTIE Don't lie to me. When did you take up with her? BUSH I came to see you and she was there, hanging clothes on the line with your mama. Bush stares out the window so hard, Mattie turns to see what he is looking at.. BUSH She turned around.. (as Mattie turns back) .and.. I promise you that I did not know that I had a heart till right then. 69. Tears well up in Mattie's eyes. BUSH You were a fine fine girl. I didn't know why you wanted anything to do with me but I was gonna keep coming to see you 'till my luck ran out. (BEAT) And then I saw her. MATTIE She was married! And she wasn't just my sister, she was my best friend. We told each other everything. I can't.. how long did it go on?! Bush's face is so white it looks like a death mask. MATTIE How long? BUSH It's still going on, Little Bit. Mattie tries to absorb that. The truth and tragedy of it touches her in way that she is not prepared for. They sit there in silence. She suddenly wipes her face and scowls. MATTIE Did you have anything to do with her death? The mug trembles. She sees it. MATTIE Tell me. Like a fish jerked from the water, he mouth opens and closes, but nothing comes out. MATTIE (CONT'D) Felix! (off his haunted silence) Get out of my house! NOW! Bush stands up quickly and starts for the door. MATTIE And go to hell! BUSH Been there. 70. He staggers, tries to catch himself but slides down against the wall. Despite her anger, Mattie starts toward him. 112 INT. DARROW HOME/LIVING ROOM - NIGHT/MOMENTS LATER 112 Bush sits on the floor, pale as moonlight. Mattie is beside him with a stethoscope in her lap. MATTIE You need to see a doctor.. He raises his eyes to her but says nothing. They look into each other for a long moment. MATTIE Just tell me, Felix. Did you hurt Mary or not? Bush stares into her then suddenly gets up, picks up his shotgun and goes out the door without a word. 113 INT. FUNERAL HOME/FRONT DOOR - NIGHT 113 Frank is putting the files back in the drawers when he hears a NOISE. He reaches into the drawer and turns with a pistol in his hand. Bush is standing in the doorway with his shotgun. FRANK What the hell?! Bush glances at the pistol, at the open drawers of the cabinet and desk. BUSH They get it? FRANK No. Buddy sealed it up in a casket. Took a crack on the head, but.. BUSH (cold dark look) Is he all right? FRANK Yeah. 71. BUSH You sure? FRANK I was an army medic. He'll be fine. But Bush is still dark. FRANK But you ought to take those clothes back and get something in your size. BUSH They get the whiskey? 114 INT. FUNERAL HOME/OFFICE - NIGHT/LATER 114 Frank sits with his feet on the desk. Bush sits across from him. They each have a cup of whiskey. FRANK Brought the money back, huh? (off Bush's absent nod) Listen, I've been thinking.. What if we had the party at your place? People are going to want to see the land they're getting so.. BUSH Don't know. FRANK Well, think about it, we could.. BUSH Don't know that I'm doing it. FRANK What?! BUSH Thinking to call it off. FRANK You can't! BUSH Damn well can if I want to. FRANK No no no, it's in motion! 72. BUSH If I say no, it's no. Send the money back. FRANK You're killing me! I bought things, hired people.. promised money, everybody in town is hoping to.. BUSH I care about this town as much as they care about me. FRANK It's what you said you wanted and I've busted my ass for you. So why don't you want it anymore? You owe me that. BUSH (LONG BEAT) It was the end of the line, tell it all, get out of jail party. But I guess I ain't got the goddamn guts to open my own mouth and I can't get nobody to talk for me so the hell with it. And to hell with me. Bush grabs his shotgun and goes. Frank sits, stunned. 115 INT. BUDDY'S HOUSE-EARLY MORNING 115 Buddy sits at the breakfast table, holding his son. He opens and closes his eyes, checking out his vision. Kathryn, at the stove, sees him out of the corner of her eye. KATHRYN Are you having trouble seeing? BUDDY I see you're mad. KATHRYN I'm not mad. I'm concerned She shoves the skillet off the burner and comes to him. BUDDY (SQUINTS UP) No, you're mad. She tenderly touches his head. 73. KATHRYN If I could get my hands on whoever did this, you'd see mad. FRANK (O.S.) Buddy! You up?! Frank rushes in, lifts a phantom hat to Kathryn, scrapes up a chair, pulls on the baby's toe, and looks at Buddy. FRANK Trouble. BUDDY What's the matter? FRANK Bush is pulling out. BUDDY What? FRANK What happened yesterday? BUDDY I told you, we went up to Illinois and met a preacher. FRANK But what happened? BUDDY He asked the preacher to come to the funeral. He said no. FRANK Son of a bitch, that's got to be.. (TO KATHRYN) Sorry. (to the baby) Sorry. Where's the preacher? BUDDY It won't do you any good. FRANK Why not? BUDDY He knows something about Bush, something bad, I think. 74. FRANK What is it? BUDDY Wouldn't say but.. FRANK Well if Bush wants him, by God, Bush is gonna get him. KATHRYN (slams the skillet down) You want eggs, Frank, or will the skillet do? FRANK What? What's wrong? KATHRYN What's wrong? My husband has his head bashed in and all you care about is this party! FRANK It's not like that, Katie, this is for all of us. You're like.. family to me.. I.. KATHRYN This is not how family acts! FRANK Well, I'm sorry. I've never had any practice. (gets up/to Buddy) You okay? Buddy nods. Frank leaves. Buddy mutters to the baby.. BUDDY Stay out of her way today, partner. 116 EXT. MATTIE'S HOUSE - MORNING 11 6 Mattie is on her knees trying to plant bulbs in the hard cold ground. Her trowel barely gouges the earth. She stabs it again and again into the ground. MATTIE Fool, it's too late for bulbs.. 75. Suddenly she hurls the trowel as far as she can, then a handful of bulbs.. then her hat. MATTIE .too goddamn late.. 117 INT. FUNERAL HOME/OFFICE - DAY 117 Buddy is surrounded by bags. He is copying down names onto raffle tickets and putting them in bin for the drawing. There is a MAN standing guard by the front door with a rifle. 118 INT. BUSH'S BARN - DAY 118 Mule stands with his ears back, upset. Bush, back in his old clothes, is angrily planing a board. The box of his casket minus the lid is on sawhorses behind him. 119 OMITTED 119 120 INT. CHARLIE'S HOUSE/SOUTHERN ILLINOIS- LATE DAY 120 A blurred image becomes clear as a magnifying glass lowers to a page of a stamp collection book. Fingers fill an empty space with a prized addition. A LOUD KNOCKING startles him and the stamp is placed slightly crooked.. Reveal Charlie Jackson scowling at the crooked stamp. He gets up, does a double-take out the window. MORE LOUD KNOCKING. 121 INT. CHARLIE'S HOUSE - LATE DAY 121 Charlie opens the door, sees Frank standing there. The hearse is parked outside. FRANK Reverend Jackson? (Charlie looks at hearse) Frank Quinn, Quinn funeral home. CHARLIE How'd you find me? Frank just smiles, takes off his hat, and offers his hand. Charlie gives him a long look and reluctantly motions him in. 76. Frank enters, noting the clean simple home of man with an orderly mind. Charlie motions for Frank to sit down. CHARLIE I was going to play some dominos this afternoon. But something told me to stay home. I should have played dominos. Is he out there? FRANK Bush? No, sir. CHARLIE You sure? FRANK Pretty sure. CHARLIE Did you check the back? Frank snorts, liking Charlie immediately. FRANK You told Bush that you wouldn't come to the funeral? CHARLIE If he got that, why are you here? FRANK To help you rethink it. CHARLIE I don't need any help. FRANK Have you rethought it? (off Charlie's look) So there is a need. (BEAT) First off, Bush doesn't know I'm here. 77. CHARLIE I wouldn't be so sure about that. (off Frank's look) He's got a way of making people do what he wants them to. Frank squirms, knows it true. CHARLIE Is he really a hermit? Frank whistles and takes Bush's poster out of his coat. Charlie jerks at the picture of the wild man. FRANK He came to see me after he'd been here, wants to call the party off. CHARLIE I don't care. FRANK Said he'd meant it to be a.. end of the line, tell it all, get out of jail funeral but that he didn't have the guts to open his mouth and he couldn't get anybody to talk for him. You know anything about that part? (off Charlie's sigh) At first he said he wanted everybody to come who had a story about him. But he didn't want to hear their bullshit stories, did he? Pardon my language. He wants to tell one, doesn't he? 78. CHARLIE About time. FRANKFRANK Whatever he did, it's been locked up in him for 40 years and he can't get it out. (off Charlie's look) I think he told you. You may be the only person he told. And now he wants you to tell it for him. CHARLIE Because he won't. FRANK Or can't. CHARLIE Or won't. FRANK Or can't. (BEAT) At least he wants the truth to come out, give him that. CHARLIE (LONG STARE) I'll think about it. FRANK Is there a boarding house around here? CHARLIE I said I'd think. FRANK Yeah but if you're not coming, I'm not going back. I made promises I can't keep to people I care about. This falls apart they won't blame Bush. Bank will take my business.. If I'm gonna have to start over again, might as well be from here. Charlie scowls at him. 79. 122 INT. FUNERAL HOME - DAY 122 Using a tool, Buddy unseals the casket to put the new money in it and discovers that the rest of the money is gone? He can't believe it. He yanks back the casket bed lining.. 123 OMITTED 123 126 INT. BUSH'S BARN - DAY 126 Bush is sanding the beautiful lid of his casket. It is leaning against the wall and sawdust is drifting down all over him. He suddenly stops, rubs the wood tenderly, muscles up the heavy top to put it on the box and staggers back. It's not the weight, something is wrong. Sweat pops out on his forehead. He forces himself to the casket and drops the top down hard, staggers back against the loft ladder, slides down to the ground, and stares at the casket. Is this it? 127 EXT. CROSS ROADS - DAY 127 The hearse sits on the side of the road. Road signs give the mileage to different destinations. 127A INT. HEARSE - DAY 127A Frank is lying in the back of the hearse, his head propped up on an old suitcase. He sips from his flask and stares out the window, thinking. 128 INT. BUSH'S BARN - LATE DAY 128 Bush is still on the ground propped against the ladder. His eyes are closed and the fading light steals across his face that is as still as it can be. The sawdust makes him look almost wooden. A shadow crosses then comes closer. Buddy is sure he is dead but Bush's eyes open. BUDDY What are you doing, sir? BUSH Getting a suntan. Bush starts to get up then falls back against the ladder. 80. BUDDY Are you stuck? BUSH You have no goddamn idea how right you are, son. Buddy moves to help him up but Bush waves him off. BUSH I'll sit here a minute. Bush looks at the butterfly bandage on Buddy's head. BUSH We're a pair, ain't we? BUDDY Are you sick? BUSH Just going through the motions. BUDDY What does that mean? BUSH There's Alive and there's Dead. And there's a worst place in between them that I hope you never know nothing about. (DARKENING) Do you know who hurt you? BUDDY No, sir. BUSH Sonsabitches. BUDDY It doesn't matter. Listen. Frank went somewhere and the raffle money is gone. BUSH You figure he took off with it? BUDDY I don't know. I don't want to think that. But the money's not here and I don't know where it is. He said he'd call and he never did. 81. Buddy glances into the shadows and sees the casket looming on the sawhorses. He stares at it.. BUSH Well.. what do you want to do? Buddy looks back at Bush. BUDDY I don't.. (realizing just then) I want to make this funeral for you if you want it. BUSH (a long look) Hell. Do it if you can. (BEAT) I guess for everyone like me, there's one like you, son. I about forgot that. Buddy holds out his hand to help Bush up but Bush forces himself up on his own and walks out. 129 OMITTED 129 130 INT. CHARLIE'S HOUSE/SOUTHERN ILLINOIS - EVENING 130 Charlie sits at his desk, staring blankly at his crooked stamp. Suddenly Fate in the form of Frank Quinn looms at the window. Charlie knows he is there but he won't look at him. 131 INT. BUDDY'S HOUSE/BEDROOM- DAWN 131 Buddy, Kathryn, and the baby are sleeping soundly. There is a SCRATCHING NOISE. Buddy sits up, grabs a baseball bat and falls back asleep. The scratching starts again. He opens his eyes, surprised to see the bat in his hand. He hears the scratching. He looks around, sees something at the window. He slides to the floor, crawls on his knees, and looks out. Frank is standing there, scratching on the screen. Behind him is Charlie, looking very unhappy about standing in the near dark in a small southern town, scratching on a screen. Buddy realizes what he is seeing and starts to smile. 82. 132 EXT. BUDDY'S HOUSE - DAWN 132 Frank, Buddy, and Charlie are on the porch, watching the world come to life. Charlie looks as if he is hoping for some kind of sign from above. BUDDY I'm glad you decided to come, sir. CHARLIE Free will is not all that it's cracked up to be. BUDDY (AT FRANK) Did you take the money out of the casket? FRANK Yeah. BUDDY Why didn't you tell me?! FRANK I forgot. BUDDY You forgot?! Where is it? FRANK In the hearse, under the floorboards. Charlie remembers that Frank said he wasn't coming back and gives him a look. Buddy is giving Frank the same look. FRANK What? Nobody steals a hearse. Now all we got to do is take the Reverend here to Bush and.. BUDDY I forgot to tell you, Mr. Bush already said he would do it. FRANK You're shittin' me?! Charlie gets up and starts walking away.. 83. CHARLIE Where can I catch a train? FRANK You can't leave you just got here. CHARLIE Watch and learn. FRANK Hold on.. CHARLIE Where's the station? 133 EXT - BUSH'S LAND/ROAD - MORNING 133 A tractor pulling a trailer with a big old honking generator on it, a truck loaded with equipment and workers for the big event rumbles down a dirt road. The Quinn Funeral home hearse completes the unlikely parade. 134 INT. BUSH'S SHACK - MORNING 134 Bush, dressed in his new suit, shirt, and shoes is a striking figure. The old hermit is gone. He looks into the mirror. 135 EXT. MATTIE'S HOUSE - MORNING 135 Horton hold the car door open for Kathryn who is holding the baby and looking back puzzled at Mattie's house. Finally she sighs and gets into the car. 135A INT. MATTIE'S HOUSE - MORNING 135A Mattie stands staring out the window. She is not going. 136 EXT. BUSH'S LAND/FIELD - MORNING 136 At the top of a wide clearing, a truck with a Circus Ad on the door is being set up to become a stage. The tractor and truck pull into the clearing and drive to the circus truck. The hearse pulls in and parks. Frank, Buddy, and Charlie climb out of the hearse, look around, and stand frozen. 84. Trucks and cars are parked everywhere around the big clearing! Many PEOPLE have been here all night with fires, tents and lean-tos. Many MORE PEOPLE are arriving now. CHARLIE Expecting a crowd? Frank and Buddy give each other a look. FRANK Honestly? We don't have a clue about what's going to happen here. SET-UP SEQUENCE: The big old honking generator is unloaded. Holes are dug. 10 foot poles are slid from the truck and huge speaker horns are attached. Speaker poles are pulled up and set into holes. Frank directs a gang of 6 KIDS who are selling raffle tickets making sure they know that he has his eyes on them. A BAND arrives on the back of pick-up truck. The Generator kicks on belching smoke everywhere. Frank is yelling Whoa Whoa! Disaster in the making. 136A OMITTED 136A 137 OMITTED 137 138 OMITTED 138 138A OMITTED 138A 85. 139 OMIT 139 140 INT. BUSH'S SHACK - DAY 140 Bush stands staring out the checkerboard window. He sees Charlie approaching and opens the door for him. Charlie climbs the steps, appraises the shack, and stares at Bush. CHARLIE Pretty nice jail. Charlie enters and looks around the little room. BUSH Why did you change your mind? Charlie just looks at him, the unspoken words louder than any reason he could give. BUSH Thank you. CHARLIE How do you want to do this? BUSH I don't. He gets a haunted look that catches Charlie off guard. BUSH I'm gonna try and tell it, Charlie, I really am. But if I can't get it done, would you do it? I want it said. Please, sir. Charlie sighs from down in his shoes and starts for the door. BUSH Tell'em the box is in the barn. 141 OMIT 141 142 EXT. BUSH'S LAND/BACK ROAD - DAY 142 Carl's truck is half hidden off the road. Carl, Gary and THEMAN get out of the truck. 86. Carl tucks an old 45 in the back of his pants. Gary and Theman grab three gas cans off the truck, give one to Carl, and clamber down a deep gully and start up the other side. Tom peeks out from behind the big garbage barrels. 143 EXT. BUSH'S LAND/FIELD - DAY 143 The generator is working! And standing on the flat bed truck, which is now a stage, an ANNOUNCER introduces a hot blue grass group The crowd is huge now and listens as the group kicks off a song. Behind the stage Frank is collecting money from the boys who are selling the raffle tickets, making them turn their pockets inside out. The generator makes a strange noise, Frank eyeballs it, and it labors on. Buddy walks up, nudges Frank, and nods out at the huge crowd. Can you believe this?! Charlie walks up and says something that we cannot hear. 144 INT. BUSH'S SHACK - DAY 144 Pacing the cage, Bush peeks out the window. BUSH You asked for it you old ornery sonofabitch, now what are you gonna do? 145 INT. BUSH'S BARN - DAY 145 Frank, Buddy, and Charlie enter the barn and see Mule hitched to the wagon. On the back of the wagon is a simple and rustically elegant casket with the initials FB carved into the center board. It sobers them all. 146 EXT. BUSH'S LAND/GULLY - DAY 146 Carl, Gary, and Theman hide and watch Frank, Buddy and Charlie walk Mule and the wagon away from the barn and down the road. Carl eyes Bush's shack and starts for it. GARY Hey, hey, where you going? He said the woods.. CARL Closer. 87. And he takes off. THEMAN He's crazy! 147 OMITTED 147 148 OMIT 148 149 EXT. BUSH'S LAND/FIELD - DAY 149 The bluegrass fiddle player nods to the others to quickly end the song. Now we see why. Frank, Buddy, and Charlie have brought the wagon with the coffin into the field. Everyone quiets, remembering why they are here. They park the wagon behind the hearse. Frank and Charlie walk toward the stage. Buddy peels away. Frank calls after him to come with them to the stage but Buddy waves them away. He wants no part of that. He sees Kathryn and Horton threading their way through the crowd and moves toward them instead. Frank and Charlie climb the makeshift stairs up to the stage. Charlie sits down on a folding chair while Frank goes to the big microphone and stares with satisfaction at the huge Depression-era Woodstock crowd. FRANK Good afternoon ladies and gentlemen. I'm Frank Quinn of Quinn Funeral Home. Welcome to the live funeral party of Mr. Felix Bush! People don't know whether to clap or not. Some do and the rest of them pick it up. Buddy gets to Kathryn and hugs her and the baby. BUDDY Where's Mattie? KATHRYN She wouldn't come. I don't.. FRANK I've done some things in my life, but never this. Bet you haven't either, bet no one has. (MORE) 88. FRANK (CONT'D) (winks back at Charlie) We try to make things predictable and safe but if we don't risk everything to get what we want, we don't want it enough. 150 OMIT 150 151 EXT. BUSH'S LAND/FIELD - CONTINUOUS 151 Frank finds Buddy in the crowd. FRANK The person who made all of this happen for us doesn't like the spotlight but Buddy Robinson is the heart of Quinn Funeral Home and I'm proud to know him. Buddy is embarrassed and moved. Kathryn's eyes soften. 152 EXT. BUSH'S SHACK - DAY 152 Carl is sloshing gasoline onto the back porch while Gary and Theman keep nervous watch at the farendof porch. Suddenly Carl feels a shotgun's cold metal on his neck and the 45 being ripped from his belt and thrown to the ground. BUSH Sonsabitches. Carl drops his can. The other men drop their cans but Gary starts to pull a pistol from his back pocket. BUSH Go on, I'll paint the porch with his head. CARL Don't do it! Gary drops the pistol. BUSH Now pick up them cans and keep pouring. CARL What? 89. BUSH You heard me. The men cautiously pick up the cans.. BUSH Pour it on your head. All of it. The men look at each other. Bush cocks the other barrel of his shotgun. THEMAN I won't! BUSH Pour it or die, I don't care which. The men hoist the cans and start to pour the gasoline over them. Burning and spitting they empty the cans. Suddenly Theman bolts, moaning and running blind with gas in his eyes. BUSH I got two barrels, anybody else wants to rabbit, now's the time. 153 EXT. BUSH'S LAND/FIELD - DAY 153 FRANK I know many of you have heard stories about Mr. Bush. But today I've been told that we're going to hear another kind of story, his. A murmuring moves in a wave across the crowd as they see.. .Bush enters the field with his shotgun pointed at Carl and Gary's backs. They are drenched with gas and it is burning them through their clothes. Buddy, Kathryn, and Horton see Bush. Quinn and Charlie follow the crowd's eyes to Bush. QUINN Holy Mother of.. SHERIFF DEPUTIES beside the stage see Bush. But everyone remains frozen, not knowing what has happened or what to do now. Is this the crazy Bush of the legends? 89A. Buddy starts toward Bush. Kathryn tries to stop him but he pulls free and walks slowly toward Bush. A shot rings out! 90. Carl and Gary hit the ground like dead men. The crowd hunkers and scatters. Horton steps in front of Kathryn and the baby. Buddy freezes. Charlie rushes up beside Frank at the microphone. Carl rolls up and turns to Bush and sees blood seeping out onto his shirt beneath his coat. Bush whirls and sees.. .Carl's old 45 still smoking. The gun is in Tom's small shaking hands.. CARL Don't hurt him! It's my fault. PLEASE, PLEASE.. Bush cracks his shotgun, walks slowly to the boy, gently takes the 45, empties the shells, and hands the gun back. BUSH A second chance is a precious thing, son. Don't waste it. The boy plops down, overwhelmed. And suddenly everyone is in motion. The Deputies run toward Bush. Frank and Charlie rush from the stage. Kathryn and Horton are going. Buddy arrives at Bush first and sees the blood weeping onto his shirt. BUDDY Are you alright, sir?! Without turning Bush glances at the Deputies. BUSH Tried to burn me out. Let the boy be, he didn't mean nothing. As the Deputies get a hold of Carl and Gary, Frank, Charlie, Kathryn and Horton arrive. Carl looks at Horton with pleading eyes and nods to Tom. CARL Help him, Gus, please.. 91. Horton goes to the trembling boy and picks him up. Bush suddenly walks into the trees without looking back. 153A INT. WCGM RADIO STATION - DAY 153A The Announcer hangs up the phone on the wall, rushes to the turntable and lifts the tone arm from the record that is playing. ANNOUNCER Folks, I've just received word of a tragic turn of events at the Bush Funeral Party. It seems that Mr. Bush has been shot. I repeat, Mr. Felix Bush has been shot. There is no word of condition.. 153B INT. MATTIE'S HOUSE - DAY 153B The radio is playing but we don't know where Mattie is. ANNOUNCER (O.S.) When I know more I will let you know. I'm sure he would appreciate your prayers.. 154 INT. BUSH'S SHACK - DAY 154 Bush stands at the mirror, his shirt unbuttoned and pulled back. The bullet caught the muscle just above his clavicle. Buddy, Frank and Charlie rush in. BUSH Close the door. Charlie slams the door. Frank examines the wound. Buddy stares in shock at the old roping burns scars on Bush's chest. FRANK Missed the bone. Got any alcohol and clean rags? Bush nods at the cabinet. Charlie finds an amazing assortment of herbs and roots, alcohol and old sheets ripped into rags. BUDDY Why don't you sit down, sir? 92. BUSH Boil some water and I'll tell you how to make me a poultice. Frank takes the rags and alcohol from Charlie FRANK This is gonna hurt. BUSH Don't sugar coat it. 155 EXT. BUSH'S LAND/FIELD - DAY 155 Everyone is standing around in shock. 156 EXT. BUSH'S SHACK - DAY 156 Kathryn waits anxiously near the porch with the baby. 157 EXT. BUSH'S LAND/FIELD - DAY 157 Horton steps up to the microphone. The shocked crowd turns to him. He closes his eyes and bows his head. REVEREND HORTON Lord, you say you move in mysterious ways and we believe you because we don't understand much of anything. And so we come to you today not seeking answers to what's happened here but asking you to help us open our hearts a little more to each other and find some forgiveness and understanding. 158 INT. BUSH'S SHACK - DAY 158 Frank has cleaned the wound. Buddy has made a poultice that Bush is pressing onto the wound as he hears the last of Horton's prayer over the loudspeakers. BUS H Pretty good prayer. Mighta been wrong about that preacher. CHARLIE Why don't you lay down, Felix? 93. Bush thinks about it, sees a way out. For a second he looks like he might take it. Then he shakes his head, puts a rag over the poultice and pulls his shirt up. BUSH Let's go 'fore I lose my nerve. BUDDY Are you sure? Bush scowls at the huge blood stain on his shirt. He looks at Frank's white shirt. Frank just stares at him. Bush keeps looking. Finally Frank sighs and starts loosening his tie. 159 EXT. BUSH'S LAND/FIELD - DAY 159 The bluegrass band sings a good hymn. The crowd is still stunned and talking, not knowing what to do. 160 INT. BUSH'S SHACK - DAY 160 Buddy gently helps Bush into his jacket, which has a bullet tear in it along the shoulder but Bush seems okay with it, to Frank's relief. Frank is putting on an old faded shirt of Bush's. As Bush starts for the door, he comes up beside Charlie. BUSH You ain't nervous? All them white folks out there? CHARLIE There's white folks here?! BUSH Stick with me, you'll be all right. CHARLIE You're the one they're shooting at. As Charlie opens the door, Bush stops, all his misgivings flooding in with the light. He looks at Buddy. BUSH Pretty interesting day so far, huh boy? Bush straightens himself up and goes out the door. 94. 161 EXT. BUSH'S LAND/FIELD - DAY 161 Charlie, Bush walk through the murmuring parting crowd toward the stage. Frank and Buddy are close behind. Buddy is looking for Kathryn. She spots him and moves toward the stage. 162 EXT. BUSH'S LAND/FIELD - DAY 162 Bush and Charlie go up the steps to the stage. At the last second, Bush stares at the big microphone and stops, unable to go on. Charlie gives him a look then goes on up to the microphone and looks out a the sea of white folks. CHARLIE I'm Reverend Charlie Jackson. Felix wants to continue with his funeral. And he's asked me to say a few words. Just below the stage, Buddy and Frank are joined by Kathryn. Charlie glances back at Bush, turns inward, searching for the words. Finally he holds his hands out, wide apart. CHARLIE We like to imagine that good and bad, right and wrong, are miles apart. But the truth is, very often they're.. (brings his hand together and laces his fingers TIGHTLY) .all tangled up with each other. Bush raises his head and looks at Charlie's back. CHARLIE Some 40 years ago Felix Bush dropped into my life and then dropped out. In between he built the most beautiful sanctuary that I've ever seen. A lot of wonderful things happened in that church. Suddenly Bush breaks away, moves up beside Charlie, and puts his hand on his shoulder. 95. BUSH Thank you, Charlie. Thank you. Charlie gives him a long look then steps away from the microphone and moves back to where Bush was standing. Bush stares at the microphone, takes a breath, and walks up to it, and looks out over the huge crowd. BUSH Had to go clear to Illinois to find somebody that had anything good to say about me. Hell of a thing. His voice booms out over the crowd, startling him. He looks down, sees Buddy, Kathryn, Frank and Horton. He looks closer for someone most important but she is not there. The crowd murmurs. Finally.. BUSH I'm not a smart man or a wise one. I don't know what kind of man I am. I was always restless, thought I'd see the world. But I didn't hardly go nowhere.. on purpose.. (BEAT) Because.. because I did something that I was ashamed of. Something I couldn't ever fix. (GLANCES AROUND) Ya'll probably think you know what you'd do or what you wouldn't. And I wish you good luck with that. I really do. (BEAT) When I told Charlie what I'd done, he told me to confess to God and the law and to.. to someone else.. so I could get forgiveness. But I didn't want forgiveness. (BEAT) I needed to hold on to what I did.. to be sick from it every day of my life. So I never told nobody else. He stops, not knowing how to go on. The crowd has quieted completely. As as his eyes sweep over the sea of expectant faces, he suddenly SEES HER coming through the crowd. 96. Mattie's here. Seeing that Felix appears to alright, her face changes from conflicted concern to open unbridled hatred. The look takes Bush's breath away. But he suddenly seems to accept it as his due and when he talks, it is only to her. BUSH I fell in love with a married lady. And somehow she fell in love with me. It was the only time that I have been in love. (GATHERS HIMSELF) We made a plan to run off and start a new life but she didn't show up at the time that we said we'd meet. I got a funny feeling and I went to her house. Buddy, Kathryn and Frank all see Mattie now, see Bush talking just to her. BUSH Her husband answered the door. (BEAT) He had blood on him. For Mattie all of this is like window into the past being suddenly thrown open and she is haunted and mesmerized. BUSH I hit him pretty hard, knocked him down. Can't remember going upstairs but I remember I saw a hammer on the steps and it had blood and hair on it. The crowd gasps. Mattie is trembling. BUSH I found her in the bedroom. She was crawling across the floor. (BEAT) But before I could get to her and help her up.. a kerosene lamp hit the wall. And then her husband jumped on my back. Funny what happens sometimes when things go wrong. It's like the clock stops and you have all the time in the world to think. I could see that her husband had set the downstairs on fire before he came up. (BEAT) (MORE) 97. BUSH (CONT'D) And as I was slamming his head into the wall, trying to get shed of him, I could see clear as anything that it was all my fault. If I'd just never spoke to her.. (BEAT) And as I was thinking about that, I saw that the lamp he threw had set the room we were in on fire too. Bush forces himself to keep looking into Mattie. BUSH And then I realized that I was on fire. I tried to put myself out but I couldn't, everything was.. (BEAT) I dropped him, turned around and saw her lying on the floor and called her name. She looked up at me.. (BEAT) .and the next thing I knew, I was flying.. A loud roar of fire and crushing timbers.. 163 EXT. BURNING HOUSE - NIGHT 163 A man on fire bursts through the second story window of a burning house. He lands hard and rolls across the yard to smother the flames. With his clothes still smoking, he unbelievably tries to run back into the hell. But the fire is too hot and he cannot. He screams like a mad man and runs into the trees.. 164 EXT. BUSH'S LAND/FIELD - DAY 164 The crowd is motionless. Nothing is moving. It is as if the whole world has stopped. Frank, Buddy, and Kathryn are frozen. Bush and Mattie are looking into each other, one anguished soul to another. BUSH I don't know how I got out the window. (BEAT) (MORE) 98. BUSH (CONT'D) No matter how many times I play it in my mind, I can't remember jumping. I thought I killed him, but maybe he pushed me, I don't know... (lost as ever..) I swear to you, if I left her in there.. everything I know about myself is a lie. But that don't matter. (BEAT) I didn't get her out, Little Bit, I didn't. I'm sorry. 165 INT. BUSH'S SHACK - DAY 165 Bush sits on the edge his bed. His face is drawn and haunted. The door open and closes. He doesn't look up. Mattie sits down beside him. Tears are streaming down her face. She lays her head gently on his shoulder. MATTIE Oh, Felix.. He sniffs her hair and tenderly touches it. BUSH Wonder if her hair would be white? 166 EXT. BUSH'S LAND/FIELD - END OF DAY/MONTAGE 166 A MAN chooses a winning raffle ticket from a wire cage. A poor YOUNG COUPLE with SEVERAL CHILDREN win the raffle! The promise of a new and better life begins for them. The big funeral party breaks up people wind their way home. The big old honking generator coughs off. Mule is lead back to the barn. The equipment is disassembled and loaded back on the truck. The microphone stands alone on the stage. He got it said. 167 EXT. BUSH'S SHACK - DAY 167 Buddy, Frank, Horton, Charlie, and Kathryn and the baby wait outside, giving Bush and Mattie time. Buddy takes the baby and holds it close. 99. Finally Mattie and Bush come out of the shack and walk down to the others. No one knows what to say. Finally.. BUDDY How you doing, sir? BUSH Just fair, son. HORTON Carl said Ray paid them to set the fire. Paid them to break into the funeral home too. FRANK Can't stop pulling Aces out of his ass, can he? HORTON Spend his money on lawyers now. You know how thrifty they are. Frank motions to Buddy and they go to Bush. Buddy is still holding the baby, Bush looks tenderly at Buddy and the baby. BUSH What's his name? BUDDY Larry, Lawrence, after my dad, sir. BUSH He ain't gonna throw rocks at me, is he? BUDDY Not if knows what's good for him. BUSH You boys did good. Real good. Let's settle up. BUDDY We don't have to do that now. You get some rest. FRANK (a look/ then) Yeah. We'll come out tomorrow. BUSH Bring my shirt back, I just got it broke in. 100. Bush pulls Buddy aside. Frank stares over at them but can't hear what they are saying. He moves over beside Mattie. FRANK Are you alright, Mattie? She looks up at Frank for a long moment, her face softening. MATTIE Oh, I don't know. I'm still moving, I guess.. He doesn't know what that means but she has finally really looked at him and that's something he'll hold onto. Kathryn comes and hugs Mattie as.. Bush and Buddy come back. Bush goes to Charlie. Frank is staring at Buddy, looking for a clue as to what Bush said. Buddy gives him nothing, BUSH Thanks again for coming, Charlie. CHARLIE I'm proud of you. (MEANING IT) Thank you for my church. BUSH Did you ever get my bill? HORTON Can we get a ride our car's about 2 miles down the road. Everyone piles into the hearse. There is no back seat so they all have to crawl in the back door and sit along the sides. It makes everyone smile. Mattie gives Bush one last fleeting embrace then climbs in. Bush looks in on them all for a long moment all then closes the door. As the hearse moves out, he waves to Buddy who is looking out the back window. Buddy waves back. BUSH (TO HIMSELF) Look at that. My funeral and everybody's in there but me. The hearse pulls onto the road and drives away. 101. The place is suddenly quiet and beautiful. He looks down the road through the fading dust and sees a WOMAN walking slowly toward him. He squints, recognizes her, and his face fills with a timeless love. 168 EXT. BUSH'S LAND - DAY - TWO MONTHS LATER 168 It's a cold day beneath the spreading pecan tree. Mule stands hitched to the wagon. The three dog grave markers are frosted. A fourth grave marker just like the others leans against the tree. It is freshly carved with: Felix Elijah Bush. A pot of fresh yellow flowers sit beside the marker. Bush's beautiful handmade casket is inside his grave. Frank, Mattie, Charlie, Buddy, Kathryn, and Horton stand beside the grave. Several MEN with shovels wait near the tree. Charlie's eulogy is more of a one-sided conversation which Bush would probably love. CHARLIE Well, Felix, this one's for real, I guess. I didn't actually see them put you in the box so.. Charlie glances over and notices "Charlie" on one of the dog's grave markers. He snorts and shakes his head. CHARLIE Wherever you are, you're probably giving someone a hard time or something wonderful and priceless just to confuse them. Not everything can be figured out, nor everybody. I wish you peace from the burdens of your mind and heart. I wish it for us all. Mattie moves toward the edge of the grave. Frank puts a hand out to catch her should she should stumble. She stares down at the FB on the coffin, opens her hand, and lets the picture of her sister drift down onto the coffin. 169 EXT. HILLSIDE - LATER 169 Everyone moves away as the men fill in the grave. Buddy and Kathryn move up beside Frank and Mattie and Charlie. Buddy tosses the ball of hermit money to Frank. 102. BUDDY A 50 on the outside, all ones inside. Less than $100. FRANK What?! CHARLIE I told you. Nobody listens to the preacher. Buddy pulls some papers from his coat. BUDDY The day of the party he told me about the will he had in the secret drawer of his table. He left the raffle money to all of us. Everyone is shocked, touched. BUDDY (TO FRANK) But you have to pay for Mule's upkeep for the rest of his life. Charlie grins and Buddy flaps the papers at him. BUDDY And he set up a fund for the upkeep of your church. CHARLIE What's the catch? BUDDY No catch, sir. CHARLIE Still don't get it, do you? With Felix, there's always a catch. BUDDY Maybe he just knew you'd go crazy wondering what it was. They all laugh and move down the hillside. As the laughter fades we see in their faces the impact that Felix Bush has had upon them. Buddy feels the comfort of this odd but growing family and stops and looks back at the grave and the pot of yellow flowers. His curiosity about the fearsome old man has not abated. Nor will it ever. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Get Shorty.txt b/unformated_scripts/Script_Get Shorty.txt new file mode 100644 index 0000000000000000000000000000000000000000..c45934cb4921b0cfd4a8530b8365d1c3c3d2bb99 --- /dev/null +++ b/unformated_scripts/Script_Get Shorty.txt @@ -0,0 +1,8703 @@ + + + + + + +GET SHORTY + + +Screenplay by Scott Frank + + +Based on the novel by Elmore Leonard + + + + +BLACK + + +MAN'S VOICE + +Looks fuckin' cold out there. + + +EXT. VESUVIO'S RESTAURANT -- MIAMI DAY + + +It is cold. People walk by hugging themselves, pulling up their collars, etc. + + +INT. VESUVIO'S RESTAURANT -- SAME TIME + + +CHILI PALMER, late thirties, sits in a booth with TOMMY CARLO, a low level mob type. Chili smokes a cigarette, stares out the window at the people on the street. + + +TOMMY + +Guy on the radio said it's gonna get down to thirty-four. + + +Chili watches a woman on the sidewalk pause to tighten the scarf around her neck . . . She looks in the window, sees Chili looking out. + + +TOMMY + +Thirty-four -- that's freezing, for Christ sake. + +(then) + +Yo, Chili, you're spacin'. + + +Chili turns and studies Tommy a moment, then . . . + + +CHILI + +They're closing the Granview. You know, theater down on Biscayne? + + +TOMMY + +Yeah, the guy owes Momo a few G's. + + +CHILI + +What I'm thinkin' is maybe Momo could buy it. + + +Tommy looks at him. + + +CHILI + +Momo could buy it, I could run it for him. Show some Cagney films. + + +TOMMY + +What's Momo gonna want with an old place, shows old movies people don't care about no more. Outside of maybe turnin' it into a porno house, I don't think he's gonna give much of a fuck. And you already got a job. + + +Chili looks back out the window again. + + +CHILI + +Yeah. + + +We hear LAUGHTER O. S. and then FOCUS on the window so that Chili can now see a GROUP OF MEN reflected there, sitting at a table nearby. We hear MORE LAUGHTER and now Chili turns and looks over at . . . + + +RAY "BONES" BARBONI + + +Mob guy + +tall, loud suit with lots of jewelry. As he gets up from the table, the other men around the table follow his lead as he finishes up some jokes . . . + + +MOB GUY + +. . . so the guy says, I'm not the tailor, I'm the undertaker. + + +The men laugh again, more out of respect than appreciation. Ray Bones turns, sees . . . + + +CHILI and Tommy sitting in their booth. Tommy, sucking on a toothpick, waves. + + +TOMMY + +Ray. How you doing? + + +RAY BONES + +Okay, Tommy. You? + + +TOMMY + +Okay. + + +Bones focuses on Chili, waits for acknowledgement. But Chili turns back to the window. Always the peacemaker, Tommy smiles at Bones again . . . + + +TOMMY + +You believe this weather, Ray? Miami Beach, for Christ's sake. + + +RAY BONES + +(ignoring him) + +Chili Palmer. + +(smiles) + +Chilly outside. Chili inside. It's a regular fuckin' chili-fest. Hey, waiter -- give Mr. Chili Pepper a big fuckin' bowl of chili! + + +Again the men all laugh respectfully at Ray Bone's stupid joke. Chili smiles the best he can at the idiot . . . + + +CHILI + +Good to see you, Ray. + + +He turns back to the window, watches Ray Bones in the reflection, still cracking up as he and his men head for the front of the restaurant. Tommy looks at Chili for a moment, then stands up . . . + + +TOMMY + +You done starin' out the window, I'll see you back at the office. + + +Chili nods, but still doesn't turn from the window. He merely watches in the glass as Tommy turns up his collar and steps out into the cold Miami day. + + +TOMMY + +Jesus. It's freezin'! + + +Chili then puts out the cigarette, nods to the waiter who comes over with the check. + + +INT. RESTAURANT COATROOM -- A FEW MINUTES LATER + + +From inside the tiny room. A couple of ratty rain coats and an old flight jacket hang to one side in immediate f.g. as Chili steps into the doorway and freezes. He looks o.s. and whistles . . . + + +CHILI + +Hey. + + +A moment later the MANAGER, an old Italian guy in a black suit, joins him in the doorway. + + +CHILI + +What happened to my coat? + + +The Manager peers into the room . . . + + +MANAGER + +It's not one of these? + + +CHILI + +You see a black leather jacket, fingertip length, like the one Pacino wore in Serpico? You don't, you owe me three seventy-nine. + + +MANAGER + +Maybe you don't see my sign? + + +The manager points to a sign on the wall + +'WE CANNOT BE RESPONSIBLE FOR LOST ARTICLES.' + + +CHILI + +Look, I didn't come down to sunny Florida to freeze my ass. You follow me? You get the coat back or you give me the three seventy-nine my ex-wife paid for it at Alexander's. + + +The Manager looks o.s., and begins speaking in Italian. Chili reacts as we hear the name RAY BARBONI mentioned a couple of times. + + +MANAGER + +Explain to him how Mr. Barboni borrow the coat. + + +A WAITER joins Chili and the Manager in the doorway. + + +CHILI + +Ray Bones took my coat? Just now? + + +WAITER + +He didn't take it. He borrow it. See, someone took his coat, you know . . . + +(indicates flight jacket) + +. . . leave this old one. So Mr. Barboni, he put on this other coat that fit him pretty good. + + +CHILI + +You mean my coat. + + +WAITER + +He was wearing it, you know, to go home. He wasn't gonna keep it. + + +CHILI + +My car keys were in that coat. + + +MANAGER + +We call you a taxi. + + +CHILI + +Lemme get this straight. You aren't responsible for any lost articles like an expensive coat of mine, but you're gonna find Ray Bones' coat or get him a new one? Is that what you're telling me? + + +MANAGER + +Mr. Barboni a good customer. + +(making sure to add) + +Works for Jimmy Capp. + + +CHILI + +I know who he works for. Where's your phone. + + +INT. TOMMY CARLO'S CAR -- DAY + + +Tommy drives. Chili stares straight ahead, rubs his hands together, tries to stay warm . . . + + +TOMMY + +You sure it was Ray Bones took the coat? + + +CHILI + +That's what the guy said. + + +TOMMY + +(nervous now) + +Tomorrow, I see on the TV weather, it's gonna be nice and warm. You won't need the coat. + + +Chili points out the window. + + +CHILI + +This is it. + + +EXT. VICTOR HOTEL -- DAY + + +As Tommy pulls up out front. + + +INT. CAR -- SAME TIME + + +Tommy looks up at the hotel as Chili takes a pair of leather gloves from top of the dash, opens the door. Tommy looks over at him. + + +TOMMY + +Hey, Chili. + +(Chili pauses) + +Get your coat, but don't piss the guy off, okay? It could get complicated and we'd have to call Momo to straighten it out. Then Momo gets pissed for wasting his time and we don't need that. + + +CHILI + +Don't worry about it. I won't say any more than I have to, if that. + + +EXT. STAIRS -- DAY + + +Chili pulls on the gloves as he goes up the stairs to the third floor. + + +EXT. DOOR -- DAY + + +As Chili knocks on the door three times. He waits, pulls the right-hand glove on tight, so that when RAY BONES opens the door, Chili nails him. One punch. No need to throw the left. + + +RAY BONES + +Jesus . . . Oh, God . . . + + +Chili then steps over him into the room and grabs his coat from a chair. He looks over at Ray Bones bent over, blood running from his nose and mouth, blood all over his hands, his shirt. + + +RAY BONES + +Fuck, man . . . + + +Chili walks out. Doesn't say one word to Ray Bones. + + +EXT. BARBER SHOP -- DAY + + +A warmer day. The sun is shining. All is quiet. + + +INT. BARBER SHOP -- SAME TIME + + +The place is empty except for FRED and ED, the two old barbers sitting in the chairs, reading newspapers. + + +ED + +You been there, haven't you? + + +INT. BARBER SHOP BACKROOM -- SAME TIME + + +A room Tommy and Chili use as an office. Chili sits at the desk making entries in the collection book. We can hear the two old barbers talling o.s. . . + + +FRED O.S. + +Paris? Yeah, I been there plenty times. It's right offa Seventy-nine. + + +ED (O.S.) + +Hell it is. It's on Sixty-eight. Seventeen miles from Lexington. + + +FRED O.S. + +What're you talking about, Paris, Kentucky, or Paris, Tennessee? + + +Silence. No answer to the question. Chili look up from the collection book, listens a moment to nothing. + + +He opens the desk drawer and pulls out a .38. He aims the gun at the open doorway . . . + + +OVER CHILI'S SHOULDER + + +As Ray Bones, a bandage on his nose, appears in the back hall, then the doorway to the office, his face showing surprise to see a gun aimed at him . . . + + +Ray Bones begins firing the big Colt auto in his hand, maybe before he's ready, the gun making an awful racket, when Chili pulls the trigger, shooting Ray Bones along the top of his head, creasing him from hairline to crown. + + +Chili calmly gets to his feet. Aims once more -- probably lower this time -- but doesn't fire as Ray Bones grabs his head and stumbles out of there. + + +RAY BONES (O.S.) + +Somebody call 9 fucking 111. + + +EXT. MIAMI HARBOR -- DAY + + +Ray Bones, a bandage on his head now as well as his nose, sits on a cigarette boat with his boss, JIMMY CAP and two bikini clad BABES, both of whom rub lotion on Jimmy. + + +JIMMY + +Whatta you want me to do Ray? Go to war over a fuckin coat? You're lucky the guy didn't kill you. The coat was a Christmas present for Christ's sake. + + +RAY BONES + +You gotta do somethin', Jimmy. This man's got no respect for us. + + +JIMMY + +He's got no respect for you, and I don't gotta do shit. Chili Palmer don't work for me, he works for Momo up in Brooklyn. So as long as Momo's around, nothing happens to Chili Palmer. You understand? + + +As an angry Ray Bones sits back, we . . . + + +FADE TO BLACK + + +EXT. BROOKLYN STREET -- NIGHT + + +We TILT DOWN to REVEAL a dark Brooklyn street as a black Cadillac pulls to a stop in front of an older building. + + +VOICE + +Momo. We're here. + + +Two big guys, BODYGUARDS, get out of the car. One of them opens the back door for a huge man, MOMO, who gets out of the car and looks up at the dark building . . . + + +MOMO + +You check this place out good? If I'm going up alone, I don't want no surprises. + + +BODYGUARD + +I checked it out, boss. + + +INT. BROOKLYN TENEMENT BUILDING -- NIGHT + + +Momo eyes the bodyguards -- both nervous -- then starts up the steps. We follow Momo as he enters the building, goes up the dark stairwell . . . up one flight . . . we're behind him the whole time . . . + + +When he gets to the top floor, Momo pauses to catch his breath, before moving on down the hall to a door. Momo knocks. + + +VOICE + +Yeah? + + +MOMO + +It's Momo. + + +VOICE + +Come in. + + +Momo slowly opens the door . . . when, suddenly, the apartment is FLOODED WITH LIGHT so that we see a room full of PEOPLE, a banner on the back wall reading 'HAPPY SIXTY-FIFTH, MOMO!' + + +EVERYONE + +Surprise! + + +Silence as Momo drops to his knees, gurgles something we can't understand and falls over. Suddenly a dozen faces are looking down on us as we then . . . + + +CUT TO + +EXT. BARBER SHOP -- DAY + + +A beautiful day in Miami. + + +CHILI (V.O.) + +So what're you tellin' me, you're never gonna go to sleep again? + + +INT. BARBER SHOP -- DAY + + +Chili and Tommy each sit in a barber chair, reading the newspaper while Fred and Ed sit nearby playing checkers. + + +TOMMY + +No, I said I'm never goin' to bed. There's a difference. See, the article says most people die in their beds. I figure long as I stay outta bed, I'm safe. + + +CHILI + +That's the dumbest thing I ever heard. Where do you sleep? + + +TOMMY + +In an armchair. Or I go to a coffee shop, sleep there. Sit in a booth, pull my hat down. + + +A car pulls up. Chili's no longer listening to Tommy, but now watching as Ray Bones and a BLACK GUY get out of the car. + + +TOMMY + +How many people you hear ever die in a coffee shop? + + +Tommy looks over as Ray Bones -- smaller bandage on the top of his head -- and his man enter the shop. + + +RAY BONES + +You cut straight hair in this place, or just fags? + + +CHILI + +Hey, Bones, looks like you're gonna have a nice scar up there. Maybe these guys can fit you with a rug, cover it up for ya. + + +Ray Bones eyes Chili, then nods to Fred and Ed. + + +RAY BONES + +Why don't you geezers take your game over to the park. + + +The two guys leave as the Black Guy steps up to Chili . . . + + +BLACK GUY + +This man is the man, you understand what I'm saying? He's Mr. Bones, you speak to him from now on. + + +Chili exchanges a look with Tommy, watches as 'Mr. Bones' goes down the hall into the back office, then turns to the black guy . . . + + +CHILI + +You can do better'n him. + + +BLACK GUY + +Not these days. Not less you can talk Spanish. + + +Ray Bones comes out with the collection book open, looking at all of the names of who owes what. + + +RAY BONES + +You got a miss. Leo Devoe. Guy's six weeks over. + + +CHILI + +He died. + + +RAY BONES + +How'd you know he died, he tell you? + + +Ray Bones checks his man to get some appreciation, but the guy's too busy looking at the hair rinses and shit on the connter. + + +CHILI + +Yeah, he told me. + + +RAY BONES + +Personally? + + +CHILI + +Yeah, Ray, he personally told me he got killed in that Get Away Airlines' jet went down last month. + + +RAY BONES + +What Get Away jet? + + +CHILI + +It was in the Herald. + + +RAY BONES + +Yeah, well, maybe the guy took out flight insurance. Check with the wife. + + +CHILI + +Hey, it's your book now. You want to check it out, go ahead. He's got a dry cleaning business out on Federal Highway. + + +Tommy gives Chili a look as the Black Guy comes over to Chili, stands next to him. Ray Bones steps over to Chili . . . + + +RAY BONES + +Momo's dead. Which means anything was his now belongs to Jimmy Capp, including you. + + +Tommy watches as the Black Guy picks up a pair of scissors, runs his hand along the edge . . . + + +RAY BONES + +Which also means when I speak, I'm speakin' for Jimmy. So e.g. as of now, you start affording me the proper respect. + + +CHILI + +'e.g.' means 'for example', Ray. I think what you wanna say is 'i.e.' + + +RAY BONES + +Bullshit. E.g. is short for 'ergo'. + + +CHILI + +Ask your man here. + + +Ray Bones looks at the Black Guy. + + +BLACK GUY + +Best a my knowledge, e.g. means 'for example.' + + +RAY BONES + +E.g., i.e., fuck you. The point is, I say jump, you say okay. Okay? + + +TOMMY + +(for Chili) + +Yeah, Ray. Okay. + + +Ray Bones then nods to his man who grabs Chili, holds the point of the scissors to Chili's throat . . . + + +RAY BONES + +You owe me the dry cleaner's fifteen grand plus the juice which is what another, uhh . . . + + +CHILI + +Twenty seven hundred. + + +RAY BONES + +Exactly. You either get it from the wife or out of your own pocket, I don't give a fuck. You don't ever hand me a book with a miss in it. + + +Ray throws the book at Chili and walks out, his man right behind him. Chili looks over at Tommy. + + +TOMMY + +I told you not to -- + + +CHILI + +Don't say a fuckin' word. + + +EXT. FAY DEVOE'S BACKYARD -- DUSK + + +Where Chili sits with FAY DEVOE -- thirties, attractive, in a sundress -- on her patio. They each have a drink . . . + + +FAY + +I hate the dry cleaning business. I hate being inside all day, around all those machines. + + +CHILI + +Must be hot. + + +FAY + +You have no idea how hot it is. + + +She looks at him. Touches her drink to the side of her face. Chili finishes his drink, sets it down. + + +CHILI + +I was wondering, Fay, if Leo had any life insurance. + + +FAY + +I don't know of any. + + +They sit there in silence a moment. Fay reaches over, puts a hand on his leg . . . + + +FAY + +I trust you, Chili. I think you're a decent type of man, even if you are a crook. + + +CHILI + +Thank you Fay. + + +She finally looks at Chili . . . + + +FAY + +I wish he really was dead, the son of a bitch. + + +EXT. LAS VEGAS -- NIGHT + + +The strip. Mesas Casino. + + +CUT TO + +CLOSE UP OF PHOTOGRAPH + + +Leo Devoe. Standing with Fay at Epcot Center. + + +DICK (V.O.) + +That's him all right. + + +PULL BACK TO REVEAL INT. DICK ALLEN'S OFFICE -- NIGHT + + +A sign on the door reads "DICK ALLEN, CUSTOMER RELATIONS." A bank of video monitors show the floor of the casino. Chili sits across the desk from DICK ALLEN -- lots of jewelry, a giant NEON COWGIRL out the window behind him. + + +DICK + +Called himself Larry DeMille. Hit on every showgirl in town. Would tell 'em he was the 'Martinizing King of Miami'. What a moron. + + +He returns the snapshot to Chili. + + +DICK + +Anyway, you want this guy, he's in L.A. We put him on a flight after he spanked one a my cocktail girls in the Keno room. + + +CHILI + +Leo spanked a waitress? + + +DICK + +Apparently, way it went, he invited her to come to Santa Anita to play the ponies with him. She told him what to do with that and he gave her one on the tush. My guess, he's by his lonesome at the track right now. + + +Chili nods. + + +DICK + +Hey, Chil? Since you're goin' out to L.A. anyway. + + +CHILI + +What've you got? + + +DICK + +Guy owes us a hundred and fifty grand, sixty days over; a movie producer. + + +CHILI + +Movie producer? Yeah, why not. + + +As Dick Allen reaches for a pad of paper, we hear THE SOUND OF AN AIRPLANE OVER. . . . + + +EXT. LAX RENTAL CAR LOT -- NIGHT + + +It's raining as we TILT DOWN from a LANDING AIRPLANE to a National Car Rental BUS arriving next to a tan MINIVAN. Chili eyes the car a moment, then turns to the driver. + + +CHILI + +What is this? + + +ATTENDANT + +An Oldsmobile Silhouette. + + +CHILI + +I reserved a Cadillac. + + +ATTENDANT + +Yeah, well, this one's the Cadillac of minivans. + + +CHILI + +You're kidding me, right? + + +ATTENDANT + +Hey, you want La Tierra Rent-A-Car just over there, but I think all they got are Rabbit convertibles. + + +Chili gives the driver a look then gets out of the bus, standing there in the rain, his seat getting wet, nowhere to go. He turns and stares at the minivan . . . + + +EXT. KAREN FLORES' HOUSE -- NIGHT + + +All the lights are out, save the BLUE GLOW of a television coming from one of the downstairs rooms . . . + + +WOMAN'S VOICE + +(loud whisper) + +Harry? + + +INT. KAREN FLORES' BEDROOM -- NIGHT + + +As KAREN FLORES, pretty, endowed, sits up in bed wearing a Lakers T-shirt, nothing else. She looks at the big shape lying under the covers beside her. + + +KAREN + +Harry. + + +The shape deesn't move. She shakes it. + + +KAREN + +Harry, God damn it, somebody's downstairs. + + +The shape stirs, rolls over, and we see HARRY ZIMM, balding, overweight; a movie producer. He sits up. + + +HARRY + +What's wrong? + + +KAREN + +Be quiet and listen. + + +HARRY + +I don't hear anything. + + +We hear VOICES downstairs. + + +KAREN + +Shhh -- there. + + +And now LAUGHTER . . . + + +HARRY + +Sounds like the television. + + +She looks at him . . . + + +KAREN + +When I came upstairs, you stayed to finish your drink. I told you to turn off the TV when you were through. + +(an afterthought) + +Come to think of it, I also told you you could sleep in the maid's room. + + +HARRY + +Yeah, well I turned off the set. I used the remote control thing and laid it on the floor. You know what could've happened? The dog came in and stepped on it, turned the TV back on. + + +KAREN + +I don't have a dog. + + +HARRY + +You don't? What happened to Muff? + + +KAREN + +Harry, are you going down, or you want me to? + + +He grunts, gets out of bed. Starts looking around the room for his clothes. Harry looks out the window . . . + + +HARRY + +Anyone skim the pool? It needs it. + + +KAREN + +Harry -- + + +HARRY + +I'm going. + + +INT. HALLWAY -- SAME TIME + + +The MONOTONE VOICES become louder and more distinct as Harry moves down the curved staircase in his shirt and boxer shorts. One of the voices is familiar . . . + + +We can see this is a nice place as Harry crosses the entry hall to a doorway, the FLICKERING LIGHT of the television emitting from inside the room. + + +Harry listens at the door. Yeah, it's David Letterman. + + +INT. KAREN'S STUDY -- SAME TIME + + +Harry moves into the glow of the big Sony, the rest of the room dark. On the tube, Dave is interviewing actor Martin Weir when suddenly the screen goes black and the desk lamp comes on. Harry jumps . . . + + +HARRY + +Jesus Christ! + + +Chili leans into the light, keeps his tone quiet, controlled. + + +CHILI + +Harry Zimm, how you doing? I'm Chili Palmer. + + +Harry presses a hand against his chest. + + +HARRY + +Jesus, if I have a heart attack, I hope you know what to do. + + +CHILI + +Where you been, Harry? + + +Harry lets his hand slide down over his belly, taking his time, wanting to show that he has it together now. + + +HARRY + +Have we met? I don't recall. + + +CHILI + +We just did. I told you my name's Chili Palmer. + + +Harry stares back, trying to figure out who this guy is. + + +HARRY + +You're in pictures, right? + + +Chili smiles. Doesn't say anything. + + +HARRY + +Did you stop to think what if I had a heart attack? + + +CHILI + +You look okay to me, Harry. Come over here and sit down. Tell me what you been up to. + + +Harry takes one of the canvas director's chairs by the desk. He looks at a bottle of Dewars sitting there, runs a hand through his hair, thinks about a drink . . . + + +CHILI + +Harry, look at me. + + +Harry brings his hand down. + + +HARRY + +I'm looking at you. + + +CHILI + +I want you to keep looking right here, okay? + + +HARRY + +That's what I'm doing. + + +CHILI + +You know Dick Allen, Mesa's Casino? + + +HARRY + +Dick Allen's a very dear friend of mine. How far you want to go with this? + + +CHILI + +We're there, Harry. You signed markers for a hundred and a half, you're over sixty days past due and you haven't told anybody what the problem is. + + +Harry looks at Chili. + + +HARRY + +Jesus Christ, what're you, a collector for a fucking casino? You come in here, walk in the house in the middle of the fucking night? I thought you were an actor, auditioning, for Christ's sake. + + +Chili nods, almost smiles . . . + + +CHILI + +Is that right? That's interesting. You thought I was acting, huh? + + +Harry pushes out of the chair, looks down at Chili. + + +HARRY + +We'll see about this . . . + + +Harry grabs the phone, punches the 'O'. + + +HARRY + +Operator, how do I get Las Vegas Information? + + +CHILI + +Harry, lemme give you some advice. + + +Chili leans forward, hangs up the phone with his index finger, casually reaches for the rereiver . . . + + +CHILI + +You don't want to act like a hard-on, you're standing there in your undies. You know what I'm saying? What you want to do is sit down and talk to me. + + +Harry sits down. Chili hangs up the phone. + + +CHILI + +A marker's like a check, Harry. + + +HARRY + +I know what a marker is. + + +CHILI + +They don't want to deposit yours and have it bounce. That annoys them. So your dear friend Dick Allen's been calling, leaving messages on your machine, but you never get back to him. I happen to be in Vegas on another matter, and Dick asks me as a favor would I look you up. I follow you over here, see you in the window with this woman, looks a lot like that actress Karen Flores, was in Grotesque, except she's not blond anymore . . . + + +Harry's gaze moves to the bottle of scotch on the desk . . . + + +CHILI + +You're not looking at me, Harry. + + +HARRY + +Why do I have to keep looking at you? + + +CHILI + +I want you to. + + +HARRY + +You gonna get rough now, threaten me? I make good by tomorrow or get my legs broken? + + +CHILI + +Come on, Harry -- Mesas? The worst they might do is get a judgment against you, uttering a bad check. I can't imagine you want that to happen, man in your position. + + +HARRY + +Fuckin' basketball game. + + +Harry reaches for the bottle of scotch and pours himself drink. + + +HARRY + +Tell Dick Allen I'll cover the markers in the next sixty days at the most. He doesn't like it, that's his problem. The prick. + + +Harry starts to take another drink, looks at Chili, not moving. + + +HARRY + +So, you want me to call you a cab? + + +Chili shakes his head, keeps staring at Harry, but with a different expression now, more thoughtful, curious. + + +CHILI + +You make movies, huh? + + +HARRY + +I produce feature motion pictures, no TV. You mentioned Grotesque, that happened to be Grotesque Part II that Karen Flores was in. She starred in all three of my Slime Creatures releases you might have seen. + + +Chili nods, leans forward on the desk. + + +CHILI + +I think I got an idea for a movie. + + +INT. KAREN FLORES' BEDROOM -- NIGHT + + +Karen is sitting up in bed, listening. We hear the muffled sonuds of Chili and Harry talking downstairs. She gets out of bed . . . + + +INT. HALLWAY -- SAME TIME + + +Chili and Harry's conversation gets louder as Karen descends the stairs. She peers into the study, but they're not in there . . . + + +INT. KITCHEN -- SAME TIME + + +Chili sits with Harry at a butcher block table, a bottle of Dewars and a couple of glasses now between them. + + +CHILI + +Yeah, Leo wore these little plaid hats -- Miami, middle of the summer, this guy thinks no one's gonna notice he's balding, he wears a fuckin' hat. + + +Harry looks up past Chili, smiles. + + +HARRY + +Karen? + + +Chili turns aronud and sees her standing in the doorway now, her arms folded across that chest, the Lakers T-shirt coming down just past her crotch. + + +HARRY + +Karen, say hello to Chili Palmer. Chili, this is Karen Flores. + + +CHILI + +Karen, it's a pleasure. How you doing? + + +KAREN + +How did you get in the house? + + +HARRY + +He's telling me an idea for a movie. It's not bad so far. + +(motions with his glass) + +Sit down, have a drink. + +(to Chili) + +Tell Karen, let's see what she thinks. + + +KAREN + +Maybe you didn't hear me. + + +CHILI + +The door from the patio, in back. + + +KAREN + +You broke in? + + +CHILI + +No, it was open. It wasn't locked. + + +KAREN + +What if it was? + + +Chili doesn't say anything, just watches her, likes the way she's handling it. + + +HARRY + +You want to hear this idea? It's about a dry cleaner who scams an airline out of three hundred grand. Go on, tell her. + + +CHILI + +You just did. + + +HARRY + +I mean, the way you told it to me. Start at the beginning, we see how the story line develops. + + +Chili looks at Karen. She leans in the doorway. + + +CHILI + +Well, basically, this guy owes a shylock fifteen thousand, plus he's a few weeks behind on the vig, the interest you have to pay. + + +KAREN + +I know what a vig is. + + +HARRY + +It's the kind of situation, you don't pay, you get your legs broken. + + +CHILI + +Or the guy thinks he could get 'em broken. You have to understand the loan shark's in business the same as anybody else. He isn't in it to hurt people. He's in it to make money. + + +EXT. LEO DEVOE'S HOUSE -- DAY + + +As we see Chili talking to Fay on the front porch. + + +CHILI (V.O.) + +But the dry cleaner, we'll call him Leo, he's scared, doesn't know any better, so he takes off -- + + +INT. KAREN'S KITCHEN -- NIGHT + + +As Harry jumps in . . . + + +HARRY + +That's Miami. He's going to Vegas. He's got a few bucks and he's thinking it's his only chance. + + +INT. AIRPLANE -- DAY + + +We see a fidgety LEO DEVOE, a little guy in a crummy suit and a little green hat sitting there in coach, looking around. + + +CHILI (V.O.) + +Leo gets on a plane, ready to go, but the plane sits there at the gate, doesn't move. + + +Behind Leo sits a BRAT with his MOM and DAD. The parents are trying to entertain the kid with the G.I. Joes, other stuff they've brought along, but the kid spots Leo's hat as Leo looks up to listen to an announcement . . . + + +CHILI (V.O.) + +They annonnce over the PA there's some kind of mechanical problem, they'll be there maybe an hour, but keep your seats in case they get it fixed sooner. + + +Leo gets really uncomfortable now . . . + + +CHILI (V.O.) + +The guy's nervous, in no shape to just sit there, sweat it out. So he gets off the plane . . . + + +As Leo gets up from his seat, the kid knocks off Leo's little green hat, and we . . . + + +CUT TO + +INT. MIAMI AIRPORT COCKTAIL LOUNGE -- DAY + + +As Leo downs a drink, looks around for the waitress . . . + + +CHILI (V.O.) + +Goes in the cocktail lounge and starts throwing 'em down, one after the other. + + +He 's motioning to her for another, when we see a PLANE taxi past the window in the b.g . . . + + +CHILI (V.O.) + +When the plane pulls away from the gate. + + +INT. KAREN'S KITCHEN -- NIGHT + + +As Harry interrupts. + + +HARRY + +Without him. The guy's so out of it he doesn't even know it's gone. + + +CHILI + +That's right. As a matter of fact . . . + + +INT. COCKTAIL LOUNGE -- DAY + + +A shit-faced Leo struggles to keep his head up as he watches the waitress look out the window and gasp . . . + + +CHILI (V.O.) + +He's still in the lounge when a plane blows up on the runway . . . + + +We see a BIG FIREBALL in the b.g. as Leo's head hits the table. + + +INT. KAREN'S KITCHEN -- NIGHT + + +As Chili lights a cigarette. + + +CHILI + +So when the guy finds out it was his flight, he can't believe it. If he'd stayed on that plane, he'd be dead. Right then he knows his luck has changed. If everybody thinks he's dead he won't have to pay back the fifteen or what he owes on the vig, four and a half a week. + + +Chili offers the pack to Karen. Karen doesn't move. + + +KAREN + +The interest is four hundred and fifty dollars a week on fifteen thousand? + + +CHILI + +That's right. Three percent. + + +KAREN + +But a week. That's a hundred and fifty percent a year. + + +CHILI + +A hundred and fifty-six. Some'll charge you more'n that, go as high as six for five on a short-term loan. So three a week's not too bad. + + +KAREN + +A real bargain. + + +She shakes her head, keeps her arms folded. Chili watches her, likes the way she's giving it to him. + + +HARRY + +Keep going. + + +CHILI + +Well, since Leo's name was on the passenger list . . . + + +INT. AIRPORT HANGER -- DAY + + +As an FFA OFFICIAL leads Fay, a black veil over her face, amongst tables full of charred items . . . + + +CHILI (V.O.) + +They bring his wife out to the airport where they're going through personal effects, whatever wasn't burned up. Leo's bags were on the plane, so the wife tells 'em what to look for, things only she would know about. + + +FAY REACTS as the FFA guy points to a LITTLE GREEN HAT on one of the tables. She grabs it, clutches it to her chest, pretends to faint. + + +INT. KAREN'S KITCHEN -- NIGHT + + +As Karen finds herself listening, despite herself. + + +CHILI + +A couple days ago by, people from the airliner come to see his wife, tell her how sorry they are and all that their plane exploded and offer her a settlement, the amount based on what he would've earned operating the dry cleaner's the rest of his life. Leo had some kind of trouble with his kidneys, so they were giving him about ten years. + + +KAREN + +How much is the wife offered? + + +Chili starts to speak, but Harry cuts him off. + + +HARRY + +Three hundred grand, and they take it, money in hand, babe. The guy has his wife cash the check and he takes off for Las Vegas with the dough. Gets there, he's supposed to call her, tell her when to come out. But she never hears from him again. + + +Meanwhile, the guy's hot, runs the three hundred up to half a million . . . + + +CHILI + +He comes to L.A. . . . + + +Harry raises his hand to stop Chili. He's rolling, turns to Karen now . . . + + +HARRY + +It drives the guy nuts, he's winning but can't tell anybody who he is. You show in a back story his motivation, his desire to be famous, you know, pal around with celebrities, the headliners doing the big rooms. Now he's got the dough to buy his way in, mix with celebs and he can't resist . . . + + +Harry then turns back to Chili. + + +HARRY + +So he comes to L.A. . . . + + +CHILI + +I don't know about his wanting to meet celebrities, that's something new. But, yeah, he comes to L.A. Then after that, I don't know what happens. + + +Chili looks at Karen. Patient. Not moving. + + +HARRY + +That's it? That's your movie? + + +CHILI + +I said I had an idea, that's all. + + +HARRY + +That's half a movie, with holes in it. Maybe forty minutes of screen time. You don't even have a girl, a female lead, and on top of that, there's no one to sympathize with, you don't have a good guy. + + +CHILI + +The shylock's the good guy. + + +HARRY + +The shylock? He's barely mentioned. And it's not believable the wife would get a settlement that fast. + + +KAREN + +Harry doesn't realize it's a true story. + + +They both look at her now. + + +KAREN + +That Miami flight that went down, it was on the news every day for about a week. Harry must've been busy. + + +HARRY + +That's where you got the idea? + + +CHILI + +Part of it, yeah. + + +HARRY + +Wait a minute, you're not the guy, are you? The dry cleaner? + + +CHILI + +You mean, Leo? + + +HARRY + +You wouldn't be talking to me if you were. + + +CHILI + +I'm not the guy, Harry. + + +HARRY + +But you work for the casino? + + +CHILI + +I'm out here looking for Leo. I just looked you up as a favor to your dear friend, Dick Allen. + + +HARRY + +So you don't work for the casino? + + +KAREN + +Harry, for God's sake . . . + + +They both look at her. + + +KAREN + +He's the shylock. + + +She's staring at Chili again. Harry turns to him. + + +HARRY + +Is that right, that's what you do for a living? + + +CHILI + +What I did till recently. + +(looking at Karen) + +After I get done here I'll think about what I'm gonna do next. + + +KAREN + +With your experience, you could always become an agent. Right, Harry? + + +HARRY + +Yeah, that's what we need. More agents. + + +KAREN + +Well. I got an audition tomorrow. + + +HARRY + +No problem. You go on off to bed. + + +Karen looks at the two of them sitting there. Not about to move. + + +KAREN + +What I'm saying, Harry, is I want you and your new buddy to get out of my house. + + +HARRY + +Oh, yeah, sure. + + +CHILI + +Nice meeting you, Karen. + + +She just looks at him, turns and walks out. Chili watches her go. Harry watches Chili, pours the last of the scotch into Chili's glass . . . + + +HARRY + +I imagine in your line of work, there were times you had to get rough, you know, say one of your customers stopped paying. + + +CHILI + +They always paid. + + +Harry nods, thinks a moment, then . . . + + +HARRY + +You pack a gun? + + +CHILI + +Not really. + + +HARRY + +What does that mean? + + +CHILI + +Maybe a few times I have. + + +HARRY + +Ever shot anybody. + + +CHILI + +Once. + + +HARRY + +Really? You ever been arrested? + + +CHILI + +I've been picked up a couple times. Loan sharking. Racketeering. But I was never convicted. I'm clean. + + +HARRY + +Racketeering, that covers a lot of ground, doesn't it? + + +Chili looks at him. + + +CHILI + +Why don't you get to the point, Harry? You want me to do something for you. + + +EXT. FAY DEVOE'S HOUSE -- MORNING + + +As a Cadillac Eldorado pulls up out front and Ray Bones and his man get out, check out the neighborhood . . . + + +RAY BONES + +Hi, I'm Ray, a friend of Chili Palmer's. + + +INT. FAY DEVOE'S HOUSE -- MORNING + + +Fay watches as Ray Bones and his man go through her things. + + +RAY BONES + +Have your spoken to Mr. Palmer since your husband . . . you know, blew up? + + +FAY + +Maybe once or twice. + + +RAY BONES + +(coming over) + +What was it you talked about? + + +FAY + +Oh, nothing really? This and that. + + +Ray Bones hits Fay Devoe in the face. She drops to her knees and cries out. Ray Bones crouches down in front of her, puts a hand in her hair. + + +RAY BONES + +Fay . . . + +(pulls her head up) + +Fay. + + +She looks at him. Afraid now, her nose is bleeding. Ray Bones smiles at her, strokes her hair. + + +RAY BONES + +Fay, I want us to be friends. And friends don't hit each other, 'less they have to. + +(she nods) + +So whatta you say we start all over and you tell me exactly what the fuck is goin' on? + + +EXT. SUNSET BOULEVARD -- MORNING + + +As we BOOM DOWN from a massive billboard for the movie Bonaparte starring Martin Weir as Napoleon and begin tracking with Harry's eight-year-old, battered Mercedes . . . + + +INT. HARRY'S CAR -- SAME TIME + + +Harry drives, all the while gesturing with a lit cigarette. + + +HARRY + +These guys, my investors, they run a limo service, came to me originally, put money in a few of my pictures and did okay, they're happy. So they come in on another deal -- this was back a few months ago when I was planning what would be my next picture, about this band of killer circus freaks that travel around the country leaving bodies in their wake. The characters, there's this seven-hundred-pound fat lady who has a way of seducing guys, gets them in her trailer -- + + +CHILI + +Harry, look at me. + + +Harry looks at him. Chili takes away his cigarette. + + +CHILI + +You're trying to tell me how you fucked up without sounding stupid, and that's hard to do. Let's just get to where you're at, okay? You blew the two hundred grand the limo guys gave you in Vegas on a basketball game and you haven't told 'em about it. Why not? + + +HARRY + +Because they're not the type of guys would take it with any degree of understanding or restraint. The first thing they'd do is break my legs. + + +CHILI + +You got that on the brain, Harry. If you're so scared of 'em why'd you take their money to Vegas to begin with? + + +HARRY + +Because I need half a million to buy a script. + + +CHILI + +For a movie? + + +HARRY + +A blockbuster. But quality. No mutants or maniacs. This one's gonna be my Driving Miss Daisy. + + +CHILI + +What's it called? + + +HARRY + +Mr. Lovejoy. + + +CHILI + +Mr. Lovejoy? That's the title? + + +HARRY + +It's not bad when you know what it's about. + + +Harry pulls to the curb, faces Chili . . . + + +HARRY + +Murray Saffrin, guy who wrote it, did all my Grotesque pictures, had it in a drawer for twenty years. He shows it to me one day, tells me he's got a star interested, would I produce it. + + +CHILI + +Who's the star? + + +Harry points arross the street to the Cafe Med where we see a RED FERRARI convertible parked out the front. We see MARTIN WEIR and a WOMAN with jet-black hair sitting at a table . . . + + +HARRY + +Two time academy award nominee, Martin Weir. + + +CHILI + +Martin Weir. He played the mob guy that turned snitch in The Cyclone. + + +HARRY + +One of his best parts. + + +CHILI + +No, his best part was the cripple gay guy that climbed Mt. Whitney. + + +HARRY + +Ride the Clouds. Good picture. + + +They watch Martin and the girl a moment . . . + + +CHILI + +She looks familiar. + + +HARRY + +She's a rock star. Every day, same time, they come down here and have breakfast. He has the egg white omelette; she has the banana pancakes. He sits facing west so he can see his billboard. She faces east so she has an excuse to wear the shades. + + +Harry pulls out, starts driving again . . . + + +HARRY + +Anyway, Murray has this shrink, who also happens to be Martin's personal trainer's shrink. Murray gives the shrink the script and the shrink gives it to Martin's trainer who reads it to Martin while they work out, and Martin flips. Loves it. + + +CHILI + +So what's the problem? + + +HARRY + +The problem is Murray. He and a few other blocked screenwriters went river rafting down the Kern a few weeks ago. Murray never made it back. + + +CHILI + +He drown? + + +HARRY + +Heart attack. Apparently they brought a couple hookers along. + + +Chili nods, looks up at an ANGELYNE billboard . . . + + +HARRY + +Doris, Murray's widow, finds out about this Martin Weir thing and says since Murray and I never had any written contract, she wants five hundred grand for the script. + + +CHILI + +So you're thinking what if I was to put you next to my dry cleaner. Ask him if he wants to invest his money in a movie. + + +HARRY + +That, or I'm thinking what if some tragic accident were to befall the widow Saffrin -- + + +CHILI + +I'm not gonna pop her, Harry. + + +HARRY + +Just a thought. + + +CHILI + +But I could talk to the limo guys. Tell 'em to leave you alone for a while. Make the point in a way they'd understand it. + + +HARRY + +You don't even know these guys. + + +CHILI + +Harry, I probably know 'em better than you do. + + +HARRY + +What do you get out of this? + + +CHILI + +Let's see how we get along. + + +EXT. PARKING LOT -- DAY + + +BO CATLETT, black, tall, put together in a tan outfit + +suit, shirt, tie, lies on the hood of a BLACK STRETCH LIMO, his back against the windshield, reading Daily Variety, a headline proclaiming 'BONAPARTE STANDS TALL AT THE B. O.' We hear the sonud of an AIRPLANE and he checks his watch. + + +He casually folds the newspaper as a 747 screams past directly overhead and we . . . + + +PULL BACK TO REVEAL + +LAX -- DAY + + +As Bo Catlett pounds twice on the fender . . . + + +BO CATLETT + +That's us. + + +INT. SOVEREIGN TERMINAL -- DAY + + +Bo Catlett walks through the terminal. We hear the arrival of the Miami flight annonnced over the PA as Catlett stops at one of the gates. + + +We see a plane pulling into the gate through the glass as Bo Catlett checks out the other people waiting to greet the flight . . . + + +Like, for example, the YOUNG DUDE in jeans and a wool shirt hanging out. + + +Bo Catlett studies him a moment, then sits down in one of the chairs. He looks over at . . . + + +A BIG MAN, bearded, wearing a loud Hawaiian shirt, and carrying a three-year-old GIRL in his arms. The girl licks an ice-cream, spilling some on Daddy's shirt . . . + + +Bo Catlett looks over as disembarking PASSENGERS start coming through the gate. + + +As a LATINO MAN gets off the plane and glances around. He looks uncomfortable in the loose-fitting suit, like a migrant dressed for Saturday night. + + +The Latino Man lays his TICKET ENVELOPE on top of the trash container near the gateway . . . + + +INSERT -- TICKET ENVELOPE + + +The name Y. PORTILLO printed on the outside. The big man with the little girl picks up the ticket and walks away. + + +As the LATINO MAN heads straight for Bo Catlett. + + +BO CATLETT + +Don't say nothing to me. Sit down and act like you're waiting for somebody supposed to meet you. + + +LATINO MAN + +The fock you taking about . . . + + +Hitting the word hard, like Tony Montana in Scarface. + + +LATINO MAN + +They nobody know me here, man. Give me the focking money. + + +BO CATLETT + +Sit down. Now be looking. Man over to your right in the blue wool shirt hanging out . . . the other way, derecho . . . + + +Bo Catlett hunches over to rest his arms on his thighs, so that the Latino Man is now between him and the dude in the wool shirt. + + +BO CATLETT + +That's a federal officer, most likely DEA. He moves his leg look for the bulge. You savvy bulge? That's his backup piece . . . Hey. Try it without looking right at him if you can. + + +The Latino Man, trying to be cool about it, checks out the dude in the wool shirt. Sure enough, there's a bulge down near the guy's ankle. + + +BO CATLETT + +What's your name? + + +LATINO MAN + +(nervous now) + +Yayo. Portillo. + + +BO CATLETT + +Alright, Yayo, you know he's there, now forget about him. Now I'm gonna get up. Soon as I'm gone, you sit down in this same seat I'm in. You feel something under your ass it's the key to a locker where your half a million is. Along with some product we're returning + + +Nervous now, Yayo is staring at the guy with the wool shirt. + + +YAYO + +You suppose to give me the focking money yourself. + + +Bo Catlett gets up, adjusts his suit jacket, smoothing the long roll lapel. + + +BO CATLETT + +Try to be cool Yahoo. I told you where it is. Do it how I told you and have a safe trip home. Or as you all say, vaya con Dios, motherfucker. + + +Bo Catlett walks off, leaving Yayo sitting there, confused now, not quite sure what to do. + + +CLOSE ON HAND HOLDING TICKET ENVELOPE + + +The name Y. PORTILLO written on the jacket. + + +PULL BACK TO REVEAL + +BAGGAGE CLAIM -- DAY + + +Where the Big Man in the Hawaiian shirt waits by the carousel. His LITTLE GIRL HOLDS THE TICKET ENVELOPE. The man grabs a case from the carousel and walks to the door. He tears the baggage claim stub from the envelope and hands it to the SECURITY GUARD. + + +EXT. BAGGAGE CLAIM -- DAY + + +As the Big Man and the little girl walk to the black stretch parked at the curb, RONNIE WINGATE, an aging surfer in a suede jacket and running shoes, holds the door open for them. + + +RONNIE + +Like fucking clockwork, eh Bear? + + +BEAR/BIG MAN + +Don't cuss in front of Farrah. + + +The Bear hands the case to Bo Catlett who sits in the back of the limo . . . + + +GIRL + +Hi, Bo. + + +BO CATLETT + +How you doing, sweetie? + + +As Ronnie gets in back with Bo Catlett, The Bear puts his daughter in a toddler seat up front, then gets behind the wheel. + + +GIRL + +Here we go! + + +EXT. HARRY'S OFFICE -- DAY + + +Two stories, part of a block of white store fronts on Sunset near La Cienega. + + +INT. HARRY'S OFFICE -- DAY + + +Light filters through venetian blinds, illuminating a desk stacked with folders, magazines, scripts, papers, unopened mail, hotel ashtrays, a brass lamp, a clock and two telephones. + + +HARRY + +I once asked this literary agent what type of writing brought the most money and the agent says, 'Ransom notes.' + + +Chili stands looking over some of the old photographs as Harry goes through the mess on the desk. There are some of Karen, Harry with a much youger, blonde Karen. Harry with giant bugs, Harry shaking hands with mutants and maniacs, and so on. + + +HARRY + +Here it is . . . Mr. Lovejoy. + + +Harry hands a script to Chili. Chili examines the cover, the first time he's ever held a movie script. He opens it to the middle . . . + + +CHILI + +Lovejoy sits behind the wheel, watching the bar across the street, getting his video camera ready for action . . . + +(looks up) + +What's he doing? Following a guy? + + +HARRY + +Read it. It's a grabber. + + +Chili looks out the window as we see a long black stretch limo pull up to the curb down on the street . . . + + +CHILI + +Hey, Harry? I think your investors are here. + + +EXT. HARRY'S OFFICE -- SAME TIME + + +As the Bear opens the door for Bo Catlett and Ronnie . . . + + +INT. HARRY'S OFFICE -- SAME TIME + + +As Harry moves away from the window. + + +HARRY + +Jesus . . . + + +Chili tosses the script on the desk, moves between a pair of fat red leather chairs. + + +CHILI + +All right, Harry, make sure the limo guys sit here, not over on the sofa. + + +Harry is tugging the string to lower the blinds behind the desk. + + +CHILI + +No leave 'em up, we want the light in their eyes. I'll be at the desk . . . but don't introduce me, let it go, just start talking. You're gonna be here, behind 'em when they sit down. + + +HARRY + +They'll be looking at you. They don't know who you are. + + +CHILI + +That's right, they're wondering, who's this guy? You don't tell 'em. Understand, Harry? Do not tell 'em who I am. + + +Harry glances off as we hear RONNIE SINGING down the hall. + + +RONNIE (O.S.) + +In the year 2525 . . . if man is still alive . . . + + +HARRY + +So what do I say to them? + + +CHILI + +You don't say any more'n you have to. You say, 'Well, I'm glad you assholes stopped by, so I can set you straight.' + + +HARRY + +You're kidding, right? + + +RONNIE (O.S.) + +If woman can survive . . . + + +CHILI + +You tell 'em the movie's been postponed. Say, till next year, if you want. But don't tell 'em why or what you're doing. Understand, Harry? You don't tell 'em anything about Mr. Lovejoy. + + +And the door opens. Chili sits behind the desk, watching the two of them come into the office. Ronnie singing . . . + + +RONNIE + +They may find . . . + + +He looks about the office . . . at the old photographs . . . + + +RONNIE + +Harry, what year is it, man? We enter a time warp? I feel like I'm back in Hollywood of yesteryear. + + +Harry waves them right into the two cracked red leather chairs facing the desk. Chili watches as Catlett comes first. Sitting down, he nods to Chili who ignores him. + + +HARRY + +Have a seat . . . right over here . . . + + +Ronnie sits down in the chair and hooks one leg over the arm, swings it up and down, his motor running on some chemical. He too stares at Chili. + + +HARRY + +This is my associate, Chili Palmer, who'll be working with me. + + +Harry already forgetting his instructions. Chili can't believe it. The limo guys nod to Chili and Chili nods back, trying to catch Harry's eye. + + +HARRY + +I want to make sure there's no misunderstanding here. Despite rumors you might have heard, your investment in Freaks is as sound as the day you signed your participation agreement. + + +Ronnie has his face raised to the ceiling. + + +RONNIE + +I can hear you, but where the fuck are you, man? + + +BO CATLETT + +(looking at Chili) + +What I been wondering is where's he been. + + +RONNIE + +Yeah, where've you been? We haven't heard from you lately. + + +Harry comes around to stand at one side of the desk, his back to the window . . . + + +HARRY + +I've been off scouting locations. Interviewing actors in New York. + + +Chili's gaze moves from Ronnie the fool to Bo Catlett the dude, the man composed, elbows on the chair arms, his hands steepled in front of him. + + +HARRY + +The main thing I want to tell you, the start date for Freaks is being pushed back a little, a few months. + + +Ronnie stops bouncing his leg. + + +RONNIE + +A few months? + + +HARRY + +Maybe longer. We need prep time. + + +RONNIE + +Hey, Harry? Bullshit. We have an agreement with you, man. + + +HARRY + +We're gonna make the picture. I've just got another project to do first, that's all. One I promised this guy years ago. + + +Chili shakes his head, he can't believe he's hearing this. Ronnie sits up straight. + + +RONNIE + +I want to see your books, Harry. Show me where it is, a two with five zeroes after it in black and white, man. I want to see your books and your bank statements. + + +CHILI + +Hey, Ronnie? Look at me. + + +Boom. Ronnie looks over. So does Bo Catlett for that matter. + + +CHILI + +You have a piece of a movie, that's all. You don't have a piece of Harry. He told you we're doing another movie first. And that's the way it's gonna be. + + +RONNIE + +Excuse me. But who the fuck are you? + + +CHILI + +I'm the one telling you how it is. That's not too hard to figure out, is it? + + +Ronnie turns to Bo Catlett, the man not having moved or changed his expression the last few minutes. + + +RONNIE + +Cat? + + +Bo Catlett takes his time, gives it some thought. He looks at Harry . . . + + +BO CATLETT + +What's this movie you're doing first? + + +CHILI + +Harry, let me answer that. + + +Catlett looks at Chili again. + + +CHILI + +But first I want to know who I'm talking to. Am I talking to you, or am I talking to him? + + +BO CATLETT + +(beat, smiles) + +You can talk to me. + + +CHILI + +That's what I thought. So let me put it this way + + +Now it's between them. The guy studies Chili, thinks about whether or not to make a move, when Harry steps in, reaches over the desk and picks up a script . . . + + +HARRY + +This is the project, Mr. Lovejoy. I'm not trying to pull anything on you guys. This is it, right here. + + +Chili looks at Harry, wonders if there's a way to shut him up without punching him in the mouth. + + +RONNIE + +Mr. Loveboy? What is it, Harry, a porno flick? + + +He reaches for the script. Harry backs away, holds the script to his chest. Bo Catlett notices this. + + +HARRY + +It's nothing. It's fluff. Nothing you'd be interested in. + + +Bo Catlett eyes him a beat, then pushes out of his chair . . . + + +BO CATLETT + +Harry, you think we go to see your movies? I've seen better film on teeth. Makes no difference to me which one our money's in. So how 'bout you take our twenty points out of Freaks and put 'em in this other one, Mr. Loverboy. + + +HARRY + +I can't do it. + + +BO CATLETT + +You positive about that? + + +HARRY + +It's a different kind of deal. + + +Bo Catlett nods, gets up. + + +BO CATLETT + +Okay. Then be good enough to hand us our money back, or you think about us coming in on this new one. + + +RONNIE + +By Friday, man, or you're fuckin' dead as disco. + + +Ronnie opens his coat so that Harry can see a gun tucked in his belt . . . + + +RONNIE + +You hear me? + + +Bo Catlett gives Ronnie a look. + + +BO CATLETT + +Take your time, Harry. + +(closes Ronnie's jacket) + +We're not animals. Are we, Ronnie? + + +Bo Catlett glances once more at Chili then follows Ronnie out the door. Harry stares at the door a moment, senses Chili staring at him . . . + + +HARRY + +What? + + +CHILI + +I don't know, maybe I wasn't clear. But I thought . . . I told you to keep your mouth shut. + + +HARRY + +I had to tell 'em something. + + +CHILI + +Never say anything unless you have to. + + +Chili shakes his head as Harry sits down in one of the chairs, fumbles for his cigarettes. + + +CHILI + +You tell me you want these guys off your back. Next thing I know, you're saying yeah, maybe they can have a piece of Mr. Lovejoy. I couldn't believe my fuckin' ears. + + +HARRY + +I said I'd think about it. What does that mean? In this town, nothing. + + +CHILI + +That's the difference between you and me, Harry. I say what I mean. I want something from someone, I ask 'em straight out. I want Martin Weir, I go get Martin Weir. I don't fuck around with his trainer's shrink. + + +HARRY + +His shrink's trainer. + + +Chili looks at Harry. + + +CHILI + +Take me back to my car. + + +EXT. LAX -- DAY + + +As a plane touches down on the runway . . . + + +INT. SOVEREIGN TERMINAL -- SAME TIME + + +Yayo, now soaked with sweat, is still here. He stands watching a row of lockers. He stares at one of them . . . + + +CLOSE ON LOCKER. + + +The number C-18. We PUSH IN . . . + + +YAYO + + +starts to move for it . . . then looks off at . . . + + +A MAN IN A SUIT + + +as we quickly TILT DOWN to the guy's ankle, looks like a bulge there. We then . . . + + +WHIP PAN TO + + +A WOMAN, dressed casually in slacks and a blouse. We TILT DOWN to her ankle, hmmm, is that a bulge? We . . . + + +WHIP PAN TO + + +A TENNIS SHOE, tapping to some unheard rhythm and what looks like a bulge near the ankle. We TILT UP this time to reveal A LITTLE KID, listening to a walkman. + + +YAYO + + +obviously losing it now, rubs his eyes and quickly walks off to a row of payphones . . . + + +EXT. KAREN FLORES' HOUSE -- DAY + + +Chili's minivan is parked outfront. + + +TOMMY (V.O.) + +Where you been? I been callin' all over for you . . . + + +INT KAREN'S HOUSE -- THE STUDY -- SAME TIME + + +Chili sits at the desk on the phone. + + +TOMMY +(PHONE) + +Ray Bones is looking for you. He's got some kinda bug up his ass, can't sit still. + + +INT. BARBER SHOP -- DAY + + +Tommy on the phone. + + +TOMMY + +I hate to say I told you, but I did. I told you don't start nothing with him that time. + + +INTERCUTTING TOMMY & CHILI + + + +CHILI + +You said don't say nothing and I didn't. + + +TOMMY + +No, you just broke his fuckin' nose instead. + + +CHILI + +You gonna start that again? You're just like him, all you got room for in your brain is one fuckin' thing. + + +TOMMY + +All I know is he came by the barber shop, all fuckin' undone, wanting to know where you were staying in Vegas. I told him I don't know. I still don't. + + +CHILI + +How'd he know I was in Vegas? You tell him? + + +TOMMY + +He already knew it. + + +CHILI + +Yeah, well, I'm in L.A. now. + + +TOMMY + +Whatta you doing out there? + + +CHILI + +I'm going into the movie business. + + +TOMMY + +What're you talking about? You wanna be a movie star? + + +CHILI + +I'm thinking about producing. + + +TOMMY + +How you gonna do that? You don't know shit about making movies. + + +CHILI + +I don't think the producer has to do much, outside of maybe knowing a writer. + + +TOMMY + +Hey, Chil? I think you're fulla shit. + + +INT. KAREN'S ENTRY WAY -- SAME TIME + + +As Karen, dressed as a B-movie queen, press kit under one arm, steps inside, freezes as she hears . . . + + +CHILI (O.S.) + +. . . call me soon as you know when Ray's coming out. + + +INT. STUDY -- SAME TIME + + +Chili is scribbling something on a piece of paper as Karen comes into the room. Chili looks up at her as he hangs up, smiles at her. + + +CHILI + +Hey . . . Karen. How ya' doin'? + + +KAREN + +What're you doing here? + + +CHILI + +I wanted to come by, apologize for coming into your house like I did last night. + + +KAREN + +Lemme get this straight, you broke in again to apologize for breaking in before? + + +CHILI + +No, no . . . you let the patio door open. You gotta stop doin' that, all the nice things you got around here. + + +KAREN + +Yeah, well make sure you lock it on the way out. + + +CHILI + +Rough day on the set? + + +KAREN + +I spent all day crawling out of a grave. The costumer kept bitching 'cause I was ripping my nylons -- + + +CHILI + +Ripped nylons work. Makes the shot more real. + + +KAREN + +(regarding him) + +. . . That's what we finally decided. + + +CHILI + +Like in Bride of the Mutant, when you played the whole end with that torn top. + + +She looks at him. + + +KAREN + +You saw that one? + + +CHILI + +Yeah. When you turn to the camera to tell the alien mother that her time on earth is finished . . . when you give us all that look, Joan Crawford wishes on her best day she had that much presence. Not even in Mildred Pierce -- which by the way was a better book than a movie -- did Crawford even touch the intensity you had in that look. + + +KAREN + +(beat) + +Yeah . . . that was a good scene. I mean, for a horror movie. + + +CHILI + +For any movie. + + +KAREN + +I know I'm better than what I've been doing the last ten years, walking around in a tank top and fuck-me pumps, waiting till it's time to scream. + + +CHILI + +Man, can you scream. + + +KAREN + +Yeah. It's a real gift. + +(beat) + +I'm just saying it'd be nice, one time in my career to get the chance to say one great line. You know, like in that Bette Davis picture, Cabin in the . . . + + +CHILI + +Cotton. + + +KAREN + +Yeah, you know when Bette comes up to the guy on the porch, gives him a flirty look and says, 'I'd kiss you, but . . .' + + +CHILI/KAREN + +'I just washed my hair.' + + +KAREN + +Yeah. + + +CHILI + +That is a great line. + + +Chili looks at her. + + +CHILI + +How come you stopped making movies with Harry? + + +KAREN + +I married Martin. That was a full-time job. + + +CHILI + +You read Harry's new one? He says it's the best thing he's ever read. + + +KAREN + +He must mean after Slime Creature 3. + + +CHILI + +That why Harry came over last night? See if you could help him get Martin in his movie? + + +KAREN + +Harry's dreaming of a forty-million-dollar production he'll never get off the ground with a star he'll never sign. With or without my help. + + +CHILI + +Harry told me Martin loves it, he flipped. + + +KAREN + +Yeah, well Martin is known for his flipping. He flips over a script, and when the time comes to make a deal, he flips out. + + +CHILI + +Tell you what, I'll stop by Harry's office and pick up a copy for you. + + +KAREN + +Don't go out of your way. + + +They consider each other a moment . . . until Chili finally checks his watch. + + +CHILI + +Well, I gotta have a talk with Leo, my runaway dry cleaner. + + +KAREN + +Right. See how your story ends. + + +CHILI + +Yeah. Right. + +(then) + +Listen, Touch of Evil's phying near my hotel. You wanna go check it out? Watch Charlton Heston play a Mexican? + + +Karen looks caught, doesn't answer right away. + + +CHILI + +Maybe some other time. + + +He turns to go, then turns back to her . . . + + +CHILI + +'He tried to make love to me and I shot him.' + +(then) + +Another great Bette Davis line. + + +Karen looks at him. Surprised. He smiles at her. + + +CHILI + +See you around. + + +EXT. BEVERLY HILLS HOTEL -- NIGHT + + +Leo Devoe, dressed in a sporty plaid ensemble, complete with little matching hat gets out of a cab, and walks to the front entrance. He tips the doorman, gives him a grin. + + +DOORMAN + +Evening, sir. + + +LEO + +And a good evening to you, too, sir. + + +INT. HOTEL HALLWAY -- NIGHT + + +As Leo the high-rolling dry cleaner bounces down the hall, unlocks his door . . . + + +INT. LEO'S HOTEL ROOM -- NIGHT + + +Dark. Leo enters, heads for the bottle of Chivas on the desk. Has one straight out of the bottle, ahhh, before pulling a fat wad of cash out of his jacket, tossing it on the desk like it's change from the cab fare. + + +He then takes off the jacket, unbuttons the shirt, reaches for the Chivas again, when we hear . . . + + +CHILI O.S. + +Look at me, Leo. + + +Crash. Something glass hits the floor. Probably the Chivas bottle as Leo nearly has a fucking coronary . . . + + +Leo looks over as Chili turns on the light behind him. But what catches Leo's eye is the BRIEFCASE sitting on the couch beside Chili. + + +CHILI + +I wouldn't think you're that dumb, leave over three hundred grand in the closet, underneath the extra blanket, but I guess you are. + + +LEO + +I didn't know where else to keep it. + +(then) + +Where would you? + + +CHILI + +You're here a while, what's wrong with a bank? + + +LEO + +They report it to the IRS. + + +CHILI + +You don't open an account, Leo, you put it in a safe deposit box. Dip in whenever you want. + + +Leo nods in his sporty hat and undershirt, thinking it over, what to do the next time he scams an airline. + + +CHILI + +You've been losing. + + +LEO + +I'm up twelve grand today. + + +CHILI + +From when? You left Vegas with four-fifty? + + +LEO + +Who told you that? + + +CHILI + +Now you're down to three-ten in the case. You must've cooled off quite a bit since you got here. + + +LEO + +How'd you know I was here? + + +CHILI + +Here's another tip + + +Leo looks away, raises his preshaped plaid hat and recocks it, then. . . + + +LEO + +It was Fay, wasn't it, told you about the money. She tell you my whole life history, for Christ's sake? + + +CHILI + +I wouldn't let her if she tried. Why I'm here, Leo, basically, is to save your ass. + + +LEO + +How? By taking my money? + + +CHILI + +You can keep what you won today. That's yours. + + +LEO + +It's all mine. + + +CHILI + +Sit down, Leo. + + +Leo sits down in the arm chair, stares sadly at the briefcase. + + +CHILI + +I don't know how you got this far, you're so fuckin' dumb. But now you're through. I'm gonna explain to you why and I hope you're not too dumb to understand what I'm saying. Okay? + + +Leo nods. + + +CHILI + +Ray Bones is now the man you're dealing with. Ray Bones finds out what you did, he's gonna want everything you have. And when I say everything, I mean even that sporty little hat if he wants it. Then after he takes all you got, he'll most likely hit you with some kind of heavy object if he doesn't shoot you, just so you won't tell on him. + + +Chili lets that sink in a minute. + + +CHILI + +I won't do that. Take your stuff or hurt you. You have three-ten in the case, right? I'm gonna take the three hundred you scammed off the airline, but the rest of it, the ten grand? I'm gonna borrow that and pay you back sometime. + + +Leo's squinting at him now . . . + + +LEO + +You take all my money, but you're borrowing part of it? + + +CHILI + +At eighteen percent, okay? And don't ask me no more fuckin' questions. I'm leaving. + + +He picks up the briefrase as he rises from the sofa and Leo gets out of his chair. + + +LEO + +But you won't know where I am. I don't even know where I'll be. + + +CHILI + +I'll find you, Leo . . . + + +Chili reaches for the door, opens it and looks back at Leo . . . + + +CHILI + +You leave a trail like a fuckin' caterpillar. + + +INT. HALLWAY -- SAME TIME + + +As Chili starts for the elevator. Leo steps into his doorway . . . + + +LEO + +Wait a minute. What's this eighteen-percent-a-year shit? You want to borrow ten, the vig's three bills a week. Fifteen for the vig plus the ten, that's twenty-five big ones you go a whole year, buddy! You hear me? + + +Chili stops, turns around. As he starts back, he sees Leo's scared look just before he slams the door shut. Chili shakes his head, starts back for the elevator. + + +EXT. GRIFFITH PARK -- NIGHT + + +Chili drives a dark road up into the park. He rounds a corner, and we see an explosion of light up ahead as we come upon . . . + + +A MOVIE SET + + +Chili pulls in behind a row of trailers. He gets out of the car and heads for the set where Harry is now looking up at the sky and yelling at someone . . . + + +HARRY + +How's anyone gonna see anything from way up there? + + +CHILI + +Hey, Harry. + + +HARRY + +Yeah, Chili. Hi. + +(looking up) + +You're fifty feet in the air! + + +The DIRECTOR -- early twenties, dressed like a frat boy -- sits on a crane about fifty feet above the set . . . + + +DIRECTOR + +Harry. I'm gonna boom down real fast, get a subjective p-o-v. + + +CHILI + +Listen, I talked to Karen. She's gonna think about helping you out. + + +HARRY + +Yeah, but whose point of view? + + +DIRECTOR + +Whatta you mean, whose point of view; The audience's point of view. + + +HARRY + +Get down here. I wanna talk to you. Come on . . . right now . . . + +(to Chili) + +She's gonna talk to Martin? + + +CHILI + +She's thinking about it. I just need the key to your office. I just told her I'd pick up a script. + + +Harry tosses Chili a key-ring. + + +HARRY + +It's the red one. Take it off the ring. + + +Chili sits down in one of the director's chairs that sits off to one side. He starts to take the key off the ring . . . + + +VOICE + +Your name Vicky Vespa? + + +Chili looks up at a bored-looking ACTRESS standing there in a blood-soaked nightie. + + +CHILI + +Excuse me? + + +ACTRESS + +I asked you, is your name Vicky Vespa? + + +CHILI + +No. + + +ACTRESS + +Then get the fuck outta my chair. + + +Chili sits forward, sees her name printed on the back. He gets up. As she sits down, we see an ICE PICK sticking out the other side of her head. Chili sits back down next to her in the chair with HARRY ZIMM on the back. + + +HARRY + +(to the director) + +What're you doing? I thought I told you to get down here? + + +The kid nods to the camera operator who lowers the crane as we BOOM WAY UP. . . + + +HARRY + +All these camera moves and weird angles and shit are gonna distance us from the emotion of the scene. + + +DIRECTOR + +What 'emotion?' Girl just got stabbed in the ear with an ice pick. + + +HARRY + +She's scared! Fear is an emotion! + +(then) + +Look, kid, if you remember anything from your time working with Harry Zimm, let it be the three key words to filmmaking. + + +The kid fiddles with the crane controls. + + +DIRECTOR + +Yeah? What three words, Harry? + + +HARRY + +Pick 'n' Save. + + +DIRECTOR + +Hm? + + +HARRY + +You heard me, Pick 'n' Save. + + +Harry turns so the rest of the crew can hear him . . . + + +HARRY + +Now I'm gonna tell you a little story, happened to me years ago when I was so broke I had to go to the Pick 'n' Save over on Vine to buy a lousy candybar for my dinner. + + +Chili watches the crew stop what they're doing and listen. + + +HARRY + +I'm standing in line waiting to pay my two bits when I overhear this lady, call her Mildred, talking to the cashier about a movie. + + +The Director gives a look to his assistant like 'Jesus, you believe this shit?' + + +HARRY + +So Mildred says to the cashier, 'I saw the new Streisand picture.' + +(gets into it the way Mildred did) + +'God, I just love it at the end when she brushed Robert Redford's hair off his forehead the way she did when they were together, and the way they gave each other this look that said they still loved each other, but knew they couldn't be together. That look was so . . . romantic.' + + +DIRECTOR + +That's great, Harry. So what's the -- + + +HARRY + +What she did not say was, 'I just loved the way the director moved the camera so much it made me fuckin' seasick.' All she cared about was that look. All she remembered was that look. And why do we remember things in movies? Because we can see them. + + +Harry's right in the guy's face now . . . + + +HARRY + +So . . . keep this fuckin' camera down here on the ground and shoot this scene, so we can see what the fuck is goin' on, before I get someone over sixteen to fuckin' shoot it for you! + + +Harry walks over to Chili, sees Chili sitting there. Chili tosses Harry his key ring. + + +CHILI + +Here's your keys, Harry. + + +HARRY + +Get the fuck outta my chair. + + +EXT. HARRY ZIMM'S OFFICE -- NIGHT + + +As Chili pulls out front, gets out of the minivan, he looks up, sees a light on in Harry's office. + + +INT. CORRIDOR -- NIGHT + + +Chili walks down the hallway, dark except for a light on at the end of the hall . . . + + +INT. HARRY'S OFFICE -- NIGHT + + +Bo Catlett, reading glasses, script open in front of him, looks up from Harry's desk as Chili steps into the office. + + +BO CATLETT + +This ain't bad, you know it? This Mr. Lovejoy. Needs a better ending but yeah, I can see why Harry wants to do it. + + +Chili says nothing, sits down in one of the red leather chairs. + + +BO CATLETT + +You understand I knew Harry was lying, saying this wasn't any good, but holding on to it, man, like you have to break his fingers to get it from him. + + +CHILI + +That's funny, I was just wondering what I was gonna break of yours to get it away from you. + + +Bo Catlett smiles at him, doesn't give up the script. + + +BO CATLETT + +I'm just explaining to you what I'm doing here. Case you think I come to rob the place, rip off any of this dusty old shit the man has. + + +CHILI + +I'd never make you as a burglar, not in that outfit. + + +Bo Catlett sits back in the chair a moment, watches Chili light a cigarette . . . + + +BO CATLETT + +Harry called you his associate, but what does that mean? I never heard your name or read it in Variety or The Reporter or anyplace. + + +CHILI + +It's what he said, I'm his associate. + + +BO CATLETT + +You must bring something heavy to the deal. + + +CHILI + +That's right, me. + + +Bo Catlett picks up a piece of paper off the desk . . . + + +BO CATLETT + +Says here you're getting Martin Weir for the part of Lovejoy. + + +CHILI + +Yeah, we're getting Martin. + + +BO CATLETT + +No shit, come on. How you gonna do that? + + +CHILI + +I put a gun right here . . . + +(touches the side of his head) + +. . . and I tell him, 'Sign the paper Marty or your fuckin' dead.' Like that. + + +BO CATLETT + +I wonder, would that work? + +(then) + +You know who I see for Al Roxy? Harvey Keitel. The man could do it in his sleep. + + +CHILI + +Harvey Keitel. Yeah. Maybe. He was pretty good in the movie Fingers. + + +BO CATLETT + +I missed that one. Or, hey, you know who else? Morgan Freeman. You know Morgan? + + +CHILI + +Yeah, Morgan Freeman. But he's a colored guy. + + +BO CATLETT + +So what? Where's it say in this script he's white? Color is what the part needs, man, somebody to do it has some style. The way it is now, Ronnie could do it, play himself, some cracked out asshole. + +(then) + +So whatta you think of the script? + + +Bo watches as Chili picks up a copy of the script, begins flipping through it. + + +CHILI + +Title's the first thing's got to go. And the guy's name. I mean, even this writer's name, Murray Saffrin is better than Lovejoy. + + +BO CATLETT + +I'm with you on that. And don't you think it needs a good female part? Increase the romance angle. + + +Chili flips through the script, sees a name . . . + + +CHILI + +There's Ilona. + + +BO CATLETT + +What about her? + + +CHILI + +Get something going there. + + +BO CATLETT + +With Ilona? You know how old Ilona is? + + +CHILI + +She's . . . young. + + +BO CATLETT + +Young? She's fuckin' nine-years-old, same age as Lovejoy's kid. Bernie. One she calls Bernard. Have you read the script? + + +CHILI + +Yeah, I read it. I was just thinking you could make her older. We might even be able to get Karen Flores. + + +BO CATLETT + +Who? + + +CHILI + +She's been out of movies a few years, but she's good. Real good. + + +Bo Catlett studies Chili a moment, smiles . . . + + +BO CATLETT + +You know what I'm thinkin'? + +(leans forward) + +You wanna make the girl older. I don't like the ending. We could do that, you and me, sit down and write the script over where it needs it. + + +Chili fips through the script a moment . . . + + +CHILI + +You know how to write one of these? + + +BO CATLETT + +There's nothin' to know. You have an idea, you write down what you wanna say. Then you get somebody to add in the commas and shit where they belong, if you aren't positive yourself. Maybe fix up the spelling where you have some tricky words . . . although I've seen scripts where I know words weren't spelled right and there was hardly any commas in it at all. So I don't think it's too important. Anyway, you come to the last page you write in 'Fade out' and that's the end, you're done. + + +CHILI + +That's all there is to it, huh? + + +BO CATLETT + +That's all. + + +Chili sits forward, stabs out his cigarette, exhales into Bo Catlett's face . . . + + +CHILI + +Then what do I need you for? + + +Bo Catlett starts for the door. + + +BO CATLETT + +I really think I can be of service on this one. + + +CHILI + +Yeah, well, we need a ride somewhere, we'll let you know. + + +EXT. NUART THEATER -- NIGHT + + +As Karen walks up to the box office. A Touch of Evil on the marquis. + + +INT. MOVIE THEATER -- NIGHT + + +Not so full. Chili sits in the middle, watching the final scene as Orson Welles gets blown away, falls into the oily river. He can't take his eyes off the screen . . . + + +Karen comes in, starts up the aisle, looking for Chili. She spots him, just as he mouths the dialogue along with Marlene Dietrich . . . + + +MARLENE DIETRICH (O.S.) + +He was some kind of man. + + +Karen smiles, decides to wait a moment. Chili, lost in the movie . . . keeps mouthing the dialogue. + + +MARLENE DIETRICH (O.S.) + +What does it matter what you say about people? + + +MORT MILLS (O.S.) + +Good-bye, Tanya. + + +MARLENE DIETRICH + +Adios. + + +As Tanya/Marlene Dietrich resumes her slow walk away, Karen sits down at the end of the row. People start getting up to leave. Chili turns to a GUY a few seats away from him . . . + + +CHILI + +Wow, huh? + + +The guy gives Chili a look, puts his arm around his DATE, and quickly starts up the aisle so that Chili can now see Karen sitting there at the end of the row . . . + + +CHILI + +You been here the whole time? + + +KAREN + +I just caught the end. + + +She gets up, they start up the aisle together . . . + + +CHILI + +You know, Welles didn't even wanna do that one. Some studio made him do it. He owed 'em one and all his own movies lost money. + +(walking out now) + +But, hey, sometimes that's when you do your best work, you got a gun to your head . . . + + +EXT. NUART -- NIGHT + + +As Karen and Chili exit the theater, stand there a moment. + + +CHILI + +I got you a copy of the script. + + +KAREN + +I already read it. Harry left a copy at the house. + + +CHILI + +What do you think? + + +She starts walking. + + +KAREN + +I think it's not horrible. + + +CHILI + +I don't like the title. Or the main guy's name. + + +KAREN + +Then you've read it? + + +CHILI + +Not yet. + + +KAREN + +You and Harry'll make a great team. + +(then) + +I'm gonna make a deal with him. + + +CHILI + +There a part in it for you? + + +KAREN + +I don't want to act in it, I want to produce it with Harry. Especially if I help him get Martin. + + +CHILI + +Sounds fair. + + +KAREN + +What do you get out of it? + + +He stops, looks at her. + + +CHILI + +That why you came over here, to ask me that? + + +KAREN + +I want to know. + + +CHILI + +Why does anyone want to be in movies? + + +KAREN + +Yesterday, you were a loan shark. + + +He starts walking again . . . + + +CHILI + +I was never much into it. All that bullshit having to do with respect. It's bad enough having to treat those guys like they're your heroes, having to smile when they make some stupid remark they think's real funny. + + +KAREN + +And you think the movie business is any different? + + +CHILI + +Yeah well . . . I like movies. I figure if I help Harry make one, I'll find out what you have to do outside of have an idea and raise the money. That doesn't sound too hard. I was in the money business and I get ideas all the time. + + +They stop at her car. + + +KAREN + +I'm talking to Martin tomorrow morning. I told Harry I'd meet you and him at Abiquiu afterward. + +(opens her door) + +This might work, you never know. + + +He stands there, watching her drive away. + + +EXT. HARRY'S APARTMENT BUILDING -- NIGHT + + +Just above Franklin in the Hollywood Hills. A realtor might call it Chandleresque. We call it old and cheap. + + +INT. HARRY'S APARTMENT -- NIGHT + + +Continuing on the old and cheap theme. Harry stands behind the wet bar pouring himself a strong one. He looks at himself in the smoke-tinted mirror squares, downs the drink in one and pours himself another. + + +A KNOCK AT THE DOOR. + + +Harry looks at the door. + + +HARRY + +Who is it? + + +WOMAN'S VOICE + +Me. + + +HARRY + +(lower) + +Fuck. + + +WOMAN'S VOICE + +I heard that. + + +Harry moves to the door and opens it to reveal DORIS SAFFRIN -- fiftyish, fur coat, hair up so that we can see the nifty necklare. She leans in the doorway . . . + + +HARRY + +Hello, Doris. + + +DORIS + +Harry Zimm. You look like a wet kiss. + + +And she plants one on him. Walks into the apartment. Looking good for her age. Hell, for any age. + + +DORIS + +Well, aren't you gonna offer me whatever it is you taste like? + + +HARRY + +Come on in. + + +Doris goes to the window. Harry goes to the bar, pours them each a drink . . . + + +DORIS + +What a spectacular view. + + +HARRY + +Yeah, lovely. Last night I watched two guys carjack a Camero down on the corner of Argyle there. + +(hands her the drink) + +What do you want, Doris? + + +She drinks, never taking her eyes off him. + + +DORIS + +I miss Murray, Harry. + + +HARRY + +Yeah, me too. He was a helluva good writer. And I would know. I discovered him. Made him what he was. + + +DORIS + +What he was, was a hack, couldn't get a job writing for anybody but you. + +(off Harry) + +I'm being honest. He was a lousy writer, but he was a good husband. I just didn't know it until too late. + + +Harry finishes his drink, pours himself another . . . + + +HARRY + +Yeah, well, twenty-twenty hindsight and all that. + + +Harry takes a big, noisy pull off his drink as she moves to the bar . . . + + +DORIS + +I hate being alone. The house is so quiet. So lonely. It needs . . . + +(studies him) + +A man's touch. + + +And with that, she opens up the fur coat to reveal that she's wearing nothing but a garter belt and high heels. + + +HARRY + +Nice garter. + + +She sets her drink down, moves in, wraps her arms around his neck . . . + + +HARRY + +I'm not sure how I feel about this, Doris. + + +DORIS + +(reaching down) + +You seem to feel fine about it. + + +HARRY + +I mean morally. Murray was my friend. + + +DORIS + +Murray's dead. + + +She kisses him . . . Harry pulls back . . . + + +HARRY + +So this means you've reconsidered our deal on Mr. Lovejoy? + + +DORIS + +No. But now that you mention it, I did talk to a handsome executive at Paramount the other day . . . who just happened to get his hands on the script. + + +HARRY + +Yeah, what'd he have to say? + + +DORIS + +He said if Martin's interested, I could get a half a million for it easy. But don't worry, Harry, I'm still giving you until Friday. + + +HARRY + +How honorable of you. + + +Now she backs away, gives him a hurt look. + + +DORIS + +Harry. If you want me to go, just say the word. + + +Harry looks at her a moment, decides . . . + + +HARRY + +What the hell . . . + + +. . . And pulls her as close as we then . . . + + +DISSOLVE TO + + + +EXT. HOLLYWOOD HILLS HOME -- NIGHT + + +We hear laughter, rock and roll as a NUDE WOMAN dives into a blue-lit swimming pool and swims the length . . . + + +We then TILT UP to a HOUSE ON STILTS above this one and see the lone figure of Bo Catlett standing on his deck. + + +EXT. BO CATLETT'S HOUSE -- NIGHT + + +The shimmering yellow grid of the city in the b.g., Bo Catlett, barefoot, bathrobe, leans on the rail of his deck, watching the folks frolic twelve stories down. + + +YAYO (V.O.) + +Listen to me, man, I don't wan' no focking key. I wan' the money. + + +EXT. BO CATLETT'S DECK -- NIGHT + + +Bo Catlett looks inside where Yayo paces back and forth. The Bear reclines on a chaise lounge. + + +BO CATLETT + +Hey, Yayo? You gonna smoke, get the hell off my seventy-bucks-a-yard carpet. + + +Yayo steps out on to the deck . . . + + +BO CATLETT + +I told you where the money is. All you gotta do is go get it. + + +YAYO + +No. I'll tell you something + + +BO CATLETT + +That's all you know, huh? Wait here a minute, Yayo, I be back directly. + + +Yayo leans against the railing, cuts a 'now that's the way you get things done' look at the Bear. He lights a cigarette, looks o.s. and freezes . . . + + +YAYO + +The fock you doing with that? + + +Bo Catlett holds a big .45 out in front of him . . . + + +BO CATLETT + +I'm taking you out, Yahoo. + + +. . . and shoots Yayo in the chest, the gun going off loud, the round knocking the little Latin man back against the railing. + + +BO CATLETT + +Dead focking center, man. + + +Yayo, a stupid look on his face, stumbles backwards, over the railing. The Bear reaches for him, but it's too late . . . + + +EXT. HOUSE DOWN BELOW -- SAME TIME + + +The group down here is too stoned to notice the little Colombian who falls from the deck high above like a sack of dirt, then slides partway down the slope. + + +EXT. BO CATLETT'S DECK -- SAME TIME + + +The bear looks over at Bo Catlett . . . who now calmly stares down at the motionless form of Yayo. + + +BO CATLETT + +Shit, now someone's gotta climb down there and get him. + + +BEAR + +You didn't have to shoot him, Bo. We coulda just beat him up some. + + +BO CATLETT + +You see that? The way the man just went right over? + + +Bo Catlett takes a sip of his drink, looks at the railing. + + +BO CATLETT + +Maybe we can get Chili Palmer up here. You fix my railing to give way like they do in the movies. Then I invite the man out here, have a look at my view. Get him to lean over the railing, see all the naked people down there . . . a tragic accident, officer . . . + + +Bear looks at him. + + +BEAR + +Cat, that's the lamest idea I've ever heard. + + +BO CATLETT + +Yeah, well, I'm bored, Bear. I wanna make movies. + + +Bear looks at him. + + +BO CATLETT + +I mean, what's the point of living in L.A. if you're not in the movie business? + + +Bo Catlett leans on the railing, looks down at Yayo again. + + +BO CATLETT + +And I mean high up in it. + +(turns to Bear) + +That's why Harry's gonna make Mr. Lovejoy with me, not Chili Palmer. + + +BEAR + +Mr. Lovejoy? That's cute, Bo. + + +BO CATLETT + +Doesn't matter what it's called, Harry's got Martin Weir and it's gonna be big. + + +BEAR + +They all sound big at the talking stage. + + +EXT. MARTIN WEIR'S HOUSE -- MORNING + + +Karen pulls into the driveway in a convertible BMW. As she checks her make-up in the REARVIEW MIRROR, we see Chili pull up behind her in his rented minivan. She turns aronnd, frowns, and quickly gets out of her car. + + +He gets out of the van . . . holds up a Star Map . . . + + +CHILI + +This thing's actually accurate. I bought it for ten bucks from a kid in a lawn chair on Sunset . . . + + +KAREN + +You were supposed to wait for me with Harry at the restaurant. + + +Chili points to a star on the map . . . + + +CHILI + +See, here it is . . . Martin Weir's house . . . right across the steet from George Hamilton. + + +VOICE + +Chili, Jesus! + + +They both look to the front door where a tall, skinny WOMAN with wild, jet black hair stands. + + +WOMAN + +It is you . . . + + +She comes bounding down the steps, runs over and gives him a hug . . . Karen can't believe what she sees. + + +CHILI + +Nicole? + + +WOMAN + +It's Nicki now. I don't believe this. + + +CHILI + +Me neither. + +(to Karen) + +We know each other. + + +Karen smiles + +'How 'bout that.' Then looks at Nicki. + + +KAREN + +Hello, Nicki. + + +NICKI + +Karen. Shit. I didn't see you there. How are you? + + +Karen starts to answer, but Nicki's already hustling Chili inside . . . + + +INT. MARTIN WEIR'S HOUSE -- DAY + + +White everything. Way off in the b.g., a view on to the huge backyard. A pool man cleans the pool. A gardener blows the leaves. + + +Martin's extensive photography collection lines the walls. Chili steps inside, checks some of them out + +most of the photographs are of Martin. + + +NICKI + +Martin will be out in a minute. + +(to Karen) + +Chili was the only one at Momo's didn't hit on me. + + +KAREN + +What a gentleman. + + +NICKI + +You like my hair? + +(reaches up, touches it) + +Black like this? + + +CHILI + +It's nice. Especially under your arms. + + +Somehow this makes Karen feel better. + + +NICKI + +Martin won't let me shave. I guess I fill some need. Brings him back to the sixties or something. + + +Karen turns as we hear a TOILET FLUSH somewhere o.s. + + +NICKI + +(looks o.s.) + +Speak of the devil . . . + + +Chili follows her gaze and we see . . . + + +MARTIN + + +as he comes down the stairs, checking the front of his trousers. He and Karen spot each other. Both look uncomfortable for a fraction of a second, then Martin hurries over to her . . . + + +MARTIN + +Karen. Wow. Look at you . . . + + +KAREN + +Hello, Martin. + + +He hugs her and hangs on, leaving Nicki and Chili standing there like idiots. + + +MARTIN + +Mmmmm. You smell terrific. + +(to Nicki) + +She always smelled so good. + + +NICKI + +(thrilled) + +Neat. + +(then) + +Martin, this is Chili Palmer. + + +MARTIN + +Chili is it? + + +CHILI + +Yesh, a pleasure, Martin. + + +NICKI + +Chili's a gangster. Ran a club I used to play at for another gangster back in Miami. How is Momo these days anyway? + + +CHILI + +Dead. + + +Karen fights a smile. Nicki nods solemnly . . . + + +NICKI + +Bummer. + +(then) + +Well, I'll let you all get to your movie talk. Chili, make sure you say good-bye before you leave. + + +CUT TO + +A PORTRAIT OF MARTIN WEIR + + +Done in cracked oils, the whole bit. + + +PULL BACK TO REVEAL + +MARTIN'S LIVING ROOM + + +Martin, Karen and Chili all sit on white couches. Martin is checking out Karen, nodding . . . + + +MARTIN + +I'm sitting here, I'm looking at you and I'm having these flashes. You know, flashbacks, of memories. + +(touches her hair) + +Of us. + + +KAREN + +Really. + + +MARTIN + +Yeah and I'm wondering, how did it go wrong? How did it all . . . slip away? + + +KAREN + +'It' didn't slip away, Martin, you did . . . when you went off to fuck Nicki in the middle of my birthday party. + + +Martin brings his hand back, nods, lost in thought . . . + + +MARTIN + +Yeah. That was a good party. + + +CHILI + +You know, Marty, you were good in The Cyclone. + + +MARTIN + +Martin. It was a beautiful role. All I had to do was find the character's center, the stem I'd used to wind him up and he'd play, man, he'd play. + + +Karen looks like she wants to throw up. + + +CHILI + +Well, you had it down cold. Watching you in the movie, if I didn't know better I'd have to believe you were a made guy and not acting. Even the fink part. I never met a fink and I hope to God I never do, but how you did it must be the way finks act. + + +MARTIN + +A few weeks before shooting, I went back to Bensonhurst, just to listen to you guys. See, I'm Italian, but I grew up in Tarzana. So I wanted to pick up your rhythms of speech. + + +CHILI + +We talk different? + + +MARTIN + +It's more like your attitude. Your tone, your speech patterns demonstrate a certain confidence in yourselves, in your opinions, your indifference to conventional views. + + +CHILI + +You mean like we don't give a shit. + + +MARTIN + +Yeah. Kinda. Anyway, once I have the authentic sounds of speech, the rhythms, man, the patois, I can actually begin to think the way those guys do, get inside their heads. + + +Chili exchanges a look with Karen who sits back now. Ready to give up. + + +CHILI + +Okay, I'm one of those guys you mentioned. I'm actually one of 'em. What am I thinking? + + +Martin looks at Chili . . . + + +MARTIN + +Don't get me wrong, I'm not saying an actual metamorphosis takes place. That wouldn't be acting. + + +Karen looks at Martin, shakes her head. + + +CHILI + +So you don't know what I'm thinking. + + +MARTIN + +No, I don't. Though I have to say I'm curious. + + +CHILI + +So you want to know. + + +MARTIN + +If you'd like to tell me, yeah. + + +CHILI + +I'm thinking of a movie. + + +MARTIN + +One of mine? + + +CHILI + +One we're producing. + + +MARTIN + +With what? Wiseguy money? + + +Martin cracks himself up. Karen and Chili crack up with him, Karen leaning into Chili . . . + + +KAREN + +Maybe this was a bad idea. + + +But Chili keeps looking at Martin. + + +CHILI + +Martin, I'm not connected to those people anymore. Not since I walked out of a loan-shark Operation in Miami. + + +MARTIN + +What happened? The pressure got to you? + + +CHILI + +Pressure? I'm the one applied the pressure. + + +Chili sits back. Karen is starting to enjoy Chili's handling of Martin . . . + + +CHILI + +You're an actor, you like to pretend. Imagine you're the shylock. A guy owes you fifteen grand and he skips, leaves town. What do you do? + + +Chili watches as the movie star hunches over, narrows his shoulders. For a few moments he holds his hands together in front of him, getting a shifty look in his eyes. Karen shakes her head . . . + + +KAREN + +Oh, for Christ's sake -- + + +MARTIN + +I know. I'm doing Shylock instead of a shylock. Okay, what's my motivation? The acquisition of money. To collect. Inflict pain if I have to. + + +Karen watches as Martin stares at Chili, his expression gradually becoming deadpan, sleepy . . . + + +MARTIN + +Guy owes me fifteen large and takes off, I go after him. The fuck you think I do? + + +CHILI + +Martin, look at me. + + +MARTIN + +I'm looking at you. + + +So is Karen, for that matter. + + +CHILI + +No, I want you to look at me the way I'm looking at you. Put it in your eyes, 'You're mine, asshole,' without saying it. + + +MARTIN + +Like this? + + +CHILI + +What you're telling me, you're tired? You wanna go to bed? + + +MARTIN + +Wait. How about this? + + +CHILI + +Now you're squinting like you need glasses. + + +Karen looks away now, fighting a smile. + + +CHILI + +Look at me. I'm thinking, You're mine. I fuckin' own you. What I'm not doing is feeling anything about it one way or the other. You understand? You're not a person to me, you're a name in my collection book, a guy owes me money, that's all. + + +Martin nods, gives Chili a nice dead-eyed look. Karen is thoroughly enjoying Chili's manipulation of Martin. + + +MARTIN + +How about this? + + +CHILI + +That's not bad. + + +MARTIN + +That's what I think of you, asshole. Nothing. + + +CHILI + +I believe it. + + +MARTIN + +I turn it on when I confront the guy. + + +CHILI + +Yeah, but you haven't found him yet. + +(then) + +The guy took off for Las Vegas. + + +MARTIN + +How do I know that? + + +Karen looks at Chili as he sits back . . . + + +CHILI + +The guy's wife tells you . . . + + +INT. ABIQUIU RESTAURANT -- DAY + + +Two floors, the upstairs with a railing overlooking the bar. Harry, a drink in front of him, sits in a big corner booth upstairs. He checks his watch . . . + + +VOICE + +Harry, how you doing? + + +Harry looks up to see Bo Catlett, dressed up as usual, standing there with the Bear, wearing a Hawaiian shirt. + + +HARRY + +Bo. I'm great. Listen, I'm expecting some people -- + + +BO CATLETT + +You must be makin' some big deals, doin' lunch in a place like this? + + +HARRY + +I'm working on a few things. + + +BO CATLETT + +Yeah, I hear you bagged Martin Weir for Mr. Lovejoy. + + +HARRY + +Boy, this town. Word gets around, doesn't it? + + +Harry chuckles, takes a sip of his drink. + + +BO CATLETT + +Chili Palmer told me. + + +Harry's smile goes away. + + +BO CATLETT + +Last night. When he called me over to your office to talk about it. + + +HARRY + +Chili Palmer showed you my script? + + +BO CATLETT + +Yeah, I was wondering why he should do that. + + +INT. MARTIN WEIR'S HOUSE -- SAME TIME + + +Martin is leaning forward . . . Hooked . . . + + +MARTIN + +The wife sues the airline. + +(nods) + +This is a gutsy babe. + + +CHILI + +Good-looking, too. + +(turns to look at her) + +Like Karen. + + +Chili smiles at her. Martin leans forward. + + +MARTIN + +So when do I meet up with the husband and give him the look? + + +CHILI + +It's not that simple. You have to be careful. There's another guy that comes along, a hard-on you owe some money to. A mob guy. Wants to take you out anyway, on account of a past situation. + + +MARTIN + +Okay. I'm listening. + + +Chili stops; he doesn't know what else to say. Martin waits, then looks at him a moment . . . + + +CHILI + +At that point, basically, that has to be it. + + +MARTIN + +You're not going to tell me the rest? + + +KAREN + +Well actually, Martin the movie we came to talk about is Mr. Lovejoy. + + +CHILI + +Yeah. We understand you read the script and like it . . . a lot. + + +MARTIN + +Refresh my memory . . . + + +CONTINUED + +INT. ABIQUIU -- SAME TIME + + +Harry drains his drink. Bo Catlett exchanges a look with the Bear, then . . . + + +BO CATLETT + +Listen, Harry, how would you like to get your hands on five hundred grand? You pay me back at your convenience, no interest. + + +HARRY + +You serious? + + +BO CATLETT + +All I want in return is to work on the movie with you. Fact I already got some ideas on how to fix it up. + + +Bo Catlett signals the waiter . . . + + +BO CATLETT + +How 'bout another one for Mr. Zimm. A double. + + +HARRY + +You're gonna just give me five hundred grand? + + +BO CATLETT + +We'll talk about that, Harry. But first I gotta know, how'd you hook up with Chili Palmer. + + +EXT. MARTIN WEIR'S HOUSE -- DAY + + +Karen, Martin, and Chili walk out to the driveway. + + +MARTIN + +Lemme talk to Buddy, set up a meeting. + + +CHILI + +Buddy? + + +KAREN + +Lufkin. His . . . agent. + + +MARTIN + +Yeah, Karen knows him. + + +KAREN + +But you are interested? + + +MARTIN + +I'm intrigued, yeah. You know what might help you, take a look at the Cylone again, the way a visual fabric is maintained even while the metaphor plays on different levels. Hey -- + +(nods to minivan) + +This your ride, Chili? + + +Chili follows Martin over to the minivan, opens the door for him. + + +MARTIN + +Very nice . . . + + +CHILI + +Yeah, I like it, I'm high up, I can see everything, you know? It's the Cadillac of minivans. + + +MARTIN + +What's that? + + +CHILI + +Compass. + + +MARTIN + +Wow. + +(then) + +Mind if I take it for a spin? + + +INT. ABIQUIU RESTAURANT -- DAY + + +Bo Catlett and Harry are laughing as Harry, very drunk now finishes another drink . . . + + +BO CATLETT + +He was watching Letterman, huh? Sneaky, that Chili Palmer. + +(signals the waiter, then) + +So, he ever find this dry cleaner, the one with all that money on him? + + +HARRY + +Leo, I don't know. + + +Bo Catlett and the Bear look at each other. + + +BO CATLETT + +I bet he did and he ain't givin' you a penny of it, help you out. Not the way I am. + + +Harry looks at Bo, can't believe what's happening to his life, thinks a moment, then . . . + + +HARRY + +Assuming I go along with this, when can I have the five hundred? + + +BO CATLETT + +Whenever you want it. The money's in hundred dollar bills inside one of those jock bags, you know? In a locker at the airport, waiting to be picked up. + + +HARRY + +The airport. + + +BO CATLETT + +It was waiting out there on another deal, one that didn't go through; one you don't want to know about. + + +Harry shakes his head, looks around the restaurant. Bo and the Bear exchange looks, then . . . + + +HARRY + +I don't know. + + +BO CATLETT + +It's not the kind of thing you do. + + +Another glance at the Bear, then . . . + + +BO CATLETT + +That's why I was thinking you could send your boy Chili Palmer. He gets busted or hit on the head you aren't out nothing. + + +And with that, Bo Catlett calmly slides an ORANGE KEY across the table to Harry. Harry stares at it. It has the number C-18 printed on the flat orange part. + + +HARRY + +C-18. + + +BO CATLETT + +That's the magic number. + + +BEAR + +Cat . . . + + +And they all look . . . + + +DOWNSTAIRS + + +as Chili and Karen enter the restaurant. Chili checks out the bar, sees they aren't there, then looks up at the railing . . . keeps his eyes up there as he says . . . + + +CHILI + +Wait here. + + +Chili moves to the staircase, now sees the Bear in his Hawaiian shirt standing a few steps from the top. + + +Chili gets within three steps of the guy and stops, but doesn't look up, keeps his eyes fixed on the man's gut. + + +BO CATLETT + +I'd like you to meet my associate, the Bear. Movie stuntman and champion weightlifter, as you might've noticed. Picks up and throws out things I don't want. + + +Chili doesn't move, keeps his eyes on the man's crotch. + + +BEAR + +We think you ought to turn around and go back to Miami. + + +Chili slowly moves his gaze up through hibiscus until he's looking at the man's bearded face . . . + + +CHILI + +So you're a stuntman. Are you any good? + + +The Bear grins and turns his head to the side, as if too modest to answer and will let Bo Catlett speak for him. + + +This makes the next move easier . . . the guy not even looking as Chili grabs a handful of his crotch, steps aside and yanks him off the fucking stairs. + + +The Bear yells out of pain and fear as the beefy guy rolls all the way down the stairs to land on the main floor, a few feet away from where Karen now stands. + + +Chili keeps watching until he sees the guy move, then looks up at Bo Catlett who's now coming down . . . + + +CHILI + +Not bad for a guy his size. + + +Chili continues up the stairs to where Bo Catlett stands beside the table. Chili unbuttons his coat . . . + + +CHILI + +I'll make you a deal. If you can get out of here before I take my coat off, I won't clean the floor with you, get your little costume all messed up. + + +Karen watches now as Bo Catlett puts a hand in his coat packet, steps right up to Chili . . . + + +BO CATLETT + +You don't know me. You only think you do. + + +Bo walks past Chili, goes down the stairs. Chili watches as Bo Catlett helps the Bear get to his feet. They leave the restaurant, the Bear looking over his shoulder at Chili. + + +Even Karen is looking at him differently now as they slide into the booth with a now shocked, rapidly sobering Harry. + + +CHILI + +Rough business this movie business. I may have to go back to loan sharking for a rest. + + +Harry doesn't say anything. Karen looks at him. + + +KAREN + +Harry, what're you still doing with those guys? + + +HARRY + +He happens to be loaning me five hundred grand, no strings, I write any kind of agreement I want. + + +CHILI + +Is he giving you a check or cash? + + +HARRY + +Cash. It happens to be waiting right at this moment in a locker at the airport. + + +KAREN + +A locker at the airport? Jesus Christ, Harry. Tell me you're not really that stupid. + + +CHILI + +The guy's setting you up. You pulled out of their Freaks deal so he's paying you back. + + +HARRY + +Oh, is that right? I'm being set up? Then how come Catlett said I should send you out to get it, since you haven't done a fucking thing for me since you got into this . . . except showing Bo Catlett my script? + + +Chili looks at Karen, smiles, shakes his head . . . + + +CHILI + +Okay, Harry, I'm wrong. You're not the one he's setting up. + + +HARRY + +I mean, at least Bo's invested in three of my movies. + + +KAREN + +Harry, we spoke with Martin. + + +HARRY + +'We?' + + +KAREN + +Chili and me. + + +Harry looks at the two of them, differently now . . . + + +HARRY + +Really. + + +CHILI + +Yeah, he wants us to talk to Buddy, set up a meeting. + + +HARRY + +A meeting with who? You and Karen? + + +KAREN + +Harry -- + + +HARRY + +Man's in town two days, thinks he's David O. fucking Selznick. + + +Karen and Chili look at each other as Harry finishes his drink. + + +HARRY + +So how 'bout it, Mr. Selznick, do I make my deal with Bo? Or you gonna finally help me out, have a word with your dry cleaner when you find him. + + +CHILI + +I found him. + + +Harry looks at him. + + +CHILI + +Forget about Leo's money, Harry. + + +HARRY + +You have it? + + +CHILI + +Harry, if I gave you Leo's money you'd have Ray Bones all over your ass and then you'd be in a whole new kinda trouble. + + +HARRY + +Who? + + +CHILI + +Ray Barboni. Guy from Miami, owns Leo now that Momo died. + + +HARRY + +Who the fuck is Momo? Jesus, these fucking names . . . + + +CHILI + +Tell you what, Harry, tomorrow morning, when the airport's crowded, I'll go check it out. If I don't see a problem, I'll pick up the money . . . + + +KAREN + +I wouldn't get my hopes up, Harry. + + +Harry thinks a moment, lays the key on the table, but keeps his hand on it. + + +HARRY + +Maybe I oughta talk to this Ray Bones character myself. See if he wants to invest in my movie. + + +CHILI + +Don't waste your time, Harry. The guy's not much of a movie fan. Now c'mon, gimme the key. + + +Harry finally lifts his hand. + + +EXT. HARRY'S OFFICE -- NIGHT + + +A light on upstairs . . . + + +HARRY (V.O.) + +Bones. B-O-N-E-S. + + +INT. HARRY'S OFFICE -- SAME TIME + + +Harry sits at his desk, the phone cradled to his ear, a half-empty bottle of scotch in front of him. + + +OPERATOR +(PHONE) + +I show a 'Dem Bones Barbecue' in Dade County, but that's all. + + +HARRY + +Oh. Wait a minute. That's not his real name. It's uh . . . uh . . . yeah -- try Barboni. B-a-r-b-o-n-i. + + +INT. RAY BONES' APARTMENT -- NIGHT + + +We start CLOSE ON A TELEPHONE . . . THE PHONE RINGS and we BOOM UP to reveal a CLOSED DOOR across the room . . . + + +INT. BATHROOM -- SAME TIME + + +Ray Bones nests on the can, humming off key, reading Weir'D Tales, Martin Weir's autobiography. He looks up, listens to the PHONE RING. + + +BONES + +Fuck. + + +The phone KEEPS RINGING. Bones thinks about it a moment, then tosses the book aside . . . + + +BONES + +Fuck fuck fuck fuck . . . + + +INT. FRONT ROOM -- SAME TIME + + +As Bones bursts out of the john and grabs the phone. + + +BONES + +What? + + +INTERCUTTING HARRY & RAY BONES + + +Phone to his ear, Harry downs another drink, sits up. + + +HARRY + +Ray Barboni? + + +BONES + +Who is this? + + +HARRY + +Are you the guy they called Ray Bones? + + +BONES + +Depends. Who's this? + + +HARRY + +Who is this? I'm the one telling you the way it is, okay, asshole? That's who I am. Now you want your three hundred grand or don't you? + + +BONES + +What three hundred grand? + + +HARRY + +The three hundred grand a guy named Leo Devoe scammed off an airline. The three hundred grand Chili Palmer now has in his possession. + + +Okay. This gets Bones' attention. + + +HARRY + +Hello? You there? + + +BONES + +Yeah, I'm here. I just don't like the anonymous crap. It means your either chickenshit or not for real. + + +HARRY + +Yeah? Well, trust me. I'm very for real. + + +BONES + +Okay. So who are you? + + +HARRY + +I work for Harry Zimm, alright? + + +BONES + +Who? + + +HARRY + +Harry Zimm. The man happens to be a major Hollywood player. + + +BONES + +Never heard of him. + + +HARRY + +Maybe that's because you've never been out've fuckin' Miami, dipshit. Maybe it's time you got on a plane, flew out to L.A. and took a meeting with Mr. Zimm. + + +Bones sits down, trying to put this together . . . + + +BONES + +So, what, this Zimm guy asking for some kinda finders fee, that what we're talking about here? + + +HARRY + +Hey, Zimm doesn't ask for dick. Zimm tells you the way it is . . . or else. + + +BONES + +Or else what? + + +HARRY + +Or else use your fucking imagination. + + +Harry hangs up at the other end. Bones stares at the phone. + + +CONTINUED + +INT. HARRY'S OFFICE -- SAME TIME + + +He sits there a moment, also staring at the phone. + + +HARRY + +Motherfucker. + + +He then realizes his hands are shaking, grabs the bottle and pours the rest of the scotch down his throat. + + +EXT. LAX -- SOVEREIGN TERMINAL -- MORNING + + +Busy. Travelers moving along the sidewalk. Here comes Chili . . . he enters the terminal and we . . . + + +INT. SOVEREIGN TERMINAL -- DAY + + +CUT TO + +A ROW OF LOCKERS + + +All with keys sticking out of them except one. We push in on that one . . . C-18. + + +CHILI + + +stands between rows of lockers on either side of him. He studies them a moment longer, then looks up at the ARRIVALS MONITOR. He starts writing something on a CARD as we push past him . . . pushing in on #83 from NEWARK . . . + + +INT. AIRPORT GIFT SHOP -- DAY + + +As Chili buys an L.A. LAKERS T-SHIRT and a BLACK CANVAS ATHLETIC BAG. He pauses to check out the magazine rack, Martin Weir is on the cover of everything including his hardback autobiography "WEIR'D TALES". He grabs a copy . . . + + +Chili puts the book and the T-shirt inside the athletic bag, puts that inside the papergift shop bag, and then looks around . . . + + +A SCRUFFY LOOKING KID + + +Eighteen or so, checking out the skin magazines as Chili comes up behind him. + + +CHILI + +You want to make five bucks, take you two minutes? + + +The kid looks at him, but doesn't answer. + + +CHILI + +You go over to those lockers over there and put this in C-17. + + +The kid still doesn't say anything. + + +CHILI + +It's a surprise for my wife. But you have to do it quick, okay? While she's in the can. + + +That sonuds like it makes sense, so the kid nods . . . + + +KID + +Yeah, okay. + + +Chili gives him the paper bag with his purchases, a five dollar bill and three quarters. He watches as . . . + + +The kid walks over to the row of lockers . . . puts the quarters into C-17, opens it, puts the stuff inside, pulls the key and then walks back over to Chili, and hands him the key . . . + + +CHILI + +Thanks. + + +EXT. AIRPORT -- DAY + + +As a plane touches down . . . + + +INT. SOVEREIGN TERMINAL -- DAY + + +As Chili watches the last few passengers come off the plane. He watches them come through the gate until he's standing there by himself. + + +Okay, he turns and walks down the aisle now to the bank of lockers three high where C-18 is just about in the middle. + + +He looks both ways, takes his time until a group of people pass behind, giving him a screen, giving him just time enough to open C-17, grab the black athletic bag, and close the locker. + + +Chili gets about ten yards down the aisle, heading for daylight, when a BLACK GUY IN A SUIT comes towards him and stops right in his path . . . + + +BLACK GUY/CURTIS + +Excuse me, sir . . . + + +Now there's a BIG GUY IN A PLAID WOOL SHIRT next to him, the same guy we saw when Bo Catlett was here. And Christ, ANOTHER GUY now, this one down the aisle, talking on his hand radio. The Black Guy has his I.D. folder open . . . + + +BLACK GUY/CURTIS + +Curtis. Drug Enforcement. These are Agents Dunbar and Morgan, would you come with us, please? + + +CHILI + +What's wrong? What's this about? + + +Agent Curtis turns and starts off + + + +DUNBAR + +Let's follow him and behave ourselves. What do you say? + + +As Chili walks off with the D.E.A. guys we see . . . + + +RAY BONES + + +Coming out one of the gates. He looks at A GUY holding a square piece of cardboard that reads MR. BARBONE. + + +GUY + +Mr. Barbone? Welcome to L.A. I'm Bobby, your driver. You have a good flight? + + +RAY BONES + +(starts walking) + +I hope you drive better than you fucking spell, jackoff. My name's Barboni, not Bar-bone. + + +As Ray Bones then walks off, we see coming out a different gate . . . + + +THREE COLOMBIANS + + +All in dark suits. Two big guys in sunglasses flanking one smaller, older guy . . . + + +BIG GUY + +You want to go to the hotel first, Mr. Escobar? + + +MR. ESCOBAR + +I want to get my focking money. + + +INT. SMALL AIRPORT OFFICE -- DAY + + +Chili stands there while Curtis opens Chili's wallet and looks at the driver's license while Dunbar in the plaid shirt pulls the Lakers T-shirt out of the athletic bag, feels around inside. The agents glance at each other without giving any kind of sign. + + + +CURTIS + +You live in Miami? + + +CHILI + +That's right. + + +CURTIS + +What're you doing in Los Angeles? + + +CHILI + +I'm in the movie business. + + +CURTIS + +You're an investor, is that it? + + +CHILI + +I'm a producer. + + +CURTIS + +You have a card in here? + + +CHILI + +Not yet. I just started. + + +Chili watches Curtis pick up the note with the Newark Flight number and arrival time written on it. + + +CHILI + +I'd appreciate your telling me what this is about. + + +MORGAN + +I got a John Doe warrant here. I can strip-search you if I want. + + +CURTIS + +Pat him down. + + +MORGAN + +Why don't I strip-search him. + + +CURTIS + +Pat him down. + + +The big guy puts Chili against the wall. + + +MORGAN + +Spread your legs. + + +CURTIS + +What're you doing at the airport? + + +CHILI + +I was supposed to meet my wife, but she wasn't on the flight. + + +DUNBAR + +Why, you live in Miami, was your wife coming from Newark? + + +CHILI + +We had a fight and she left me, went back to Brooklyn. I asked her to come out here, you know, thinking with a change of scenery maybe we could get back together, and she said okay, but evidently she changed her mind. + + +CURTIS + +Your wife a Lakers fan? + + +CHILI + +I am. I'm a fan of everything that's L.A. I love it out here. + + +He looks over his shoulder to the give the guy a smile. Curtis doesn't return it. + + +CURTIS + +You can go. + + +Chili moves to the table to collect his things. Curtis watches him then . . . + + +CURTIS + +By the way, you recall the number of the locker you used? + + +CHILI + +It was C . . . I don't know, sixteen or seventeen, one of those. Why? You looking for anyway, a bomb or something? + + +CURTIS + +Something shouldn't be there. + + +CHILI + +Why don't you get the attendant to open all the lockers and take a look. Maybe you'll find it. + + +CURTIS + +That's the idea. I'll think about it. + + +CHILI + +That's what I'd do. + +(looks right at Curtis) + +Make sure I got the right guy next time. + + +CURTIS + +Get him out've here. + + +EXT. FREEWAY -- DAY + + +The usual L.A. traffic. A black caddy in the middle of it. + + +INT. CADDY -- SAME TIME + + +As Ray Bones looks out a tinted window at the freeway. + + +BOBBY + +You ever wanta go to the beach, here's the freeway you take we're coming to. + + +RAY BONES + +I live in Miami and you want to show me a fuckin' beach? The sun ever come out here, or you have this smog all the time? + + +BOBBY + +They say the smog's the reason we have such beautiful sunsets. + + +RAY BONES + +That's what they say, huh? What a buncha fuckin' bullshit. + + +EXT. AIRPORT PARKING STRUCTURE -- DAY + + +Chili glances about, makes sure no one's around, then pulls the key for the 'right' locker out from a crack in the pavement, near the stairwell. He then goes up the stairs to + + +EXT. AIRPORT PARKING STRUCTURE -- DAY + + +ANOTHER LEVEL + + +where the Bear, in his trademark Hamaiian shirt is standing beside Chili's car. He straightens up as Chili exits the stairwell and walks up to him. + + +CHILI + +I don't know how I could've missed you with that shirt on. It's the same as the other one you had only the hibiscus are a different color. Right? + + +BEAR + +So you didn't have the key with you. + + +CHILI + +You think I'd be standing here? You set somebody up and you want it to work, it has to be a surprise. Can you remember that? + + +BEAR + +You spotted them, huh? + + +Chili looks at him, the guy's either dumb or making conversation. + + +CHILI + +What, did you see it work in some movie you got beat up in? + + +BEAR + +I have to ask you for that key. + + +CHILI + +What, the setup didn't work so you want the key back? + + +BEAR + +Catlett says if you don't open the locker the deal's off. + + +CHILI + +You serious? This is how you guys do business? I can't believe you aren't dead. + + +The Bear keeps staring, but doesn't say anything. + + +CHILI + +Look, there's no fuckin' way I'm gonna give you the key, outside of you point a gun at my head. Then we might have something to talk about. Now step away from the car. + + +BEAR + +I don't need a gun. Where is it? If it isn't on you, it's around here someplace. + + +Chili shakes his head, tired of this, but still feeling a little sorry for the guy. He looks off in a kind of thoughtful way, turns to the Bear again and kicks him in the left knee, hard. + + +The Bear stumbles, hunching over. Chili grabs him by the hair with both hands, pulls his head down and brings his own knee up into the guy's face. This straightens him and now Chili hits him high in the belly as hard as he can, right under the rib cage. + + +The Bear sucks air with his mouth open trying to breathe, helpless now and in pain. Chili takes him by the arm . . . + + +CHILI + +Lie down on your back. Come on, if you want to breathe. + + +He gets the Bear down on the concrete, straddles his midsection and reaches down to lift him up by the waist of his pants. + + +CHILI + +Take deep breaths through your mouth and let it out slow . . . that's it, like that. + + +The Bear starts to breathe okay again. He checks his teeth now, feeling his nose . . . + + +CHILI + +Hey, Bear, look at me. + + +The Bear looks at him. + + +CHILI + +Tell your boss I don't ever want to see him again. He made a deal with Harry and a deal's a deal. + + +The Bear nods, dosing and opening his eyes. + + +CHILI + +What're you hanging around with a guy like that for? You were in the movies, right? A stuntman? What's he ever done he can talk about? You feel okay? + + +BEAR + +Not too bad. + + +CHILI + +How 'bout when you went down the stairs? + + +The Bear touches his thigh . . . + + +BEAR + +I think I pulled my quadriceps. + + +CHILI + +So . . . how many movies you been in? + + +BEAR + +About sixty. + + +CHILI + +No shit? What're some of 'em? + + +INT. HARRY'S OFFICE -- DAY + + +Harry is passed out with his head on the blotter when we hear someone POUND ON THE DOOR. He jerks upright. + + +VOICE + +Harry Zimm? + + +HARRY + +What -- who is it . . . ? + + +Harry, his hair a mess from sleeping on it, looks up at the door as it opens to reveal Ray Bones standing there. + + +RAY BONES + +The dipshit who's never been out've Miami. + + +Harry wakes up quick, nearly wets himself as Bones then casually steps into the office. + + +HARRY + +Mr. Barboni. Well. This is surprise . . . + + +Scrambling now to play it the way Chili taught him, Harry quickly gestures to the red leather chair arross the desk. + + +HARRY + +Please. Have a seat. Right here in this chair right here . . . + + +As Ray Bones sits down, Harry moves to the blinds and opens them. Problem is, the sun's setting, so there's no glare at all. Ray indicates the nice red sunset . . . + + +BONES + +They say the fuckin' smog's the reason you have such beautiful sunsets. + + +Harry just smiles, sits down at the desk, things already not going too well, about to get worse . . . + + +INT. WINGATE MOTORS OFFICE -- SAME TIME + + +The walls are covered with posters of Porsches and Ferraris, the kind you can buy at the carwash with severely titted chicks sprawled on the hoods. Bo Catlett is behind a big wooden desk on the phone. + + +BO CATLETT + +Whatta you mean, he faked them out? + + +EXT. AIRPORT PAYPHONE -- DAY + + +The Bear, sort of half doubled over . . . + + +BEAR + +He knew it was a set up. He was ready for it. + + +INTERCUTTING BO CATLETT & THE BEAR + + + +BO CATLETT + +So where's the money? + + +BEAR + +I guess still in the locker. + + +BO CATLETT + +You guess? You mean you don't know? + + +BEAR + +I mean I don't care. + + +Bo Catlett looks into the outer office as a car pulls into the garage. Three dark-shaded gentlemen step out of the car. + + +BO CATLETT + +Bear, I'm going to call you later. + + +INT. WINGATE MOTORS OFFICE -- DAY + + +Bo Catlett hangs up, gets to his feet as the men all look into the office now. + + +BO CATLETT + +Mr. Escobar. What a surprise. Welcome to L.A. + + +We can now see that one of the Latinos is older, the other two, younger, are his bodyguards. Mr. ESCOBAR, the older, meaner one . . . steps into the office . . . + + +ESCOBAR + +Where is my nephew? + + +BO CATLETT + +Your who? + + +ESCOBAR + +Yayo. Where is he? + + +Bo Catlett stiffens . . . Uh oh. + + +INT. GARAGE -- DAY + + +As the two back doors of a limo slum shut. There's half dozen other limos wedged in here. + + +INT. LIMO -- SAME TIME + + +Bo Catlett sits in the back, wedged in between the two bodyguards, neither of whom has removed his shades. He faces Escobar on the opposite seat. + + +ESCOBAR + +He's my sister's kid. No papa. Not too bright. Personally, I think he's a retard. I only gave him the job as a favor for my sister, you understand? + + +BO CATLETT + +Sure. Family. I know how that goes. + + +ESCOBAR + +He comes up here with our product. He suppose to come home with five hundred thousand dollars. He never shows up. Meanwhile, my sister's going crazy calling me all the time worried about him. Me, I just wanna know what happened to my focking money. + + +BO CATLETT + +Well, I don't know. I gave the man his money, sent him on his way. + + +ESCOBAR + +You gave him the money? + + +BO CATLETT + +I gave him a key to a locker that had the money in it. + + +ESCOBAR + +Now why would you do that? Put the money in a locker? + + +BO CATLETT + +Because there were a zillion DEA guys hanging around the terminal. + + +ESCOBAR + +(flat) + +A zillion, huh? That's a lot. + + +Escobar studies him a moment. Bo Catlett shrugs. + + +BO CATLETT + +Maybe your nephew panicked, took off. + + +ESCOBAR + +Where's your partner, the jumpy one? Why isn't he here? + + +BO CATLETT + +He's around someplace. + + +ESCOBAR + +I hear he's around Palm Springs. Dealing our product. Product we sold to you for five hundred thousand dollars. + +(then) + +Why do you keep talking to me bullshit? I think maybe I have Ramon and Ceasar staple your tongue to your chin. What do you think? + + +Bo Catlett barely glances at the bodyguards, smiles the gleamy smile to the Latin guy in front of him . . . + + +BO CATLETT + +You know, you speak very good English, Mr. Escobar. + + +ESCOBAR + +I went to UC San Diego. + +(then) + +We're gonna spend the weekend at the Universal Sheraton. We're gonna take the tour. See the shark. Check out the Miami Vice Action Spectacular. After, we'll come here, get our money. + + +One of the bodyguards says 'Your nephew' in Spanish. + + +ESCOBAR + +Oh, yeah, and Yayo, too. + + +INT. RONNIE WINGATE'S PORSCHE -- DAY + + +As Ronnie zigzags in and out of traffic, giving people the 'look' as he passes . . . on the carphone. + + +RONNIE + +His fucking nephew? + + +INT. WINGATE MOTORS -- SAME TIME + + +Bo Catlett on the phone . . . + + +BO CATLETT + +You get to town, you go straight to the bank, raid the limo account. + + +INTERCUTTING RONNIE & BO CATLETT + + + +RONNIE + +I'm already in town, but it don't matter. We got dick in the bank. We dumped it all in Harry's movie. + + +BO CATLETT + +What I'm sayin' is the man wants his money and he wants it now. + + +INT. HARRY'S OFFICE -- DAY + + +Ray Bones impatiently listening to Harry . . . + + +HARRY + +I'm talking about you, Ray Barboni, owning a piece of a major motion picture. How big a piece is up to you. What I'm saying, you could invest part of the three hundred Palmer owes you or you could invest all of it. It's entirely up to you . . . + + +Bones leans forward . . . + + +BONES + +Where's Leo Devoe? Where's Chili Palmer? Where's my fuckin' money? + + +HARRY + +Ray. Look at me. + + +Uh-oh . . . Ray's heard that one before . . . + + +BONES + +What? + + +HARRY + +Look at me, Ray. + + +BONES + +You say look at you? + + +HARRY + +That's correct. Look at me. + + +Bones shakes his head, stands up . . . + + +BONES + +I tell you what . . . + + +And in one fast move, Ray Bones grabs the phone off the desk and slams it into Harry Zimm's surprised face . . . + + +BONES + +Fuckin look at that, asshole . . . + + +Bones then yanks the phone out of the wall and throws it down at Harry . . . + + +BONES + +And have a peek at that . . . + + +Ray Bones pulls a pair of black leather gloves from his pocket and steps around the desk . . . begins kicking the living shit out of Harry Zimm . . . + + +BONES + +You know, Harry, this is the exact fucking thing I needed after the fucking plane flight. My ass fell asleep . . . + +(kick) + +. . . seven times. I need a little fucking . . . + +(kick) + +. . . exercise. + + +Harry tries to push himself to his feet, but Ray Bones stomps on Harry's hands . . . breaking them . . . and Harry falls back down . . . Bones crouches down . . . + + +BONES + +You got a big problem, Harry. + + +Bones grabs him by the hair, picks him up and throws him arross the room into the wall of pictures, many of them coming off their hooks and falling on top of Harry. + + +BONES + +Hey, Harry . . . Harry. Don't you pass out on me. Look up here . . . + + +Harry, a crumpled heap, looks up and we see his bloody pummeled face as Ray Bones quickly crosses the room. He steps on Harry's neck with his shoe, pinning him to the floor . . . + + +BONES + +Where's my money? + + +Harry can't speak; his jaw is broken. He looks sad lying there pinned beneath Ray Bones' shoe, wondering how it all went so wrong. + + +Bones pulls a 9mm from his coat pocket and aims it down at Harry's face . . . + + +BONES + +Harry. I'm gonna ask you one more time, then I'm gonna shoot you, you don't tell me what I wanna know . . . + + +Harry just makes a noise. Bones aims the gun at him. + + +BONES + +Where's my money? + + +VOICE + +Your money? + + +Ray Bones looks over as Ronnie Wingate strolls into the office . . . Harry actually looks glad to see him. + + +RONNIE + +Who the fuck are you? + + +BONES + +Ray Barboni. From Miami. + + +RONNIE + +What, like that's supposed to mean something to me? + + +Ronnie then puts a cigarette in his mouth, eyes Bones. Harry tries to follow what's happening from the floor. + + +RONNIE + +The man you're steppin' on belongs to me and my partner. + + +BONES + +He owes me money. + + +RONNIE + +Get in line, bro. + + +BONES + +I don't like waiting. + + +RONNIE + +Tough shit, bro. This ain't Miami. You want something, talk to me. + + +BONES + +Hey, fuckball, I don't need your permission. L.A.'s an open city. + + +Ronnie opens his jacket so that Ray Bones can see the .357 Ronnie's got tucked into his belt. + + +RONNIE + +Yeah, well, I just closed it. + + +Bones looks at the gun, looks up at Ronnie standing there, hands on his hips, holding his jacket open. Bones raises his own gun . . . + + +BONES + +You a quick draw . . . 'bro?' You better be, your piece stuck way down in your belt like that. + + +RONNIE + +Whatta you got there . . . some kinda pop nine, the fuckin' Fiat of guns, always jammin' at the wrong time. + + +Okay. Bones thinks about that. His confidence a little shaken. They stand there a moment. Harry raises his hand, makes a gurgling noise as . . . + + +Ronnie goes for his gun. + + +Boom. Boom. Boom. Harry closes his eyes as Ray Bones shoots Ronnie over and over, knocking the guy backwards until he hits the door, and slumps to the floor. + + +Ray Bones stares at Ronnie a moment, then comes out of his trance, looks down . . . quickly steps back . . . + + +BONES + +Don't you puke on my shoes, Harry. + + +Harry rolls over on to his side. Ray Bones deep in thonght now, picks the telephone up off the floor, sets it back down on the desk, then looks at Ronnie again. + + +BONES + +Harry. I need you to do me a favor . . . + + +Harry rolls over and looks up at Ray Bones. + + +BONES + +I need you to take this gun and put a pill in the bro over there for me. + + +Harry looks at the dead Ronnie Wingate, slumped up against the door, staring vacantly back at him. + + +BONES + +I know what you're thinking, 'Why the fuck would I shoot him? He's already dead.' + + +Ray Bones crouches down beside him. Harry winces as Ray puts the gun in Harry's broken hand. + + +BONES + +But see, the cops got these tests, tell them whether or not a person fired a gun. And I was never here. + + +Harry looks pleadingly at Ray Bones. + + +BONES + +You understand, Harry? I was never here. You say I was, and I'm gonna come back here throw you out that fuckin' window. + + +Harry looks at the gun, feebly aims it at Bones. Bones frowns, pushes the gun away . . . + + +BONES + +C'mon, knock it off, Harry. We don't have a lotta time here . . . + + +Harry looks up at Ronnie, raises the gun . . . + + +EXT. KAREN'S BACKYARD -- DUSK + + +Beer in hand, Chili sits in a chaise longue by the pool. Karen watches him a moment from the doorway . . . + + +KAREN + +Not a worry in the world. + + +He looks over . . . + + +CHILI + +Your pool needs skimming. + + +She comes over, sits down. + + +KAREN + +That was Martin. He wants to have lunch tomorrow. That is, if you can make it. + + +CHILI + +Depends, who pays? + + +KAREN + +Definitely not Martin. Movie stars never pick up the check. They have no idea what things cost. Most of them don't know their zip code and a lot don't even know their own phone number. + + +Chili looks at Karen a moment. + + +CHILI + +How'd you meet Martin anyway? + + +KAREN + +Not unlike the way Nicki met him. Except it was a wrap party. Why? + + +CHILI + +I don't know, I'm just havin' some trouble seeing you two together. + + +KAREN + +You don't like Martin much, do you? + + +CHILI + +Oh, I like him. I just think he's . . . short. I mean, he's a good actor and all, but I'm wondering what it was exactly you saw in Marty. + + +KAREN + +For starters, Marty wasn't Martin back then. + + +Feeling him staring, she keeps her eyes on the sunset, and tries to change the subject . . . + + +KAREN + +So what about your story. You thought of a title yet? + + +CHILI + +How 'bout Get Shorty? Except that isn't a movie. That's real life. + + +KAREN + +How 'bout Chili's Hollywood Adventure. + + +CHILI + +That's a different story. I'm still working on that one, you know, getting the visual fabric just right. + +(then) + +Although I've added to it. + + +He looks at her, puts his drink down. + + +KAREN + +Yeah? + + +CHILI + +Yeah. There's a girl in it now. + + +KAREN + +Really. + + +And he leans over and kisses her. + + +INT. KAREN'S BEDROOM -- NIGHT + + +Karen and Chili lie in bed together. She looks at him . . . + + +KAREN + +I think you could be an actor. I know you're acting sometimes, but you don't show it. + + +CHILI + +You thought I was faking? + + +KAREN + +No. I don't mean that. I just meant in general. + + +CHILI + +Oh. + + +The're both quiet a moment. Then . . . + + +CHILI + +You don't mean a movie star? More like a character actor? + + +KAREN + +Whichever. Let's talk about it tomorrow. + + +But Chili can't stop thinking about this now . . . + + +CHILI + +I mean I could see myself in movies Robert De Niro had been in. Or I could maybe do an Al Pacino movie, play a hard-on. But I couldn't see myself in ones, like say the one where the three guys get stuck with a baby. They don't know how to take care of it and you see these big grown-up assholes acting cute -- + + +KAREN + +Hey, Chili? Look at me. + + +She leans over and kisses him. Is still kissing him when the PHONE RINGS. They ignore it, let things heat up as we hear the ANSWERING MACHINE pick up O.S.... + + +KAREN (V.O.) + +I'm not in right now. Leave a message at the beep . . . + + +A BEEP, followed by . . . + + +DORIS (V.O.) + +Hi, Karen. It's Doris. Listen, doll, you might wanna come by Cedars tonight and visit Harry. He's in the emergency room . . . + + +Chili and Karen both jerk upright. + + +INT. EMERGENCY ROOM -- SAME TIME + + +As Doris leads Karen and Chili towards the triage area. + + +DORIS + +I stopped by his office to see if he wanted to take me to Le Dome for dinner when I saw Harry and this other man lying on the floor. + + +Doris smiles as two UNIFORMED COPS walk past. + + +DORIS + +Goodnight, Todd. Night, Louis. + + +Karen and Chili exchange a look as they follow her into . . . + + +THE TRIAGE AREA + + +Where Harry lies in bed in a pain-killer stupor. Both of his eyes are black. His face is swollen and purple. + + +KAREN + +Harry . . . My God . . . + + +CHILI + +What happened? + + +He raises a bandaged hand and waves feebly . . . + + +DORIS + +He can't talk. He's full of Demerol. + + +Harry tries to pull away as she runs a hand through his hair. + + +CHILI + +Who'd he shoot? + + +DORIS + +According to Todd -- Sergeant Randall -- a man named Ronnie came by Harry's office to collect on a debt. He got rough and Harry shot him. + + +CHILI + +You shot one of the limo guys? + + +Harry gives Chili a sad look. We then hear . . . + + +VOICE + +Hello, hello . . . + + +They all look over as a RESIDENT walks over trailed by several MED STUDENTS. + + +RESIDENT + +(enthusiastic) + +Okay . . . here we go. Looks like Mr. Zimm here's got a broken jaw and some neck trauma to go with those fractured hands . . . + + +Doris winks at one of the young med students as the resident then turns to her, Karen, Chili. + + +RESIDENT + +Excuse me, folks . . . + + +They step back as the Resident pulls the curtain shut, blocking their view of Harry. + + +KAREN + +Hey, Harry, listen, Martin wanted to meet us tomorrow at the Ivy for lunch. I'd cancel, but Martin's going to Cannes next week, so I think maybe Chili and I should still go. + + +We hear HARRY GRUNT from behind the curtain, then . . . + + +RESIDENT (O.S.) + +Okay, who wants to take a crack at wiring Mr. Zimm's jaw? + + +Chili and Karen look at each other as we then . . . + + +DISSOLVE TO + + + +EXT. BO'S DECK -- MORNING + + +A PHOTOGRAPH OF HARRY ZIMM + + +Standing beside some giant mutant maggot or something. We begin PULLING BACK . . . now we can read a headline above the photograph, 'PRODUCER INVOLVED IN SHOOTING.' + + +BO CATLETT (V.O.) + +Motherfucker . . . + + +As Bo Catlett sits on his deck reading the newspaper. From inside, we hear the front door open and a moment later, the Bear steps out on to the deck, with Farrah, his little girl. + + +BO CATLETT + +Motherfucker . . . + + +Bo Catlett looks over as Bear CLEARS HIS THROAT, indicates Farrah . . . + + +BO CATLETT + +Hey, Bear. I been calling you, man. Where you been? + + +FARRAH + +Hi Bo. + + +BO CATLETT + +Hey, Farrah. Hah you, little honey bunny. You wipe your feet, for you come in here? Keep Uncle Bo's carpet nice and white. + + +BEAR + +You see the paper? + + +BO CATLETT + +I seen it, but I don't believe it. Says Harry shot Ronnie five times. Four to the chest and one through his foot. + + +BEAR + +His foot. Jeez, poor Ronnie . . . + + +BO CATLETT + +Yeah, I'm really gonna miss him. + + +Bo throws the paper aside. + + +BO CATLETT + +Listen, tonight, later on, I got one for you doesn't involve any heavy work. I want you to go have a look around Chili Palmer's hotel room. + + +BEAR + +I can't. I got to take Farrah to Satan's place down in Costa Mesa. + + +BO CATLETT + +Who? + + +BEAR + +Her mother. Not that it matters because I don't work for you no more. I quit. I just wanted to come by, tell you to your face so there's no misunderstanding. + + +BO CATLETT + +Whoa . . . This is the man used to jump offa high buildings? + + +BEAR + +Into air bags. There's no cushion under what you're doing. I'm out of it, Cat. I'm done. + + +BO CATLETT + +Bear. The Colombians are in L.A. Seems they all upset about their money. That ain't enough, as a bonus, it turns out the yoyo was Escobar's nephew. + + +BEAR + +That's your problem. You shouldn't've smoked the guy. + + +Bo Catlett looks at the Bear, then smiles at Farrah . . . + + +BO CATLETT + +Come here, honey bunny, come sit with your Uncle Bo. He hates being alone. + + +Bear watches uncomfortably as Farrah sits down with Bo. Bo looks up at the Bear . . . + + +BO CATLETT + +Fact, he hates it so much, if he takes a fall, he ain't gonna fall by himself. + + +Bo Catlett keeps his mouth close to her ear . . . + + +BO CATLETT + +He's gonna plea-deal his way out. Give up this ace stunt man now one of the West Coast dope kings, if they go easy on the Cat. + + +BEAR + +Come here, Farrah . . . + + +Bo Catlett holds on to her, looks up at the Bear. + + +BO CATLETT + +I heard in the Federal joints they let you spend an extra five minutes at the glass with your Daddy on Father's Day. + + +BEAR + +Farrah. Come here. + + +Farrah slips off the couch, walks over to the Bear . . . + + +BEAR + +After this one, I'm out, Cat, you understand? This is the last time we talk to each other. + + +BO CATLETT + +Remember Harry's story about the dry cleaner Palmer was after? Guy who stole the three hundred grand from the airline? + + +BEAR + +What about him? + + +BO CATLETT + +I was thinking tonight you could go have a look around Palmer's hotel room while I go check out Karen Flores' place. See if he hasn't stashed it somewhere. + + +BEAR + +(beat) + +And if we don't happen to find it under Palmer's mattress or inside Karen Flores' undie drawer? What then? + + +BO CATLETT + +Just do what I told you and meet me back here at midnight. + + +And he winks at Farrah. + + +EXT. KAREN'S HOUSE -- DAY + + +Chili's minivan is parked out front. + + +VOICE (V.O.) + +Sunset Marquis. + + +INT. KAREN'S HOUSE -- SAME TIME + + +Chili, dressed in his suit, on the phone. + + +CHILI + +This is Mr. Palmer. I have any messages. + + +HOTEL OPERATOR +(PHONE) + +A Tommy Carlo called. He said to tell you that a Mr. Barboni was on his way to Los Angeles and that you should . . . + +(clears throat) + +. . . get the fuck out of there. + + +CHILI + +When was this? + + +OPERATOR + +Two nights ago. + + +Chili hangs up as Karen comes into the room wearing a black suit, no blouse underneath, putting on an earring. + + +CHILI + +Wow. Nice earrings. + + +EXT. KAREN'S HOUSE -- DAY + + +As Karen and Chili walk out to the minivan . . . + + +CHILI + +What kinda food they serve at this Ivy place anyway? + + +KAREN + +Continental, but it doesn't matter. Martin won't order from the menu. + + +He opens the door for her . . . + + +CHILI + +Why not? + + +KAREN + +Because a movie star can never order straight from the menu. They have to think of something they have to have that isn't on the menu. + + +EXT. THE IVY -- DAY + + +As the valet drives off with Chili's minivan, a CAB pulls up and Harry -- his hands bandaged, his neck in a massive brace -- gets out . . . + + +KAREN + +Harry, what're you doing? You're supposed to be in the hospital. + + +CHILI + +Yeah, Harry, you look like you belong in one of your horror movies. + + +Harry waves them off points to himself as he mumbles through his wired jaw . . . + + +HARRY + +. . . my project . . . + + +He then pushes past them and limps up the steps. The hubub on the patio quiets as the three of them then walk up to the Maitre D'. + + +INT. THE IVY -- DAY + + +MAITRE D' + +Mr. Zimm. Nice to see you. + + +Harry looks at him, not used to being greeted like this. + + +MAITRE D' + +Right this way. + + +All eyes are on Harry as they're led to a table. Karen sits down, looks about at all of the gawking diners . . . + + +KAREN + +You're a celebrity, Harry. You shoulda shot someone a long time ago. + + +Chili watches Harry try to shake a cigarette out of the pack. Chili reaches over and helps him out. + + +CHILI + +Tell me, Harry, what'd you think of Ray Bones as a person? + + +Harry goes stiff, looks at Chili as he lights one for himself . . . + + +CHILI + +Only a guy like Bones would mess you up like this, break your hands for no reason. He shoot Ronnie, too? + + +Harry looks at Karen, quickly looks away. + + +CHILI + +Thing I don't get, Harry, is why'd you go and do a thing like talking to Ray Bones. You don't need guys like him or Bo Catlett. + + +Harry looks at Chili now. + + +CHILI + +I been here a while now and far as I can tell you're the only person in town actually making a movie instead of just talking about it. + + +Before Harry can answer, we hear a murmur and Chili and Karen look across the patio to the street, where . . . + + +EXT. THE IVY -- DAY + + +MARTIN WEIR + + +gets out of a NEW MINIVAN, exactly like Chili's rental. + + +INT. THE IVY -- DAY + + +We PAN WITH Martin as he stops off to say hello to people sticking their hands out at him to greet him, laugh at his stupid jokes . . . + + +MARTIN + +Chill. Harry. + + +Chili nods as Martin smiles, leans down and kisses Karen. + + +MARTIN + +Hi, sweetface. You look great. And mmmmm, you smell good, too. + + +KAREN + +Thanks. + + +Martin sits down and fans the air in front of him. + + +MARTIN + +Would you guys mind terribly not smoking? + + +Chili takes another drag, blows it out past Martin. Harry stabs his out, doing the best he can with two broken hands. + + +MARTIN + +So. Harry. I hear you had quite an experience. + + +Harry grunts. + + +MARTIN + +Well, I'm glad you're okay. And you know what else? + + +Harry watches Karen and Chili a moment longer, turns to Martin . . . + + +MARTIN + +I'm glad you rejected me ten years ago when I auditioned for Eddie Solomon, the pedophile clown in Birthday Boy. Had I gotten the part. I might've gotten typecast. + + +Martin smiles at his own joke, looks up as the Maitre D' approaches. Harry turns back to Chili and Karen. + + +MARTIN + +You all ready to order? I kind've have another thing after this . . . + + +Chili watches anticipatingly as Martin studies the menu for maybe a second, returns it to the waiter . . . + + +MARTIN + +You know, I feel like an omelette. You think I could have a cheese omelette with shallots, but with the shallots only slightly browned . . . + + +Karen and Chili exchange looks, pick up their menus. + + +DISSOLVE TO + + + +INT. THE IVY -- DAY + + +They've finished lunch. Chili shares a bowl of ice cream with Karen. Harry sips cognac through one of those tiny cocktail straws . . . + + +MARTIN + +I think the romance angle in your story is critically important, that isn't simply a jump in the sack for either of them. These two become deeply in love. + + +Harry looks up . . . mumbles through his wired jaw . . . + + +HARRY + +Which two? + + +MARTIN + +(ignoring him) + +Once their lives are in danger and you have the mob guy coming after them, it not only heightens the tension, it adds a wistful element to their love. + + +HARRY + +Mob guy? + + +Harry touches his jaw. It hurts to speak. + + +MARTIN + +I have to consider, I mean, as the mob guy, this is another man's wife I'm sleeping with. + + +KAREN + +And after all, you have such morals. + + +Harry looks to Karen for help here . . . + + +HARRY + +Mob guy? + + +Martin looks at his watch. + + +MARTIN + +I have to run. But what I hope to see, they begin to have misgivings about wanting the money. It becomes their moral dilemma and they try to rationalize keeping it, but in the end they can't. Can they? + + +HARRY + +What money? + + +MARTIN + +(bewildered) + +The three hundred large. What other money is there? + +(then) + +I should keep quiet, I know, till I've read the script, but I've got a feeling about this one. I'm that shylock. + + +HARRY + +Shylock? + + +Harry winces in pain. Martin turns to him . . . + + +MARTIN + +Look at me, Harry. + + +Harry's already looking at him. + + +MARTIN + +Whatta you think, Chill? + + +CHILI + +That's not bad. I think you got it down. + + +Harry turns to Chili, and back to Martin again. Just now getting it . . . + + +MARTIN + +Really, it scares me how well I know him. I could do this one tomorrow, no further preparation. + +(to Karen) + +Bye darlin' . . . you really should think about acting again. I mean, maybe we could even do something together. + + +Now Harry looks at Karen who forces a smile at Martin. + + +KAREN + +I'll give it some heavy thought. + + +EXT. KAREN'S HOUSE -- NIGHT. + + +No lights on. Chili's minivan out front. + + +KAREN (V.O.) + +Chili. Wake up. + + +INT. KAREN'S BEDROOM -- SAME TIME + + +Karen sits up in bed. Chili lies asleep beside her. She nudges him . . . + + +KAREN + +Wake up. Someone's downstairs. + + +Chili sits up on his elbows, listens. We can hear the TV. + + +KAREN + +It's Harry. Downstairs. + + +Chili sits up on his elbows, listens. + + +CHILI + +You sure? + + +KAREN + +He's doing the same thing you did to him, playing Letterman on TV. + + +CHILI + +It's not Dave. It's a movie. + + +KAREN + +Are you going down? + + +CHILI + +I don't know. + + +KAREN + +(getting up) + +You're as bad as Harry . . . + + +CHILI + +I'll go. I'll go. + + +He gets up, pulls on his pants and the Lakers T-shirt he bought at the airport. + + +CHILI + +Hey, Karen, you have a gun? Any kind would be fine. + + +She shakes her head. He listens to the TV, then . . . + + +CHILI + +I think it's Rio Bravo. + + +INT. KAREN'S STUDY -- SAME TIME + + +The big-screen TV on loud, the big .45 in his lap. This time it's a movie, a western, not David Letterman that's on. John Wayne and Dean Martin shooting bad guys as Chili steps into the doorway and looks around; the room is empty now. Chili moves to the television and turns the volume down . . . + + +He 's about to walk out when the dark shape of Bo Catlett steps into the doorway and startles him . . . + + +BO CATLETT + +I need the money. + + +CHILI + +What money? + + +BO CATLETT + +The three hundred grand you got from a little dry cleaner named Leo. + + +CHILI + +Lemme see if I got this right, you break into Karen Flores' house, ask me for three hundred grand, doesn't even belong to you? + + +INT. KAREN'S HOUSE -- HALLWAY + + +As Karen comes down the stairs, she can see Bo Catlett standing in the doorway bathed in the flickering light. + + +BO CATLETT (O.S.) + +Give it to me, I'll be on my way. + + +INT. KAREN'S STUDY -- SAME TIME + + +As Chili shakes his head at Bo Catlett . . . + + +CHILI + +I can't believe the way you guys do business out here. I can't believe how fucked up your organization is. + + +BO CATLETT + +Tell you what . . . + + +Bo Catlett raises the .45 . . . + + +BO CATLETT + +How 'bout I give you to three, then I organize your fuckin' brains all over the wall back there. One . . . + + +CHILI + +What, you gonna shoot me now, Bo? + + +BO CATLETT + +In just a second. Two . . . + + +CHILI + +I don't believe this. + + +BO CATLETT + +Three. + + +Bo Catlett is about to fire . . . when we hear a SCREAM. Not just any scream, but a completely professional one that fills the house and is all over Bo Catlett so that he starts firing before he's ready, giving Chili time to dive out of the way as . . . + + +Bo Catlett begins firing all over the room . . . keeps on firing until without thinking he blows out the TV and the room goes dark and the scream stops. Then . . . + + +CHILI (V.O.) + +Karen? You okay? + + +BO CATLETT (V.O.) + +She can't talk right now. + + +We hear movement, then the lump goes on and we see Chili standing beside the desk looking to the doorway where Bo Catlett now has his hand over Karen's mouth. She struggles, but Bo hangs on to her . . . + + +BO CATLETT + +That's a nice scream, lady. You oughta be in movies. + + +CHILI + +Alright, Bo. You can have the money . . . but it's not here. I have to go get it. + + +BO CATLETT + +Okay. Fine. The meantime, I'll just hang on to her for safe keeping. + + +Chili and Karen are looking at each other now. + + +BO CATLETT + +You know Laurel Canyon? + + +CHILI + +I'll find it. + + +BO CATLETT + +I'm at 8150 Wonderland Avenue. It's right off Laurel. + + +CHILI + +(looking at Karen) + +Gimme an hour. + + +EXT. BO CATLETT'S HOUSE -- NIGHT + + +As Bo Catlett pulls up, drags Karen out of the car. + + +INT. BO CATLETT'S HOUSE -- SAME TIME + + +The Bear gets up off the couch as Bo Catlett shoves Karen inside . . . + + +BO CATLETT + +You get the money? + + +BEAR + +No. What's this? + + +BO CATLETT + +Plan B. Here ya go, honey . . . + + +He shoves Karen into the bathroom and shuts the door . . . + + +BO CATLETT + +Make yourself comfortable. + + +INT. BATHROOM -- SAME TIME + + +As Karen shuts the door on him. She listens a moment. + + +BO CATLETT + +We gonna make a little trade. + + +She spots a copy of Martin's hardback Weir'D Tales by the toilet. + + +KAREN + +For Christ sake . . . + + +INT. LIVING ROOM -- SAME TIME + + +Bo Catlett goes over to the stereo. + + +BEAR + +Trade for what? + + +BO CATLETT + +The money. Fuck. I gotta think . . . + + +We hear Marvin Gaye OVER . . . + + +BEAR + +Jesus, Bo, what're you doing? + + +Karen sticks her head out the door . . . + + +KAREN + +He doesn't know what the fuck he's doing. + + +Bo Catlett points the gun at her face . . . + + +BO CATLETT + +Shut up. + + +She closes the door. + + +BEAR + +So you kidnapped her? + + +Karen opens the door again . . . + + +KAREN + +That's a fucking federal offense, asshole! + + +BEAR/BO CATLETT + +Shut up! + + +Again she shuts the door. + + +BEAR + +You get life for kidnapping. + + +BO CATLETT + +Calm down, Bear . . . + + +BEAR + +Calm down? We're going away for life and you tell me to calm down? + + +He taps Bo's gun . . . + + +BEAR + +(ranting) + +Hell, why not just shoot her? Why not shoot everybody. Fuckin' shoot me. Shoot the fuckin' president? + + +BO CATLETT + +Don't fade on me now, Bear. Not unless you wanna hold Farrah on your lap in a room fulla felons. + + +The two men stare at each as we hear . . . + + +INT. HOUSE -- SAME TIME + + +CHILI + +So this's one of those houses you see way up hanging over the cliff. + + +They both look over at Chili, standing in the doorway, lighting a cigarette. + + +CHILI + +Where's Karen? + + +BO CATLETT + +(nods to the closed door) + +In the can. That the money? + + +Chili opens Leo's bag so that Bo can see the money. + + +CHILI + +Lemme see her. + + +Bo Catlett shrugs, walks over and opens the bathroom door. Karen stands there with her arms folded across her chest. + + +CHILI + +You okay? + + +KAREN + +Guy's got a fucking pink toilet, for Christ's sake. + + +BO CATLETT + +She's great. Gimme the money. + + +CHILI + +First you and me gotta get a couple things straight. + + +Chili walks to the doorway leading out to the deck and turns around. He eyes Bo Catlett a moment, then . . . + + +CHILI + +I've been shot at before -- once by accident, twice on purpose. I'm still here and I'm gonna be here as long as I want. That means you're gonna have to be somewhere else, not anywhere near me or Harry or Karen. + + +Chili sets the duffle bag down in front of him. + + +CHILI + +Here's your money. Take it and leave the movie business to the rest of us, know what we're doing. C'mon Karen . . . + + +They turn to leave, we hear a LOUD CLICK as Bo raises the gun, takes a step towards them . . . + + +BO CATLETT + +You broke in my house and I have a witness to it. + + +CHILI + +What? + + +Chili looks at the Bear. The Bear won't look at him. + + +BO CATLETT + +Only this time, no John Wayne and Dean Martin shooting the bad guys in El Dorado. + + +CHILI + +It was Rio Bravo. Robert Mitchum was the drunk in El Dorado, Dean Martin in Rio Bravo, practically the same part. John Wayne, he also did the same thing in both. He played John Wayne. + + +BO CATLETT + +Man, I can't wait for you to be dead. + + +CHILI + +Bear, you're not really gonna -- + + +The Bear hooks one to Chili's face. Chili drops to his knees. + + +BEAR + +That's for the stairs. + + +The Bear kicks him, sending Chili back into the living room at Karen's feet. + + +BEAR + +Ever fallen down stairs before? It really hurts . . . + + +KAREN + +Hey -- + + +Karen moves to help Chili. Bo raises the gun . . . + + +BO CATLETT + +You wanna go first, honey? That's fine with me. + + +Bear picks up Chili . . . + + +BO CATLETT + +Get him off my carpet, you gonna make him bleed like that. + + +The Bear knees Chili in the gut, then shoves him out on to the balcony. Bo Catlett follows them out there . . . + + +BO CATLETT + +Like I say, 'I warned him, officer, but he kept coming at me . . .' + + +The Bear follows Chili out, hits him again. + + +BEAR + +And that's for the airport. + + +BO CATLETT + +Hey, he should have a weapon, a knife or something. + + +BEAR + +We'll get it later. + + +And the Bear hits Chili again . . . + + +BO CATLETT + +Okay, Bear . . . that's enongh. + + +But the Bear can't stop, keeps hitting Chili. Bo moves up to the Bear . . . + + +BO CATLETT + +Hey, Bear . . . enough! + + +The Bear looks at Bo Catlett . . . + + +BO CATLETT + +You keep hittin' him like that, he ain't gonna look like he broke in anymore, he gonna look like someone beat him up and then shot him. + + +BEAR + +You're right. + + +And then the Bear, holding on to the back of Chili's shirt, shoves him towards Bo Catlett, who takes a step back, and grabs the rail behind behind him, and drops the gun as he gets a funny look on his face as . . . THE RAIL BREAKS AWA Y . . . + + +BO CATLETT + +Fuck . . . + + +He flails a moment, grabbing at spare, but then quickly grabs on to Chili . . . + + +CHILI + +Hey -- + + +The Bear tries to pull Chili back, but ends up holding a handful of Chili's shirt as both Chili and Bo Catlett go over the rail together and drop from sight . . . + + +KAREN + +Chili! + + +EXT. FROM THE HOUSE BELOW -- LOOKING UP AT BO CATLETT'S HOUSE + + +As a body falls . . . too dark to see who . . . + + +EXT. BO CATLETT'S DECK -- SAME TIME + + +As Karen spots THE GUN on the deck as two hands apprar on the edge and the Bear rushes forward . . . + + +BEAR + +C'mon, man, gimme your hand . . . we gotta get outta here . . . + + +Behind the Bear, Karen picks the gun up off the deck, points it at the Bear. . . + + +BEAR + +Hey, Karen, don't -- + + +The Bear reaches down again and BOOM! Karen SHOOTS THE BEAR IN THE LEG. He cries out, falls back and lets go of . . . + + +CHILI + + +Who now barely hangs on to the deck. + + +CHILI + +Karen! What the fuck are you doing?! + + +KAREN + +Oh, shit . . . I'm sorry . . . I thought that was . . . I'm so sorry . . . + + +She comes over to the edge . . . helps the now wounded Bear pull Chili back up on to the deck. Then they all stand there looking down at Bo Catlett lying in the weeds and scraggly bushes, a hundred or so feet down, not moving. + + +Marvin Gaye singing 'Ain't No Mountain High Enongh' as Chili then steps back, looks at the railing . . . + + +CHILI + +Jesus. How'd that happen? + + +The Bear starts taking bolts and nuts, old used ones, out of his pants pockets. Wiping each one on his shirt before dropping it over the side . . . + + +BEAR + +Beats the shit out of me. + + +BO CATLETT'S POV -- CHILI, KAREN, & THE BEAR + + +The three of them looking down. Slowly the picture gets blurry as we then . . . + + +FADE OUT. + + +We then TILT DOWN TO REVEAL + + + +EXT. SUNSET MARQUIS HOTEL -- NIGHT + + +As Chili and Karen pull to the curb out front. She looks at him . . . + + +KAREN + +Were you scared up there? + + +CHILI + +You bet. + + +KAREN + +You don't act like it? + + +CHILI + +I was scared then, not now. How long you want me to be scared? + + +She looks off, shakes her head . . . + + +CHILI + +I'll be right back. + + +KAREN + +(shakes her head) + +Go get your stuff. + + +INT. CHILI'S ROOM -- NIGHT + + +As Chili enters, takes off his suitcoat, drapes it over a chair. He takes his suitcase out of the closet, throws it on the bed, and freezes as . . . + + +RAY BONES + + +extending the 9mm at Chili, comes out of the bathroom. + + +CHILI + +You don't need that. You want to sit down and talk, it's fine with me. Get this straightened out. + + +Bones steps further into the room as Chili turns his back on Bones, walks to the sofa and sits down. + + +CHILI + +How'd you get in here? + + +BONES + +I told them I was you. I acted stupid and they believed me. + + +CHILI + +So what brings you to L.A., Bones? + + +BONES + +Don't insult me. Get up and turn around. + + +Chili gets to his feet. Bones motions with the gun and he turns to face the painting over the sofa. Bones comes over and lifts his wallet from his back pocket. + + +BONES + +You're the dumbest fucking guy I ever met in my life. Let's see what's in your pockets. + + +His face still to the wall, Chili shoves his hands in and pulls the side pockets out. Bones turns away. + + +BONES + +What you should've done was told me about Leo Devoe as soon as you found out. + + +Chili looks over his shoulder to see Bones pulling his suitcoat from the back of the chair . . . + + +CHILI + +Why would I do that? + + +BONES + +'Cause the guy's a customer now, stupid. His ass belongs to me. + + +Bones lays the pistol on the conuter, holds the suitcoat with one hand and feels through it with the other expression changes, his eyes open wider. + + +BONES + +What have we here? + + +His hand comes out of the suitcoat with the LOCKER KEY. Chili sits down on the sofa again; he can't believe how easy this is gonna be . . . + + +CHILI + +Give me my cigarettes. They're in the inside pocket. + + +Bones throws him the coat. + + +BONES + +Help yourself. + + +Bones then holds up the key to look at it. + + +BONES + +C-one-eight. + + +Frowning now. Putting on a show. + + +BONES + +I wonder what this's for, a locker? Yeah, but where is it? + + +Chili sits back to smoke his cigarette, lets it happen. + + +CHILI + +I checked the bag at the airport, when I came. + + +BONES + +Yeah? Which terminal? + + +CHILI + +(beat) + +Sovereign. + + +BONES + +You found Leo, didn't you? Took the poor asshole's money and put it in a locker, ready to go. + +(looks at him) + +Why haven't you left? + + +CHILI + +I like it here. + + +Chili shrugs. Bones eyes the key a moment, then . . . + + +BONES + +Look, there's no reason you and I shouldn't get along. Forget all the bullshit from before -- I don't even remember how it started. You took a swing at me over some fuckin' thing, whatever it was -- forget it. You owe me some money, right? Forget that too. But, you don't say a fuckin' word about this to anybody. It's strictly between you and me, right? + + +CHILI + +Whatever you want, Ray. + + +EXT. SUNSET MARQUIS HOTEL -- NIGHT + + +As Ray Bones gets into a cab . . . + + +WOMAN (V.O.) + +Drug Enforcement Agency. + + +INT. CHILI'S HOTEL ROOM -- LATER + + +Chili is on the telephone. + + +CHILI + +I wanna speak to the agent in charge. + + +WOMAN +(PHONE) + +What is this in regard to? + + +CHILI + +A locker out at the airport, full of money. + + +Chili waits. Then . . . + + +MAN'S VOICE +(PHONE) + +Who's speaking please? + + +CHILI + +I can't tell you. It's an anonymous call. + + +MAN +(PHONE) + +Are you the same anonymous asshole called the other day? + + +CHILI + +No, this is a different one. Have you looked in that locker, C-one-eight? + + +There's a pause on the line. + + +MAN + +You're helping us out. I'd like to know who this is. + + +CHILI + +I bet you would. You want to chat or you want me to tell you who to look for? The guy's on his way out there right now. + + +MAN + +You know there's a reward for information that leads to a conviction. That's why I have to know who this is. + + +CHILI + +I'll get my reward in heaven. The guy you want has a bullet scar in his head and is wearing gray shoes. You can't miss him. + + +EXT. SUNSET MARQUIS -- NIGHT + + +As Chili follows the bellboy out of the hotel. He tips the guy, then gets in the car with Karen. + + +KAREN + +What took you so long? + + +CHILI + +Couldn't find my toothbrush. + + +He kisses her, then starts the car. + + +EXT. SOVEREIGN TERMINAL -- LAX -- NIGHT + + +As Bones, seen only from the back now, gets out of the cab, enters the terminal. + + +INT. SOVEREIGN TERMINAL -- SAME TIME + + +As Ray Bones, still seen only from the back casually strolls through the terminal, playing with the LOCKER KEY in his hand. + + +Ray walks right up to C-18 and inserts the key, turns it, and opens the locker to reveal a BLACK ATHLETIC BAG sitting inside . . . Chuckling, he then reaches inside . . . + + +. . . then stiffens as we hear A CLICK as a RED LASER DOT hits him in the temple . . . + + +VOICE + +Look at me, Boots. + + +Bones turns his head and we see that it's not the Ray Bones we know, but . . . AN ACTOR, a tough-looking guy with a scary face . . . + + +WE PULL BACK FURTHER TO REVEAL + + + +MARTIN WEIR standing there with the biggest fucking gun with laser scope we've ever seen. A BEAUTIFUL WOMAN with the biggest -- well, you get the idea -- is standing next to him . . . She screams . . . + + +WOMAN + +Watch it, Steve! + + +Bullets and blood fly as the tough guy pulls a gun from the locker and begins firing wildly at Martin and the Woman and Hare Khrishna's and anybody else who happens to be in the vicinity . . . + + +Martin, the tough guy only two feet away, calmly aims his gun and pulls the trigger, but nothing happens. He shakes the gun . . . + + +MARTIN + +Dammit . . . not again . . . + + +DIRECTOR + +Cut! + + +PULL BACK FARTHER TO REVEAL + +A SOUNDSTAGE + + +Set up like the airport terminal. Martin throws a fit about the malfunctioning prop as The Bear walks up to him. + + +BEAR + +Martin, maybe you should dive or roll out of the way or something . . . + + +HARRY + +Alright, let's wrap! We'll pick it up tomorrow! + + +As Karen crosses the soundstage, we track along the backs of a row of director's chairs with the names . . . MARTIN WEIR . . . HARRY ZIMM . . . KAREN FLORES AND . . . CHILI PALMER. Chili stands chatting with BUDDY LAFKIN. + + +BUDDY + +But Martin already told me he loves it. + + +CHILI + +Look, I don't know, Buddy, I don't think Martin's right for this new one. + + +BUDDY + +Why the hell not? + + +CHILI + +He's too short. + + +EXT. SOUNDSTAGE -- DUSK + + +As Karen, Chili, Harry, Martin, and Buddy all exit the soundstage. Karen and Chili get into Chili's minivan. + + +As they pull out, we see the name 'C. Palmer' painted in the space. + + +We then CRANE UP AND BACK as Harry, Martin, and Buddy each get into their own minivans . . . and we then . . . + + +FADE OUT. diff --git a/unformated_scripts/Script_Getaway, The.txt b/unformated_scripts/Script_Getaway, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..c4cc733e750a5b07f3f0dab8dbed061774db6da1 --- /dev/null +++ b/unformated_scripts/Script_Getaway, The.txt @@ -0,0 +1 @@ +THE GETAWAYby Walter HillThis screenplay is dedicated to Raoul WalshBased on the novelbyJim ThompsonFINAL REVISED SHOOTING SCRIPTFebruary 23 1972NOTE: SCENE NUMBERS AND "OMITTED" SLUGS WERE REMOVED FROMTHIS COPY. FADE IN:CARD OVER: SANDERSON PRISONEXT. PRISON YARD - TITLES OVER - DAYDOC McCOY IS BEING WALKED ACROSS THE COMPOUND BY A UNIFORMEDGUARD, carrying a riot gun. Other Prisoners around the yardturn and stare as the two men head for the main building.INT. PRISON CORRIDORDOC WALKS DOWN THE BLEAK HALLWAY: A BLACK PRISONER PASSES Docin the corridor, they slap hands... the Guard remains at hisshoulder. Near the end of the passage another Guard clangsopen a barred door and allows Doc and the First Guard toenter the room where he stands sentry.INT. HEARING ROOM - DAYA LONG TABLE HAS BEEN SET UP AT THE HEAD OF THE ROOM, severalPrison Officials and Parol Board Members are seated facingthe length of the room.Seated at one end of the table is an Irish looking Man;floridly handsome and a bit overweight, his red hair isbeginning to grey. The Nameplate in front of him reads J.BEYNON.Doc enters the room and seats himself near two otherPRISONERS, the GUARD stands back against the wall. (CONTINUED) 2.CONTINUED:Another table has been set up; this one near the seatedPrisoners, for their LEGAL COUNSELS -- SEVERAL LAWYERSexamine papers before them, waiting for the hearing to begin.A MAN at the center of the large table clears his throat,then begins to speak. CHAIRMAN I think we can begin... First parole request Carter "Doc" McCoy... is legal counsel present?A MAN rises from behind the lawyers' table. LAWYER Yes. Eugene Stewart representing Mr. McCoy. DOC watching... taking it all in.AT THE TABLEThe Man checks the papers before him. CHAIRMAN (his voice a bored drone) Carter McCoy, one to five years sentence for armed robbery, first offense in the State of Texas, wanted by the State of Ohio for assault with a deadly weapon and armed robbery... LAWYER The State of Ohio has waved jurisdiction, Mr. Chairman. They no longer seek Mr. McCoy in connection with that case. CHAIRMAN (adjusting his papers) That is correct. Very well. Mr. McCoy has served four years of his sentence. Prison record satisfactory. Applied for parole on September 5th of this year...The Chairman lowers the paper, looks across to the lawyer. CHAIRMAN (CONT'D) (continuing) Remarks? (CONTINUED) 3.CONTINUED: LAWYER We would only again like to call the committee's attention to Mr. McCoy's satisfactory behavior as a prisoner. CHAIRMAN Notice is taken.He looks down the table at the dark-suited men. CHAIRMAN (CONT'D) (continuing) The Board met in closed chambers last week... have you reached a decision regarding Mr. McCoy's request for parole? DOC His face is taut.AT THE TABLEA Second MAN looks across to the Chairman. SECOND MAN (seated near Beynon) Request for parole is denied. The prisoner may re-apply in one calendar year. DOC lowers his eyes, then looks up at his lawyer. The lawyer avoids Doc's glance., he shuffles the papers in front of him, begins stuffing them into his briefcase.AT THE TABLE THE CHAIRMAN FLIPS HIS PAPERS TO A NEW PAGE CHAIRMAN (still totally without emotion) Very well. The next request for parole is from John Doty. Is legal counsel present? VOICE (O.S.) Yes. CHAIRMAN Mr. Doty is serving five to twelve years for embezzlement of corporate funds.DOC'S JAW TIGHTENS... HE AGAIN LOOKS AT THE FLOORDOC PLAYING CHESS WITH AN OLD CON IN A BLEAK WORK ROOM -torn, magazines, beaten up radio, butt cans filled with sand. 4.EXT. PRISON GATE - ANGLESDOC AND OTHER PRISONERS RUN OUT OF THE GATE LEADING TO thetractor driven carts that will take them to their work area.EXT. EDGE OF FORESTDOC AND WORK PARTY HAVE ALREADY ARRIVED AT THE FOREST andbegin to cut, file and burn brush. They are always guarded byguards, some on horseback.EXT. PRISON COMPOUND - DAYDOC LEANS AGAINST A WIRE FENCE CHEWING ON AN OVEN match, hewatches the other prisoners aimlessly wander around theexercise yard.INT. PRISON COMMISSARY - DAYDOC IS STANDING IN LINE WITH THE OTHER PRISONERS, starchypuddles of food are being ladled out onto the metal trays...INT. PRISON TOILETS - DAYDOC WORKING WITH SEVERAL PRISONERS, ALL OF THEM ON THEIRHANDS AND KNEES, cleaning a long line of open, filthytoilets... a Guard stands nearby.DOC SHOWERING IN AN OPEN STALL WITH TWENTY MENcoarse soap and brownish yellow water... Doc has an AmericanEagle tattooed on one shoulder.A SENTRY TOWER - DUSKA GUARD LOOKS OUT OVER THE EMPTY EXERCISE YARD... buildingscontaining bleak cell blocks stand beyond the open compound.INT. CELL BLOCK - NIGHTA WARDER JANGLES HIS KEY RING AS HE PASSES BY THE IRON dooredcells.INT. TEXTILE MILL - A SERIES OF ANGLES - DAYDOC AND OTHERS WORKING. THE NOISE OF MACHINERY IS deafening.The clatter of the constantly working parts is maddening.INT. CELL - NIGHTDOC LIES ACROSS A SMALL COT WITHIN HIS SHADOW-CROSSED cell.He works carefully at a toothpick suspension bridge. Docglues the final pieces into place... (CONTINUED) 5.CONTINUED:Around the cubicle his personal effects can be seen, apicture of an attractive woman, several battered paperbacks.Doc continues looking at the bridge... then suddenly beginssmashing it to pieces with his right fist.INT. PRISON - VISITING BUNGALOW - DAYDOC IS SEATED... WAITING. CAROL enters the darkened room andseats herself opposite Doc. They are separated by a widetable and net of wire meshing that springs upward from mid-point between them. CAROL (big smile, she wants the moment to be an upper) Hello, Doc.He simply stares back at her. Carol's finely honed featurescompliment a face that at first glance is pretty,at a secondglance shows willful strength. Doc continues looking atCarol. CAROL (CONT'D) I'm sorry.Doc is silent. CAROL (CONT'D) It's been raining a lot the last few days.Doc is silent. CAROL (CONT'D) We'll try again. DOC No way. I've got to get out now.Get to Beynon, tell him I'm for sale. His price.She looks at him. DOC (CONT'D) Do it now.She hesitates, tries to touch him through the mesh. Gets upand leaves. Doc remains unmoving.EXT. COUNTRY COURTHOUSE - SAN MARCOS, TEXAS - DAY 6.CAROL MOVES TO THE BACK OF THE LARGE BTJILDING AND UP A REARSTAIRWAY TOWARD THE OVERHEAD OFFICE.INT. COURTHOUSECAROL ENTERS A LEGAL OFFICE, WEARING A SOFT BILLOWY dress.She looks very good.A middle aged SECRETARY looks up at Carol. A short baldingman (THE ACCOUNTANT) in his forties works at a large deskacross the room from the Secretary. He seems totally occupiedwith his bookwork.NEAR THE ACCOUNTANT THREE MEN ARE SEATED ON A DAVENPORTThey are dressed casually; by the look of them they might beanything at all but all three have commonality; they areprofessionals.HAYHOE - Thirty years old, buck teeth and blue eyes, a bitterender.CULLY - Well padded strength, large hands and wrists that popout of his buttoned shirtsleeves...SWAIN - a little older and a little smarter than the othertwo, his narrow features allow no warmth. AFTER A MOMENT:SECRETARY Yes? CAROL I want to see Jack Beynon.The Accountant nods to the Secretary, she points Caroltowards a door leading to an inner office. SECRETARY Go right in, Mrs. McCoy.DOC AND CAROL - PACES, PARTS OP BODIES, EMPHASIS ON HANDS, inbed... his hand touching the soft white skin beneath herstomach.BACK WITHIN THE OFFICE THE THREE MEN LOOK AFTER CAROL CULLY Class - regular? SWAIN No. Doc McCoy's old lady. (CONTINUED) 7.CONTINUED:Cully looks startled. CULLY Jesus. Carol Ainsley? SWAIN The very same. CULLY The Doctor took out McGovern for her. SWAIN She only rides winning - Class easy class. ACCOUNTANT Shut up.INT. BEYNON'S OFFICECAROL ENTERS.A WOMAN'S LIPS - FLASH CUTpressed against a man's neck. She kisses, then bites a tinyportion of skin.BACK TO BEYNON'S OFFICE. HE IS POURING A DRINK. BEYNON How are you, Mrs. McCoy?CAROL APPROACHES BEYNON'S DESK WITH A NERVOUSLYDETERMINED STRIDE CAROL Ready to talk about my husband, Mr. Beynon. BEYNON So the good Doctor comes up again. (then) Please sit down. CAROL He's asked me to come and see you.Beynon looks at her... then lets their eyes meet. BEYNON (handing her a drink) Why? Can I help? (CONTINUED) 8.CONTINUED: CAROL Yes, I think you can.A MAN'S FINGERS STARING AT THE ANKLET ON THE WOMAN'S LEG thendrawing an imaginary line upward... a woman's hand wearing awedding ring comes up to meet it.INT. SANDERSON PRISON OFFICE CORRIDOR - DAYA UNIFORMED GUARD LEADS DOC DOWN THE HALLWAY, they turn acorner and go into a small private room, Doc is now dressedin civilian clothes.Doc catches sight of himself in a small mirror. He stopslooking uncertainly at the image... and then moves on withthe guard.EXT. PRISON - DAYDOC EXITS THE PRISON AND STANDS WAITING NEAR THE AUTO GATE.He looks down the two-lane blacktop road that runs along theedge of the penitentiary... Doc turns, looks again at theprison... four years is a long time.A dark Caddy is parked down the road.INT. CADDY - DAYTHE ACCOUNTANT OR SWAIN SITS BEHIND THE WHEEL. He stares atDoc. Doc crosses to him. ACCOUNTANT Mr. Beynon will see you the day after tomorrow 12:30 at the River Walk.He gestures and drives away. DISSOLVE TO:DOC IS STILL WAITINGHe leans against a low stone wall that lines the entranceway... The duffel bag rests beside him.A late model Ford approaches, stops near Doc... the passengerside door opens from the inside... Carol is driving... Docand Carol look at one another, their eyes holding severalmoments.INT. FORD - DAY 9.BOTH CAROL AND DOC ARE VERY TENSE. CAROL Hello, Doc. DOC Hi. CAROL You okay? DOC (big smile) I'm a lot better off than I was an hour ago.They look at each other for a moment. Carol leans forward...Doc, inhibited by the closeness of the prison walls, kissesher lightly, but with affection... CAROL You want to drive? DOC My license expired, let's get out of here. CAROL Sure...She starts the car, slips it into gear.EXT. HIGHWAYTHE FORD MOVES ALONG THE DESERTED ROADSIDE, crossing theborder and passing into the State of Texas.INT. THE FORDDOC ALTERNATELY STARES AT THE PASSING SCENERY, THEN BACK toCarol. CAROL I'm sorry I was late... I got my hair done... the girl was slow. DOC It looks fine.A pause. CAROL Feel good? (CONTINUED) 10.CONTINUED: DOC Yeah. CAROL Where do you want to go? DOC I want to take a walk.He smiles, then reaches over and gently touches a strand ofCarol's hair.EXT. RIVER - GRASSY BANK - SERIES OP ANGLES - DAYTHEY PARK THE CAR AND EXIT. DOC MOVES A LITTLE AHEAD OFCarol. He sits on the bank watching the kids play.YOUNG BOYS SWING ON A ROPE THAT HANGS OVER THE PALLSCOLLEGE KIDS, SOME ARE SWIMMING, SOME STUDYING, SOME justgrooving.AN OLDER COUPLE SIT ON THE BANK, THEIR FEET IN THE WATERCAROL SITS DOWN NOT TOO CLOSE. DOC IS SILENT FOR LONGmoments. Carol starts to speak but doesn't. He ispreoccupied, lost in his own thoughts.Finally he stands, looking down at her. He slowly takes offhis coat, folds it, lays it on the grass, then turns andstarts walking towards a tree.Suddenly he takes off his shoes, breaks into a run and divesfor the rope.CAROL IS ALREADY ON HER FEET, HER SWEATER OFF, SHOES kickedaside, she runs after him and hits the water with an awkwardsplash. She is a brief second behind him.THEY COME UP TOGETHER, AND HE LAUGHS WITH THE PURE JOY ofbeing free and alive. She joins him, in his laughter and withtheir arms around each other, they turn as they are sweptdown stream.INT. EL OSO CONDOMINIUM - NIGHTTHROUGH AN OPEN WINDOW A PORTION OF THE EXTERIOR BUILDING CANBE SEEN... The interior is cozy and Carol. Carol has livedhere almost two years. On the wall there is a poster (whichwill be on the wall of every room that they stay in from nowon). (CONTINUED) 11.CONTINUED:Around the room are drying clothes. Carol is ironing with asteam iron.Doc is sitting at a table with a Colt .45 in front of him anda .32 automatic. He is field stripping. There is a bowl ofpeaches on the table. DOC (pointing to the poster) It doesn't look like that. CAROL What do you mean? You've never been there. DOC I've been there every day for the last four years.She crosses to him and gives him a hug, then returns to herironing. DOC (CONT'D) What's Beynon got set up? CAROL Small town, small bank, big money.She holds up some 11 by 14 photographs in front of him. DOC Where did you get those? CAROL I've been doing my homework. DOC Just like old times? CAROL Better than old times. DOC I hope so. I am not looking forward to another stretch. CAROL I made a mistake. I'll never make another one. DOC (after a moment) Where did you get them developed? (CONTINUED) 12.CONTINUED: (2) CAROL Assumed name... Houston. DOC Good.RAFTER A MOMENT)How much is the score? CAROL Half a million. DOC That Beynon's got a long arm. CAROL (after a moment) What do you want for dinner? DOC Whisky and a peach.She laughs softly, and goes to a cupboard and takes out fourbottles of whisky, four glasses and a bowl of ice. Doc smilesat her and begins sampling. CAROL (as Doc eats a peach with a sharp knife) How does it taste? DOC Just the way I remembered.Doc reaches across the table and touches her hand gently. DOC (CONT'D) You been okay? CAROL Pretty good... Made a quick trip to Oregon, saw my brother and the kids. Figured it would be my last chance, unless they wanted to travel. DOC How's Estelle? CAROL Fatter... some things never change. (CONTINUED) 13.CONTINUED: DOC Boring. CAROL Nothing's been boring since you found me. DOC (carefully) That's not all of it. CAROL No. It's been a long time.A pause. He continues stroking her arm. DOC You go out much? CAROL After four years and now the question comes up. DOC Couldn't handle it then. Now I can. CAROL (with warmth and a smile) I'm still here, Doc.He stands, kisses her gently. She stands and they move towardthe stairs.INT. BEDROOMTHEY ENTER THE BEDROOM AND SIT SIDE BY SIDE ON THE DOUBLEbed. They both sit rigidly. Doc's eyes are on Carol, shestares vacantly expectant.Doc begins to unbutton her blouse, it comes undone withagonizing slowness... Carol pulls her shoulders back helpingDoc drop the garment down to her waist.Doc hesitates, then carefully touches her shoulder... herhair... he kisses her... Doc gently eases himself away fromCarol. DOC (he is very tight) Oh Christ...He again moves close... Doc reaches around to unsnap her braas Carol places both of her arms around him, holding himtightly... (CONTINUED) 14.CONTINUED:Doc unsnaps the top fastener, the second one catches, remainsunyielding... He closes his eyes for a second... The pressureof the moment is again too intense for Doc. Once more hepulls gently away from her. Carol looks at him, her eyes veryreassuring. DOC (CONT'D) (continuing) I guess I'm kind of... CAROL It's all right. DOC (explaining the obvious) It's just been a while. CAROL We've got time. We've got a lot of time. I can help you.She stands, begins to remove her skirt. DOC Wait... give me a minute. CAROL Sure.She sits beside him again, takes his hand in hers... DOC I'll be okay. CAROL Listen, I'm just as nervous as you are. DOC Really? CAROL Really.They look at one another. A pause. He kisses her; theirembrace pulls them back across the bed. CAROL (CONT'D) (continuing) Let me make you feel good, Doctor.But she has little chance as he begins to make love to her. DISSOLVE TO: 15.A DIFFERENT ANGLEDOC AND CAROL ARE LYING IN BED. CAROL How was it? DOC Better than I remembered.INT. KITCHEN - MORNINGDOC WEARING A ROBE IS COOKING EGGS AND DRINKING WHISKY. Carolenters. CAROL I was going to fix you breakfast. DOC You were asleep. CAROL I bought you a lot of new things.She exits and returns with some clothes. He looks at them. DOC Yeah, well, I think I'll stick with what I've got. CAROL Suit yourself.They start eating. DOC How much does Beynon get?A pause. Carol looks directly at Doc. CAROL $250,000 right off the top. DOC Is he straight? CAROL You got the parole, didn't you?He picks up a fork and looks through it, as if it is prisonbars. She takes his hand and gently takes the fork from him. (CONTINUED) 16.CONTINUED: DOC Thanks again. (then) I 'm glad you waited. CAROL (simply) I couldn't have... much longer. DOC Yeah... I know. CAROL But I got you out. Didn't I, Doc. I did it. I got you out.Carol begins to laugh softly. DOC Why are you laughing? CAROL I laugh when I feel happy. Sometimes just thinking of you made me laugh. I had a lot of that. And other times that wasn't enough. I had a lot of that too. I know you find it hard to believe, I'm happy just loving you. DOC That doesn't hurt. CAROL But sometimes I cried a lot too. DOC (trying to smile) I didn't. I just waited. CAROL (deeply moved) Want to cry now?Doc smiling, still holding her hand, leads her from thetable.THEY CAN'T KEEP THEIR HANDS OFF EACH OTHER AND LAUGHING withcomplete release they half carry each other into the bedroom.EXT. RIVER WALK CANAL - SAN ANTONIO - DAY 17.BEYNON IS IN THE BOAT. LUNCH HAS BEEN SET. DOC COMES ABOARD. DOC You gotta be kidding. BEYNON Not at all, just a pleasant way to have lunch.Doc sits.Pedal boats cut through the water in the background. BEYNON (CONT'D) Glad to see you in civilian clothes.The Accountant and Swain are with Beynon in the boat. Apartfrom them two pedal boats come up behind Beynon's boat. Cullyand Hayhoe are in one, and two other men are pedalling alongin a boat numbered 13. DOC All it takes is a long arm. BEYNON Hard to judge how these things happen. The Parole Board almost never reverses their decisions. DOC (sarcastic) I guess it was because I was a model prisoner. BEYNON This is the only time you and I meet in public. Any business with me, handle it with him...Beynon nods toward the Accountant. He then turns and gesturestoward the other two men. BEYNON (CONT'D) (continuing) You're back with your own people now. Got you some professionals. DOC (flat, hard) I get my own help. (CONTINUED) 18.CONTINUED: BEYNON (quiet strength) You run the job, but I run the show. You got two weeks to set it up.It's not a big bank but it handles cash deposits for an oilcompany... half a million... it's a family thing, the brotherof the bank director is on the board of directors at Con-SolOil... Beacon City.Beynon nods to the two men and they immediately begin toapproach in their paddle boat.RUDY BUTLER -- hard eyes and an easy smile; obviously a heavygun...PRANK JACKSON -- young, mid-twenties, ruddy face and blondhair; a small man with blank, insensitive features. DOC (nods to Cully, Swain and Hayhoe) What about them? BEYNON They're mine. The one with the moustache is my brother. They stay out of it. We stay clean.As the two men arrive... BEYNON (CONT'D) (continuing) Rudy Butler, Frank Jackson... DOC (to Rudy) I heard about you. You work with Miller. RUDY You're out of touch. Cops blew him up. DOC Where? RUDY Chicago. DOC You were with him? RUDY Yeah. I got out. (CONTINUED) 19.CONTINUED: (2) DOC (to Jackson) What about you? JACKSON I was backup man on a payroll job. (as Doc looks hard at him) I hit some liquor stores... I drive good. RUDY I drive. DOC Sure, (to Beynon) You're working on the passports... (as Beynon nods) ... and visas? BEYNON They will be ready. You guys do your job. DOC (irritated) I'll take care of my end. BEYNON (big smile) Stay clean.INT. HOTEL ROOM BEACON CITY - DAYTHREE TRIPODS HAVE BEEN SET UP NEAR THE HEAVILY CURTAINEDwindow. On two of them huge sets of binoculars have beenracked into place, beside them on a tripod is a lectern withnotepad and pencil... Doc and Carol peer through thebinoculars then write several notations on the paper.Both Doc and Carol drink coffee from paper cups... theresidue of dinners served on hotel trays lie about the room.Doc and Carol share a sandwich as they work.INT. BANK OP BEACON CITY - BINOCULARS' POV THROUGH BANKWINDOWSTHE BANK CARRIES ON ITS NORMAL MID-DAY ACTIVITY. A Guardenters the building quickly followed by the bank President.BACK IN THE HOTEL ROOM CAROL AND DOC CONTINUE TO EAT WHILEmaking further notations. 20.INT. BEACON CITY BANK - ANOTHER DAYCAROL WEARING INCONSPICUOUS WARDROBE STANDS QUIETLY IN LINEbefore a teller's window.As she reaches the window: CAROL I'd like an application for a checking account.She gets it, moves to:A TABLE. CAROL MAKES OUT THE APPLICATION AS SHE COOLLY ANDunobtrusively eyes the bank.INT. BEACON CITY BANK - DAY 5^DOC, WEARING HIS SUIT AND GLASSES, STANDING AT A TELLER'Swindow. He moves to the head of the line.He notices a TV camera and a wanted poster showing the facesof wanted bank robbers. DOC (with a smile) Could I get change for this fifty please?His eyes alert and probing.EXT. MAIN STREET BEACON CITY - ANGLES - DAYDOC DROPS A LETTER INTO A CORNER MAIL BOX, THEN BUYS A PAPERfrom a coin dispenser. His eyes find a Beacon City Policemanidly talking to a citizen... a police car is near theOfficer, the driver's side door open... mounted on the dashis a shotgun. Doc tucks the paper under his arm and moves offdown the street.INT. COUNTY ENGINEER'S OFFICE - DAYDOC WITH BRIEFCASE IS TALKING TO A CIVIL ENGINEER. They bothstudy the detail map of a city sewage system...INT. HARDWARE STORE - BEACON CITY - DAYJACKSON PURCHASES A LARGE PAIR OF WIRE CUTTERS.INT. BEACON CITY HOTEL - DAYCAROL CUTTING PIECES OF MATERIAL OUT OF SEVERAL WATCH CAPSwith a pair of scissors. 21.EXT. USED CAR LOT - BEACON CITY - DAYRUDY, RANCH DRESSED., IS BUYING A LARGE FLAT BED.INT. HIGH WALLED ROOM - DAYA LARGE ROOM WITHOUT WINDOWS. NEAR THE CENTER SITS A BIGtable piled with equipment, watch caps, several differentcolored raincoats, a huge pair of wirecutters, road maps,chemical containers and four sticks of dynamite, four visasand two passports and several padded U.S. Army, super bulletproof vests which are not vests at all, more a shield.Rudy and Jackson stand near the table. Carol is seated. Shenervously runs her hand along the edge of one of the roadmaps. Doc is holding one of the vests.The wall behind the table is dominated by diagrams and maps,and photos which show the interior of the Beacon City Bank,the Bank vault, and several diagrams of the main street ofBeacon City, a Beacon City Police car, and a detailedreproduction of the Beacon City main sewage system, includingelectrical wiring, a detailed road map of the town andvarious photos of a farmhouse and barn. DOC ... Bank President, three tellers and one guard... CAROL (cutting in) Usually on the right side as you go in. DOC Nail him first, be careful he doesn't panic and want to shoot somebody. Local police have one car, a rover, shouldn't be in the vicinity at the time we hit unless it's answering an emergency call... if the cop car shows up remember it doesn't have any automatic weapons. Only a shotgun braced on the dashboard. Get into a tight spot, you'll be out of range at forty yards. Then they're down to their side guns. CAROL For exits off Main Street. DOC Should be light traffic that time of day... the Bank Guard carries a .38. These will stop an M.2 at fifty yards. (CONTINUED) 22.CONTINUED:He throws the vest on the table. DOC (CONT'D) Just in case someone gets a shot off. RUDY I worked ten years without one, I don't need one now. DOC Suit yourself. RUDY Okay. How many bank exits? DOC Two. RUDY What about the vault? DOC Chambers - Reilly. Time lock opens 20 minutes before they start doing business... RUDY Wire pull over? DOC One-inch stuff on a three-number combination. RUDY I'm good at that. DOC I 'm handling the fine stuff. You're back up all the way... RUDY (smile) Whatever you need.To Rudy and Jackson, Doc points to the map and farmhousepicture: DOC Keep going over these. I don't want anybody getting lost. (CONTINUED) 23.CONTINUED: (2) CAROL (holding two passports and four visas held together by a rubber band) If we are clean Gollie will take us over at Nogales. If we are hot we'll have to try Laughlin at El Paso.She hands Doc the visas, as she puts the two passports in herbag. DOC I'll hang on to these. We don't need them till we get to Gollie´s. Okay. Any questions? RUDY Aren't we going a little hard? DOC What do you have in mind? RUDY It's just a walk-in bank. You don't have to be Dillinger for this one. DOC (a long look at Rudy) Dillinger got killed.Jackson and Rudy begin to exit. The Accountant enters. DOC (CONT'D) (to Accountant) Tell Beynon I want no mistakes.I make four phone calls, his boys better pick up. ACCOUNTANT I understand. DOC Beynon has to be alone at the drop ... one car at the ranch and that's it. I won't have the money... she won't know where it is until I'm sure it's clear. ACCOUNTANT He understands. DOC Make sure everybody does. 24.INT. BEACON HOTEL - NIGHTDOC AND CAROL ARE GETTING READY FOR BED. It is the nightbefore the robbery. Carol stands looking in the mirror. CAROL You know how I feel? DOC My mind's not on guessing games.Carol turns away from the mirror. CAROL Promise you won't laugh. DOC (shakes his head; smiles) If it's funny I'm going to laugh. CAROL I feel like the night before the first day of school. DOC That bad?Carol laughs. DOC (CONT'D) You promised not to laugh.They both laugh. Long beat. Carol gets into bed. Doc isalready in bed. CAROL It will be such a relief not to have to think about it any more. DOC Waiting's hard. You never learn how. CAROL You know I've actually gotten tired waiting sometimes... worn out waiting. DOC At least you were outside. CAROL It doesn!t make much difference where you are, if you're waiting, Doc. (CONTINUED) 25.CONTINUED: DOC Bullshit. CAROL I mean it. DOC I know you do. But it is different. (before she can interrupt suddenly up a notch) It's different. (quieting down) We'll be all right tomorrow. CAROL We are always going to be all right tomorrow. I'd like to be all right a few todays. DOC We're going to have a lot of those, (easy, embracing her tightly) We're just going to get the money and then go all the way. CAROL (smiling at him) ... and live happily ever after.INT. VAN - A WATCH FACE - DAYSWEEP SECOND HAND TURNING 8:35.DOC'S HANDS - SETTING A BOMB-TIMING MECHANISM ATTACHED TO TWOSTICKS of dynamite, two tubes of Naptha, a lot of prima cordand one small, dark percussion cap.CAROL SITS BEHIND THE WHEEL OF THE GREY PANEL TRUCK as itprowls smoothly down a brush-lined Central Texas road. Caroldrives calmly, professionally... ANGLES DOC IS BEHIND CAROL, AT THE BACK OF THE VAN. He wears a jacket and watch cap. Doc is squatted down, quickly activating another timing mechanism, checking the clock-face on the bomb against his wristwatch... with a quick, dexterous movement, he places a bomb into the two large grocery bags at his feet. After burying the explosives within each sack, he covers the bombs with crumpled wastepaper. (MORE) (CONTINUED) 26.CONTINUED: ANGLES (CONT'D) The grocery bags are then gently shoved forward, resting against the wheel well of the truck.As Doc looks at Carol...INT. A '65 BUICK - RUDYPARKED ALONG A SECLUDED PATHWAY, facing the highway whichlies a quarter of a mile away.He has on a trench coat buttoned to the neck and his sailor'swatch cap... he stares at the highway.THE PANEL TRUCK SLIDES BY...EXT. HIGHWAYA FULLY-LOADED HAY TRUCK RUMBLES DOWN THE ROAD .INT. CAB - HAY TRUCKJACKSON IS DRIVING, HE WEARS A DARK RAINCOAT AND WATCH CAP.INT. BUICKRUDY CHECKS HIS PISTOL. He shoves the pistol into the sidepocket of his raincoat. Rudy starts the engine... then slidesthe car into gear...EXT. MAIN STREET - BEACON CITY, TEXAS - DAYA sleepy, traditional municipality...A DAPPER GENTLEMAN IN HIS EARLY FIFTIES WALKS ALONG THESIDEWALK. He is the PRESIDENT of the First Bank of BeaconCity -- nodding to a few passersby, he stops at the frontdoor of the bank, knocks twice. A BANK GUARD opens the doorand the Bank President moves inside.VISIBLE ON THE GLASS DOORsign that reads:FIRST BANK OF BEACON CITYFounded 1911 Hours: 9:00 AM to 2:00 PM Weekdays OnlyINT. THE BANKTHE PRESIDENT SNAPS ON A BANK OF IRRIDESCENT LIGHTS. SeveralTELLERS have begun setting up for the day's commerce... 27.INT. PANEL TRUCKDOC SHIFTS HIS POSITION SLIGHTLY, THEN PULLS HIS .45 OUT frombeneath his jacket. Doc breaks out the clip, examines it,snaps it back to position. He replaces the gun under hisjacket -- the gesture seemingly more a mannerism than aprecaution.A huge pair of tongs and the massive wire cutters rest on thefloor of the truck near Doc, along with a black leathersuitcase.CAROL IN THE DRIVER'S SEAT, Beacon City appears on thehorizon through the windshield...INT. BANKTHE PRESIDENT BEGINS TURNING THE COMBINATION on the massivedoor as the vault begins to open...RUDY - IN THE BUICK - DRIVING DOWN THE ROADWAY near theoutskirts of town. A Texas Highway Patrol car passes, movingin the opposite direction...JACKSON - IN THE HAY TRUCK - PULLS ON A PAIR OF BLACK GLOVES,then checks his watch.A WATCH FACE SHOWS THE TIME AT 8:56.THE WATCH BELONGS TO DOC. He looks expectantly towards Carol.THE PANEL TRUCK is now within the commercial district ofBeacon City. Rudy's Buick is visible a hundred yards behind.THE HAY TRUCK drives off Main Street and into an open fieldnear a corner of the town.Jackson jumps down out of the cab of the truck and crosses tothe sidewalk.Rudy's Buick pulls over and Jackson gets into the passengerseat. The Buick then cruises back out onto Main Street...CAROL - IN THE VAN - APPROACHES AN INTERSECTION. Through thetruck's window a traffic signal appears.RUDY PULLS THE BUICK OFF THE MAIN DRAG and onto a sidestreet. Another turn and he again moves parallel to the MainStreet... 28.INT. BANKTHE BANK PRESIDENT LEAVES THE VAULT, allowing the heavy doorto stand open.A LATTICE-WORK BARRIER made of wrought-iron is pulled acrossthe vault opening... the Bank President snaps the latch-lockclosed.CAROL - IN THE PANEL TRUCK. She pulls the van carefully to astop at the intersection as the stoplight blinks red... Sheturns her eyes back to Doc...DOC, CATCHES HER LOOK, then instantly springs into action. Hereaches down, pulls a hatch-like cover up from the floor ofthe truck, revealing the road below... a portion of a manholecover is visible. DOC (barking the words) Two feet forward...CAROL ROLLS THE TRUCK SLIGHTLY FORWARDON THE STREET - SEVERAL CARS can be seen moving up behind thepanel truck.DOC GRABS THE TONGS, inserts the ends into the manhole covernotches. He lifts the tongs and slides the manhole coverforward. Doc drops down through the truck hatchway and intoopen manhole, carrying the huge cutters with him. As hedisappears from sight...98 RUDY DRIVING ON THE SIDE AVENUE, still moving parallel 98to Main Street. The Buick is now geographically well forwardof the panel truck. Jackson stares at his watch. JACKSON Now!Rudy makes a sharp left. The car accelerates, its wheelsbegin to quietly whine.Main Street comes back into view...CAROL WATCHING THE SIGNAL... still red...A MAN IN A PONTIAC eases to a stop behind the panel truck. Hewatches the signal.DOC STANDING IN THE SEWER PIPE. He turns on a flashlight,moves ahead. His feet slosh through the six-inch-high murkywater. (CONTINUED) 29.CONTINUED:Doc shines the light on several ankle-thick conduit linesthat run along the sewer wall... He moves down the dark ovalcorridor...EXT. THE BANKTHE GUARD OPENS THE FRONT DOOR, allowing the morning PATRONSto enter.INT. THE BANKTHE PRESIDENT SMILES UPON SEEING THE CUSTOMERS. He looks overto the wood-frame clock on the far wall.THE CLOCK READS 9:00 EXACTLYRUDY - IN THE BUICK - MAKES ANOTHER LEFT TURN, now back ontoMain Street.THE BANK APPEARS A HALF-BLOCK AWAY through the car window.Rudy and Jackson pull their watch caps down over their faces;the holes cut into the caps are wide enough to recognize adisparity between their features...MAIN STREET - THE TRAFFIC SIGNAL has now blinked to green.CAROL IS GRINDING AWAY AT THE DEAD ENGINE of the paneltruck...THE MAN IN THE PONTIAC leans on his HORN... other cars behindhim begin to HONK.CAROL LEANS OUT OF THE CAB OF THE PANEL TRUCK and gesturesfor the cars to pass her. She again GRINDS away at theengine.DOC'S WATCH - SHOWING 9:01.DOC STANDS AT A MASSIVE CONNECTING BOX where four 112 strandsof the conduit intersect. He puts the wire cutters to thefirst conduit, grasps the insulated handles and with acrunching POP, he cuts through the conduit with one bite. Docimmediately starts on the next strand.CAROL - ON MAIN STREET - trying to start the engine.THE BUICK SLAMS TO A STOP IN FRONT OF THE BANK. Rudy Il4 andJackson pull open the car doors.DOC CUTTING THE LAST AND LARGEST CONDUIT. 30.INT. THE BANKTHE BANK GUARD is placing a local high school basketballschedule and display into position.SEVERAL PATRONS have formed small lines and are transactingbusiness with the Tellers.The wall clock shows the time at 9:02.RUDY AND JACKSON BURST THROUGH THE GLASS DOOR. They standshoulder to shoulder, guns extended the full length of theirarms. Beneath the mask Rudy's smile is visible.THE BANK GUARD LOOKS UP PROM THE BASKETBALL DISPLAY. His eyeswiden... both guns are leveled directly at him...simultaneously the lights go out...THE BANK PRESIDENT DESPERATELY PUSHES THE ALARM BUTTON nearhis desk. (INSERT: Button and bell.) Nothing happens.CAROL - ON MAIN STREET - trying to start the engine.INT. A DENTIST'S OFFICETHE D.D.S. TORTURES A BALDING PATIENT with a drill. ThePATIENT groans, lifts one leg in the air from the pain.When the power goes, the Dentist quizzically raises the drilland examines it. The Patient pants in relief. DENTIST Superior technology, my ass.AN ELECTRIC WEATHER/TIME INDICATOR - above the town square...as the bulbs dim...DOC RUNNING DOWN THE SEWER; stopping at the manhole hescrambles up the permanent ladderway, tossing his wirecutters up into the truck parked over him.CAROL - IN THE DRIVER'S SEAT - again she tries to start theengine.DOC PULLING HIMSELF BACK UP INTO THE VAN with a gymnasticthrust he quickly slides the manhole cover with the tongs.CAROL - the engine still won't start.DOC DROPS THE HATCH DOOR back down into place on the floor ofthe truck... (CONTINUED) 31.CONTINUED: DOC (snapping his look to Carol) Okay.CAROL TURNS THE IGNITION SWITCH BACK ON...CAROL - AS THE ENGINE ROARS TO LIFE she engages thegearshift. The truck begins to move forward. Suddenly, themotor does STALL.DOC'S PACE TIGHTENS. The cars behind the van continueHONKING.CAROL - AGAIN GRINDING AWAY AT THE ENGINE. Her lips arecompressed into a thin line... After a moment... the motorcatches, the truck again moves forward.DOC PICKS UP THE LARGE BLACK SUITCASE from the floor of thepanel truck, then begins to move toward the cab and Carol.THE PANEL TRUCK WHIPS OFF MAIN STREET and onto a side avenue.Carol pulls the van up to the curbway, jerking to a stop.DOC IS NOW IN THE FRONT SEAT BESIDE CAROL. He pulls the truckdoor open, then hesitates. He touches her arm, their eyesmeet briefly, both their faces warming for a moment. Docgives her a casual wink then quietly exits the truck.ON THE SIDEWALKDOC TURNS AND BEGINS WALKING toward an open alleyway. Behindhim the panel truck pulls smoothly away.WALKING UP THE ALLEY - DOC PULLS ON A PAIR OF BLACK GLOVES.He turns again, now moving down a totallydeserted side alley.The alley opens at one end onto a back street; the oppositeend is bounded by a large brick building. Doc removes hispistol from his coat pocket, then approaches a doorway alongthe side of the brick building. At the last moment he pullsdown the watch cap mask.INT. BANKRUDY DISENGAGES THE LATCH on the side door.EXT. ALLEYDOC KICKS THE DOOR OPEN with a violent jerk of his leg. 32.INT. THE BANKRUDY'S GUN IS TRAINED PROM THE BACK OF THE BUILDING over theTellers and Patrons, spread-eagled across the floor. Theirheads are down; several of them are trembling.DOC STANDS HOLDING THE .45 IN ONE HAND, suitcase in theother. He moves into the building, shutting the door behindhim.RUDY IS NOW STATIONED NEAR THE FRONT DOOR, ready to interceptany incoming bank patrons -- he covers the room from the endopposite Jackson.Rudy stands near the Bank Guard's outstretched right hand --The Guard's head is bloodied from Rudy's pistol whipping. Hisgun has been kicked against the wall. A short distance awayRudy is watching.THE BANK PRESIDENT lies face down on the floor, directlyunder the arc of Jackson's gun... who is continually turningto watch the Guard.DOC QUICKLY CROSSES THE DISTANCE between the side door andthe vault, passing the Bank President. He slips the .45 intohis jacket side pocket, sets down the suitcase, then eithercuts the lock or picks it. RUDY (looking at his watch) 19 seconds.CAROL - IN THE VAN - She has stopped the panel truck near thedeserted lot where the hay truck is parked.She drops the bomb-laden grocery bag inside the truckbed. Shemoves back towards the van...IN THE BANKDOC FINISHES,, RIPS THE DOOR OPEN, lifts the suitcase andmoves into the vault.RUDY LOOKS AT THE BLOODIED GUARD, notes the distanceseparating the man from his gun. Though unconscious, theGuard's head begins to move.JACKSON HOLDS HIS GUN HAND FULLY EXTENDED. Again he takes abrief moment to glance nervously over to the open vault andat the Guard.ANGLES AND INSERTS - THE VAULT is lined with safety depositboxes and large cabinet drawers. (CONTINUED) 33.CONTINUED:A metal table stands off-center, the black suitcase restingon its surface. Doc opens the satchel. He then pulls open oneof the cabinet drawers nearby and begins tossing banded moneypads into the open suitcase.THE BANK PRESIDENT LIES NEAR THE OPEN VAULT. He listens tothe SOUNDS of Doc at work. He slightly cranes his neck,trying to get a look at the thief inside the vault.RUDY WATCHING THE FRONT DOOR. A PATRON enters; Rudy gestureswith the gun... she hits the deck.JACKSON IS GETTING MORE NERVOUS by the minute...DOC continues working within the vault.THE WOMAN, now on the floor, quietly crying.JACKSON watching the Guard.RUDY watching Jackson. Calling out time.THE BANK GUARD, glassy-eyed, but conscious; he has the lookof a prizefighter who has just suffered a knockout, but isready for one more round.THE BANK PRESIDENT in his prone position. He looks atJackson, then to the vault.THE PANEL TRUCK - now at the other end of Main Street.CAROL EXITS THE VAN, carries the second sack to a largerubbish bin in front of an empty store. She deposits thegrocery bag...DOC WORKING. The suitcase is now filled. He snaps thefasteners shut .DOC EXITS THE VAULT after withdrawing his .45 from his coatpocket .JACKSON SEES DOC LEAVE THE VAULT. He edges around the side ofthe tellers' cages toward the front of the bank.DOC MOVES TOWARDS JACKSON'S OLD VANTAGE POINT NEAR THE SIDEDOOR. He passes the bank president.RUDY NOW WATCHES DOCDOC CARRIES THE HEAVY SUITCASE IN HIS LEFT HAND. He gesturesto Rudy and Jackson with his pistol while moving towards theside door. (CONTINUED) 34.CONTINUED:JACKSON HALF RUNS PASSING RUDY ON HIS WAY TO THE FRONTENTRANCE still watching the Bank Guard.THE BANK GUARD STILL PUNCH DRUNK PULLS HIMSELF UP TO HISHANDS and knees... the Guard looks at his pistol.DOC STOPS AT THE KICKED IN SIDE DOOR. HE COVERS THE ENTIREbank with his gun.THE BANK GUARD BEGINS TO CRAWL WITH AGONIZING SLOWNESStowards his pistol.RUDY EYES STILL ON DOCJACKSON NOW AT THE FRONT DOOR IS PARALYZED WATCHING THEGUARD.DOC GESTURES TO RUDY AND JACKSON TO GET MOVING.EXT. STREET - DAYCAROL PARKS THE VAN, CROSSES TO A FORD, GETS IN, DRIVES AWAY.INT. BANKTHE GUARD HAS MORE THAN HALF CLOSED THE DISTANCE TO THE .38.JACKSON LEVELS HIS .44.DOC AND RUDY. BOTH SEE WHAT IS ABOUT TO HAPPEN. DOC (shouts) Just pick it up. RUDY Don't!JACKSON PULLS THE TRIGGER THREE TIMES.THE BANK GUARD'S BODY turns end-over-end from Jackson'sbullets. Some of the bank Patrons SCREAM, others SOB withfright.DOC - His eyes are furious.RUDY AND JACKSON - Rudy shoves Jackson out the front door.DOC COVERS THEIR EXIT, then slips out the side door and intothe alley. 35.EXT. MAIN STREETRUDY GUNS THE BUICK FORWARD, the wheels tearing at theasphalt. Jackson's shoulders rock back as the big caraccelerates. THE ALLEY DOC, GUN AND SUITCASE IN HAND, nears the end of the alleyway.CAROL - IN A FORD - suddenly pulls up, filling the roadwayopening.DOC TOSSES THE SUITCASE into the back of the car... thenslides the pistol under his coat and slips behind the wheelas Carol slides over to the passenger seat.INT. THE FORDDOC PULLS OFF THE WATCH CAP MASK; his face taut.THE FORD SMOKES OFF as Doc kicks it into gear...MAIN STREET BEACON CITY A SERIES OF ANGLESTHE BUICK STREAKS DOWN THE CENTER OF THE ROADWAY... Two bombsdetonate into fireballs... The Hay truck blazes upward, balesinstantly igniting.The grange at the opposite end of town becomes an orange-flame inferno...Traffic stalls on the boulevard; Drivers and Pedestrians gawkat the twin blazes.RUDY ZIG ZAGS THE BUICK ALONG. Maneuvering through thestopped traffic.DOC SLIDES THE FORD THROUGH A RIGHT AND LEFT TURN, emergingonto smoke-covered Main Street.The speeding Ford avoids a halting car, then suddenly spinsout of control, jumps across the sidewalk, splinters a woodbench, and finally slides in a complete circle across thegrass of a small park.INT. FORD 'DOC LOOKS MORE THAN A LITTLE EMBARRASSED AS CAROL STARESAT him.POLICE CARS ROAR BY THEM. 36.EXT. SMALL PARKDOC ZIPS THE CAR OFF THE GRASS AND BACK ONTO THE TRAFFICCLOGGED ROADWAY.RUDY DRIVING THROUGH THE BEDLAM. Suddenly a gun appears inhis right hand, aimed at Jackson. The pistol roars bucks,roars, bucks again. Jackson is shot through the head twice.THE FORD IS SEVERAL BLOCKS BEHIND RUDY. DOC DOWNSHIFTSavoiding stalled cars. Carol grasps at both the seat and thedashboard handholds to maintain her balance.THE BUICK EMERGES THROUGH DENSE PLUMES OF SMOKE. Fire licksalong the one edge of the sidewalk.RUDY IN THE BUICK HAS NOW ALMOST CLEARED THE TOWN. He tearsalong the highway... sweating a little but becoming cool. Heis a pro. His watch cap is now removed.ON THE CURVE - Jackson's body is kicked out of the automobileand bounces across the pavement.DOC IN THE FORD POWERS ALONG. He approaches the flamingbuilding, then hits the brakes as ...A BIG DIESEL TRUCK AND TRAILER is coming in the oppositedirect ion,, jack-knifes across the road, desperately tryingto avoid the cars stopped in the middle of the street .DOC, AS THE TRUCK AND TRAILER SUDDENLY APPEAR THROUGH thesmoke in front of him, throws the car broadside into a fourwheel drift. Now sideways, then straight, he bumps across thesidewalk, over a patio of a house, knocking down two pillars,through a parking lot, taking with it a large cleaners sign,then bores back onto the road.RUDY IN THE BUICK STROKING ALONG THE OPEN HIGHWAY. Looks inthe rear view mirror.RUDY'S POV - THROUGH THE BUICK'S REAR WINDOW, BLACK smoke isvisible billowing skyward.DOC AND CAROL IN THE FORD NOW DRIVING CALMLY THROUGH thecountryside. A police car with light turning and sirenwailing passes them, heading for the conflagration in BeaconCity. Doc's eyes follow the Patrol Car until it disappearsfrom sight.THE BUICK - SERIES OF ANGLES - IT pulls off the highway andbumps down a dirt road. Rudy strains to hold the big car onthe rutted pathway. (CONTINUED) 37.CONTINUED:The dirt road becomes a lane.A farm house and barn appear at a clearing. Rudy powers thecar up a fairly steep hill, the crest of which is occupied bya seemingly abandoned and dilapidated house barn.RUDY JUMPS OUT OF THE BUICK, trots to the front of the barnand pulls the double-doors open. A station wagon with wooden-panel or the usual painted panel sides can be seen within...THE FORD SWEEPS OFF THE HIGHWAY and onto the dirt road.WITHIN THE FORD - DOC IS DRIVING. Carol peels off hersweater. She has worn a faded blouse underneath... She pullsa ribbon; her hair falls changing her appearance.RUDY - IN THE BARN - The Buick is now parked near the StationWagon. Standing in the shadows, he intently reloads his gun,then moves towards the large doors of the barn.CAROL - IN THE PASSENGER SEAT OF THE FORD - she watches asDoc drives up the lane...RUDY stands outside the barn as the car approaches.DOC STUDIES RUDY THROUGH THE WINDSHIELD, watching him wipehis face with a soiled rag as the car pulls closer...INT. BARNDOC PULLS THE FORD TO A STOP just within the double doors. Hepasses Rudy, leaving a clear exit pathway for the getawaystation wagon.DOC JUMPS OUT OF THE FORD AS SOON AS the ignition switch iscut; Carol a beat behind him on the opposite side.Rudy moves into the archway created by the barn's open doors.He stands almost in silhouette as the bright sunlight breaksaround him.Doc snaps open the door of the car, his back turned to Rudy.He reaches into the back seat and grasps the black suitcase,not by the middle handle but by each end, as if it containeda great weight. DOC (speaking over his shoulder, not looking at Rudy) Where's Jackson?Rudy withdraws the pistol from under his raincoat. (CONTINUED) 38.CONTINUED: RUDY (pointing his gun lazily at Doc, supremely confident) He didn't make it, Doc... you didn't either.Doc straightens, still holding the suitcase. He starts toturn to Rudy, eyes wide, helpless. Carol fumbles for the gunin her purse.Rudy extends his arm, ready to begin the execution. Docswings the suitcase around slowly, seemingly ready to faceRudy's bullets... then he shoots Rudy in the middle of thechest, Doc's .45 slug driving him backward.Doc has concealed the pistol in his hand with the satchel. Hedrops the suitcase with his first shot, FIRES again, blastingRudy in the middle. Two large holes now show at the chest ofRudy's raincoat.Rudy is knocked back over the hillock, tumbling down theprecipice and into a grassy meadow below. Doc stands at thecrest of the hill. He looks down as Rudy's body stopsturning. Doc shifts the .45 to his right hand.Rudy's body lies still.DOC TURNS QUICKLY AWAY PROM THE HILLTOP, not giving Rudy'sbody a second glance. Carol, gun in hand, stands outside thebarn, transfixed. CAROL How did you know?Doc doesn't answer, motioning her into the car... the getawaycar... as she starts to change clothes... he reloads. Doctakes a long look at Carol.THEY GET IN THE CAR AND LEAVE.EXT. BOTTOM OP HILL - DAYCAROL IS DRIVING., tooling comfortably along a country road.Doc is beside her, the suitcase resting in the back seat.After several moments of silence: CAROL What about the bank? DOC (after a moment) Jackson panicked and nailed the guard. (CONTINUED) 39.CONTINUED:Carol takes a deep breath,, then turns her look at the sidewindow. CAROL Oh, Christ.Doc leans forward., snaps on the radio.EXT. ABANDONED FARM - DAYRUDY BUTLER STUMBLES BACK OVER THE CREST OP THE HILLOCK andonto the pathway in front of the barn. His figure is slightlygrotesque; the raincoat shows two holes from Doc's .45 slugs,along with considerable dirt and grass stains picked up onhis ass-over-tea kettle trip to the bottom of the hill. He isobviously in some pain, his walk is a half-lurch.EXT. SIDE OF THE BARN - DAYRUDY TURNS ON A RUSTED TAP which sends all-pocketed watergurgling down into a mold-covered trough. Rudy pulls off theyellow raincoat, revealing the fact he has worn one of thepadded bullet-proof vests. Rudy undoes the vest, lets it fallto his feet. A huge crimson stain shows at his collarbone.RUDY TOUCHES THE BLOOD WITH HIS RIGHT HAND, then looks at hishand. Breathing heavily he kneels down and begins to splashthe purling water across his face and then he laughs.INT. STATION WAGON - DAYDIALOGUE COMES ON THE RADIO DESCRIBING THE ROBBERY. $750,000stolen. DOC We got between four and five.Carol starts to open the bag and count.Doc flicks off the radio then cracks open the windwing. Docreflectively studies the roadside ahead. They are headingalong a comfortable tree and meadowlined thoroughfare thatcarries only a sparse amount of traffic.Doc's eyes suddenly narrow on the road ahead. CAROL (now noticing the road) Doc... DOC (flat) I see it... (CONTINUED) 40.CONTINUED:ON THE ROAD AHEAD HIGHWAY PATROLMEN HAVE FORMED a trafficbarricade. Several cars and trucks are being waved throughthe check-point. Wearing sunglasses and Stetson hats, theUniformed officers make a cursory glance into each passingvehicle.DOC ANALYZES THE SITUATION WITHOUT CHANGING EXPRESSION Heslips the station wagon up behind a pickup truck in the lineof slowly-passing vehicles.She turns, starts to reach into the back. Doc gently catchesher arm, preventing her from moving further. DOC (CONT'D) They're looking for three men... remember?A YOUNG OFFICER looks into the cab of the pickup, thenglances at the empty flatbed. Another PATROLMAN flanks theother side of the truck, repeating the procedure. SeveralPatrol Cars, fully loaded with additional OFFICERS, areparked nearby. The pickup truck is waved through. The stationwagon rolls up to the check-point.DOC ROLLS DOWN HIS WINDOW. He smiles and nods to the YoungPatrolman. DOC (CONT'D) (big smile) What's the problem?CAROL STUDIES THE OFFICER on her side of the car through theclosed window... the Officer peers back at her then into therear seat.THE STATION WAGON is waved ahead without a second glance bythe Patrolman; Doc accelerates away from the roadblock...After a moment, Doc leans forward, snapping on the radio.EXT. THE FARM - RUDY - DAYInside the barn, behind the wheel of the panel truck, Rudy'smatted black hair is in contrast to his blanched face. Hestarts the engine, painfully bringing it to a ROAR. The paneltruck leaps crazily forward, careening across the barn floor,SMASHING through the edge of the wooden doors as it burstsout into the sunlight.EXT. SMALL TOWN - DAYThe station wagon rolls down the main street and stops nearan outdoor phone booth at a filling station. 41.INT. STATION WAGONDOC SHUTS OFF THE ENGINE, PULLS OPEN HIS DOOR.DOC MOVES INSIDE THE PHONE BOOTH CARRYING A FIST-FULLof loose change. He begins to dial...INT. BEYNON'S OFFICE - DAYTHE PHONE RINGS. THE ACCOUNTANT LIFTS THE RECEIVER. ACCOUNTANT I 'm here.He presses a button on the intercom.ANOTHER PHONE IN THE OFFICE 234 CULLY Yeah.He presses a button on the intercom.ANOTHER PHONE IN THE OFFICE.HAYHOE PICKS UP THE PHONE. HAYHOE Yeah.He presses a button on the intercom.ANOTHER PHONE IN THE OFFICESWAIN TURNS AND REACHES FOR THE RECEIVER.EXT. SMALL TOWNDOC MOVES TOWARDS THE WAGON, CLIMBS INSIDE.INT. STATION WAGON.DOC SLAMS THE DOOR SHUT. CAROL LOOKS ACROSS AT HIM. DOC They checked in. CAROL Call the ranch, tell Beynotr we'll leave his cut here -- (CONTINUED) 42.CONTINUED: DOC Why? CAROL There are three men dead. DOC So what. I've got to give him his money. That was our end of the deal. CAROL He might be ready to chop us up. DOC Do it my way.He starts the engine. The station wagon pulls away.INT. STATION WAGONAS IT PULLS OUT OF THE SMALL TOWN. DOC Tell me about Beynon's ranch. CAROL I've never "been there... When we met it was in his office.Doc looks at her for a moment. CAROL (CONT'D) (continuing; hesitant) Do you trust him? DOC I just figure the percentages. He wouldn't try a cross until he's got the money. CAROL Let's send his cut back -- Just keep going. DOC If we make a mistake., he'll burn us. You make a deal, you're always better keeping your end up. CAROL I don't want to go there. (CONTINUED) 43.CONTINUED: DOC Do it my way.The wagon continues moving down the road.EXT. A NARROW DIRT ROAD - LATE AFTERNOONTWO HOURS BEFORE SUNSET. A CHILL SOUTHWEST WIND is blowing.The station wagon appears, moving slowly down the roadway,bouncing along its rutted surface.AT A SMALL INTERSECTION TWO MAIL BOXES STAND CLOSE to oneanother. The name Beynon is printed in black paint on one ofthe letter bins. Doc stops the wagon momentarily, looks atthe box, then turns down the indicated road.EXT. THE STATION WAGON - LATE AFTERNOONTHE STATION WAGON clears the crest of a sage brush hill andpasses camera.INT. STATION WAGON - LATE AFTERNOONDOC PARKS THE WAGON UNDER A GNARLED COTTONWOOD TREE in frontof the house. As he shuts off the engine, he pulls the .45out of his coat pocket and shoves it into his waistband.Carol watches the gesture. Doc starts to open the car door,then hesitates. DOC You can wait here... I'll wrap it up fast.DOC STEPS OUT OF THE WAGON, then pulls the leather suitcaseout of the back. He quietly shuts the car door and movesaround the side of the house, toward the barn/garage at therear.HE LOOKS CAREFULLY around the area, his eyes searching forsigns of Beynon's men. Nothing seemingly amiss, he movestoward the front door, tries it, moves away.Doc crosses to the back screen door of the house. Afteranother moment, Doc quietly opens the screen door and entersthe house.INT. HOUSE - LATE AFTERNOONDOC MOVES THROUGH THE SERVICE PORCH/PANTRY and into thekitchen. 44.INT. KITCHEN - BEYNON - LATE AFTERNOON/NIGHTBEYNON SITS AT THE LONG KITCHEN TABLE] head on hand, eyesslightly glared... on the checkered oilcloth in front of himis a quart bottle of Jim Beam, now half full. He's drinkingthe sour mash straight with a water chaser.DOC LOOKS STEADILY AT BEYNON for a moment,, sets the suitcasedown on the floor, then crosses to the sink, picks up a glassand sits down at the table. Doc pours himself a drink, takesa sip. BEYNON Hello, McCoy. DOC Beynon. BEYNON (swishing the drink) News said two persons killed.Except for a faint thickness of speech, Beynon seems quitesober. Beynon wears a .38 Detective Special C.T.G. in a wornleather belly holster. DOC Three... Rudy got ambitious. BEYNON And you got him... DOC That's right.Doc looks at Beynon, notes his gun, then continues stackingthe money. BEYNON What about your wife? DOC What about her? (moving right to the business at hand) Let's c ut up the money, I want to get North.INT. STATION WAGONPARKED UNDER THE COTTONWOOD AT THE FRONT OF THE HOUSE. CAROLSITS CHEWING GUM... LINES OF STRAIN HAVE FORMED ACROSS HERFACE. 45.INT. KITCHENDOC LISTENS CAREFULLY TO BEYNON. BEYNON Your wife told me no one would be killed. DOC You hired Jackson and Rudy., not me. BEYNON They may nail me into this now, McCoy. DOC That's your problem. BEYNON (smiles) You know, you and I may be two of a kind. DOC No way. I always do my own work.Beynon smiles and slops three fingers of whiskey into Doc'sglass. BEYNON Here. I understand the way you feel. As a matter of fact, you and I might share a great many feelings...Beynon drinks from his glass. Doc continues counting themoney. DOC (snaps the words) I'm in a hurry. BEYNON You still don't get the picture do you? I've always heard what a smart ass operator you are. DOC No applause!Beynon pauses a moment. Doc looks steadily across the tableinto BeynonTs eyes. Prom beyond there might be the quietsound of a screen door opening. Beynon gets out of the chair,stands beside the table. (CONTINUED) 46.CONTINUED: BEYNON Let's examine the situation. One, an extremely attractive woman. Then, there's the woman's husband, a skillful bank robber serving a long sentence in prison. Three, a man with political influence, a man who can easily get a parole for a convict... why should he?Beynon sips his glass slowly. Doc's hand edges down towardhis waist band. BEYNON (CONT'D) (continuing) A simple reason, McCoy. The obvious reason. To rob a bank. DOC I knew that life didn't add up to the obvious when I was 8. BEYNON (cautiously) What do you add up to here? DOC One. The radio's rappin' about $750^000. We only got a half a million. BEYNON A little more was taken out before. (a beat) My brother's a director of that Bank, Mr. McCoy... I had a few pressing debts. DOC So we did that crackerbox... to cover for you. BEYNON (smiles., nodding) The obvious. (as his smile fades) But we are both not interested in that right now. DOC No. (a long beat) My old lady must have made a lot of promises. (CONTINUED) 47.CONTINUED: (2) BEYNON Close... but it takes a hell of a lot more than promises to pull the kind of strings I pulled. DOC I bet.Doc senses a movement from the shadows behind Beynon. Turninghis head slightly, Doc can see Carol standing at the entranceto the kitchen. She holds a .32 automatic... the pistol seemsto be pointed directly at Doc. BEYNON You wouldn't have come here when you were eight3 Mr. McCoy.As the gun continues to be pointed directly at Doc. BEYNON (CONT'D) (continuing) Don't think too badly of her... After all, you were in jail a long time and she is a healthy young woman. DOC (riding over Beynon's words) Get it over with...CAROL FIRES the automatic. The big gun belches the full slipin a stuttering EXPLOSION... the slide remains back and in anejected position.BEYNON is driven back to the kitchen wall. He SHRIEKS aloud,the noise strangely like laughter... his body flattensagainst the surface, slips downward^ riddled by the big boreslugs... Doc stands momentarily frozen against the overturnedtable. He looks up from Beynon's crumpled body. Carol takestwo steps forward, then drops the automatic, sending itclattering and spinning away across the floor.DOC looks at Carol, their eyes find each other. He turns,moves to the sink, splashes water across his face, then fillsa glass of water from the tap ... drinks it; he looks back ather.CAROL stands watching Doc, tears scream down her cheeks.DOC crosses to Carol, takes her arm, picks up the gun, spentshells and the suitcase, then leads her out of the kitchentoward the back door. Beynon's body has slipped from sight,only a few traces of blood show along the white wall. 48.INT. PANEL TRUCK - DUSKRudy is driving along an open highway. Rudy mouths inanelyrics to the radio, one arm on the wheel, the otherclutching his wound. A small sign near a mailbox catchesRudy's eye. He swings the panel truck around in a U-turn,then pulls into the long dirt driveway of an isolated farmhouse.THE SIGN READSHAROLD CLINTON, D.V.M.Practice of Veterinary Medicine. DISSOLVE TO:EXT. DESERTED HIGHWAY - DUSKTHE STATION WAGON IS PARKED ALONG THE CEMENT ROAD, standingin isolation against the vast Texas b.g.Doc stands away from the car, his back turned to it ...gazing at the horizon.Carol is in the wagon but the passenger side door is open,her legs dangle outside the car as she looks steadily at theground. Doc suddenly turns, walks to her and gives her astinging slap across the face. DOC Stupid.Tears begin to roll down Carol's face. DOC (CONT'D) (continuing) Why didn't you tell me? CAROL There wasn't any way to explain it. DOC Yeah. CAROL You sent me to him. DOC When I got out, why didn't you tell me where it was? (CONTINUED) 49.CONTINUED: CAROL What the hell do you want? Mary Tyler Moore? DOC Who's she? CAROL She's on TV. DOC If you don't start telling the truth... (breaks off) CAROL What do we do? DOC (quietly) We keep going.INT. BEYNON'S OFFICE - NIGHTSwain sleeps on the davenport. Cully and Hayhoe sit at twosides of Beynon's large desk, playing a game of checkers...Hayhoe seems to have Cully badly beaten ... The Accountantenters the room. The block on the wall shows eight o'clockstraight up. ACCOUNTANT Let's go.The two men abandon their game. Cully kicks the sofa,awakening Swain. He groggily gets to his feet.INT. MULTI-STORIED AUTO PARK - SAN ANTONIO - DAYThe station wagon enters the building. Doc takes a brightorange ticket from an ATTENDANT behind a glass window, thenaccelerates the wagon up a rampway leading to the upperlevels of the building. DOC checks his watch momentarily as he prowls the wagon between long rows of automobiles.THE STATION WAGON'S TIRESWHINE through a sweeping turn within the auto park'suppermost level -- through the building's portals the brightmorning sun can be seen reflecting off the city's rooftops. (CONTINUED) 50.CONTINUED:DOC PULLS THE WAGON to an abrupt halt within a parking stall -- at an isolated area. He steps out onto the concreteflooring, slams the door shut.Doc turns away from the car. As he approaches the elevator,Doc tears the orange auto park stub into fragments and dropsthem into a trash bin without missing a stride.INT. TRAIN STATION - MORNINGCAROL IS STANDING IN A TICKET LINE THAT MOVES slowly foward.She struggles, clutching the heavy, money laden suitcase andher oversize purse between both arms. The line of ticketbuyers moves forward .just fast enough to make it impracticalto set the suitcase down. The station is ancient, vaultlike.Baggage lockers line the perimeter of the lobby and extendoff into clumped rows within the wings of the station.CAROL APPROACHES THE TICKET WINDOW. She places the suitcaseflush against the base of the counter and holds it tightly inplace with one leg. Carol pops open her purse... a clumsyitem in itself... as she lifts her wallet and the elderlyticket-seller looks across to her. CAROL Two day coach tickets -- on the Flyer. TICKET-SELLER Thirty-four fifty-six with tax leaves in forty-five minutes, gate three.Carol pays the tariff, places the tickets into her pursealong with the change. Wearily, she labors the satchel backinto her hand, then turns and begins to slowly walk down theseemingly acres-wide station promenade.NEAR A PORTICO WITHIN THE MAIN LOBBY, Carol sitsuncomfortably on a shiny wooden bench -- the suitcase restson the floor pressed tightly between her ankles. She glancesacross the promenade walls, her eyes finding:A CLOCK READING: 9:40ON A LOBBY BENCH - LATERCAROL STARES ACROSS THE ROOM at the scattering of passengerswaiting on the wooden seats opposite from her.Carol's nervous boredom increases; she looks down at her lap,pretends to find something wrong with her nails and beginsrubbing the cuticles. Carol finally rises impulsively fromthe bench, immediately reaching for the brown leathersatchel. (CONTINUED) 51.CONTINUED:CAROL WALKS BACK DOWN THE PROMENADE while carrying thesuitcase. As other baggage-laden passengers scurry aroundher, she looks across the arcade, her eyes finding a glass-walled Cocktail Lounge. She hesitates, then begins to trudgein that direction.A BANK OF LOCKERS STANDS NEAR THE COCKTAIL LOUNGE. As Carolapproaches, an elderly WOMAN deposits a coin in one of thenumbered lockers, opens the metal door and places a smallsuitcase inside. Closing and re-locking the door, the Womanquickly moves away. Having noted the woman and more thantired of hauling her burden around the station, Carol stepsto the end locker, takes a quarter out of her purse, thenstudies the time scarred operating instructions on the faceof the locker. She slips the quarter into the slot and opensthe locker door. As Carol bends to pick up the suitcase, thelocker door swings closed... She tries to open it but thedoor has re-locked itself... Carol quite disgusted with herpredicament, again sets the suitcase down and pulls a quarterout of her change purse. As she again reads the numbereddirections, a YOUNG MAN appears at her shoulder.THE MAN IS A PROTOTYPE OF URBAN SLEAZINESS, Doberman Pinscherfeatures are broken by a weedybrown moustache, a cheapcorduroy suit is set off by an oddly matched bow tie. TheMan's appearance suggests a kind of drug store dapperness. DAPPER MAN Kind of tricky, isn't it?She turns, startled by his sudden proximity. In one smoothmovement the Dapper Man plucks the quarter from Carol's hand,deposits it in the slot and swings the locker door open.Setting the heavy suitcase inside, he closes the door, testsit to show that ithas been re-locked, then removes the key from the lock andputs it into Carol's hand. She is intimidated momentarily bythe Man's sudden appearance and forcefulness, as well as hisintentions. CAROL Thank you. DAPPER MAN (toothy grin) No trouble lady.Stepping backward, his canine features disappear into awelter of station activity. Carol watches his receding figurefor a moment, then simultaneously placing the key into herpurse, she turns and begins moving towards the CocktailLounge. 52.INT. BARN - DAYEMPTY CAGES STACKED ALONG A WOODEN WALLA YOUNG KITTEN IN A CARDBOARD BOX wrestling with the barrelof a .44. A thick veined hand gently rubs the gun over thefur along the cat's neck and backbone.RUDY BUTLER IS PREOCCUPIED WITH THE CAT, giving littleattention to the thirtyish Man standing nearby.HAROLD CLINTON puts away a large syringe then snaps shut themedical bag. Rudy lies across a cot in one corner of the barn-like Animal Hospital. The large room is lined with stalls,cages and pens, many of them vacant.The wonded criminal is bare-chested. A plaster cast has beenattached to his left arm and shoulder.FRAN CLINTON SITS ON A HIGH WOODEN STOOL opposite Rudy. Fiveyears younger than her husband, tight sweater and skirt,bright scarlet fingernail polish, well-built, her facesuggests sensuality. Fran's bare, milk-white legs are crossedunder her rumpled skirt. RUDY (to Harold) What's the damage? HAROLD Collar bone is broken. No infection yet... the bandages should be changed twice a day. RUDY I got a nurse in mind. HAROLD (going along, oblivious to the implication) The glucose will begin working in half an hour. You'll feel better then... RUDY (flashing a grin despite the pain) The three of us are going to do some traveling. We're going to take your car to El Paso. HAROLD That's not possible. We can't leave here... we've got all this. (CONTINUED) 53.CONTINUED:Rudy smiles at Mrs. Clinton. He's never met Fran before, buthe's known her for years. RUDY Is it possible, Mrs. Clinton? FRAN (scared, but trying to be friendly) Just... tell us what you want.Rudy looks back down at the gun and cat. The followingsilence is like a scream. Finally: RUDY What kind of car do you have, Harold? FRAN (cutting in) A Ford... We have a Ford. RUDY That's good. That's very good. Now Harold, you go out and gas up the Ford, check the oil and tires, we don't want any problems on the road. One more thing... If anybody but you comes back...He points the gun at Mrs. Clinton. RUDY (CONT'D) (continuing) She gets her clock fixed right away... You understand that, Harold?A long pause. FRAN You do what he says, Harold. RUDY After you come back I'll listen while you make some phone calls, tell a few friends you've got to leave for a week or two... You have to call another Vet about the animals. You tell him to come over and take good care of them starting tomorrow... no slip-ups on that. They got to be looked after... HAROLD We really don't have too many friends. (CONTINUED) 54.CONTINUED: (2) FRAN They don't think he married well. RUDY (smiling) That makes things a little easier for us then, doesn't it?INT. TRAINS STATION BAR - DAYCarol sits in the bar. A young SOLDIER approaches and sitsdown at the counter next to her. She is finishing a vodkagimlet. SOLDIER (to a bartender) Beer.Carol glances at her watch. SOLDIER (CONT'D) (continuing - begins with the obvious) Guess you have to catch a train? THE SOLDIER pink-cheeked and freckle-faced, he has to shave maybe twice a week; twenty-one years old, not good-looking (his best feature is his gentle, easy grin) and not a hustler. He just wats to meet a girl. CAROL (not too patronizing) That's right. SOLDIER Me, too. Got twenty-four days of furlough and I'm goin' home.The soldier's beer arrives. CAROL Where's home? SOLDIER Utah, the Bee-Hive state. I'm from Orem, right near Salt Lake ... Say, you wouldn't happen to be a Mormon, would you? (CONTINUED) 55.CONTINUED: CAROL (chuckles) No, I'm not. SOLDIER Me, neither. There's about twelve people in the state that aren't Mormons and I'm one of them. CAROL That certainly makes you kind of special... SOLDIER (awkward) Yeah... I guess it does.Carol pushes aside her glass. SOLDIER (CONT'D) (c ont inuing) You wouldn't be taking the train to Salt Lake, would you? CAROL (smiles across to him) No, I'm afraid not. SOLDIER I never have any luck.Carol smiles at the soldier. Her features suddenly freeze asshe glances toward the entrance to the bar.AT THE DOORWAYDOC STANDS LOOKING AT CAROL and the soldier. CAROL STANDS AND PAUSES FOR A MOMENT. CAROL (CONT'D) I really hope you have a nice trip. SOLDIER Thanks. I hope yours is okay, too.Carol moves towards the exit.The soldier quietly sips his beer, his face a bit grim.AT THE DOORWAY 56.CAROL STOPS NEAR DOC.They look at each other... DOC Where's the suitcase?Carol continues looking at Doc for a moment.Then, suddenly moves past him, leading him out into the mainlobby. BACK WITHIN THE PROMENADESERIES OF ANGLESCAROL EMERGES FROM THE COCKTAIL LOUNGE followed by Doc.They cross to the lockers.She retrieves the key from her purse and thrusts it into theproper slot. It doesn't turn. Puzzled she tries again, thenforcing the key, shakes the lock violently.Her eyes widening into a quiet panic, she next looks at thelocker number and then the number on the key. Her featuresare now totally ashen.She walks up the bank of lockers... puts the key in anotherlocker, the door opens, the compartment is empty.Carol turns away from the locker, eyes glazed with fear...Doc at her shoulder. CAROL A man helped me open it... DOC (deceptive calm) And switched keys. CAROL He must have. DOC (angrily) It isn't another boyfriend, is it?Carol winces, containing her anger. DOC (CONT'D) (continuing - icily) How long ago. (CONTINUED) 57.CONTINUED: CAROL Fifteen minutes. DOC Sure?Carol nods. DOC (CONT'D) (continuing - with quick calculation) He'd figure you for longer, enough time to try another hit. He's probably still in the station.As Doc pushes Carol forward. DOC (CONT'D) (continuing - lashing out) There better be a guy with the CAROL (lashing back) You bastard...Walking at a rapid pace, they start through the station, Docforcing their speed, clutching Carol under her elbow. Theyreach the main concourse after moving down the length of thepromenade... eyes straining.CAROL STOPS SUDDENLY. SHE STARES DOWN THE LONG CORRIDOR hereyes finding the thief. He stands near another bank oflockers, the black suitcase at his feet.THE THIEF LOOKS UP AT CAROL - virtually within the samemoment that she spots him. His expression never changes. Hetakes a step towards her, smiling... Then, with a movementthat is both abrupt and casual, he snatches up the money bagand disappears behind the constant traffic of train patrons.DOC HAS SEEN THE THIEF. Recognizing the suitcase he movesimmediately after him. Carol follows Doc but is unable tokeep up. She watches as Doc vanishes behind the row oflockers.CAROL ROUNDS THE LAST LOCKER IN THE ROW but both men have nowdisappeared from view. She sags back against the edge of themetal compartments, exhausted, fearful. LOUDSPEAKER VOICE (indistinct above the roar of the station) Attention please. (MORE) (CONTINUED) 58.CONTINUED: (2) LOUDSPEAKER VOICE (CONT'D) The Flyer now boarding at gate three. The Flyer now boarding at gate three.Carol again raises her eyes. Still breathless, her face glowswith moisture.INT. THE CLINTON'S BARN - (MORNING)FRAN IS STILL SEATED ON THE STOOL. Rudy stares at her fromthe cot. Harold is now absent. FRAN I don't think you have to worry much about Harold. He won't do anything. RUDY (he speaks very politely) That right? FRAN You can trust him... RUDY How long have you been married? FRAN Two years. RUDY Can he trust you? FRAN (smiles) That's what matters, isn't it?Rudy continues looking at her. RUDY Come over here a minute...He gestures with his gun. Fran crosses the distance slowly,moving with apprehension. FRAN Look, I'm not going to be any trouble to you either, fact is, this may sound funny, but maybe you and I could be close friends...Rudy gestures her closer... (CONTINUED) 59.CONTINUED: FRAN (CONT'D) (continuing) You don't always have to have your gun out. I'll get whatever you want. Really, I will...Fran smiles. She is now standing over the cot, lookingdirectly down at Rudy. He jerks her down. RUDY (still polite) Get rid of that nail polish, I don't like it, and when I tell you to come over here you move fast. You and I are going to get along because I've known a lot of people like you, so don't tell me about it because I got your ticket going in. Now get up and get that paint of your fingers... okay?Rudy smiles.INT. TRAIN STATION - A SERIES OF ANGLES - DAYDOC MOVING LIKE A GUN DOG ON THE HUNT between the rows oflockers; catching sight of the thief momentarily, he closesin.After a series of criss-crossed movements among the bankedlocker corriders, Doc again loses sight of the thief as theslender criminal dodges off onto a main passenger concourse.Doc is faster and more agile than the thief, but the stationis unfamiliar territory to him. Both Doc and the Thief movecarefully, they must not arouse enough attention to makethemselves conspicuous, thus risking police interference.THE THIEF HURRIES ALONG THE MAIN CONCOURSE weaving betweenthe incoming and departing passengers that dot the longcorridor.DOC IN PURSUIT DOWN THE CONCOURSE, he passes several sealedoff departure/arrival gates.THE THIEF STEPS OFF THE CONCOURSE INTO GATE THREE, an openstairway winding downward.DOC FOLLOWS HIS QUARRY DOWN THE STAIRWAY to the train areawhere he immediately skips over the winding ramp and onto theloading platform. Emerging from the short tunnel, Doc isn'tsurprised that the Thief is again nowhere in sight. Doc stepsbehind a pillar -- he waits watchfully... After a moment ortwo, the Thief edges out from behind another column andstarts back up the platform towards the concourse. (CONTINUED) 60.CONTINUED:Doc moves quickly to intercept his opponent but, as the Thiefspots his approach, he turns and Joins several passengersscurrying toward the awaiting train...THE FLYER STANDS GLEAMING AT TRACKSIDE, perpendicular to theboarding gate. Two doors to the train stand open, one in thepullman section, the other entrance admitting day coachpassengers.CAROL - ON THE MAIN CONCOURSE - MOVING ALONG WITH THE FLOW ofabout-to-depart passengers... the Flyer comes into sight,visible on the next level below.THE CONDUCTOR - AT TRACKSIDE - STANDS SMILING BROADLY by thecoach entrance. He grins at the boarding PASSENGERS as hespeaks to a nearby BRAKEMAN. The Thief skirts around abaggage-laden elderly COUPLE and moves up the two-step andinto the rail car passageway.DOC MOVING QUICKLY AGAIN. He sees the Thief slip past theconductor and into the train.THE THIEF IS NOW INSIDE THE DAY COACH. He heads toward theforward compartments.DOC EXPERTLY SQUIRMS THROUGH THE BOARDING THRONG anddisappears past the conductor up into the passenger carvestibule.ON THE CONCOURSECAROL WATCHES AS A BLONDISH MAN in a grey suit skips aboardthe Flyer standing below. She is unable to get a clear lookat the man, and is unsure as to whether or not it was Doc.She hesitates, then moves forward to Gate Three which willtake her down to trackside...Carol stands at the edge of the gate -- the last of the crowdhaving already passed through. She hesitates again, staringdown at the shining train.INT. FLYER - DAY COACHTHE AISLE IS CLOGGED WITH PASSENGERS. People hesitate overtheir selection of seats, put baggage into overhead racks,clumsily remove their overcoats... The Thief continues tomove forward, squirming around the passengers at a hurriedbut controlled pace. 61.AT THE END OF A PULLMANDOC ENTERS, THREADING HIS WAY FORWARD, scanning faces. He isone car behind the Thief and losing ground, due to the factthat Doc must carefully note the occupants of each seat as hepasses. Doc is further delayed by a WOMAN blocking the aisle.She struggles painfully, trying to fit a suitcase into anoverhead carriage.Doc, with the most forced of smiles, reaches up to help her.30? THE THIEF MOVES THROUGH ANOTHER VESTIBULE and into an 30?empty car -- now unobserved, he immediately breaks into arun.DOC LOOKING, MOVING NIMBLY INTO ANOTHER VESTIBULE AND CAR.The passengers have become fewer and fewer as he nears thefront of the train.THE THIEF RUNS THROUGH ANOTHER VESTIBULE AND INTO A SMOKER.This car also deserted, he maintains his trotting pace,swinging the heavy suitcase as he goes... reaching the end ofthe smoker, he enters the next vestibule and attempts to moveinto the following car, but the Thief is brought to a halt bythe sudden dead end of the passageway. The next car holdsonly baggage. He has reached furthest forward passenger car.The Thief desperately tries to open the vestibule door,hoping to escape by jumping off the train, but the doors aretightly locked. He begins to retrace his steps.DOC MOVES CAREFULLY INTO THE NEXT CAR FORWARD, stillunknowingly two cars behind the Thief.THE THIEF PASSES BACK TO THE VESTIBULE AT THE REAR OF THESMOKER, his eye suddenly catching the Men's Lounge. He triesthe door -- locked. The Thief snaps out a pen knife, picksthe lock with a deft movement. Passengers are visible behindhim as he works, filtering into the pullman car following thesmoker. None of them notes his activity. The restroom doorswings open.INT. MEN'S LOUNGEThe Thief immediately snaps the bolt-lock shut behind him,crosses the small, murky room and tries to lift the window.He strains mightily but the glass remains hopelesslyjammed...DOC ENTERS THE FINAL PASSENGER CAR, notes the half 313 dozentravelers and continues moving forward, going next into thesmoker. (CONTINUED) 62.CONTINUED:THE SMOKING CAR IS EMPTY, although several Passengers and aPORTER enter it moments after Doc leads the way. Doc passesthrough the length of the car, moves into the vestibule and,like the Thief a few moments before, finds his passageblocked by the baggage car. Doc hesitates, then turns andbegins going back in the opposite direction.DOC STOPS AT THE MEN'S LOUNGE -- staring hard at the door fora moment. He tries the handle. The door remains firmly shut. PORTER (appearing suddenly at Doc's shoulder) Be open five minutes out of the station.Doc nods and moves away, continuing to retrace his stepstoward his point of entrance onto the train.THE THIEF, HAVING ABANDONED THE JAMMED WINDOW, is now undoingthe snaps and straps holding the suitcase closed. The lidpulls upward and stacks of money appear under his hands. TheThief grabs a money pad, runs his thumb over it, then shovesthe stack of greenbacks into his coat's inside breast pocket.DOC MOVES WITH DETERMINATION back through the passenger cars.INT. MEN'S LOUNGETHE THIEF HAS AGAIN CLOSED THE SUITCASE. He nervously looksabout his tight-walled sanctuary, then crosses back to thewindow and stares out through a corner of the pane. He pullsthe shade lower.EXT. TRACKMETAL WHEELS GRIND AGAINST THE RAILS, the train SHUDDERS,then begins to move forward.THE THIEF IS WATCHING THROUGH THE MEN'S ROOM WINDOW as thetrain edges forward. His body suddenly tightens. He sees Docoutside the train, walking slowly between a narrow passage ofmoving passenger cars and several parked tinders. THIEF'S POV DOC GLANCING BETWEEN PARKED PASSENGER CARS, walking cautiously ahead. As the Flyer continues to move slowly forward, Doc disappears from view.THE THIEF ALLOWS HIMSELF A QUICK SMILE. Turning away from thewindow he picks up the suitcase, unbolts the lock and stepsback out into the vestibule. (CONTINUED) 63.CONTINUED:AT THE BACK OF THE SMOKER, the Thief seats himself next to awindow and places the suitcase on the cushioned chairopposite from him. In the forward position of the car, wellbehind the Thief's back, a dozen Passengers are scatteredabout the lounge chairs. A Conductor appears at the end ofthe smoker opposite the Thief and begins to collect and punchtickets.As the train begins to pick up speed, the Thief lifts anabandoned copy of the newpaper off the cushion next to him.He glances at the front page, then unfolds the width of thepaper. As a precaution against regaining poverty, the Thiefrests one foot against the suitcase. All seems secure. Then,Doc sits down next to the Thief.DOC COMPANIONABLY SLIDES AN ARM BEHIND THE BACK OP THETHIEF'S NECK, pulling him close. DOC (softly almost gently) When you pop a lock don't mark it.The Thief's knife instantly flashes into his hand, but beforehe can bring it into play, Doc catches his arms.THE KNIFE IS TIGHTLY WEDGED INTO THE THIEF'S HAND. Doc'sfingers are vise-like at his wrist.THE OTHER PASSENGERS REMAIN PRE-OCCUPIED AT THE OTHER end ofthe car, taking no note of the quiet encounter.THE CONDUCTOR IS STILL AT THE OPPOSITE END OF THE CAR fromDoc and the Thief. He continues collecting and punchingfares.INT. STATION GATE - DAYCAROL IS EXITING. THERE IS AN ANNOUNCEMENT OVER THELOUDSPEAKER -- the train has left.INT. TRAIN - DAYTHE CONDUCTOR AS SEEN BY THE THIEF'S WIDENING EYES. Hemethodically punches the tickets, never looking more than twoseats ahead.THE THIEF'S EYES BULGE AS DOC CHOPS HIM ON THE WINDPIPE. TheThief goes out. Is he dead?DOC CHOPS HIM AGAIN. IF HE ISN'T DEAD HE LOOKS IT.Doc pulls the Thief's hat down over his head. 64.INT. STATION - DAYCAROL CROSSES INTO THE STATION, TAKES A DEEP BREATH.Sits... waiting. The soldier comes by, stops. She doesn'trecognize anything.INT. TRAIN - DAYTHE CONDUCTOR ARRIVES AT THE LOUNGE CHAIRS WHERE DOC AND THEthief are seated. He stops in the aisleway, expectantlyleaning in Doc's direction. CONDUCTOR Tickets?As Doc takes out his wallet, peels a fifty out and gives itto him. DOC End of the line. Two. CONDUCTOR (grumpily) All right.The conductor cuts the fare receipt and begins to makechange.THE THIEF SITS FACING THE WINDOW LOOKING VERY DEADINT. CLINTON'S FORD - DAYRUDY SITS IN THE BACK SEAT AS HAROLD CAUTIOUSLY MOTORSDOWN the highway. With his one good arm, Rudy cares for thekitten resting in the cardboard box on the back seat. RUDY Talk a little, Harold, loosen up... good for you.Harold works his jaw, his grip tightens on the wheel. FRAN (chuckling at Harold) Something ought to loosen him up ... how comes we're going to El Paso, Rudy? RUDY I Just want to find a suitcase. 65.INT. KITCHEN - BEYNON'S RANCH - DAYBEYNON'S BODY REMAINS OUT OF SIGHT behind the overturnedkitchen table... a small trickle of blood oozes out fromunder one of the table legs.The Accountant stands with Cully, Hayhoe and Swain staringdown at Beynon's body. ACCOUNTANT They may still be going to Nogales. SWAIN What about Laughlin in El Paso? ACCOUNTANT Cover both, get someone down there... either Rudy and McCoy's got half a million. SWAIN They've got to switch cars. ACCOUNTANT Put out the word. HAYHOE (looking back at Beynon) What about Jack? ACCOUNTANT Tonight... take him out in the country, throw him down a dry well, if you can find one.INT. PULLMAN CAR - DAYAS DOC THUMBS IDLY THROUGH THE NEWSPAPER. He is suddenlyshowered with spurting water. He lowers the paper and looksto the aisle, seeing:A SEVEN YEAR OLD BLACK PANTHER, dressed appropriately andholding a water pistol. KID Stick 'em up!Doc looks at the brat. KID (CONT'D) (continuing) I'm gonna shoot you... (CONTINUED) 66.CONTINUED:He squeezes the pistol's trigger, two bursts of water land onDoc's shirt front. Doc continues staring at the boy. The kidlooks hard at Doc, not giving an inch. DOC Come here a second...Doc takes the boy's arm, gently pulls him closer. DOC (CONT'D) (continuing) Look, I'm sure you're a nice kid and that your mother's nearby...Now you better get back to her real quick or I'm going tobreak your little arm... okay?Doc releases the boy. The kid looks at Doc for a moment thenbursts into tears and retreats at a dead run back down thepassenger car aisleway. Doc again lifts the paper, turning tothe sports page.INT. STATION - DAYCAROL WAITS IN THE STATION. (A SERIES OP ANGLES ANDDISSOLVES)INT. PULLMAN - DAYDOC LIFTS THE SUITCASE AS THE CONDUCTOR APPEARS at thevestibule at the opposite end of the car and announces thenext stop. Doc prepares to get off. The passenger car remainssparsely populated. No one occupies the seats near thecorpse.EXT. FIRST TRAIN CONCOURSE - SERIES OF ANGLES AND DISSOLVES -EARLY MORNINGCAROL SITS WATCHING THE PEOPLE -- she gets up, doesn't knowwhere to go... sits down again... fear and anticipation onher face... stands up... ready to go where? Ready to sit downagain, she looks up.DOC CROSSES SLOWLY TO HER CARRYING THE SUITCASE. Carolreacts... pleased to see him... pleased that he's back...until. DOC (steely) Your kind of mistakes are going to land me back in Huntsville. (CONTINUED) 67.CONTINUED: CAROL (nailing him) I wouldn't worry Doc. I can always get you out... I'll screw every prison official in Texas if I have to. DOC Texas is a big state. CAROL I can handle it. DOC I'll bet you can. CAROL You'd do the same for me, wouldn't you, Doc? (rising tone) If I was caught, wouldn't you?Doc is silent. After a long pause. CAROL (CONT'D) (continuing - quietly) When we had trouble before it was different. DOC (nodding) You don't like the way things are, I don't like the way things CAROL What do you want to do? DOC Maybe we should split up... I'll cut the money with you. CAROL Do you mean that? DOC I mean it.A long pause. Maybe she wonders; what if he is lying but whatif he isn't? Temptation? She makes up her mind. CAROL No... I don't want to leave. 68.INT. PASSENGER TRAIN - EARLY EVENINGDOC AND CAROL WATCH THROUGH THE DOUBLE WINDOWS AS THE trainyard lights of a town go strobing by.EXT. SECOND TRAIN CONCOURSE.DOC AND CAROL COME DOWN OUT OF THE GANGWAY OF ANOTHER trainand turn up the pavement toward the main part of the depot.Doc continues holding the suitcase as they walk. DOC We'll grab a room for tonight then you go out tomorrow and buy yourself some new clothes, pick some up for me... Grab some food now, paper bag it, we eat in the room. CAROL (cutting in) You've got all the answers. What about when they find the body on the train? DOC When they find it, they find it.To the cops a description's only good if there's a channelfor it, and there's no connection between that stiff and therobbery. CAROL You've got it all figured. DOC (looking at Carol and thinking about Beynon) No... there's a couple of things I'm still working on. CAROL Like what?But Doc doesn't answer.INT. TRANSIT HOTEL - NIGHTDOC LIES NEXT TO CAROL. Carol is eating a hamburger wrappedin wax paper. She passes one over to Doc along with somegreasy french fries and a couple of napkins .The Suitcase has been placed on the small writing desk acrossthe room. Doc silently munches his hamburger. (CONTINUED) 69.CONTINUED:Doc glances at the poster rolled up. Carol hasn't put it upon the wall yet. CUT TO:INT. FIRST TRAIN - NIGHTTHE TRAIN GOES CLICKETY CLICK THROUGH THE NIGHT, the youngpanther is stalking and prowling among the sleepingpassengers. His Mother catches him, takes him back to hisseat.INT. TRANSIT HOTEL - NIGHTCAROL IS BUSY UNBANDING THE MONEY PADS. A LARGE STACK OFdiscarded wrappers have been placed in a metal trash can nearher leg. Behind her, Doc, now in his undershirt, reads aTexas newspaper.CAROL CONTINUES TO LOOSEN THE GREENBACKS. She is surroundedon the double bed by stacks of money. She lights a match,drops it into the wastebasket. The money bands quickly burstinto flames, consume themselves, then die back into crinklyashes. DOC (not looking up) There may be a hunting party. CAROL Why, there's nothing on the news? DOC I didn't mean police.He continues thinking. Carol watches him for a moment. CAROL Tell me about it.Doc looks across at her. DOC (calmly) Loredo is out. I've been thinking about Rudy. If he was on his own, we're okay. If Beynon bought him out...Doc looks at her. CAROL What? (CONTINUED) 70.CONTINUED: DOC If Beynon bought him out, and he talked then maybe Beynon's boys will be waiting for us in El Paso.Rudy knew about Laughlins. CAROL You're full of ifs. DOC I think you liked it with him.I think he got to you. CAROL Maybe. At least I got to him. (pause) Where do we go from here? DOC El Paso.INT. FIRST TRAIN - NIGHTA WATER PISTOL APPEARS AROUND THE CORNER OF AN EMPTYPASSENGER CHAIR. The seven year old brat squeezes off severalplumes of water. The Thief is hit by the gun's spray, waterruns slowly down his ear and the back of his neck. KID Bang!THE BOY WATCHES THE IMMOBILE MAN. He fires again, once againthere is no reaction. The brat steps forward... smiling, hepushes the thief's arm, pushes harder.THE THIEF'S BODY SUDDENLY FALLS BACK ACROSS THE CHAIR. Hiseyes roll upward... staring at the panther. His neck isbruised, he pushes his hat back slowly. THIEF (very hoarsely) Get me a doctor.INT. HOTEL ROOM - NIGHTCAROL SLEEPS ON HER STOMACH, her head resting across one arm.Doc lies beside her, eyes open. He looks over at Carol amoment, noting the long strands of hair that moverhythmically back and forth from her gentle breathing. Aftera moment Doc quietly stands, moves to the writing table andstares at the black suitcase. (CONTINUED) 71.CONTINUED:He opens the valise and lifts the large stack of greenbacksinto a shaft of light coming through a crack in the drawnshade. Still holding the money, Doc looks back at Carol.ONE LAST TIGHTLY BOUND MONEY PAD - NIGHTPrinted clearly on the brown wrapper.FIRST BANK OF BEACON CITYBEACON CITYCOMMONWEALTH OF TEXASINT. POLICE STATION - NIGHTA PLAINCLOTHES OFFICER HOLDS A SIMILAR MONEY PAD with hishandkerchief. The Panther is sitting with his mother on anearby seat. Still dressed in his panther suit, but no longera brat. His face reflects both fear and shock.THE THIEF IS WITH THEM, BANDAGED AROUND THE THROAT PLAINCLOTHES OFFICER (to the Thief) Where did you get it? THIEF (hoarsely) It was a gift.INT. BEDROOM - MORNINGCAROL COMES IN. SHE IS WEARING A NEW SUIT, SANDALS It looksgreat... She tosses a package on the bed.Doc looks at her outfit and opens his. They are too flashy. DOC Thanks. (as Carol starts to speak) You look great, just great...They could pick you up for soliciting in ten minutes. CAROL That would be the first time. DOC (angry) When are you going to learn? CAROL I did I killed a man. (CONTINUED) 72.CONTINUED:Doc throws his clothes away. DOC (laughing) And that could be all for you., baby.Carol suddenly angered slaps him.Doc immediately delivers her a stinging blow.Carol hits the wall then stands stunned as he quietly tieshis laces and pulls on his jacket. Doc stuffs the Colt .45into the flapped outside pocket along with 2 clips. He turnsto the bed and picks up the suitcase.Carol continues looking at Doc. DOC (CONT'D) Now you learn3 this time it could be the chair for both of us.Carol starts to speak. DOC (CONT'D) (continuing) From now on you just shut up and do as you're told. CAROL If I hadn't killed Beynon., you would have.Doc doesn't answer. He turns and exits. She follows.INT. POLICE STATION - MORNINGTHE CONDUCTOR, THE THIEF AND THE PANTHER STUDY THREE TELEXPICTURES OF MEN LOOKING SOMETHING LIKE DOC.Printed at one side of the photographs are their criminalrecords.THE SENIOR DETECTIVE AND THE TWO PLAINCLOTHESOFFICERS are seated within the Communication room of thedepartment. The transcriber comes to life as the cylinderreceiver begins to turn.THE CYLINDER RECEIVER - ANGLESTHE CYLINDER NOW REVEALS DOC MeCOY'S FACE. 73.CONDUCTOR, MOTHER AND SON AND THIEFYes, that's him. No question about it. That's him. DETECTIVE (pointing to the thief) How about him? THIEF (hoarsely) Listen, I'm a friend of the Court. DETECTIVE You are here because you're under arrest.A TRANSISTOR RADIO - MORNINGON A BEDSTAND. THE FREQUENCY HAND INDICATOR GLOWS with ayellow light. RADIO ... The man has been positively identified as Carter Doc" McCoy, only recently paroled from a penitentiary where he was serving time for armed robbery. He is believed to be travelling with his wife, Carol Ainsley McCoy... (ad libs)INT. AUTO COURT MOTEL - MORNINGRUDY REACHES OVER TO THE NIGHTSTAND AND SHUTS OFF the radio.His eyes stare vacantly ahead for a moment.HAROLD CLINTON IS TIED SECURELY INTO A CHAIR, his mouthtightly gagged.RUDY BEGINS TO SMILE. FRAN IS NEXT TO RUDY WITHIN THE bed,wearing only a bra, sleeping, one arm wrapped around Rudy'smiddle. RUDY How you doing over there, Harold? You sleep okay last night? Good. I'm glad to hear it. Did you listen to the news? That means we don't have to drive so hard today, Harold... we're gonna be travelling a lot faster than they are... We got a lot more time than I figured. (CONTINUED) 74.CONTINUED:Rudy continues smiling. He pulls the sheet away from Frank,then allows his hand to reach down, cupping her breast frominside the bra. Fran half awakens, pulls herself closer toRudy.INT. ACCOUNTANT'S OFFICE - DAYHAYHOE, THE ACCOUNTANT and the rest of the boys are sittingin the office waiting.INT. CAR - DAYRUDY IS DRIVING NOW, Fran and Harold are not speaking.INT. CAR - DAYDOC AND CAROL. DOC IS DRIVING. They are also silent.INT. LAUGHLIN HOTEL - EL PASO - MORNINGCANNON (one of the Accountant's boys, whom we have not seenbefore) ENTERS THE DARK NEARLY DESERTED LOBBY and approachesthe reception desk. The large room is populated byoverstuffed and threadbare furniture.LAUGHLIN looks very much like Dub Taylor and speaks Spanishjust about as badly. He flashes a quick grin from behind thecounter as Cannon draws near. At the switchboard behindLaughlin, CARMEN, maybe 35, sits next to the telephone jacks(all of them idle) readinc a movie magazine. CANNON You Laughlin? LAUGHLIN (Mr. Friendly) Yes, sir, and that's my wife and that's Junior.Laughlin indicates a seventeen year old BELLBOY sleeping inone of the overstuffed chairs. CANNON Congratulations. I need a room. LAUGHLIN No trouble. You came to the right place, one thing we got is a lot of rooms. What else can I do for you? 75.INT. DOC AND CAROL'S CAR - DAYAS IT MOTORS DOWN THE TEXAS HIGHWAY. The black suitcase ispropped up between Doc and Carol in the front seat. Doc,seated on the passenger side, bangs the car radio with hishand. The radio is obviously not working as he turns thedials and pushes the buttons. DOC (cajoling it) C'mon workl I (almost pleading) C'mon.We hear garbled words for a moment, pleasing Doc... and thenthe radio conks out again. This time Doc hits the radio hard. DOC (CONT'D) (angrily to the radio) Give me the news!!When it is clear that the radio won't work: DOC (CONT'D) You can't trust anything these days. CAROL I'll tell you something, Doc. One day you're going to have to trust somebody...DOC SLAMS THE BRAKE, GRABS THE WHEEL as the car veers over tothe side of the road. DOC I trust... (he opens the black suitcase) Want to see what I trust... In God we trust... (he pulls out a bill and points at it) The word's on every bill!!! CAROL (slamming the suitcase closed) You keep it up and it won't matter how far we get away, because it's going to be all over between you and me. Do you understand that? There won't be anything left.She starts the car up again, and continues driving, herknuckles tightening around the steering wheel. 76.INT. CLINTON'S FORD - ANGLES - DAYAS IT LEISURELY MOVES ALONG THE ROADWAY BORDERED BY MILES OFSAGEBRUSH. Harold drives, Fran is again in the front seatbeside her husband... a scrunched up sack of food beside her.She wipes her mouth with a napkin, shoves it inside the paperbag, then turns to watch the passing scenery. Rudy sits inthe back, eating spareribs. He suddenly throws a justfinished bone at Fran, hitting her on the shoulder. RUDY Have a bone, baby.He throws another sparerib at Fran. FRAN (shouts) Oh, Christ, you wrecked my blouse.God damn it, Rudy, what did you do that for? Jesus. RUDY (laughing) I'll tell you why I did it... it makes me feel good.He laughs and again throws another bone at Fran. She suddenlycatches his mood and begins laughing herself ... tossing abone back at Rudy.HAROLD CONTINUES DRIVING. His knuckles whiten around thesteering wheel as a sparerib bounces off the window in frontof him.THE KITTEN IS SLEEPING WITHIN the cardboard box, oblivious toRudy and Fran's laughter. (That will be the day.)EXT. SMALL TEXAS TOWN - DAYTHE CHEVY MOVES ALONG with the light mid-day traffic, passingvarious roadside business establishments, then pulls upbefore a radio/TV repair and sales shop.INT. RADIO/TV STORE - DAYALL THE LATEST MODEL RADIOS are stacked on shelves around thesmall room... a television display featuring several modelsis in one corner of the shop. Another TV is playing near thecounter and the PROPRIETOR'S desk. DOC A portable. (CONTINUED) 77.CONTINUED: PROPRIETOR Transistor? DOC Yeah.The Proprietor moves to a shelf.THE SCREEN. As Doc's picture suddenly flashes onto the tube,with appropriate dialogue.DOC STARING AT THE TELEVISION, then he quickly reaches overand snaps the set off.THE PROPRIETOR BRINGS OUT SOME RADIOS, seemingly oblivious toDoc's action. PROPRIETOR 15 to 55 dollars -- take your pick.DOC TURNS, then looks at the corner of the small shop.ALL THE TELEVISION SETS have Doc's picture on them.DOC TURNS BACK TO THE PROPRIETOR -- the man is looking at himnot at the sets. DOC (paying) Fifty --Taking a set, he exits. PROPRIETOR You have change.But he doesn't answer.INT. CAR - DAYCAROL TURNS AS DOC STICKS HIS HEAD through the open door,hands her the set. DOC We got trouble. Let's take a walk.DOC AND CAROL WALKING UP THE SIDEWALK OP THE SMALL TOWN. Theyturn into a Sporting Goods Store. The Chevy is behind them, ablock away. 78.INT. RADIO/TV STORETHE PROPRIETOR LOOKS CAREFULLY OUT THE WINDOW AT THE emptycar, then turns and grabs his telephone.INT. SPORTING GOODS STORECAROL REMAINS BY THE FRONT WINDOW, PRETENDING TOEXAMINE some fishing equipment as she keeps her eye on thestreet.Doc moves to the counter at the rear of the store. AnATTENDANT moves up to help Doc. SALESMAN (with a smile) Can I help you? DOC Sure can. I'd like an Invicta 12-gauge pump with the twenty-inch barrel. SALESMAN All right. Shells? DOC Two boxes of double-ought buck. SALESMAN Gonna knock down a wall? DOC (big smile) Might try that.The Salesman puts a form in front of Doc then goes to the gunrack behind him, lifts off a short-barreled shotgun andbegins to wrap it. SALESMAN Sign here.CAROL, AT THE FRONT OP THE STORE, WATCHES THE STREET INTENTLYEXT. THE STREETTHE RADIO-REPAIRMAN EXITS THE SHOP AS A POLICE CAR comes downthe street and makes a U-turn... stopping near the Chevy.After a brief conversation the Radio-Repairman goes backinside his store and the police car pulls forward, down thestreet from the Chevy. 79.INT. POLICE CARTHE TWO COPS LOOK LIKE HOMER AND JETHRO. Both men stare hardat the now staked-out Chevy.CAROL -- WATCHING PROM THE WINDOW OP THE SPORTING GOODS STOREAT THE COUNTER THE SALESMAN LAYS OUT THE GUN AND THE BOXES OFSHELLS. As Doc empties the loose shells into his coat pocket:CAROL TURNS, LOOKS AT DOC, THEIR EYES MEET. Doc reads her; heknows that the police are in the street.AT THE COUNTER THE SALESMAN PUTS A STRING AROUND THE BROWNPAPER SALESMAN Be one hundred and eighty-five thirty- two.Doc quickly pays the man. DOC Much obliged.Doc turns as the Salesman drifts over to another Customer --he approaches Carol at the store window. CAROL Only one car. DOC Let's do it.Carol moves ahead of Doc,, exits the Sporting Goods Store andstarts up the sidewalk.DOC WATCHES HER FOR A MOMENT, THEN HEADS FOR THE DOOR HIMSELFEXT. SIDEWALKCAROL WALKS ALONE BACK TOWARDS THE CAR.INT. POLICE CARHOMER AND JETHRO CONTINUE STARING AT THE CHEW. Their car ispointed towards the Radio Store, its back to the SportingGoods house.DOC LEAVES THE SPORTING GOODS STORE, CROSSES THE STREET andbegins walking up the opposite sidewalk, back towards theChevy. 80.CAROL PASSES THE POLICE CAR AND NEARS THE CHEVYINT. POLICE CARTHE TWO RURAL COPS MOVE INTO ACTION; their car pulls forwardand parks diagonally across the street, partially blockingthe roadway as xvell as nearly obstructing the Chevy.CAROL STANDS FROZEN AS HOMER AND JETHRO HOP OUT OF THE POLICEcar, guns drawn.DOC CROSSES THE STREET BEHIND THE COP CARHE LEVELS HIS big gun...Doc FIRES the shotgun through the "brown wrapping paper pointblank into the squad car, caving in one side of the machineand blasting the radiator into a steaming wreck.Homer and Jethro hit the ground, paralyzed with fright astheir car EXPLODES behind them.With three more BLASTS Doc blows most of the top off thepolice car then calmly reloads. DOC Slide those guns!The two cops send their guns clattering across the pavement.CAROL HAS INSTANTLY MOVED BACK INTO THE CHEVY, started theengine and begun maneuvering it out onto the street. Shemakes a U-turn, then pulls up near Doc.DOC STEPS FORWARD, KICKS THE TWO PISTOLS BACK UNDER thepolice car near the gas tank.He walks to the back of the car.Carol throws open the passenger door of the Chevy.Doc SHOOTS the gas tank of the squad car, it instantlyignites.Walking calmly around the burning police car Doc then startsto climb into the Chevy.Carol REVS the engine.Doc pauses a moment, looking back at the prone policeofficers and the blazing automobile. (CONTINUED) 81.CONTINUED:Carol guns the car forward -- Doc, unprepared for the Chevy'ssudden movement, falls flat on his face across the pavement.CAROL THROWS THE CHEVY INTO REVERSE, AND ROARS back to pickup Doc.DOC, A LITTLE CHAGRINED, PICKS HIMSELF UP, GRABS his gun andjumps into the Chevy. He slams the door closed, Carol againtears forward -- tires peeling down the pavement.HOMER AND JETHRO RAISE THEMSELVES. With very long faces theystudy the burning remains of their once proud squad car.EXT. HIGHWAYTHE CHEVY SPEEDS OUT OF TOWN,, onto an open stretch of road.INT. CHEVYDOC JAMS ONE MORE SHELL INTO HIS PAPER-WRAPPED gun -- Carolgrips the wheel tightly concentrating on the road... theChevy continues to accelerate.EXT. HIGHWAYTHE CHEVY CROSSES THE ROAD'S BROKEN WHITE LINE and passes alumbering Greyhound bus.DOC, STARING AT THE HIGHWAY BEHIND THEM; the bus fades offinto the horizon... DOC (finally) Here.THE CHEVY PULLS OFF THE HIGHWAY, MOVES UP A DIRT road fortwenty yards then pulls into a cornfield of a well laid outfarm, smashing through the six foot high stalks. Well out ofsight, the Chevy slams to an abrupt halt.DOC AND CAROL, RUNNING THROUGH THE CORNFIELD AND BACK UP THEDIRT road toward the highway. Doc still carries his gun inthe brown wrapping paper. Carol labors with the suitcase asshe runs.ON THE HIGHWAY DOC STANDS IN THE MIDDLE OF THE ROAD, wavingboth arms overhead. The Greyhound bus comes to a lurchinghalt, Doc and Carol scramble aboard.INT. BUSDOC BUYS TWO FARES FROM THE SCOWLING GREYHOUND DRIVER. Thebus again moves forward. (CONTINUED) 82.CONTINUED:DOC AND CAROL SITTING TOGETHER ON THE BUS, Doc hold- 4l4 inghis camouflaged gun. They lean back on their padded seats asthe bus jostles along the road.Suddenly... Two Police Cars pass the bus, SIRENS screaming,lights turning...Doc and Carol's eyes meet...One more Black and White passes the bus and races on down theroad. DISSOLVE TO:EXT. TEXAS TOWN - AFTERNOON 4LDOC WEARS A SUNBEATEN LEATHER JACKET, READING A NEWSPAPER,while leaning against a hot dog stand. One foot rests on thesuitcase. The Invicta has been re-wrapped in a laundry bag.The paper is filled with news of the robbery and a mug shotof Doc.A GREY MERCURY PULLS UP NEAR THE DOGGIE DINER. Carol isdriving. Doc walks up to the window of the car.INT. MERCURYDOC LEANS IN THROUGH THE WINDOW. DOC Where are you going? CAROL El Paso.Doc opens the door and moves into the driver's seat. DOC How much? CAROL Twenty eight hundred.As she looks at him, he smiles: DOC Are you hungry? CAROL Not now.He drives off. 83.INT. CLINTON'S STATION WAGON - LATE NIGHTFRAN IS CUDDLING WITH RUDY IN THE BACK SEAT. HAROLD I've got to stop. RUDY (as Fran!s hands move over him) I'll tell you when.EXT. HIGHWAY - TEXAS - MIDNIGHT 4LA FRONTAGE ROAD BORDERING THE EDGE OF A GOOD-SIZED TOWN.Carol now driving,, pulls off the highway and into an "Oasis"drive-in restaurant.THE MERCURY COMES TO A STOP WITHIN A ROW OF CARS FACING theindoor portion of the restaurant.DOC AND CAROL - INSIDE THEIR AUTOMOBILE AS THE CAR HOP - askinny girl, wearing a brown jacket and slacks, approachesthe car carrying two menus. She arrives with a smile. Docleans forward, looking past Carol at the waitress, he liftshis hand, not accepting the bill of fare. DOC That's okay, honey. Two cheeseburgers; two coffees and a milkshake. GIRL How about fries? DOC (big smile) Why not?The Car Hop walks back across the raised cement sidewalktowards the kitchen area...INT. MOTEL - NIGHTHAROLD IS TIED TO A CHAIR, RUDY IS LYING ON THE BED, half-clothed, eating chicken, drinking a beer, while Fran slowlystrips down to bra and panties.INT. MERCURY AT THE DRIVE-IN RESTAURANTDOC AND CAROL WATCH AS THE CAR HOP PREPARES to bolt theserving tray onto the car-door window. GIRL Could you roll it up part way? (CONTINUED) 84.CONTINUED: CAROL Sure thing.The girl clamps the tray to the window. The Car Hop narrowsher features, looking at Doc and Carol then smiles and turnsand heads back toward the kitchen.DOC REACHES UP AND CASUALLY ADJUSTS THE REAR VIEW MIRRORTHE MIRROR HAS BEEN TURNED TO REVEAL THE HIGHWAY AND THEENTRANCE TO THE DRIVE-IN'S PARKING LOTCAROL BEGINS TO EAT, she looks casually at the mirror.DOC SLOWLY EATS HIS CHEESEBURGER, TAKES A SIP OF MILKSHAKECAROL REACHES FOR HER COFFEE, spills it and then reaches forthe light switch knob on the dashboard.THE MERCURY'S HEADLIGHTS BLINK ONTHE CAR HOP AT THE PICK-UP STAND, notes the lights 429 thenturns her head the opposite direction, pretending not to see.DOC WATCHES THE WAITRESS TURN AWAYTHE CAR HOP STARES AT THE CEMENT PAVEMENT. Within the kitchenbehind her the cooks all look toward the parking lot... theirfaces expectant.DOC WATCHING THE WAITRESS DOC She made us.Carol looks into the rear view mirror. Across the wide lot apolice car appears, cutting in off the highway.Doc goes into the back seat, Carol kicks the engine over,jams the stick into gear. All this is accomplished whilestaring into the rear view mirror.DOC LIFTS THE LAUNDRY BAG-COVERED SHOTGUN onto his lap.THE POLICE CAR cruises slowly along the line of autos...INT. POLICE CARTWO OFFICERS SCAN THE PARKING LOT. THE PASSENGER COP CRADLESa riot gun. PASSENGER COP Mercury. (CONTINUED) 85.CONTINUED:THE SQUAD CAR PULLS TO A STOP FIFTEEN FEET behind theMercury, seemingly blocking the way. DOC Now.CAROL STANDS ON THE ACCELERATOR. THE MERCURY GOES screamingforward, as Doc shoots out the back window. Then, as theterrified cops duck to the side, he shoots out their frontwindshield. The Mercury bounces up across the sidewalk as theempty plates and glasses topple off the serving tray and rollacross the concrete. The car slams back down through a vacantspace on the opposite side, and moves around in a semicircleacross the asphalt, heading for the highway exit.DOC SMASHES OUT THE REAR WINDOW with the butt of his shotgun.THE BLACK AND WHITE NOW IN REVERSE, ZOOMING BACK, trying toget between the Mercury and the highway.CAROL BRINGING THE CAR AROUND, SHE CAN SEE THE SQUAD CARstreaking backward. She pulls the wheel to the right andbrings her car across the front of the still stopping PoliceCar.THE OFFICERS TRY TO BRING THEIR GUNS INTO PLAY AS THE Mercurystreaks in front of them.DOC FIRES THE SHOTGUN TWICETHE POLICE CAR EXPLODES. THE HOOD IS LIFTED OFF THE CAR. BothOfficers jump out of the vehicle, pouring shots after theretreating Mercury.CAROL - SCREAMING AS THE FRONT AND BACK WINDSHIELDS SHATTERaround her.THE MERCURY, BADLY RIDDLED, PULLS OUT ONTO THE HIGHWAYANOTHER SQUAD CAR COMES SPEEDING UP in the oppositedirection. The Driver hits the brakes, the tires smoke alongthe street as the Black and White SCREAMS to a stop.CAROL PULLS THE MERCURY BY THE SQUAD CARDOC FIRES ANOTHER TWO BURSTS...THE POLICE CAR - THE FRONT AND BACK FENDERS ARE HIT; thewheels disintegrate - the impact of the shells rocks theBlack and White upward. (CONTINUED) 86.CONTINUED:THE SECOND PASSENGER COP, FIRING A .38 OUT HIS BACK WINDOW atthe Mercury as it streaks down the road. Three holes open upon the trunk of the auto.DOC CAN SEE BOTH OFFICERS JUMP OUT OF THE SECOND Black andWhite through the rear window. Carol makes a quick turn offthe highway.THE MERCURY ROARS DOWN THE DARK STREET INTO THE CITY'SCOMMERCIAL SECTION, suddenly slow, makes another sharp turn -this time through a red light.DOWN A SMALLER STREET FILLED WITH SHOPS - CAROL ROUNDS THECORNER, whips up to the curb - Doc and Carol jump out of thecar. She carries the suitcase, he hangs onto his big gun.DOC AND CAROL, MOVING DOWN A DESERTED SIDEWALK; the SOUND ofsirens. They round a corner, then quickly move into an alley.THE ALLEY IS NARROW, DESERTED. DOC AND CAROL pull back intoan alcove as a prowl car goes SCREAMING down the street andoff into the night. They continue down the alley.THE OPPOSITE ENTRANCE TO THE ALLEY IS BLOCKED BY a largemetal garbage container, and the DRIVER empties two cans ofgarbage into it. Then he starts across the narrow streetbeyond in order to grab several others.DOC LOOKS BEHIND HIM, THEN GRABS CAROL'S ARM. They run forthe container. Doc tosses the suitcase into the container,jumps in, reaches back, pulls Carol in beside him. SIRENSagain sound close by.AFTER A MOMENT, A LARGE GARBAGE TRUCK PULLS UP, lifts thecontainer with hooks and dumps the garbage and Doc and Carolinto the truck.A SERIES OP ANGLES AS A CRUSHER BEGINS TO MOVE TOWARDS THEMINSIDE THE TRUCK. Doc and Carol start to panic, but they haveroom enough.WITHIN THE TRUCK DOC WIGGLES HIS .45 out of his jacket andinto his hand. He, Carol and the suitcase are crushed tightlyamongst the garbage. A moment after Doc frees his gun, a loadof garbage descends on their shelter, partially obscuringthem.THE TRUCK PULLS OUTDOC AND CAROL SWEATING... BREATHING HARD. Again the SOUND ofsirens... the truck lurches forward. (CONTINUED) 87.CONTINUED:THE TRUCK MOVES ALONG THE EMPTY STREETS, passing severalprowling squad cars.EXT. STREETS - SERIES OF ANGLES - SUNRISETHE GARBAGE MAN DRIVING THE TRUCK, MAKING STOPS, throwing inmore refuse. The truck continues along.DOC AND CAROL - THEIR FACES COVERED WITH PERSPIRATION andflies... buried within their enclosure under the moistgarbage.A GARBAGE DUMP - MORNINGTHE TRUCK GROWLS ALONG THE RUTTED PATHWAY surrounded by acresof open trash. Areas within the dump reveal the slow,smouldering fires...THE TRUCK BACKS UP TO A HUGE CRATER HALF-FILLED WITH REFUSETHE DRIVER REVS THE ENGINE, PULLS THE BED LIFT GEARTHE TRUCK BED RISES AND TILTS FORWARD, as the load of trashtumbles down the face of the crater.DOC AND CAROL SLIDE DOWN THE MOUNTAIN OF FILTH, and stumblingforward they climb into a large cardboard box.THE DRIVER GETS OUT OF THE CAB, checks to see that thegarbage is gone from the truck bed. On his way back to thecab he finds a magazine to his liking near a shredded autotire. With his newly-found prize, the Driver re-enters thetruck and drives away.THE BOX LIES AT THE BOTTOM OF THE CRATER AMONGST the brokenbottles, melon rinds, flashlight batteries, tin cans, usedtires.DOC SAWS AT A CORNER OF THE CARDBOARD BOX with his penknife.The matted paper gives away, allowing them more room withinthe box. DOC Okay? CAROL I think so... I don't know.Doc puts his hand to her face, wiping away a thin trace ofblood from a scratch. DOC It's not deep. (CONTINUED) 88.CONTINUED:Carol tries to smile for the first time in quite a while. CAROL No scars? DOC No scars.Doc looks across the garbage through the open end of thecrate.THE HEAT AND THE FLIES HAVE BECOME UNBEARABLE. Carol beginsto scratch her leg. DOC (CONT'D) Don't scratch it, just rub, you'll get an infection.Carol ignores him, she is in bad shape. DOC (CONT'D) (continuing) Do what I tell you, it's not a game. CAROL It's all a game, don't bother me.Doc stares at the garbage around them. DOC We better stick here till tonight. CAROL (down) Yeah.Doc smiles, trying to get her to smile again. DOC We're going to make it. CAROL (further down) Sure...Carol rubs one hand along her now terribly soiled, tweedsuit.She looks away from Doc. Doc stares at her mussed hair andtear-stained cheeks. DOC I want to say something. (CONTINUED) 89.CONTINUED: (2) CAROL (quiet defeat) I don't want to hear it. DOC (softly) Listen to me. It's hard enough.Carol turns back, faces Doc. Their eyes find one another. DOC (CONT'D) (continuing) Look, what you said yesterday... I guess that was right. It isn't worth anything if we don't make it together. CAROL I don't think we can any more... If we ever get out of here, maybe I should take off... DOC We got this far. CAROL We've come a lot of miles. But we're not close to anything. DOC I guess you're right.A pause. CAROL I always thought jails make people hard. Not you. You're just not tough enough to forget about Beynon. I chose you, not him. DOC Either we pick it up or else we leave it right here. We got to go one way or another. CAROL (setting the condition) No more about Beynon. DOC Whatever happens it's over.A pause. (CONTINUED) 90.CONTINUED: (3) CAROL (not trusting his mouth) Sounds good. DOC You want to try with me? CAROL (smiling) Things can't get much worse can they? DOC I don't see how.A long moment. CAROL (finally talcing Doc's arm) Okay. DOC (slow smile) You and me. CAROL Can we make it? DOC We get to Mexico, we can have a life. CAROL That's all I want... It's the only thing I have ever wanted.As she pulls herself against him: DOC I'm going to try and get it for you.They pull each other closer, tightly holding one another.RUDY IS LYING IN BED READING A NEWSPAPER PILLED WITH DOC ANDCAROL. The fact that they have been seen in the North. Hesmiles.Fran is in the bed beside him asleep naked under the sheets. RUDY (calling softly) Harold, you've had ten minutes, get out of there.No answer. Rudy gets up and crosses to the bathroom. 91.INT. BATHROOM - DAYHAROLD IS HANGING FROM A BRACKET. Very dead and not verypretty. Rudy looks at him, then sits on the John continuingto read his paper.EXT. GARBAGE DUMP - LATE DAYCAROL AND DOC CLIMB OUT OF THE GARBAGE AND BEGIN WALKING HANDIN HAND.INT. CATTLE CAR - NIGHT 48LDOC AND CAROL HUDDLED TOGETHER ON THE FLOOR OF THE EMPTY CAR.They hold one another tightly fighting the cold and therelentless roar of metal wheels.INT. EL PASO SELF-CLEANING STORE - EARLY MORNINGCAROL AND DOC ARE THE ONLY CUSTOMERS. They sit in boothswhile their clothes are being cleaned (doors open at bottom).INT. MEN'S ROOM SERVICE STATION - DAYDOC AND CAROL WASH THE GRIME FROM THEIR HANDS AND FACES.EXT. NEW CONSTRUCTION - EL PASO - EARLY EVENINGDOC AND CAROL WALK THROUGH LIKE TOURISTS.INT. LOBBY OF LAUGHLIN'S HOTEL - EL PASO - MORNINGRUDY AND FRAN ENTER THE HOTEL, EACH OF THEM CARRYINGOVERNIGHT BAGS.Cannon watches them from across the room, carefully cleaninghis teeth with a cinnamon toothpick.INT. FOURTH FLOOR CORRIDOR LAUGHLIN HOTEL - MORNINGLAUGHLIN LEADS RUDY AND FRAN down the dark-walled hallway,stopping before room number 4l8. Laughlin turns the key inthe lock, opens the door. LAUGHLIN It's hard to figure. There's something about the composition of the track at Pimlico... You can't go by the clock, any speed horse, take a second off any other track in the country.INT. ROOM 418 92.AS THE GROUP ENTERS. LAUGHLIN (continuing) ... but a speed horse is the only thing that consistently holds form. They got to let 'em run, dumb God damn trainers try to rate 'em, just breaks their heart.Rudy kicks the door shut with a slam, grabs Laughlin'sshoulder, spins him around, hits him full in the stomach. AsLaughlin begins to fall Rudy catches him, wallops him againin the mid-section, then throws him back into a rattyarmchair. Rudy instantly pulls out his .44 and shoves it hardagainst Laughlin's mouth. RUDY Okay, sweetpea, you get two choices. Live or die. RUDY (CONT'D) Do what I tell you, you not only get to live, but maybe you'll pick up some money. LAUGHLIN (still breathless) Just tell me. RUDY First things first. Main thing, you work for me, otherwise I get you. If I don't, six months from now one of my friends will.EXT. EL PASO STREET - DAYCANNON AT PHONE BOOTH. HE SLIPS A DIME INTO THE SLOT.INT. ACCOUNTANT'S OFFICE - DAYTHE ACCOUNTANT HANGS UP THE PHONE. ACCOUNTANT El Paso. Laughlin's. Rudy's arrived.DOC IN PHONE BOOTH PLACES CALLINT. LAUGHLIN'S HOTEL 93.LAUGHLIN PICKS UP THE PHONE. LAUGHLIN Sure, Doc. I can do it. Just like old times... Yeah, it's a nervous way to live.EXT. EL PASO STREET - NEXT DAY - EARLY AFTERNOONCAROL AND DOC SIT ON A WOODEN BENCH AT A PARK NEAR THE HOTEL.THE BLACK SUITCASE is on the ground.ACROSS THE STREET FROM THE BENCH IS LAUGHLIN'S. FOUR storiesof red brick.A DOC GETS UP AND CROSSES TO THE HOTEL WITHOUT THE BAGINT. LAUGHLIN'S HOTEL - DAYDOC ENTERS AND CROSSES TO LAUGHLIN WHO IS BEHIND THE DESK.The switchboard is now vacant. DOC Jimmy. How's it going? LAUGHLIN (shaking hands, laughing) Good to see you, Doc. (handing him a paper) It's all there, departure, arrival - everything except the $500.Doc pays him, looks closely into his eyes. Jimmy hasn'tchanged and it's set. DOC How's Mama and the kids? LAUGHLIN Growing -- all of them - every day. (then) 318, you'll be the only ones on the floor. DOC My lady'11 come in in about five minutes. Have some food sent up in half an hour. LAUGHLIN Just sandwiches... DOC Right. (CONTINUED) 94.CONTINUED:He picks up the room key. Doc starts for the elevator. DOC (CONT'D) When she gets here, have that kid of yours help her with the suitcase. LAUGHLIN He took the day off. DOC Then you do it. LAUGHLIN Can't leave the desk.Doc gives Laughlin a half-pissed look, then crosses to theelevator and pulls the cage door open.LAUGHLIN WATCHES THE RICKETY, self-service elevator moveupward. He reaches for the desk phone.INT. ROOM 4L8 - DAYFRAN, WEARING ONLY A BATHROBE, is doing her nails whilewatching an old movie on the black and white tube, seated onthe bed. The phone begins to RING.Fran looks over to Rudy from her overstuffed armchair. RUDY Okay, Grunt, pick it up.ELEVATOR DOORS - THIRD FLOORCAROL EMERGES THROUGH THE SLIDING DOOR AND TURNS DOWN THECORRIDOR. She walks slowly, carrying the heavy suitcase.Reaching the door to room 31oj Carol knocks rapidly threetimes, waits, then raps out two sets of two knocks. The doorswings open and Doc stands within the archway. She enters.Doc shuts the door and slips his arms around Carol, revealinghis .45 automatic in one hand.INT. RUDY'S HOTEL ROOMRUDY IS SPINNING THE CHAMBER on his .44 then shoves it intohis coat pocket. Fran is getting dressed in the middle of theroom, her breasts and thighs ripple outward from the confinesof the bra and girdle.THE CALICO KITTEN SLEEPS PEACEFULLY IN ITS cardboard box. 95.INT. BATHROOM 3L8CAROL IS IN THE SHOWER, STEAM HANGS IN THE AIR as shevigorously soaps her body, cleansing herself of the residueleft from their cross-country flight.DOC IN THE MAIN ROOM IS STANDING AT THE LARGE windows facingacross to the building next to Laughlins. The fire escape isone story beneath him. Doc crosses, throws the suitcase onthe bed, undoes the straps and snaps, lifts the lid open. Hestares at the huge amount of money for a moment, then digsinto the suitcase, reaching down to the bottom. He withdrawshis hand, holding four visas.. He puts two of them on thebureau drawer top... the other two he begins to tear intosections and places them into a large ashtray. He touches amatch to the scraps.THE FLAMES CURL AROUND RUDY'S PHOTOGRAPH in the ashtray.EXT. AIR TERMINAL - EL PASO ENTRANCE - DAYTHE ACCOUNTANT., SWAIN, CULLY AND HAYHOE APPROACH A PARKEDOLDSMOBILE... A HOOD IS DRIVING.INT. ROOMON THE BED IN DOC AND CAROL'S ROOM, THE SUITCASE IS NOWCLOSED; the .45 automatic sits beside it... Doc's overcoatalso lies across the bedpsread, near it the wrapped shotgun.The poster is again on the wall.CAROL still in the bathroom of room 318. She wears only aslip. Carol is washing out her bra and panties in thewashbasin, using a coarse bar of soap. Doc enters; he beginstaking off his shirt. DOC We've got some food coming, should be here any minute. CAROL Great. I'm going to sleep twelve hours. DOC Ten. Laughlin's going to take us across at four A.M. CAROL (mild complaint) Oh, Jesus... how? (CONTINUED) 96.CONTINUED: DOC Jeep. There's a dry river bed fifteen miles east. He takes us to the Mexican side, drops us off at the airfield by breakfast... we've got a 9 o'clock flight. CAROL (smiles) I'll be ready. DOC (down) Yeah. CAROL What's wrong? DOC (shrugs) I don't know. CAROL Get in the shower. You'll feel okay. DOC (smile) Whatever you say.INT. FOURTH FLOOR HALLWAYAS RUDY AND FRAN EMERGE FROM THEIR ROOM. The door shutsbehind them, Rudy guides Fran to the stairs.INT. BATHROOM 318DOC STANDS IN THE SHOWER, THE HARD SPRAY BREAKING OVER THEBACK OF HIS SKULL. Tired, he closes his eyes, rests the sideof his head against the tile.INT. BEDROOM 318CAROL STILL WEARING THE SLIP, she lies back across the bed.Her eyelids slowly fall shut. Carol has pushed the suitcase,overcoat and .45 off to one side.RUDY AND FRAN COME DOWN THE STAIRS. Rudy puts one hand insidehis overcoat.INSIDE THE OLDSMOBILE - EL PASO CITY STREETSAS THE HOOD DRIVES, SWAIN IS BESIDE HIM IN THE FRONT, CULLY,THE ACCOUNTANT AND HAYHOE ride in the back seat. 97.INT. ROOM 318CAROL IS NAPPING LIGHTLY ON THE BED AS DOC BURSTS out of thebathroom... again dressed in his shorts, holding his pants inone hand. DOC Get upI Carol's eyes snap open. DOC (CONT'D) (continuing) We're moving now!He quickly pulls his pants on... CAROL What is it? DOC Laughlin. He's always got his family around... that wife and kid of his have to stand by his side to make sure he stays off the juice and horses. CAROL So what? DOC If they are not here, he must have sent them away.INT. CORRIDOR THIRD FLOORRUDY AND FRAN STEP INTO THE HALLWAY TOWARD ROOM 3l8a passingseveral rooms. Fran's face is taut. Rudy starts his nervousgrin.INT. ROOMDOC SNAPS HIS ZIPPER CLOSED, REACHES FOR HIS SHIRT. CAROL You're crazy. DOC (hard) Get your clothes on, move your butt.She looks at him, doesn't move. CAROL Sorry. Look, I'm clean. I want to get some rest. (CONTINUED) 98.CONTINUED:She is interrupted by a hard knock on the door. Doc drops hisshirt to the floor. He quickly reaches down, lifts his .45.Doc gestures to Carol... she moves towards the door. CAROL (CONT'D) (continuing; now at doorway) Who is it?INT. HALLWAYFran stands at the door to 318. Rudy is at her shoulder; hehas taken out his revolver. FRAN It's your food, I brought up your sandwiches... INSIDE 318 Carol standing near the door., looks at Doc. He mouths and half-whispers: DOC Stall.Doc whips his pen knife out of his pocket, crosses the roomto the locked door of an adjoining hotel room. He beginsforcing the lock. CAROL Just leave it outside the door... I'm not dressed right now.After a moment: FRAN I can't do that, ma'am. You have to pay now so I can pay back the boy that went out and got the food...DOC working on the door; his .45 shoved into the waistband ofhis pants.CAROL thinking hard... CAROL All right. You'll have to hold on a minute, my husband's in the shower...DOC breaks the lock and opens the door -- he quickly crossesthe dark apartment, moves to the front door, slips out hisautomatic, then gingerly cracks the door. His eyes tighten inamazement as he sees: (CONTINUED) 99.CONTINUED:RUDY STANDING SLIGHTLY BEHIND FRAN, his .44 held tightly upto the door jamb, ready for instantaneous use. Rudy and Franare 15 feet down the hallway from Doc's slightly opened door.They both have their backs turned to him in three-quarterfashion.DOC BAREFOOTED., BARE-CHESTED; he decides on a course ofaction. The door swings quietly open.WITHIN THE HALLWAY, DOC CLOSES THE DISTANCE between himselfand Rudy in two swift strides, Rudy turns,, swinging his gun,too late, as Doc's .45 crashes against his head. Rudy drops.Fran screams. Rudy looks at Doc, still smiling, eyes glazed.He falls abruptly. Doc stands over the fallen body. Francontinues to scream. Doc finally turns away from Rudy,looking now at the screaming woman. He flattens her with aleft hook to the jaw. Fran drops to the floor as if she hadbeen shot. Suddenly everything in the corridor is silent.RUDY'S HEAD IS BLOODIED. He lies without movement.DOC NOW SLAMS AT THE DOOR OF 318 DOC Open it up, it's me.Carol swings the door open. Doc bursts back into the room,grabs his shirt, begins to button it. DOC (CONT'D) (continuing) Come on, come on. CAROL Who was it? DOC Just get your clothes on...THE FOURTH FLOOR CORRIDORAS DOC AND CAROL COME BACK OUT OF 318 they step over thefallen bodies and start toward the waiting elevator.Carol stops as she recognizes Rudy. Doc pulls her along,forcing her to keep moving. Carol again carries the brownsuitcase, Doc holds the shotgun. They go down the back (orfront) stairs. 100.INT. LOBBYTHE ACCOUNTANT STANDS AT ONE CORNER OP THE RECEPTION COUNTERIN THE LOBBY OF LAUGHLINS. Within an alcove behind and to oneside of the desk (the area serving as an office) Cully, Swainand Hayhoe have stretched Laughlin across the pine desk. TheAccountant eyes both the empty lobby and the entrance to thehotel3 acting as lookout.CULLY INSIDE THE ALCOVE LIFTS A SNAPPED OFF LEG of the heavychair to use as a club. The thug turns back to the desk whereSwain and Hayhoe have Laughlin pinioned. CULLY Just tell us the room number.LAUGHLIN LOOKS BACK AT CULLY. He is very frightened but saysnothing.CULLY SLAMS THE WOODEN CLUB DOWN ON LAUGHLIN KNEECAP CULLY Now you want to tell me? LAUGHLIN McCoy's in 318., the other guy's in 420. CULLY Sure about that?He again whacks Laughlin's knee.INT. LOBBY STAIRSDOC AND CAROL EMERGE,, MOVING QUICKLY FOR THE. main entrance.They get five steps before simultaneously seeing theAccountant. CAROL Doc !Doc and Carol freeze for an instant.The Accountant snaps his fingers twice.Cully lowers his club, looks to the Accountant, as do Swainand Hayhoe. The Accountant smiles, staring at Doc and Carol. ACCOUNTANT (calmly to his men) Out here. (CONTINUED) 101.CONTINUED:CULLY, SWAIN AND HAYHOE APPEAR FROM THE ALCOVE BEHIND theAccountant. They look over his shoulder toward the rear ofthe hotel, their eyes finding Doc and Carol.INT. WITHIN THE MAIN LOBBYDOC HAS ONE HAND IN HIS OUTSIDE COAT POCKET, WRAPPEDaround the .45. Carol continues to hold the suitcase up infront of herself, almost like a shield. The distance betweenDoc and Carol and the hotel entrance has been effectively cutoff by the four opponents standing near the reception desk.Carol edges backward a few steps, toward the massive woodenstaircase. ACCOUNTANT Just have her set it down.Doc's hand comes out of his coat pocket, a slow gesturerevealing that his palm is empty. DOC You want it? Come and take it.THE ACCOUNTANT NOW PLANKED BY THE THREE MEN ACCOUNTANT (quietly) Get him.As the three men reach for their guns.DOC MOVES MUCH PASTER. HE DUCKS TO THE RIGHT, levels thedisguised shotgun and fires in the same movement. Thereception desk near the Accountant splinters from the blastand he is hit painfully. The other three men duck away fromthe sudden burst of fire power.DOC AND CAROL JUMP FOR THE STAIRSHAYHOE LEVELS HIS PISTOL AT THE RETREATING COUPLE Anothershot from Doc's riot gun... this one breaking open the floorat Hayhoe's feet and cutting him down at the knees. Cannon,Cully, Swain and Max open fire as they dive for cover. Theymiss their shots, digging up walls, stairs and flooring.ON THE WINDING STAIRWAY DOC AND CAROL FLEE UPWARD Shestruggles with the heavy suitcase, Doc transfers the riot gunto his left hand, pulls out the more accurate .45 to use withhis right. 102.WITHIN THE LOBBY THE SIX MEN SPLIT FORCESCully and the Accountant run to the elevator, enter it, pullthe door shut. Swain and Hayhoe, limping, and Cannon and Maxstart for the stairwell in direct pursuit of Doc and Carol.All the men, save the Accountant, now have guns in theirhands.SWAIN AND HAYHOE CAUTIOUSLY GOING UPWARD. Still below thefirst level landing, their eyes search overhead. The SOUND ofDoc and Carol's pounding feet can be heard.HAYHOE LEANS OUT OVER THE BANISTER, points his gun directlyup and fires.DOC AND CAROL BETWEEN THE FIRST AND SECOND FLOOR landings asHayhoe's bullet tears by, ripping through the wooden banistersupports.INSIDE THE ELEVATOR THE ACCOUNTANT AND CULLY WATCH the arrowindicator pass "Two."DOC AIMING HIS .45 RESTING IT ON THE BANISTER He fires twoshots back down the stairwell.SWAIN AND HAYHOE MOVING UP THE STEPS TWO AT A TIME SuddenlyHayhoe's leg buckles as a .45 slug tears through his hip, theother bullet ripping the plaster wall near his shoulder.SWAIN IS NOW BESIDE THE BANISTER, he points his 54l revolverstraight up... empties it.DOC AND CAROL AS SWAIN'S BULLETS BREAK AROUND THEM. Doc pullsCarol down, lifts the riot gun and fires down the stairwellwith a huge roar.THE STAIRCASE TEN FEET IN FRONT OF SWAIN IS SMASHED by Doc'sblast. Swain has to climb over the uprooted planking tocontinue moving upward. Cannon following.THE ELEVATOR INDICATOR STOPPING AT "THREE"CULLY PULLS OPEN THE DOOR, MOVES OUT INTO THE corridor. TheAccountant remains within the elevator.SWAIN ON THE STAIRWAY FIRES HIS PISTOL UPWARDCAROL, ON THE STAIRWAY ABOVE, AS THE SHOTS SMASH PAST, runsahead of Doc by three steps. They pass the second landing,keep moving upwards towards the third. (CONTINUED) 103.CONTINUED:Doc's focus of attention is downward. He knows that he andCarol are being pursued up the stairwell, but he isn't awareof the fact that the gunsels have split their forces.RUDY ON THE THIRD FLOOR AGAIN RISES LIKE LAZARUS FROM THEDEAD. His head bloodied from Doc's heavy pistol, he slowlywobbles to his feet. Rudy looks down at Fran... she sobsviolently, her back leaning against the wall. Rudy picks uphis .44 then stumbles into the open door of Doc and Carol'sroom. He unsteadily crosses to the bathroom, closes the door.CAROL FRANTICALLY MOVING UPWARD, DOC HAS NOW FALLEN fivesteps behind.DOC FIRES THE .45 DOWN THE STAIRWELL ATSWAIN ON THE THIRD FLOORCully walks cautiously down the corridor, pistol raised. Hemoves toward the landing, having covered one quarter of thedistance from the elevator. The Accountant is still withinthe elevator.Carol comes up the stairwell and looks back for Doc. TheSOUND of Swain's pistol and Doc's answering .45. Carol sensesa movement; she turns and sees Cully's gun leveled at her. AsCarol screams:Doc dives onto the landing facing the corridor... his planeof movement knee high.,, the riot gun in his left hand, .45in his right.CULLY IS HIT IN THE CHEST BY BUCKSHOT. The killing woundsfling him upward as he fires his own gun... his aim destroyedby the death blows,, the bullets stray above Carol, high oftheir mark.DOC FIRES THREE TIMES MORE AT THE ELEVATOR CABLETHE CORRIDOR WALL NEAR THE ELEVATOR IS SMASHED BY ONE OF theriot gun's jumbo shots, as is the top of the elevator. Theplaster flies away revealing further damage. The cables aresmashed, the elevator breaks loose and plummets downward.THE EMERGENCY CABLE, INSIDE THE SHAFTTHE MECHANISM TRANSFERS OVER, line catching within the pulleyhousing. The line snaps taut - halting the speeding car.WITHIN THE LOBBY 104.AS THE ELEVATOR SLAMS TO A WRENCHING STOP FIVE FEETABOVE the floor level. The Accountant bounces from the floorof the car to the ceiling, then back to the floor.Laughlin leans across the reception desk in great pain. Hesees the suspended car through the iron grill door.The Accountant lies completely still on the floor of theelevator. His head and neck twisted at an oblique angle.DOC ON THE THIRD FLOOR LANDINGHE JAMS SEVERAL SHELLS INTO HIS RIOT GUN WHILE HOLDING his.45 ready for an appearance by Swain. Reloading completed, hestands, with Carol. He again begins to move upward.SWAIN FIRES FROM THE STAIRWELLDOC STOPS, SETS BOTH THE RIOT GUN AND THE .45 on 562 thebanister... He waits... on the winding staircase below himthere is a dark movement.DOC FIRES BOTH GUNSTHE STAIRWELL AROUND SWAIN DISINTEGRATES. The thug isobliterated by the firepower.DOC CANNOT SEE THE EFFECT OF HIS SHOTS. He again resumes hisflight upward.INT. DOC'S BATHROOMRUDY HOLDS HIS BLOODY HEAD IN THE SINK BOWL, DUMBLY splashingwater over himself. Carol's underwear is still present.Rudy's pistol lies on the soap tray.THE LANDING AS DOC AND CAROL COME POUNDING INTO VIEW. Nofurther avenues open, they turn down the corridor. Doc grabsCarol and pushes her into the room, past Fran; he kicks thedoor shut.INT. THE ROOMDOC GRABS THE SUITCASE, RUNS TO THE WINDOW, TEARS off theshade, lifts the frame, looks. The drop is too far. He grabsCarol and runs into the hallway.INT. CORRIDORTHEY RUN DOWN TWO DOORS AND BREAK IN. Over the door is thesign "Fire Escape." 105.INT. FIRE ESCAPE ROOMDOC HELPS CAROL OUT ONTO THE FIRE ESCAPE. He aids her withhis left hand, the riot gun now clutched tightly in hisright. He motions, she hands him the suitcase and follows.EXT. FIRE ESCAPETHEY DESCEND THE FIRE ESCAPE. They reach the end. The fireescape stays rigid.Doc cautiously steps on to the tilted steps. He turns andwith the suitcase crosses to the end. Throws the bag and theshotgun across the 6 foot gap to the retaining wall,preparing to jump.RUDY COMES OUT OF THE ROOM ONTO THE FIRE ESCAPE holding his.44. He looks down at Doc, then slowly raises his gun. Carolscreams.DOC JUMPS. RUDY FIRES. DOC IS HIT IN THE SIDE (flesh wound).In the air he spins and lands. Rudy fires again and again ashe runs down the fire escape. Doc rolls, picks up the shotgunand fires.RUDY'S TIME HAS COME. THE JUMBO CHARGES MASH HIM BACK againstthe wall and off the fire escape.CAROL RUNS ALMOST STAGGERING AND GETS READY TO JUMP the sixfeet.THE FIRE ESCAPE. BEGINS TO SINK. CAROL LOOKS AT DOC mutely,as she sinks beneath the retaining wall. DOC (his hand out) Jump!And she does. He catches her and pulls her up.They look at one another for a long moment, then he standsand helps her to her feet, and leaving the shotgun behindthey walk into the alley.RUDY LIES DEAD BEHIND THEMIN A PARKING LOT AT THE END OF THE ALLEY, SLIM, a tough,grizzly Western is about to pull out. Doc opens the back doorand Carol gets in. Doc opens the front door as Slim turns andlooks at him. (CONTINUED) 106.CONTINUED: DOC (.45 in hand, pointing) Drive. SLIM Suit yourself.He lets out a yell and guns across the lot over the four footdrop to the sidewalk and into and off a car and into thestreet. SLIM (CONT'D) (grinning) How was that? DOC (smiling in spite of himself) Just fine. SLIM Where we go in1? DOC Mexico. I'd like to find a quiet place to cross. SLIM Why not?The car pulls forward as the light blinks to green.EXT. STREETAS THE CAR PASSES AN INTERSECTION, SEVERAL POLICE cars can beseen arriving at the front of Laughlins.The car continues moving up the street, then makes a rightonto a larger boulevard.Doc half turns to Carol. DOC You okay? CAROL (nodding) Where do we go from here? DOC I don't know, airport I guess. (CONTINUED) 107.CONTINUED: CAROL They will have our description before we can get a plane. DOC (way down) Yeah. SLIM I guess you ain't gonna shoot me, are you? DOC I kinda doubt it.Slim is obviously pleased that some excitement has come intohis life. SLIM That's good... I'll cooperate, don't worry about that... yes sir, I've had some trouble with the law myself.Doc and Carol look at the man. SLIM (CONT'D) Three years ago I dynamited some fish at the reservoir. CAROL (beginning to laugh) Oh my God. SLIM That little job cost me a hundred dollars... didn't even get to keep the fish. DOC (resigned to the insanity of the moment) Let's just get to the border. SLIM Sure thing, mister, it's coming right up. 'Bout an hour. Quiet crossing that is.EXT. CASETA BRIDGE CROSSING - DAYTHE AMERICAN OFFICIALS SIMPLY WAVE THE CAR BY.At the white line a Mexican CUSTOMS OFFICER emerges from thestation house. As he looks inside the car: (CONTINUED) 108.CONTINUED: OFFICIAL Buenas tardes... Your destination. SLIM (speaking right up) Chihuahua... gonna do some sightseeing.The Official smiles and motions them past.INT. CARAS IT HEADS INTO CHIHUAHUA ON THE MEXICAN SIDE. SLIM Which way? DOC Juarez - Chihuahua City road. SLIM Don't you want to go to the airport? DOC Not now. CAROL How long before this car's hot? DOC (after a moment) Pull over.Slim stops the car near the soft shoulder of the dirt road.Doc looks at Slim. DOC (CONT'D) (continuing) Listen... how much money did you make this year? SLIM (slightly offended) What's it to you? DOC (patient) Come on. How much? SLIM 'Bout five thousand. (CONTINUED) 109.CONTINUED: DOC How about if I buy your car for ten grand? SLIM You serious? DOC Sure am. SLIM And I keep my mouth shut? DOC That's what I want. SLIM I don't report the car and I don't know either of you? DOC You got it. SLIM How about twenty thousand? -DOC How about thirty? SLIM (delighted) Done, by God.Doc turns to Carol. DOC Pay the man.As she begins to open the suitcase...A WAD OF MONEY DISAPPEARING INTO SLIM'S POCKETDOC LOOKS AT SLIM DOC You're going to have to walk back to the border. SLIM Don't worry about me, I'll grab a cab... I can afford it, you know. (CONTINUED) 110.CONTINUED:Slim steps out of the car, Carol moves into the front seat asDoc slides behind the wheel. SLIM (CONT'D) (continuing, leaning through the window) Hope you get to where you're going. CAROL Thanks. Hope you do too. SLIM By the way, you're getting a hell of a car there, mister. DOC (laughs) Well, I paid a hell of a price. Now for God's sake keep your mouth shut. SLIM (his pride hurt) Wish you hadn't said that. When Slim Canfield's lips are sealed, they're sealed. DOC (smiles) Go with God.DOC SLIPS THE CAR into gear. SLIM One thing though... how do I explain this to my wife? CAROL Tell her you robbed a bank...The car pulls forward. Slim waves goodbye, then turns andbegins walking back down the highway.BACK INSIDE THE CAR, DOC ACCELERATES AWAY CAROL Are we going to make it? DOC Hell, I don't know... but we sure gave it a run. (CONTINUED) 111.CONTINUED: CAROL (positive with a small smile) Whatever happens... we're going all the way. DOC (smiles) Yeah, why not? We're the good guys. CAROL I guess we are.After a moment: DOC Why don't you try the news?Carol snaps on the radioj the voice of a Mexican announcer isheard. CAROL No more news, from now on we're just going to listen to music.She spins the dial. Mariachi music comes on.EXT. MAIN HIGHWAYAS THEY HIT THE MAIN HIGHWAY, DOC PULLS OFF AND STOPS. CAROL What now? DOC We walk.THEY ARE WALKING ALONG THE HIGHWAY, THE EDSEL IS now a dot inthe background. Another dot appears, grows bigger, as it getscloser it is a bus. Very Mexican but very Greyhound inappearance.Doc and Carol turn, Doc flags it down.It pulls to a stop, they board. The bus pulls out.INT. BUSDOC PAYS AND THEN FOLLOWS CAROL TO A SEAT.They sit. Mexico rolls by outside the window.They look at each other and smile. (CONTINUED) 112.CONTINUED: VOICE (O.S.) Hey!Doc and Carol look back.THE BLACK PANTHER IS LEANING OVER THE SEAT, his empty fistcocked up like a pistol. He grins. BLACK PANTHER (pulling the trigger) Bang!Doc and Carol look at him.FREEZE FRAME. FADE OUT.THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Ghost Rider.txt b/unformated_scripts/Script_Ghost Rider.txt new file mode 100644 index 0000000000000000000000000000000000000000..715f1f61944205fba6840e418a637908ceb4d242 --- /dev/null +++ b/unformated_scripts/Script_Ghost Rider.txt @@ -0,0 +1 @@ + GHOST RIDER Written by David S. Goyer Based on the Marvel Comics character First draft April 11th, 2001 EXT. HIGH PLAINS - HILLSIDE - DAY A COYOTE lopes through shimmering heat waves. The sky above is a cloudless blue. WOMAN (V.O.) My Father used to say that the only way Evil came into your life was if you invited it. I'm not sure about that, at least not anymore. What I cLQ know is this: we are born alone, and we die alone, and what happens in between is all that matters. The choices we make, the people whose paths we cross -- these are the things that determine our fate. The coyote ducks through a hole in a chain-link fence, weaves through the rusted ruins of a -- DERELICT AMUSEMENT PARK Broken-down rides, weed-clogged machinery, sideshow trailers bleached bone-white. WOMAN (V.0.) (CONT'D) Most stories start with a beginning. His began with an ending. I never knew where he really came from. I guess it's not important anymore. All I know is that he'd been running his entire life. Running for so long that he no longer knew whether he was running away from SOMETHING -- The coyote reaches a steep ridge, looks out over a patchy Southwestern town. WOMAN (V.0.) (CONT'D) -- or towards it. SMASH CUT TO: INT. BAD IRON BIKE REPAIR - DAY Sparks, noise, metal and grime. JOHN BLAZE (30s, ruggedly handsome) is running late. He sprints across the workshop floor, shedding his welder's kit as he heads for the time clock. CLUNK! He punches out -- but LITTLE MIKE (50s, trailer trash fast) has caught him in the act. LITTLE MIKE where do you chink you're going, Blaze? (CONTINUED) 2. CONTINUED: BLAZE Sick, cutting out early. LITTLE MIKE The hell you are! Blaze jumps on his bike - a muscular, battered BSA. LITTLE MIKE (CONT'D) Get back to work or your ass is fired! BLAZE Aaa n? You say that every time. Blaze kicks-starts the bike. It ROARS thunderously. LITTLE MIKE (over the noise) Well I mean it this time! BLAZE (gunning the throttle) See you tomorrow, Little Mike! The bike HOWLS, hauls up on its back wheel. Screams out the shop leaving Little Mike holding his ears. The other workers WHOOP and HOLLER, especially when Blaze snags a pair of BOLT- CUTTERS from a passing tool rack on the fly. EXT. BAD IRON SHOP YARD/DIRT ROAD - DAY Blaze skids out of the yard, matching speed with a pickup which is just passing by. COOP is driving. JED and MURPHY are LAUGHING in back. Clearly, they're friends with Blaze. JED (SHOUTING) Skin of your teeth, man! MURPHY (tapping his watch) Yeah, we're on a tight schedule! BLAZE So what are you waiting for? Blaze burns away, leaving the pickup for dust. CUT TO: 3. EXT. HIGH PLAINS - DAY A FREIGHT TRAIN thunders across the landscape. To the East Blaze and the pickup are coming on an intercept course. Blaze reaches the train first, climbs the gravel incline to the tracks. Matches its speed, pulls up alongside a bolted container car. He reaches back, pulls the cutters from his saddles bags -- -- and skillfully chops the lock with one hand. The heavy iron door slides open, pulled back by it's own inertia. Blaze throws the cutters inside, peels away -- -- and comes back with a vengeance, throttled to the max. He jams the front brake on at the last possible moment -- The bike cartwheels. Tail over head. Pulls a complete three- sixty up into the car -- INSIDE THE CAR -- and lands perfectly, screeching to a halt. Blaze WHOOPS his exhilaration. And if you don't believe this, watch extreme motocross as we CUT TO: THE OPPOSITE DOOR being wrenched aside, revealing Coop's pickup holding steady alongside the train. Jed and Murphy ride the cargo bed like surfers. Blaze starts tossing boxes out of the car and into the truck. Jed and Murphy stack `em and rack `em. We get glimpses of the loot: CD Players, VCRs, personal packages, luggage -- JED Christ, Mickey was right on the money! BLAZE Car twenty-two! MURPHY (LAUGHING) Candy from a baby! The boxes keep coming, like baggage at the airport. Some boxes miss the mark, fall short, get mangled. A box bursts against Murphy's chest, engulfs him in an explosion of paper and polystyrene beads. The others howl with LAUGHTER, riding high on this Great Train Robbery as - - ( C O N T I NUED) 4. CONTINUED: -- Blaze hears something, looks over his shoulder. He SEES a POLICE CRUISER, far in the distance, burning towards them. BLAZE Thank you gentlemen, that's it for today! Jed bangs on the cab roof. Coop waves. Jed and Murphy salute. The pickup peels away. Blaze retrieves his bike. Stands it back up, kicks it alive, guns the throttle and -- -- cold jumps straight out of the car. Seconds later he's powering away, ripping up a storm, chasing the pickup towards the horizon. Far, far behind, the police are still coming. CUT TO: INT. SIMPSON HOME - DINING ROOM - NIGHT CHUCK AND RITA SIMPSON (50s) are eating Chinese food with their daughter, ROXANNE (20s) and Blaze. Roxanne is beautiful, easygoing. She's also seven months pregnant. The Simpsons are simple, working-class folk. Judging by the strained atmosphere, it's evident that they don't care too much for Blaze. RITA (TO CHUCK) Hon, would you pass me the vegetables. Chuck obliges, takes a drink of his beer, nods to Blaze. CHUCK So how're things going at the shop, John? BLAZE (scarfing down his food) Good, good. CHUCK (not buying it) Yeah? Cause Mike says you've been slacking off, horsing around. ROXANNE (annoyed, protective) DALD __ BLAZE (ALL SMILES) It's okay, Rox. (CONTINUED) S. CONTINUED: Blaze sets his fork down, wipes his mouth with his napkin. Conjures up his best earnest look. BLAZE (CONT'D) Truth is, Mr. Simpson, I've been thinking about clearing out of there. Maybe opening up a shop of my own -- Roxanne raises an eyebrow at this. News to her. BLAZE (CONT' D) See, I've been saving up. You know, for the baby and all. And I-- DOORBELL. Roxanne rises to get it. CHUCK You were saying? BLAZE (distracted, looking to the DOOR) Right, so anyway -- ROXANNE (O. S . ) JOHN -- Blaze looks over. Two Sheriff's Deputies, LUCAS COLE and RICK GEORGE, are standing in the doorway. Roxanne looks pissed -- like this isn't the first time this has happened. Blaze stands, approaches. Clearly, he knows them both. BLAZE (cocky, wary) Lucas. Rick. COLE Johnny. We'd like you to come down the station. Their demeanor is hard. Won't take "no" for an answer. BLAZE (INSOLENT) Can I finish eating? Nope. Blaze squirms, feels Roxanne's eyes on him. He turns to her, tries to explain. (CONTINUED) 6. CONTINUED: (2) BLAZE (CONT'D) Don't worry, hon. It's just routine -- ROXANNE (TERSE) It is by now. Just let me know if you're staying overnight. She goes back to her dinner. CUT TO: INT. APARTMENT - LIVING ROOM - NIGHT Blaze enters. The apartment is dark- TV flickers. Roxanne is sleeping on the couch. On the coffee table: Chinese leftovers, fortune cookies. BLAZE Hey. She's sound asleep. He crouches, touches her face. BLAZE (CONT' D) Hey. Roxanne barely stirs, deeply groggy. BLAZE (CONT'D) Everything's cool. ROXANNE (SLURRED) You're going to jail. BLAZE No. No. Everything's okay. Jed and Murph just got a little boisterous at The Prairie Dog last night. Cops wanted to read us the riot act, that's all -- She yawns, curls up, starts to drift away again. ROXANNE I was worried about you. And I don't like your friends. But Blaze won't let her go back to sleep. He jostles her. BLAZE Listen, I want to show you something -- (CONTINUED) 7 CONTINUED: ROXANNE I'm sure you do. But I'm half-asleep and you're an ass-hole. BLAZE I'm serious, Rox. This is important. He drags her up off the couch. Makes her stand up. She MOANS, scowls, but he gets her on her feet. ROXANNE John, I have to go to work tomorrow BLAZE (offers her coat) Put your coat on. You'll be glad you did. Promise. It'll be an adventure. A mystery tour. ROXANNE This better be good. She stomps to the bathroom. Blaze chuckles inwardly. Steals a fortune cookie from the left-overs, snaps it open -- The fortune is blank. Both sides. He tosses it away. CUT TO: COYOTE EYES glittering black, watching. ROXANNE (O.S.) (CONT'D) Alright, I'm here. Now what? EXT. DERELICT AMUSEMENT PARK - NIGHT Blaze and Roxanne creep through a hole in the outer fence, making their way to -- BLAZE Keep going. It's just up there. A BROKEN-DOWN CAROUSEL Must have been magnificent in its day. ROXANNE I'm not riding one of those stupid horses. (CONTINUED) 8. CONTINUED: BLAZE You don't have to ride, just climb up. She steps up onto the wooden platform, smiles back at him. ROXANNE You're going to have to grow up one day, Johnny Blaze. BLAZE Not if I can help it. He follows her up onto the ride. She weaves through the wooden animals. Starting to enjoy this secret adventure. BLAZE (CONT'D) Keep going, keep going -- She comes around the other side, catches her breath. The whole valley is spread out before her -- a glorious scatter of diamonds on velvet. BLAZE (CONT'D) Uh-oh. ROXANNE (TURNING BACK) What? BLAZE Ever hear of a carnival wedding? Roxanne shakes her head. Blaze is fiddling with a crisp, new dollar bill, folding it, making something. BLAZE (CONT' D) If a man and a woman walk around a carousel going backwards, they're considered hitched. ROXANNE You made that up. BLAZE Swear to God. He finishes folding the bill. The "one" is now neatly set on top of an ORIGAMI WEDDING BAND like a paper jewel. BLAZE (CONT' D) You want this? (CONTINUED) 9 CONTINUED: (2) She nods, offering her hand. He slips the ring onto her finger and she examines it, lit up inside. ROXANNE It's beautiful. He smiles at her joy, wrestles with what he's about to say. BLAZE How'd I ever find you? ROXANNE (SHRUGGING) Fate? BLAZE I don't believe in fate. ROXANNE Maybe it believes in you. They hug each other fiercely. A long, soulful embrace. Blaze looks to the city lights beneath them once more. ROXANNE (CONT ' D) Here's the thing, John. We're having a baby. You can't keep acting like everything's a game. I need you with me. I need to know I'll be able to wake up in the morning and see your face next to mine. Not have to worry that you spent the night in jail. (BEAT) That's not a life. At least not one I'm interested in living. BLAZE I know. I'm gonna get my shit together. For Leal, this time, (EARNEST) I promise you, Rox. I'll always be there for you. She takes his hand and places it on her belly. ROXANNE Don't promise me, promise her. THE COYOTE blinks. THUNDER from the next scene prelaps as we CUT TO: 10. INT. BLAZE'S APARTMENT - NIGHT WHAM! Blaze enters, drenched from head to toe, frantic. Roxanne's arms are filled with laundry. BLAZE We gotta go. Get your stuff together. ROXANNE What happened? What's wrong? Roxanne follows Blaze into the bedroom. ROXANNE (CONT'D) What did you do? BLAZE I fucked up. The police are coming. Grab your things. We have to go. She sags, clearly been through this before. He tosses a suitcase onto the bed, looks back at her. BLAZE (CONT'D) Just do it, Rox! FOLLOWING BLAZE as he storms into the bathroom. Reaches behind the high cistern, retrieves a hidden HANDGUN. He jumps down. Tears the side panel off the old bath tub. There's a stack of FLAT BLACK BOXES hidden within. Blaze drags them out, drops one - It pops open, spilling UNCUT DIAMONDS all over the floor. Blaze CURSES, struggles to gather up the loot. ROXANNE (O.S.) Jesus, Johnny -- ON ROXANNE standing in the doorway. She sawit all. EXT. BLAZE'S APARTMENT - PARKING LOT - NIGHT Rain hammers down. SIRENS whine. Blaze shoves Roxanne and the suitcase into a beat-up El Camino. INT. EL CAMINO - NIGHT Blaze climbs behind the wheel, guns the engine even before Roxanne has buckled in. He gnashes into reverse, grinds the car into a backwards spin -- 11. EXT. PARKING LOT - NIGHT -- nearly clipping another car pulling in. He jumps the curb and races off into the rain -- INT. EL CAMINO - NIGHT -- passing a POLICE CAR coming the other way. Roxanne glances at Blaze, angry and disappointed. Blaze struggles. The rain. The wipers. The fogging windshield. It's a bad time to be Johnny Blaze. BLAZE Fuck. BLAZE'S REAR-VIEW MIRROR POV: The cop car is turning, heading back in their direction. ROXANNE JOHN -- Blaze floors the gas. The speedometer leaps. EXT. RURAL ROAD - NIGHT The EL Camino screams through the rain, with the cop car in dogged pursuit. TWO MORE POLICE CARS fall in behind them. INT. EL CAMINO - NIGHT Blaze fights to keep it together. The road ahead is dangerously winding. Tires SQUEAL as he hauls a sketchy turn. Roxanne gasps, fearful, bracing herself. The police are gaining. FLASHING LIGHTS flood the interior. ROXANNE Slow down, John -- Another sketchy turn. Blaze spins the wheel, brakes, hard. Too hard. The car hydroplanes, finds purchase -- ROXANNE (CONT ' D ) SLOW DOWN! LIGHTNING flashes, and suddenly, there's a COYOTE or, the road, right in their path. (CONTINUED) 12. CONTINUED: Blaze jerks the wheel. Roxanne SCREAMS. The car skids, slews off the road, CRASHES through a guard rail -- It plunges down a washout, flips end over end, shedding glass and wreckage, finally SLAMMING to a dead stop at the bottom of a rocky arroyo. INSIDE THE EL CAMINO Blaze stirs, blood streaming down his face. The windshield is blown open. Rain pours in. BLAZE Roxanne --? He struggles to free himself from his seat, SEES a torn seat belt hanging beside him -- the passenger seat mr)ty. BLAZE (CONT'D) Roxanne?! EXT. ARROYO - NIGHT Blaze scrambles out through the broken windshield. Falls off the wreck onto the steep, muddy incline. He tries to stand, can barely manage to crawl. BLAZE (terror seizing him) ROXANNE!!! ON ROXANNE lying ten yards away, unconscious, maybe dead. Blaze scrambles to her, rolls her over. He hauls her into his arms, SOBBING, the two of them covered in mud and glass and God knows what. TROOPERS are coming down the incline, guns drawn, FLASHLIGHTS beaming. They descend on Blaze, crying to pull him free of Roxanne. BLAZE (O.S. ) (CONT'D) Let me see her! God-Dammit! I have a right to see her -- CUT TO: INT. HOSPITAL CORRIDOR - NIGHT ANGLE ON Blaze, grief-struck, handcuffed, thrashing about as Troopers try cc restrain him. (CONTINUED) 13. CONTINUED: BLAZE Get your fucking hands off me! Lucas Cole, the deputy who questioned Blaze earlier, approaches. Blaze SEES him and calms down a little. BLAZE (CONY' D) Please. Just let me see her. Cole nods to his men, who ease up on Blaze. He guides Blaze over to an observation window -- THEIR POV Roxanne lays in a surgery bay, DOCTORS and NURSES milling around her. DOCTOR (O.S.) Mr. Blaze --? Blaze turns, SEES a nervous DOCTOR standing behind him. BLAZE Is she going to make it? DOCTOR (blinks, stutters) Mr. Blaze, I -- BLAZE )_a ch= going r4 make i r? DOCTOR We don't know. She's critical. Her injuries are grave. There's a real chance she won't -- BLAZE What about the baby? The doctor hesitates, glances at Cole. DOCTOR I'm so sorry. We did everything we could. Blaze's will shatters as the full realization of what he's done slams into him. Tears sting his cheeks. Cole gives him space. Whatever punishment awaits Blaze can't be any worse than the hell he's living through now. 14. INT. ICU WARD - NIGHT CLOSE ON Roxanne, on life support, hooked up to an array of monitors. Sleeping Beauty, still as death. Blaze sits beside her bed. Handcuffed. Numb. Rain streams against a nearby window. Tree limbs tap against the glass, like ghosts scratching to get in. TWO STATE TROOPERS stand guard at a respectable distance, MURMURING to each other. Elsewhere -- BOOTS walk purposefully on linoleum. Passing bay after bay. Beyond the Troopers, SOMEONE is approaching, half seen through layers of glass. Blaze HEARS the footsteps, lifts his weary head. The shadow keeps coming, half-glimpsed between partitions as it draws near. THE ICU LIGHTS flicker and weaken as if some unseen force were sapping their intensity. Blaze glances at the machines. Still ticking -- AMBROSE STARKE ( 60S) steps into view. Duster-coat. A wide-brimmed cowboy hat. A smiling stone face. Blue eyes flecked with silver grey. He steps between the Troopers. They keep talking, don't even seem to notice him. STARKE You look like you could use some help. Blaze glances at the troopers. They're still completely unaware of Starke's presence. It's as if Starke and Blaze have somehow stepped a split-second sideways in time. The lights around them continue to dim. The second hand on the wall clock stops. An eerie, dreamlike moment -- the wind, the rain, the tree branches tapping against the window pane. BLAZE (LOST) She's dying. Starke nods, places a COIN in Blaze's palm. STARKE If I could help her, would you be willing co make a deal? (CONTINUED) 15, CONTINUED: Blaze looks at the coin -- gleaming, golden, embossed with a soaring eagle on one side, a coyote on the obverse. BLAZE What kind of deal? STARKE She lives. You work for me. Something about Starke's eyes. Commanding and haunting at the same time. BLAZE What kind of work? Starke just keeps smiling. Lays a comforting hand on Blaze's shoulder as we drift towards Roxanne's beeping EEG. WOMAN (V.O.) When I was young, I was told that our souls wander while we sleep. Sometimes they get lost. Sometimes they never make it back -- FADE TO BLACK: SUPER TITLE: "FIVE YEARS LATER" INT. MOTEL ROOM - BATHROOM - DUSK FADE IN on John Blaze as he switches on the light, looks in the mirror. Those five years of work have taken their toll. A haggard reflection gazes back at him, He stares. And stares. Right into his pain. WOMAN (V.O.) -- but if they dQ return, they bring messages. And I guess thhat's how the dead speak to us -- in memories that may be dreams, and dreams that feel like memories. Blaze turns off the light. CUT TO: INT. SEVEN ELEVEN - DUSK The store is empty. The CLERK prices cigarette packs, eyes a suspicious Native American woman, NOMI (30s), as she loads a basket with basics. Nomi sets the basket down on the counter. The clerk starts scanning the bar codes. [ C ONTINUED) 16. CONTINUED: CLERK Just passing through? Nomi nods, uneasy. She glances over her shoulder, searches out her half-breed daughter -- RAIN (8) , who is sorting intently through a rack of cheap toys. The kid is quiet, soulful, old beyond her years. CLERK (CONT ` D ) Where you headed? NOMI (DISTRACTED) What? CLERK Where are you headed? Late night, storm like this -- NOMI What do you care? CLERK (shrugging, defensive) Just asking. He keeps packing. But he knows she's trouble. RAIN (O.S.) I like this. Nomi turns, SEES Rain clutching a toy -- a glow-in-the-dark Halloween skeleton. NOMI It's too much, baby. Put it back. I don't have enough money for that. Rain stares right at Nomi -- and brazenly slips the doll into her coat pocket. Nomi glances at the Clerk. He didn't notice. EXT. SEVEN ELEVEN/DEADFALL GAS STATION - DUSK It's pouring rain. Nomi and Rain hurry across the muddy lot towards a ratty pickup. CARRIGAN (O.S.) Yeah, I found her. Came back to be with her dying grandpappy. (CONTINUED) 17 CONTINUED: ON THE OTHER SIDE OF THE LOT BILLY-RAY CARRIGAN (30s) paces under an tire bay awning, talking on a cell-phone. He's handsome, charming, but there's evil lurking within that slick exterior. A pencil- thin scar runs just under one eye. CARRIGAN (CONT'D) Don't worry. She's got the kid with her. Carrigan watches Nomi and Rain climb into the pickup. The pickup chokes to life, carves out of the lot. Carrigan nods TO -- -- LANDSDALE ( 40s), a stone-faced criminal, who motions to five other thugs lounging nearby -- FUSCO, ALBRIGHT, CHUDACOFF, LLOYD and ODELL. CARRIGAN (CONT'D) (listening, impatient) I remember the deal. Just make sure you bring the money. He hangs up, follows his men to a couple of trucks waiting nearby -- a dusty Tundra for Albright, Chudacoff, Odell and Lloyd; an old Bronco for Landsdale, Fusco and Carrigan. Carrigan pulls a Glock from his waistband, chambers a round. CARRIGAN (CONT'D) Who wants to be a millionaire? Landsdale smiles back, an awful smile. WOMAN (V.O.) Some people are born bad. That's just the way they come into the world. Something goes wrong. Something breaks inside of them -- The trucks pull away, tires ploughing muddy tracks, passing two STRAY DOGS fighting over a bloody road-kill carcass. INT. MOTEL ROOM - BEDROOM - DUSK Blaze sweeps aside a curtain, studies the slowly darkening landscape outside with tired resignation. WOMAN (V.0.) -- and they spend the rest of their lives trying to make up for it. CLICK' Blaze Curns on the TV, watches a weather snippet. (CONTINUED) 18. CONTINUED: PAN OVER Blaze's belongings on the bureau -- a duffle bag, old photographs of his previous life with Roxanne, a collection of blank postcards. Tucked amidst the photos is a sonogram featuring a ghostly image of an unborn child. WEATHERMAN -- scattered thunderstorms firing along a stalled frontal boundary. Damaging winds, hail, and isolated tornadoes will be possible across the Dakotas and Upper MIDWEST -- Blaze unfolds a tattered map and studies it. The map is crisscrossed with red lines tracing storms from city to city, along with all sorts of arcane, personal notations. Blaze traces his finger down to his present location: DEADFALL. EXT. ROAD - DUSK A lonesome service road threads through bleak wild-grass prairie. Nomi's pickup appears on the horizon. INT. NOMI'S PICKUP - DUSK Nomi glances at Rain, who clutches her new skeleton toy. NOMI Seatbelt. Rain dutifully fastens herself in. NOMI (CONT'D) Hey, bug. You hungry? Rain shakes her head- NOMI (CONT'D) Want to listen to music? (off Rain's sullen shrug) Look, we won't have to keep moving around forever, okay? I'll figure something out. I promise. Rain looks at her mother. She's heard it all before- WHAM! Somebody rams the truck from behind. Rain SCREAMS. INT. LAKOTA MOTEL - DUSK Blaze reaches for a pack of cigarettes, lights a match. He stares at the match flame for a moment -- for the flame is behaving strangely, bending towards Blaze as if it were drawn -o T>; m. Blaze shakes out the match, then retrieves -- (CONTINUED) 19. CONTINUED: THE COYOTE/EAGLE COIN He stares at it ruefully, then places it on the map and sets it spinning. We get the sense that this is a ritual he has performed many times before. As we MOVE IN on the coin -- EXT. ROAD - DUSK CRASH! The Tundra rams Nomi's pickup again. Nomi fights to keep control. Aims for a turn-off up ahead. She hauls the truck into the turn, fights the roll-over, barely makes it -- -- but it's not fast enough. The Tundra and the Bronco make the turn too. Their HEADLIGHTS blaze into the cab. Nomi floors the gas. The pickup judders. The road here is bumpier, cracked and pocked. The Bronco swings out, pulls up alongside Nomi. She glimpses Landsdale, LAUGHING, urging Carrigan on. Carrigan cuts right, SLAMS the Bronco into Nomi's side. INT. LAKOTA MOTEL - DUSK On Blaze, watching the coin with a growing sense of fatalism. Spinning. Spinning. But starting to slow now -- EXT_ ROAD - DUSK WHAM! The Bronco collides with Nomi's door again. Glass shatters- Rain WAILS, terrified. Wind and rain rush in -- BLOWOUT! Front offside tire. Nomi loses it, careens right, carves off the shoulder into a muddy culvert, SMASHING over rocks, sagebrush, fence posts and barbed wire -- After a few dozen tortured yards, the pickup shudders to a stop. The Bronco and the Tundra haul up nearby, engines CHUGGING like hungry beasts. IN THE PICKUP Nomi angrily drags her seatbelt off, snatches a revolver from the glove box. She looks to Rain: NOMI Stay here. And lock the doors. Nomi climbs out into the rain, SLAMS the door. Rain works the locks, but the driver's side is all bent up and twisted -- 20. EXT. ROAD - DUSK Nomi approaches the trucks, blinded by halogen high-beams. SILHOUETTES are coming towards her. She raises the revolver -- NOMI Back the fuck off! LANDSDALE comes from left of nowhere, twists the gun from her hands in one unexpected move. She spins, SEES Carrigan approaching -- and recognizes him instantly. NOMI (CONY' D) Billy-Ray --? INT. LAKOTA MOTEL -- DUSK On Blaze, watching the spinning coin. He shuts his eyes, as if he could stave off what he knows is coming next. As if he could contain the thing that is, even now, clawing its way into his body from some dark circle of hell. EXT. ROAD - DUSK CRACK! Nomi falls to her knees, dimly aware of her daughter SCREAMING. Carrigan stands over her, massaging his fist. CARRIGAN Well, if it isn't Little Miss Running Bear. He grabs her by her hair, shoves the Glock beneath her chin. CARRIGAN (CONT'D) Gentlemen, you are looking at one of the finest pieces of ass I have ever had the good fortune of defiling. NOMI Fuck you, Billy -- CARRIGAN Now I might just take you up on that, Nome. Old Billy-Ray's been getting a little tired shaking hands with the governor, know what I'm saying? IN THE PICKUP CAB Landsdale and his men are trying to get the doors open. Rain scoots to the driver's side, tries to start the engine. But the driver's door is wrenched open and the men are on her - - ( C O N T I N U ED) 21 CONTINUED: LANDSDALE Careful with her! Rain is dragged kicking and screaming from the cab. ON NOMI, struggling to free herself, desperate to help her child. NOMI Leave her alone! Rain fights like a hellion, rakes her fingernails across Odell's face. ODELL Fuck! SLAP! Landsdale back-hands the little girl. As she reels, he binds her hands with duct tape, then picks her up and throws into the Bronco. NOMI YOU COCKSUCKERS! INT. LAKOTA MOTEL - DUSK The coin slows. Blaze opens his eyes, a look of dread washing over his face. He stares at his hands -- they're shaking, emitting a HEAT HAZE. EXT. ROAD - DUSK THUNDER explodes. LIGHTNING flashes. The men gather round to watch Carrigan beat Nomi unmercifully. He knocks her back into the mud. She tries to crawl away, blinded by the rain. INT. LAKOTA MOTEL - NIGHT The coin comes to a stop, coyote-side up. Blaze SCREAMS, his body wracked with pain. He begins to violently shake, his muscles twisting in unnatural contortions. With a combustive WHOOSH his face abruptly CATCHES FIRE and -- EXT. ROAD - NIGHT CRACK! SMACK! Carrigan delivers the coup-de-grace. Pistol whips Nomi with the Glock. Her head snaps back. Blood sprays in deep slow-motion, spatters the bronco's headlights -- (CONTINUED) 22. CONTINUED: Nomi struggles backwards through rivulets of mud. Carrigan looms over her. All she can do is stare up at him, glassy and unfocused as rain spatters her face. CARRI GAN Tell you what, Hon. You want your goddamned divorce so much? He aims the Glock at her face, about to pull the trigger as -- CARRIGAN (CONT'D) You can fucking have it! -- a GUT-WRENCHING HOWL cuts through the night, echoing off the canyon walls. Carrigan and his cronies take a beat, staring through sheets of rain. Silence. Just the relentless downpour. ODELL The hell was that? The men glance at each other, nervous. A THUNDER-QUAKE rumbles, so low and gritty it'll rattle your fillings. The men look around, frightened. Rocks fall from the surrounding butte. Odell looks down. The SOUND is deafening, vibra tine: the very earth. And that's when it happens: A FLAMING RED-HOT MONSTER-CYCLE leaps from atop a wedged outcrop, ridden by SOMETHING that SCREAMS and BURNS. Silent SLOW MOTION. Heat haze, glowing manifolds. The bike catches twenty feet of air, trailing fire like a comet's tail as it passes right over their disbelieving heads. What. The. Fuck. Touchdown. A BLAST-WAVE of heat and flame billow outward. The men shield themselves, stumbling backwards. The bike hauls a deep carving turn, peeling mud, slides to a dead stop, hissing in the driving rain. Time stands still. Carrigan and his men gape. The monster cycle throbs. (CONTINUED) 23. CONTINUED: (2) ON THE RIDER Alive. Evil. Aflame. A man but not a man -- an impossible spectre, engulfed in fire, its skullish head deeply bowed. Clinking coils of red-hot chain slip link by link through its skeletal, flickering fingers. Then it lifts his terrible HEAD -- THE FACE OF JOHN BLAZE Skeletal, aflame, but somehow still Johnny, his tortured visage recognizable even as the furnace blazes blue-white. His jaw bone pivots open to unleash an INHUMAN HOWL, at once predatory and tormented, a shriek of eternal damnation. Time speeds up again. The men run. The Ghost Rider accelerates from zero to sixty in a heartbeat. Lloyd runs fast as he can. Talk about pointless. The Ghost Rider seizes his head, drags him seventy yards, burning him black, discarding him -- The other men let rip. Guns blaze. BULLETS punch through the Ghost Rider, coming out his back as red hot slag. The demon hauls a deep curve, powers up onto his rear wheel -- ALBRIGHT What the fuck?! WHAT THE FUCK?! Albright FIRES his shotgun. THUNDERING past like an Amtrak train, the Ghost Rider PUNCHES a flaming fist right through Albright'-, face. That's it for the others. They scramble for the trucks. WHOOSH! The Ghost Rider lashes out with his chains, lassos Chudacoff. He SCREAMS as the metal sears his body, falls heavily, burning -- The Ghost Rider skids to a halt, summons something internal and lets it loose -- a blast of PURE HELLFIRE that courses down the chains and engulfs Chudacoff, immolating him. The men make the trucks, pile in. Landsdale slams the Tundra into drive. The big truck hauls away. Carrigan fights to get the Bronco into gear. Rain peeks out from the back, eyes bugging -- (CONTINUED) 24. CONTINUED: (3) RAIN'S POV as the Ghost Rider dismounts, stalks through the rain towards them. He raising his skeletal hand, clenches it, and suddenly we are -- INSIDE THE BRONCO'S ENGINE A series of MACRO SHOTS as we move amongst the pistons, cylinders, and intake manifolds. The mixture of vaporized fuel and air within the engine begins to ignite, but then the miniature explosions seem to contract and implode in upon themselves and we are -- BACK OUTSIDE with Carrigan. His truck won't start. Somehow, the ?host Rider has actin uished the flames within his engine. The Ghost Rider keeps coming, his skeletal claws/fingers white-hot now, throbbing with heat. He slices through the Bronco's door like a human oxy-acetylene torch, chopping the vehicle apart. Carrigan panics, drags Rain out the passenger door. But Fusco is still trapped inside. Can't get his seatbelt off. The Ghost Rider tears open the roof, bisects the vehicle and HURLS the front away, leaving Fusco cowering in the melted back seat. The Ghost Rider looms over Fusco, extending a skeletal claw -- FUSCO Oh God, please, I ain't nothing to do with nothin'. I ain't nothin'. Please, PLEASE! ON CARRIGAN tugging Rain away from the horror, trying to ignore Fusco's terrible SCREAMS. He looks back, wishes he hadn't -- The Ghost Rider has Fusco snatched up nose-to-nose, forcing the man to look right into -- THE GHOST RIDER'S EYES Hungry black sockets that suck the fire from the air. (CONTINUED) 25, CONTINUED: (4) FUSCO shudders, eyes bulging. All he can do is stare into those awful pits, fall into them, as grisly IMAGES from his evil past spark and shred into his melting mind. Every act of violence, every crime he ever committed -- beatings, murders, acts of torture and revenge -- are now revisited upon Fusco tenfold. This is the PENANCE STARE, and Fusco is feeling it's full, hellish force. The Ghost Rider and Fusco SCREAM in sync. Carrigan and Rain can't look away. They stand transfixed -- Then it's over. The Ghost Rider drops Fusco into the mud. He lies there, shuddering, glassy-eyed, burned black but still alive, his brain irrevocably overloaded. And The Ghost Rider is somehow different too. Immobile. Internal. Then he looks up, past Carrigan. R;rht at. Rain. Rain stares back. But it's -- BLAZE'S FACE she SEES. An abject abyss of pain and shame and torment. And Rain's terror is forgotten for just that moment, replaced with something best described as empathy. LIGHT AND NOISE to the Ghost Rider's left. He turns -- the Tundra screams out of nowhere, slamming into him at sixty plus. INSIDE THE CAB LANDSDALE ducks the shattering windshield, leaps from the truck as it fills with fire -- The Tundra keeps moving, pile-drives the howling spectre square into a massive boulder. The truck compresses like an accordion, EXPLODES, engulfs the rock with fire -- Landsdale picks himself up, ready for anything. Carrigan tugs Rain over. The wreckage burns out of control. CARRIGAN Did you kill it --? LANDS DALE Fuck if I know!!! Just then, Nomi's pickup backs into view. Odell is driving. Ca___gan snatches Rain up like baggage, starts forward. (CC 1T=N1U D) 26. CONTINUED: (5) ON NOMI dazed, in a muddy gully. She scrambles up to the lip, SEES the burning Tundra nearby, SEES her pickup hauling away into the night. She WAILS, tries to drags herself to her feet -- CREAK. The burning wreckage moves. Moves again. Nomi ducks down, watches, uncomprehending. The crumpled truck is hurled aside. Two tons. Tipped over like a packing crate. Nomi slips down into the gully, gasping with fear. HEAVY FOOTSTEPS and CRACKLING FIRE draw near -- Nomi dares to look up. The Ghost Rider stares down at her. Like Death itself. Imagine yourself face to face with a Great White, an unfathomable, impenetrable force of nature -- Then imagine that force turning away, sparing you. The world exhales. After a moment Nomi dares to look again: NOMI'S POV (THROUGH THE POURING RAIN) All she sees is a MAN, in tattered clothes, rolling a busted up motorcycle away into the darkness. CUT TO: INT. HOSPITAL - TRAUMA WARD - NIGHT Graveyard shift but the floor is busy. Too many accidents, too few staff. And the POLICE and PARAMEDICS hovering here and there are just getting in the way. ON BLAZE, stumbling through the crowded ward, head down, in obvious pain. OR. QUINLAN ( 30s, harried), struggles to keep up, filling out paperwork on the fly. QUINLAN Sir, you have to tell me your name. BLAZE I just need to sit down for a moment. And I need some forceps, gauze, tape -- QUINLAN I'll decide what you need, alright? Name? Blaze hauls a curtain aside, finds an empty surgery bay, prepped and ready to go. 27. CONTINUED: SHOUTING MEDICS tear past, pushing a SCREAMING BURN VICTIM on a gurney. Blaze ducks into the curtained bay. Quinlan follows. QUINLAN (CONT'D) Sir, I can't help you if you don't cooperate. (beat, pointedly) Are you on something? Drugs? Blaze pulls at his jacket, easing it over his battered body. BLAZE No, no. Do I look like troub-unghhh -- He grimaces as the jacket comes off. Bullet wounds, shotgun damage, torn flesh, and a lot of BLOOD. QUINLAN (TAKEN ABACK) Oh -- my. What happened to you? Blaze sits back on the bed, sets about cleaning his wounds with tools laid out on a tray nearby. BLAZE Motorcycle accident. Couple abrasions, maybe some rib fractures -- (Quinlan tries to help) Just step back, I'll handle it -- QUINLAN Those are bullet holes. Blaze cleans the wounds she's referring to, grits his teeth as he swabs gauze deep into his flesh. BLAZE Nah. They're just -- gouges. Surface damage. They'll heal up fine. Ungh - do you have any -- painkillers? QUINLAN (assertive now, plainly SUSPICIOUS) This was no motorcycle accident. Somebody has cauterized your wounds Blaze inserts the forceps into a particularly nasty wound. BLAZE Percocet? Vicodin, maybe? 28, CONTINUED: (2) Blaze pulls a vicious shard of metal out of his side, stifles a SCREAM, fights to keep it together. BLAZE (CONT' D) Just. Give. Me. Something. For. The. Pain. He staunches the blood, fixing her with such a stone stare that she involuntarily backs away. QUINLAN I'm sorry -- but I need to report this. Stay right there. Quinlan backs out through the curtain. Blaze sighs, tapes a thick gauze patch over the wound, eyes hunting. He SEES a drug cabinet, breaks into it. Fills his pockets. INT. HOSPITAL - HALLWAY - NIGHT Moments later, Blaze is stumbling away. He pops the cap of a pill bottle, dry-swallows a half-dozen painkillers -- To his right, a PARAMEDIC TEAM works on the shrieking burn victim we saw earlier. Blaze stops, horrified -- It's FUSCO, eyes rolling wildly, charred nearly beyond recognition. Flailing and convulsing, fingers nothing but exposed, blackened bone -- ON BLAZE, backing into a quiet corner. He suppresses a sob, fumbling a hypodermic as he fills it with stolen morphine. He jabs the spike into his leg, sags as the drug takes effect. After a moment, Blaze calms, gets his bearings, notices that he's leaning against a bulletin board on which is pinned -- A WANTED POSTER, helpfully illustrated with a mug-shot of Blaze's own face. Blaze tears the poster down, stuffs it in his pocket, then realizes that SOMEONE is watching him. He turns, SEES -- NOMI sitting on a nearby bed. Beaten, bruised, desolate. A PAIR OF STATE TROOPERS are questioning her. She stares past them, straight at Blaze. She recognizes him. (ICN-=NU_^) 29. CONTINUED: Ice water floods Blaze's veins. He hurries away. CUT TO: EXT. MAIN STREET - DAY Blaze approaches a mailbox, fishes a postcard from his backpack. He writes the date, checks the time on his watch and jots that down too. He addresses it, drops it in the slot. Then he turns around and SEES -- -- Nomi standing behin him, J�Iorkina his way. NOMI You were there last night. BLAZE Excuse me? NOMI when they took my daughter. BLAZE I don't know what you're talking about NOMI Yes you do. Blaze tries to pass off his unease with an ill-conjured smile. He pushes past her, moving to his battered motorcycle. Nomi follows. NOMI (CONT' D ) The Ghost Rider. It walked right past me. It let me live. (a whisper, intense) I know what you are. Blaze stares at Nomi, shaken. BLAZE Lady, you don't know shit. (his tone turning lethal) Now bark the fuck o t of my Ii Blaze mounts his bike, kicks it alive, leaves Nomi in the dust. EXT. HIGH PLAINS - DAY Blaze heads north under a big sky castled with towering white clouds. (CAN'::VL=D1 30. CONTINUED: Prairie grasslands roll away on either side of the two lane blacktop. But Blaze's landscape is deep within and dark, dominated by the thunderheads of last night's horror. He notches the throttle up a little, cruises at ninety. Rolls his head back, lets the wind stream over his face. Then he hears ANOTHER MOTORCYCLE. Blaze looks back -- NOMI pulls alongside Blaze, riding a monster bike of her own. Blaze burns away. But Nomi's no slouch. She matches his speed and is back beside him moments later. She SHOUTS: NOMI PULL OVER! I NEED TO TALK TO YOU! Blaze guns the bike again, jinks around an oncoming station wagon that blares it's HORN_ But Nomi's still on him -- NOM I (CONT' D ) DAMNIT, I NEED YOUR HELP!!! BLAZE (IRRITATED) LADY, I'VE HELPED YOU ENOUGH! Nomi smiles. Blaze just slipped up and they both know it. NOMI I THOUGHT THAT WAS THE GHOST RIDER!!! Angry with himself, Blaze throttles his bike to the max, howling over the next rise on his back wheel, probably hitting one-fifteen as he vanishes from view. Nomi skids to a stop on the shoulder and waits, her engine RUMBLING. Wind blows. Lizards click. After a long beat, Blaze reappears. Stops far away on the crest of the rise. Stares at her. CUT TO: EXT. FOOTHILLS - DUSK Blaze and Nomi weave their way through an obstacle course of rusted car hulks and assorted junk, heading for a battered Airstream trailer perched on the edge of a bluff. ( -_ :N :N"' 7- D) 31. CONTINUED: NOMI I knew what you were the moment I saw you. I can help you -- jf you're willing to help mp-. I know things. BLAZE Like what? NOMI This thing that's riding you, the Ghost Rider. I guess it has a lot of names. But the one I grew up hearing was nagi ocanl sice. It means the Spirit of Vengeance. BLAZE You actually believe what you're telling me? NOMI You kidding? I'm pure-bred Dakota. I can hear the mountains talking to each other. And I saw you light up those pricks like Chinese New Year last night. They reach the trailer. Nomi fixes glaze with a stare. NOMI (CONT ' D ) what do you see when you sleep at night? The dead? The faces of the people you've taken? BLAZE (ANGRY) J,t takes them. Not me. Nomi nods, not sure she believes him. Enters the trailer. INT. AIRSTREAM - DUSK Dark, shadowy. Curtains drawn tightly shut. Every corner crammed with bric-a-brac. On the TV: the football game. Blaze sits on a collapsing couch. Nomi hovers nearby. Her grandfather HENRI LAFORTE (80s, emphysemic), rambles on in Dakotan, pausing only to suck on his oxygen mask. He keeps his eyes on the game the whole time, never once looking at Blaze. BLAZE (aside, to Nomi) Does your grandfather understand English? (:�,NT=NLE_-) 32, CONTINUED: NOMI He understands. He just refuses to speak it. Laforte continues to ramble intermittently. Blaze shifts, impatient, finally sits forward. BLAZE Listen, I don't want to be an ass-hole, but can we just fast-forward the whole Yoda routine? The home team scores! Laforte WHOOPS wildly, loses his mask, COUGHS uncontrollably. Blaze stands. He's out of there. BLAZE (CONT'D) Feel better, old man. LAFORTE (rasping, in English) Give me the coin. Blaze stops, cocks an eyebrow at Nomi. She shrugs. Blaze hands over the coin. Laforte studies it, starts speaking in Dakota again. Nomi translates: NOMI The man you're looking for goes by lots of names. Coyote, Black Dog. In Dakota, he's Waka Sica. The Trickster. Look at him straight on, you might see a human. Look at him out of the corner of your eye at one of the in-between times -- dusk or dawn, you might see something else. BLAZE What does he want? LAFORTE Wacokico. Vengeance. BLAZE Why? NOMI Because it's his nature. Laforte elaborates. Nomi continues to translate. NOM I (CONT' D ) Long ago, Coyote could change his shape, chop his body into little pieces, causing all sorts of mischief. (MORE) (coNT=NLE�) 33. CONTINUED: (2) NOMI (CONT'D) But Eagle, he had a clear eye. And he saw Coyote for what he really was. So he swooped down, scattered those pieces to the winds. (beat, drawing a breath) The first men, they found the pieces, and not knowing what they were, they ate them. And that's, how all men came to have a little piece of Coyote in their hearts. Now Coyote, he'll promise anything to get those pieces back. There it is. Blaze exhales. He studies Laforte, those ancient, wise eyes. BLAZE I've been looking for this man for five years now, storm-chasing -- (pulls out his map) Tracked him halfway across the country. How do I make him lift the curse? LAFORTE Ta ocanzeke kin akta a'ikoyake. T'e sniya kel rrrani. Takuni a'ikoyake sni ya'un kte hantana, wocanzeke kin ekignaka yo! NOMI My grandfather says you've been looking in the wrong place. You need to look inward. The Ghost Rider is Starke's weapon. An extension of his rage. But it can't ride people unless it has something to latch onto in the first place. You understand? Blaze nods. He thinks he does. Laforte hands the coin back, returns his attention to the game. But as Blaze starts to rise, Laforte says one final thing: LAFORTE Wee-cha-sha nee-shee-cha hay? Nomi pauses, deciding how to phrase what the old man said. BLAZE What? What'd he say? NOMI He wants to know if you're a bad man. If the Ghost Rider turned its penance stare on you, would you burn? 34. EXT. AIRSTREAM - NIGHT Darkness has fallen. The sky glitters infinite black. Blaze joins Nomi at the edge of the bluff. BLAZE Why don't you just go to the police? NOMI I did. But I'm red. They said they'll "look into it". Truth is, I've had a few run-ins with them myself. BLAZE Your daughter -- why does Starke want her? Nomi takes a beat, looks away. Haunted, ashamed. NOMI Because he's her father. And he wants her back. Billy-Ray and the others, they're being paid to take her to him. Blaze nods. Things are falling into place now. NOMI (CONT' D ) Look, I believe things happen for a reason. Call it fate, karma, whatever you want -- but there's no way our paths crossing was just blind luck. I need your help, Blaze. BLAZE Just so you understand what you're asking, this thing inside me -- I can't control it. It just comes out. And when it does, it's like I'm a prisoner in my own body. There's no reasoning with it. It doesn't have a conscience. It doesn't even have a personality. It's just a -- (SEARCHING) -- hunger. NOMI You're looking for Starke. I'm looking for my kid. We find one, we'll find the other. BLAZE And then --? 35. CONTINUED: NOMI (POINTEDLY) And then I don't care about the rest. CUT TO: A POWERFUL DUST STORM Raging full force. Blinding dust and debris batter closing store fronts. Roof sheeting tears away, street lamps rattle, hapless LOCALS struggle to get indoors. A lone coyote lopes through the havoc, trotting purposefully against the wind, dodging cars, ducking flying boards and planks. The animal passes under a sign: "HOWARDSVILLE CAR RENTS". CLOSE ON A MAN'S MOUTH Lupine. Carnivorous. Speaking into a payphone handset. MAN Is she comfortable? Are you feeding her properly? VOICE (FILTERED) She's alright, I guess. Quiet. BACK TO THE COYOTE running between rows of rental cars. MAN Does she know where you're taking her? VOICE I think she's figured it out. MAN And how does she feel about that? VOICE How the hell should I know? EXT. WHEATFIELD - DAWN Carrigan paces the edge of a billowing wheatfield, wired to his cell phone. Dawn peeks over the horizon. In the distance, we SEE Landsdale and Odell waiting with Rain. (CC �I::LACED ) 36. CONTINUED: CARRIGAN I'm not a psychologist. She's a fucking freak, alright? Always has been. Sooner I get her out of my sight, the better. THE COYOTE approaches the phone booth situated beside the rental office. Inside the booth, the man is half-seen. MAN She's the most important thing in your life, Carrigan. Make sure she arrives safely. (BEAT) And be careful. She'll kill if she gets the chance. The man hangs up, turns to look at the coyote staring up at him. Once again, we meet -- AMBROSE STARKE Same sky-blue eyes flecked with metal. Starke and Coyote stare at each other, indifferent to the storm raging around them- He starts towards the rental office. INT. LONE STAR RENT-A-CAR - DAY Windows RATTLE. The storm HOWLS. A portly rental agent, JIM PETROWSKY, is closing up shop. He gathers his papers, turns out the lights. A TV on the counter is on: WEATHERMAN -- experiencing extraordinary conditions. Tornadoes blanketing much of East Texas, with reports of extensive damage and gusts of up to seventy miles per hour -- As Pecrowsky turns off the TV, we hear the door CHIME. Starke enters, bringing a strong gust of wind with him. PETROWSKY Sorry, guy, I'm just closing up. Starke looks to a clock on the wall -- it's 4:55. STARKE According to the hours posted outside, you're still open. {_.:D, NT7NI,=D) 37. CONTINUED: PETROWSKY (EXASPERATED) Look, Mister, in case you hadn't noticed, there's a storm coming -- tornadoes, whatever. I'm trying to get out of here. Starke fixes Petrowsky with a stern gaze. STARKE I would like to rent a car -- (reading Petrowsky's name tag) -- "Jim" . Something in Starke's tone gives Petrowsky pause. He glances to the window and the growing storm beyond. We SEE the coyote out there, watching from across the way. PETROWSKY (RELENTING) Okay, alright, have a seat. Starke sits. Petrowsky moves behind his desk. PETROWSKY (CONT'D) Now, Mr. --? STARKE Starke. First name, Ambrose. PETROWSKY (typing in the name) Starke, okay. What kind of car were you looking for? Starke picks up a laminated placard featuring various cars. STARKE What about the Cadillac Deville? I noticed you had one in your lot outside. PETROWSKY Sorry, already spoken for. How `bout a full-size car? I can give you a Chevy Malibu, Ford Taurus -- Starke deliberates. Outside, the storm seems to grow stronger. Petrowsky shifts in his seat, trying to mask his impatience. Were he observant enough, he might also notice that the wall clock has stopped. (C:� VT=`7:,'-') 38. CONTINUED: (2) PETROWSKY (CONT' D) You want the Taurus? Give you a good deal, mid-size price. $37.99 a day, can't beat that. STARKE I had my heart set on the Cadillac, Jim. PETROWSKY (ANNOYED NOW) Caddy's taken. Now look, I'm trying to be accommodating here, but I really am in a hurry. So what's it going to be? Another beat as Starke stares Petrowsky down. Gradually, the lights in the office begin to dim. STARKE The Taurus, then. PETROWSKY Great. Can I see a driver's license? Starke reaches into his jacket, handing over a license. Petrowsky types in the required information, trying to ignore the vague feeling of uneasiness settling over him. PETROWSKY (CONT' D ) How many days do you need it for? STARKE Two, three -- PETROWSKY Any other drivers? STARKE No. PETROWSKY And you'll be paying by --? STARKE Cash. PETROWSKY I'll need a three hundred dollar deposit. Starke nods, removing a money clip from his jacket, deftly sliding out three crisp, brand-new hundred dollar bills. ( CO N TI N U E D /) 39. CONTINUED: (3) PETROWSKY (CONT' D ) What about refueling? (off Starke' s look) We've got three options. You can purchase a full tank in advance, you can fill it up yourself before you return it, or you can have us do it, but then we have to charge you four dollars a gallon. Most people go for the tank in advance. Less hassle. STARKE I'll do it myself. PETROWSKY Okey-dokey. Petrowsky enters the final data, hits "PRINT". As the rental agreement begins feeding out, we hear a HORN FiONK. Starke turns. A mini-van has pulled up outside. A MOUSY WOMAN sits behind the wheel. A BOY sits in the back seat. The coyote is still there, but it pays no attention to them. STARKE Mrs. Petrowsky? PETROWSKY Yeah. Petrowsky slides the agreement to Starke, takes out a pen: PETROWSKY (CONT' D) Here you go. Just your standard rental agreement. You get up to 150 miles a day for free, twenty cents a mile after that. If you want additional personal accident insurance it's five dollars a day, another nine-ninety-nine if you want the loss/damage waiver. Your basic rental rate, plus applicable state and local tax. You just need to initial here, here, and here -- (indicating various items) -- and give me your John Hancock on the line right here. Petrowsky offers Starke a pen. He doesn't take it. Instead, he pulls out a pair of bifocals. With agonizing slowness, Starke begins to peruse the rental agreement. PETROWSKY (CONT' D) Is there a o oblem --? 40. CONTINUED : (4) STARKE The price you quoted was $37,99, the mid- size rate. But you've listed the daily rate here as $62.99. PETROWSKY I did? Starke turns the agreement around for Petrowsky to see. PETROWSKY (CONT'D) Geez, I'm sorry, you're absolutely right. That's the Caddy rate. Guess I entered it in by mistake -- Starke looks up at Petrowsky over the rim of his bifocals, the timbre of his voice taking on a decidedly frigid turn. STARKE Were you trying to cheat me, Jim? PETROWSKY No, no, not at all -- STARKE Then I'd like a new contract specifying the appropriate rate. Petrowsky squirms, uncomfortable. For in that pregnant moment, without either participant uttering at word, the entire nature of the transaction seems to have changed. PETROWSKY Look, can't we just go with the contract we've got here? I'll make a note of it and knock a day's rental off the total when you return it. What do you say? STARKE I say the Devil's in the details. EXT. LONE STAR RENT-A-CAR - DAY CRASH! Petrowsky flies through the plate glass window. He lands on the concrete, stunned, bleeding from multiple lacerations. He tries to sit up, but his right arm is broken, horribly mangled. PETROWSKY (gasping, in shock) Jesus -- Jesus -- 41. CONTINUED: WOMAN (V.0.) There've been times in my life when the world seemed so hateful and vindictive that I just wanted to die -- Helen Petrowsky bolts from the mini-van. The boy watches as his mother rushes to her husband's side. HELEN Jim?! Jim, what happened?! Petrowsky clutches at his wife's arm, trying to speak. A shard of glass has penetrated his larynx. PETROWSKY -- H-helen -- get -- a--away -- Petrowsky's eyes widen in horror. Helen follows his gaze WOMAN (V.0.) Certain twists of that fate felt like nothing more than God's spite. STARKE strides towards them, his face a veil of unmerciful contempt. The dust storm has taken on Biblical proportions, whipping and roiling around him, becoming an extension of his fury. He snatches Helen up by the throat, snapping her neck with inhuman strength, flings her lifeless body to the ground -- then he brings his boot heel down on Petrowsky'shead. crushing it like an _aashell. WOMAN (V.0.) (CONT'D) It was obvious to me that I'd done something wrong. Broken some secret rule known only to Him. And as such, would be punished for my sins -- Starke turns now, regarding the mini-van. The boy is nowhere in sight. He approaches, looks inside. The boy has fled. EXT. RENTAL CAR LOT - DAY We are low on the ground, tracking with the terrified Boy as he squirms his way beneath the cars. He pauses, nervous. BOY'S POV (BENEATH CAR) Looking right, then left. No sign of Starke. The Boy shudders, truing to stifle his sniveling. Then -- (C^r�-_NCE2) 42. CONTINUED: WOMAN (V.0.) But I had it all wrong. And I see that now, with such clarity I sometimes feel my heart will break -- THE COYOTE appears, creeping along a parallel aisle. It pauses, lowering its snout, peering at the boy from afar. The Boy freezes. FOOTSTEPS approaching. He squirms around for a better view -- BOY'S POV (BENEATH CAR) We SEE Starke's boot heels a few dozen yards away, gradually closing in on the car beneath which the Boy hides. The Boy shuts his eyes. The FOOTSTEPS draw closer, then stop. The Boy opens his eyes. Starke's hoots are just an arm's length away. WOMAN (V.O.) (CONT'D) There's a world out there that's neither right nor wrong. Neither kind nor cruel. Fair or unfair. It simply is.. Existing in all it's bliss and pain. A HAND slips under the body of the car.Butit's not a human hand. It's the hand of a beast -- blackandtwisted, taloned. With a sudden movement, the hand flipsthecar up, sending the enter vehicle spiraling into theair.The Boy lies there, exposed like a bug beneath an upturned rock. He looks up -- WOMAN (V.0.) (CONT'D) And what seems like cruel fate is really only Nature, red in tooth and claw. THE BOY'S POV We see a BRIEF FLASH of Starke. No longer a human silhouette, but a SNARLING, lupine beast. The Trickster. The Black Dog. Rushing towards us with open jaws as we -- CUT TO: EXT. BADLANDS - DAWN A HUMMER races along a desolate stretch of highway, passing through an inhospitable landscape of buttes, mesas, and cacti. 43- INT. HUMMER - DAWN Carrigan drives. Landsdale rides shotgun, dozing. Odell is in back with Rain, her hands tightly bound. She keeps to herself, clutching her skeleton doll, stares out at the passing landscape. Odell offers her a bag of chips. ODELL Want some food, kid? Rain doesn't respond. Odell rustles the bag. ODELL (CONT'D) C'mon. Eat a chip or something. CARRIGAN She's not gonna eat, Odell. Just shut up and get some sleep. ODELL I can't sleep. Every time I close my eyes, I see the face of that thing, Lloyd BURNING -- (shaking his head) -- Christ. CARRIGAN Just put it out of your head. ODELL If I could put it out of my head, I wouldn't be awake now, would I? Landsdale stirs. Carrigan gestures at the barren landscape. CARRIGAN Look out there, what do you see? LANDSDALE Dick. CARRIGAN That's right. Miles and miles of nothing. And there's a lot of weird shit running around in that nothing. How many people you know seen a UFO, huh? Ten? Twenty? Hell, it's on every goddamn paper at the supermarket. You believe that shit, the whole country's being overrun by those bug-eyed motherfuckers. (CAN":NC,'.-) 44. CONTINUED: LANDSDALE (nodding, eyes closed) Probe you in the ass, they get the chance. ODELL What's your point, Mr. Serling? CARRIGAN My point is; everybody's seen somethina. Ghosts, aliens, Bigfoot, whatever -- ODELL This wasn't no freaking Bigfoot! You see what it did to Albright? Punched his head clean off! CARRIGAN Look, I don't know what that thing was. All I know is, Starke's paying us a butt- load of money to deliver the kid to him. We were told we'd see things and we were told to look the other way. You want to cut out? I'll pull over right here. LANDSDALE Keep your shirt on, B. We didn't come this far just to limp home with nothing. Right, Odell? Odell settles back into his seat, uneasy. ODELL I guess. But I'd still like to know what that thing was. RAIN He's the Ghost Rider. Everybody looks at her. It's the first thing she's said. CARRIGAN (CHUCKLING) "The Ghost Rider"? Get that off the back of an Oakridge Boys album or something? You think that shit scares me? RAIN It should. He's going to kill you all. ODELL (FREAKING OUT) See? SiE? ! (MORE) (CO.JT N =i) 45. CONTINUED: (2) ODELL (CONT' D) That's what I'm talking about! Fucking Chatty Cathy sitting back here with me! Carrigan glances in the rear-view mirror, makes eye-contact with Rain, does his level-best not to be spooked. CUT TO: EXT. BLACK HILLS - HIGHWAY - DAY One hundred miles-per-hour plus. Whip around to SEE -- BLAZE AND NOMI, riding their cycles. Up ahead is a postal truck. Blaze HONKS, waves to the DRIVER. He's got a postcard in his hand. He hands it to the driver through the open door, then decreases his speed, falling back alongside Nomi. As they scream over a hill, we SEE the White Buffalo Indian Casino and Lodge in the distance. NOMI I don't like this. I spent the last six years trying to forget this place. BLAZE You got any idea where Billy-Ray might be headed? NOMI NO -- BLAZE Then we should start with where he's been. INT. INDIAN CASINO - DAY A chiming CACOPHONY. Acres of penny slots and video poker. Roulette wheels CLATTERING. Blackjack tables spinning. Blaze and Nomi weave their way through the maze. BLAZE Your husband used to work here? NOMI Billy-Ray dealt blackjack, poker. Worked the casino circuit. We met in Vegas. Things kind of went downhill after that. RODENBURG (O.S.) Got a lot of nerve showing your face here again. 46. CONTINUED: They turn. Chief of Security, VINCE RODENBURG (30s, full--or- himself), storms towards them, flanked by TWO SECURITY GOONS. NOMI Believe me, Vince, this is the last place I want to be. But we need to find Billy- Ray. He took Rain. RODENBURG Sorry' The Deal Man hasn't been back in weeks. (gesturing for them to leave) You have a nice day now. NOMI But you must've talked to him. Do you know where he's headed? Just tell me that. RODENBURG What am I? His babysitter? I don't know where he is, Nome, and if I did, I sure as hell wouldn't be telling you. (looking to the other guards) Show these two ass-holes to the door. BLAZE Look, this is important. We're talking about a kidnapping. RODENBURG (sizing Blaze up) We are? And who is ? BLAZE I'm just a friend. RODENBURG Ri h t. Nomi tell you what a blue ribbon slut she was? Do anything to support that needle habit of hers. Truth, 'bout the only person that hasn't had her around here is me. Blaze steps forward now, angry, threatening. BLAZE That's enough. RO DENBURG What, you gonna get all Steven Segal on me, tough guy? Pull a fucking Glimmer Man? 47. CONTINUED: (2) Blaze moves, twists Rodenburg's arm like rope, wrenches his thumb backwards, SLAMS Rodenburg face-first into one of those Plexiglas booths where people dive for dollars. The goons pull their pieces. Blaze just ups the pain. RODENBURG (CONT'D) -w-w--wait!! ! (in agony, grimacing) --oh, fuck, just wait a second -- The goons hesitate. CUSTOMERS stare. Blaze seethes. BLAZE I need you to understand something, Vince. I am, by nature, an inherently violent man and there's not much in the way of bad that I haven't already inflicted on this miserable world -- (applying even more pressure) So unless the idea of learning to drive a wheelchair with your mouth sounds appealing, I suggest you apologize to my friend and tell us WHERE THE FUCK BILLY- RAY IS HEADED! RODENBURG I don't know! I don't know -- Blaze gives Rodenburg's thumb a savage twist. RODENBURG (CONT'D) Arrrghh! H-he was -- ngh -- up at their old house, last night! BLAZE And? RODENBURG And I'm sorry -- I'm fucking sorry! Blaze releases him. As the goons close in, Blaze deftly relieving Goon #1 of his handgun and turns it back on him. BLAZE Think about it. The goons relent. Blaze and Nomi exit, leaving Rodenburg slumped on the floor, cradling his mangled hand. CUT TO: 48. EXT. TRACT HOMES - DUSK A swath of cheap housing, part-finished, mostly abandoned, back-boning a steep bluff that overlooks the casino. Blaze and Nomi dismount their bikes. She stares at a particularly ramshackle house. Wind whips. Dead leaves blow. A rusting swing-set twists and creaks. NOMI Never thought I'd be back here. They pass cautiously through the front yard. Nomi's pickup is parked nearby. The front door bangs back and forth. Nomi pulls a revolver from her waist-band. BLAZE I think they're gone. Off Nomi's look, Blaze points at tire tracks in the dirt. BLAZE (CONT'D) Dual tracks. Looks like your old man switched to a Hummer. INT. CARRIGAN'S HOUSE - DUSK Window panes RATTLE. The lights don't work. Blaze and Nomi pick their way through food containers and discarded detritus. BLAZE (CONT'D) Guess the boys camped out for a while. THE LIVING ROOM Dead leaves twirling. One whole side of the room is burned open, blackened and charred, the remaining timbers sealed with plastic sheeting. Nomi opens a drawer, rifles through singed papers -- finds an old PHOTO of her and Carrigan. NOMI Listen, those things Vince said -- BLAZE You don't have to explain yourself to me. NOMI Some of them are true. BLAZE Doesn't make you a bad person. 49. CONTINUED: Nomi nods, but she's clearly agitated. Blaze crouches, traces his fingers over a stain on the wall. He can FEEL something. He shuts his eyes, opens them -- BLAZE'S POV (THE PAST) The room, many years earlier. Carrigan backhands Nomi across the face. The silent moment is caught in motion so slow it's virtually a tableau. BACK TO THE PRESENT BLAZE (CONT'D) He used to hit you. A statement, not a question. She nods. INT. CARRIGAN'S HOUSE - BEDROOM - NIGHT Nomi is reluctant to enter. Blaze is inside, SEES her hesitation -- she's staring at the bed. NOMI You can see the past? BLAZE Just echoes, sometimes. (BEAT) Tell me about Starke. Nomi hesitates, not wanting to relive this. NOMI I was dying. I'd shot myself full of Billy's best gear. Figured I'd teach him a lesson and go out in style. Blaze nods, but he doesn't see Nomi now. He SEES -- BLAZE'S POV (THE PAST) -- Nomi as she waS. An inch away from eternity. She is lying on the bed, staring upwards, shallow breaths- Above her, a MOTH flutters by a light, casting distorted shadows. BLAZE (V.O.) But it felt like a mistake. NOMI ON THE BED (WHISPERS) I don't want to die. (CONTINUED) 50. CONTINUED: The lights begin to dim. We hear FOOTSTEPS approaching, muted and distorted, A SHADOW falls across Nomi -- STARKE stands above her. There are OTHER SHADOWS drifting in behind him. Things better left half-glimpsed. Coyotes. Beasts. NOMI (V.O.) He smiled and said -- As Starke starts to speak, we hear: BLAZE'S VOICE "You look like -- BACK TO THE PRESENT Blaze finishing the phrase, knowing the punch-line too well. BLAZE -- you could use some help." Nomi nods, hugs herself. NOMI And I took it. What else was I going to do? I don't know what happened after that. I'm not sure I ever want to -- (beat, struggling) All I know is, nine months later, Rain was born. FLASHBACK IMAGES Silent, disjointed. The moth. Nomi's face, terror-stricken. Starke, eyes alight with malice and mischief. BACK TO THE PRESENT Nomi turns away, trying to banish the memory. NOMI (CONT'D) Billy-Ray hated her from the moment she was born. He knew she wasn't his, knew she was different -- (re: the charred timbers) If I didn't leave he would've killed us both. (CCNTINUED) 51. CONTINUED: (2) FLASHBACK IMAGES Nomi striking back at Billy-Ray with a broken bottle. Setting the house ablaze. BACK TO THE PRESENT Nomi pulls out a cigarette, nervously lights it. NOMI (CONT'D) Been running ever since. In my heart, I guess I knew Starke would be coming for her one day. BLAZE Why send Billy-Ray after you? NOMI Sick irony, I guess. Billy certainly knew all my haunts -- (shaking her head) This was a mistake, Blaze. We're not going to find anything here. Blaze glances down -- a HEAT HAZE has engulfed his hand. He clenches his fist, looks up -- BLAZE Guess again. -- as HEADLIGHTS shine through one of the windows. Somebody's driving up to the house. INT. CARRIGAN'S HOUSE - LIVING ROOM - NIGHT Blaze and Nomi creep towards the front door. A handful of vehicles are pulling up out front. The men disembark. It's Rodenburg, finger splinted, packing heat. He's returned with reinforcements: OSWALT, DOYLE, WEINGROD and PENNEBAKER. Blaze and Nomi make their way to the laundry room and the rear entrance -- but Doyle and Oswalt have already circled around back. NOMI (WHISPERING) Shit, they've got us trapped here. BLAZE (FATALISTIC) No. they're the one who are rang d. Blaze reaches for the door handle, opens it -- (CONTINUED) 52. CONTINUED: NOMI What're you --? EXT. CARRIGAN'S HOUSE - BACK PORCH - NIGHT -- and steps out to meet their tormentors. Rodenburg and the others are there now too. Rodenburg is grinning. RODENBURG Talked-to Billy-Ray, chief. Don't know who you a r - e, but you picked the wrong -- Blaze struggles to contain the Ghost Rider, but his whole body is drenched in sweat now -- like he's going to spontaneously combust at any moment. BLAZE Please. Just tell us where they went and leave. There's no reason why you have to die. Rodenburg LAUGHS, looks at his friends in disbelief. RODENBURG I'm gonna die? Me? Buddy, you got your head screwed on bass-ackwards! Rodenburg FIRES into Blaze's chest -- once, twice. Blaze stumbles back against the porch. As he falls, Rodenburg mounts the steps, charging in after Nomi. INT. CARRIGAN'S HOUSE - VARIOUS - NIGHT Nomi runs -- but Weingrod DIVES through the plastic sheeting in the hall, cutting her off. He SLAMS her against the wall, twisting her arm behind her back. Rodenburg appears behind them. Together, he and Pennebaker drag Nomi towards the bedroom. They shove Nomi onto the bed. RODENBURG Had to come back here, didn't you, Nomi? Just couldn't leave well enough alone. Nomi struggles to sit up. Rodenburg LAUGHS viciously, forces her back, drags at her jeans. EXT. CARRIGAN'S HOUSE - BACK PORCH - NIGHT Doyle waits on guard duty, bored, when suddenly -- (CONTINUED) 53. CONTINUED: BLAZE sits up. He looks to Doyle, TEARS OF FIRE streaming from his eyes. As he stands, his chest wounds ignites, the flames instantly cauterizing the flesh. He's suddenly engulfed in a heat haze. Wood smolders all around him. Doyle backs away, terrified. He FIRES his gun again and again, but the bullets just punch through Blaze, creating more flaming holes- INT. CARRIGAN'S HOUSE - BEDROOM - NIGHT Rodenburg stops mid-assault. Nomi breathes fearfully, held down at gunpoint by Pennebaker. We hear SCREAMS, the WHISTLING WIND, the CRACKLE OF FIRE. INT. CARRIGAN'S HOUSE - BACK PORCH - NIGHT Doyle rushes in from the porch, looks back -- Blaze keeps on coming, unstoppable. He steps/burns his way through the screen door, leaves a trail of BURNING FOOTPRINTS in his wake. As he walks down the hall, the heat streaming off of him blisters and curls the wallpaper. Doyle backs away, stumbles -- and Blaze is upon him, lifting Doyle up, gripping him by the throat. DOYLE P-PLEASE -- BLAZE I'm sorry. soul, the fire expanding, engulfing Doyle. INT. CARRIGAN'S HOUSE - BEDROOM - NIGHT Rodenburg buckles his pants, goes to the doorway, peers cautiously into the passage beyond. RODENBURG'S POV: Flaming leaves burn and twirl at the far end. Firelight flickers. The SCREAMS still come, sporadic and terrible. Rodenburg's mind is racing. He motions to Pennebaker, who drags Nomi off the bed and strong-arms her to the door. 54. INT. CARRIGAN'S HOUSE - HALLWAY - NIGHT Rodenburg leads, gun ready. RODENBURG Doyle? Smoke and CRACKLING NOISES are building rapidly. The SHRIEKS persist, and those burning leaves are everywhere. Then -- --- movement in the living room! Rodenburg draws a bead but it's Weingrod, pushing through the plastic sheeting, fearful, eyes darting. He speaks in a strained whisper. WEINGROD What's going on, man? Where's Oswalt? GUNFIRE! Outside! CRASH! Something hits the house. Then more SCREAMS, more GUNFIRE, and a RUMBLE so deep it's deadly. Pennebaker panics, pushing past Rodenburg. PENNEBAKER I want out of here, I'm getting out! RODENBURG Keep your fucking voices down! WEINGROD He's burning the house, man! He's BURNING THE-- RED-HOT CHAINS whip viciously around Weingrod's head and torso. Then he's wrenched backwards, hauled straight through the plastic sheeting -- THE GHOST RIDER bursts through the melting plastic, hauls his red-hot monster bike up on its back wheel -- Rodenburg and Pennebaker run for their lives, falling into the fire-lit passage. The Ghost Rider screeches across the living room, setting the place aflame as he passes through. Nomi leaps aside as a sheet of fire burns where she was, SEES the fiery monster crash straight through the wall -- Rodenburg and Pennebaker run through the flames, stumbling over Doyle's charred body -- 55. EXT. CARRIGAN'S HOUSE - NIGHT They burst out the front door, clothes alight, racing across the yard towards their vehicles. Rodenburg looks back -- The Ghost Rider EXPLODES through the front of the house, skids to a halt, flicks out a chain -- and snags Rode burgs ankle. He falls, SCREAMING. The chain retracts -- Pennebaker reaches his vehicle, struggles with the door - TheGhost Rider thrusts a clawed hand outwards,clenchesthe air and hauls it back in. Like an explosion in reverse, 4,11 fire is sucked violently back into his hellish being. A frozen moment. All terrified eyes on the Ghost Rider Then he lets rip. Hurls the energy back out as a torus of white hot fire that expands across the yard, BLASTS Rodenburg's shirt from his back, SMASHES Pennebaker against his vehicle -- The vehicles EXPLODE, gas tanks rupturing. Pennebaker is blown to pieces. Rodenburg SCREAMS, shields his face. Fire and debris rain down in every direction. The Ghost Rider looms over him. More accurately, it's -- GHOST BLAZE Half man, half monster, his pitiless skull-face hazing and flickering between human and inhuman states. GHOST BLAZE Where are they taking the girl? Rodenburg whimpers. Ghost Blaze grabs Rodenburg's hair, wrenches his head back. GHOST BLAZE (CONT'D) Where. Are_ They. Taking. Her? RODENBURG (BEYOND TERRIFIED) North! They're headed North, into Oregon, oh, god, fuck -- GHOST BLAZE Where? RODENBURG I don't know exactly, Jesus, I don't know! (CONTINUED) 56. CONTINUED: Blue-white fire floods down Blaze's arm and engulfs Rodenburg. The poor man screams, struggles to break free -- aze simply crrows Otte ana ac and the Ghost Rider's evil countenance submerges every trace of Blaze's humanity. Then it's over. The flames evaporate. Rodenburg's corpse crumbles to dust. Wind HOWLS. The Ghost Rider is gone. ON BLAZE He SEES the corpses, the burning vehicles, tries to deny the horror. But it's always the same -- another swath of destruction left in his wake, another righteous atrocity. NOMI He told you everything he knew. She's ten yards away, shaking. Not going to come any closer. NOMI (CONT'D) Told you everything -- (BEAT) -- you didn't have to do that. BLAZE You asked for my help. I warned you what you were getting into. More a statement than an excuse. There are POLICE SIRENS on the wind. Blaze starts walking towards the pickup. CUT TO: EXT. MOTEL - NIGHT A sub-par motel 6. Nomi's battered pickup is parked outside. We HEAR Blaze's tortured MOANS coming from within. INT. MOTEL ROOM - NIGHT Blaze sits in a chair, shirt off, Nomi at his side. She's trying to help him patch up his wounds, but the enormity of the damage and the sheer amount of blood is daunting. NOMI I don't -- I don't know what else to do for you -- (CONTINUED) 57. CONTINUED: BLAZE S'okay -- just need to rest now -- (GASPING) -- wounds'11 be healed by morning. Nomi stands, still shaken. She retrieves a cigarette from her purse, lights it. NOMI I thought you were dead. BLAZE (considering his wounds) I don't even know if it's that's an option anymore. Every time I get close, I feel myself being dragged back -- (breathing through the pain) --it's like being born all over again. Like every law in the universe is being broken. Blaze sits forward, gritting his teeth against the pain. BLAZE (CONT'D) See, the Ghost Rider -- it's drawn to darkness like a bloodhound. If it thinks you've sinned, it'll find you. NOMI What if you're innocent? BLAZE Nobody's innocent. (beat, staring at her) Think about it. Everyone's done somethincr. You. Me -- Blaze lifts up the coyote coin, flipping it over his fingers. BLAZE (CONT'D) Every night I spin this fucking coin -- and it always lands the same side up. I keep thinking -- ona time, one time I'm going to spin it and I'll see the other face. Sleep through the night without getting blood on my hands. But it never happens. (SHAKING) There's always some sad motherfucker out there that needs retribution, vengeance -- (CONTINUED) 58. CONTINUED: (2) Blaze flings the coin away in disgust. It spins, wobbles, lands coyote side up. He laughs tiredly, then looks away, lost, suddenly overcome with emotion. BLAZE (CONT' D) I'm just so fucking tired -- Nomi moves to his side, struggles to help him up. NOMI Here, why don't you lie down for a little while? Blaze nods, too tired to argue. Nomi half carries him to the bed, lowers him down. Blaze settles back, exhausted. Nomi watches him, holding vigil. His eyes grow heavy. He shuts them a moment, opens them again -- THE PAST -- and it's Roxanne who is laying beside him now. She rolls over to face him, smiles sleepily. Blaze reaches for her, touches her face -- and the moment shatters into violence. A COLLISION OF IMAGES -- the El Camino sliding, spinning over. Metal rending. -- rain pattering on broken, bloody wreckage. Roxanne's torn seat belt hanging loosely. -- climbing out through the blown-out windshield. Crawling in mud, Blaze's face reflected in broken glass. -- cradling Roxanne's body in his arms, rocking her and -- THE PRESENT WHAM! Blaze bolts up in bed, disoriented, shaken. Clearly, some time has passed. Nomi sits across the room now, holding Blaze's tattered photographs in her hands, looking a little guilty. She's got the paper wedding band which Blaze made for Roxanne too.' BLAZE What are you doing? NOMI I'm sorry, I just -- (CONTINUED) 59. CONTINUED: ( 3) As Blaze stands, we SEE that his wounds have healed.-He shrugs on a shirt, approaches. Nomi nods to the paper wedding band. NOMI (CONT'D) You must've loved her a lot. Blaze doesn't answer. Just takes the photos and wedding band from her, shoves them back in his pack. He pulls out one of the postcards, scribbles an address on it. BLAZE What time is it? NOMI A little after three. BLAZE What time, exactly? NOMI 3:27. Why? Blaze ignores her, jots down the time. Licks a stamp and puts it on the postcard. Leaves it on the dresser. NOMI (CONT'D) What is it with you and those postcards, anyway? BLAZE They're just a kind of record. (hauling up his pack) Let's go. INT. PICKUP - DRIVING - NIGHT Blaze and Nomi drive. Outside, the landscape passes, bugs twirling and spattering against the windshield like snowflakes. MEMORY FLASHES Roxanne in the hospital, serene and beautiful. Starke handing Blaze the coin. NOMI You made a deal. Blaze nods. NOMI (CONT'D) So what happened? Did she live? (CONTINUED) 60. CONTINUED: BLAZE Roxanne? Yeah, she's alive. She just doesn't know it. (off Nomi' s look) Coma. Probably never wake up. NOMI So he tricked you. BLAZE (a tired laugh) That's what he does, doesn't he? She nods. That's what he does. NOMI (almost afraid to ask) What about the baby? Blaze just shakes his head. BLAZE It's funny. That kid was supposed to be my second chance. Rox and I used to talk about it -- how things'd be different after she was born. Nomi didn't expect his honest vulnerability. NOMI Maybe that's why we have them BLAZE What, kids? NOMI (NODDING) So we can make amends for all the royal fuck-ups we've perpetrated on the world. God knows I've had my share. (beat, pained) I just don't want her to have to pay for the things I've done. You know? Blaze nods. He knows all too well. He and Nomi drive on in silence for a beat, their thoughts turning inwards. NOMI (CONT'D) Can I ask you something? Honestly? (off Blaze's nod) What're you going to do when you find Starke? (CONTINUED) 61. CONTINUED: (2) BLAZE Make him pay, somehow -- (UNCERTAIN) I don't know. How do you beat the Devil? Walk up and bitch-slap him? Pretend you're Schwarzenegger and fire a bazooka up his hind ass? I'm basically making this up as I go along. Nomi smiles. NOMI I'm sure you'll figure something out. CUT TO: INT. CARRIGAN'S HUMMER - TRAVELLING - NIGHT -- Rain looking out through the truck's moon roof, watching stars passing overhead. As the sky above slowly brightens in time-lapse, Rain's eyes grow lidded. She sleeps, clutching her skeleton toy and -- INT. CARRIGAN'S HUMMER - TRAVELLING - DAY -- waking sunlight floods the cabin. New shift. Odell drives. Rain rides shotgun. Carrigan and Landsdale are sacked out in back. The radio drones, laced with STATIC. Tedium. No one slept well. Carrigan stares out at the passing plains, expertly cutting a deck of cards one-handed. He SEES a scarecrow go by, standing ragged in the middle of nowhere. Then his cell phone RINGS. Carrigan flips it open -- CARRIGAN Yeah? Based on his facial expressions, the news isn't good. He sighs, disconnects the call. Landsdale cocks an eyebrow. CARRIGAN (CONT'D) Rodenburg's dead. Oswalt, Weingrod, all those other inbred losers too. (off Landsdale's look) Looks like my ex-bitch has hooked up with the fire guy -- In the rear-view mirror, Odell's eyes grow wide. ODELL No fucking way -- Carrigan ponders, nods to Landsdale. (CONTINUED) 62. CONTINUED: CARRIGAN We're going to need reinforcements, some kind of escort to the meet. LANDSDALE I know a guy. Got some boys given over to wickedness and such. CARRIGAN (tosses him the phone) Make the call. RAIN (0.5.) He'll find me, you know. Her voice makes Odell jump. He thought she was asleep ODELL (fretful, pleading) BILLY-RAY -- CARRIGAN (to Rain, leans forwards) Hey, kiddo, you're worrying my boy here. So shut your goddamn mouth -- RAIN You can't tell me what to do. You're not my father. Wow. The truck collectively holds its breath. Carrigan settles back, but he's pissed. CARRIGAN You better believe that, sweetheart. I'm just the dumb-ass that financed your whole fucking life. You and your mother both. And what did I get for that selfless act of stupidity? She burned down the house and gave me something to remember her by. He's referring to the scar under his eye. Rain turns away. Huddles against the door. LANDSDALE Believe me, I could care less what Starke wants with you. Make you into a fucking hood ornament if he wants to. It's not like you came springing out of my loins. Only thing I care about now is getting what's mine, and that's -- (MORE) (CONTINUED) 63. CONTINUED: (2) LANDSDALE (CONT'D) (counting on his fingers) -- payment and retribution, got it? She's not listening. Her bound hands are secretly pushed down into the tight gap between the seat and the door. ON RAIN'S FINGERS extending towards A PEN, one inch out of reach, caught between the seat mechanism and the door sill. RAIN'S EYES are fluttering. Extreme concentration. THE PEN levitates, tilts into her outstretched hands. The RADIO squeals painfully, pure strident STATIC. Odell punches a new station, but the STATIC continues, grows -- Rain ATTACKS, stabbing the pen into Odell's thigh. He SCREAMS, slams the brakes, loses control of the truck -- EXT. HIGHWAY/CORNFIELD - DAY The Hummer barrels off the road, SLAMS down hard into a concrete culvert. Without missing a beat, Rain is out and away, plunging into the cornfield. Carrigan and Landsdale bolt after her, guns drawn -- ON RAIN, weaving between the stalks. She reaches an old farm implement, uses one of the rusting blades to saw through her taped bindings. Then she's up again, running -- ON CARRIGAN AND LANDSDALE searching high and low. Carrigan SEES movement to his right, surges forward -- -- but Rain jigs left and Carrigan misses her, tripping over the farm implement instead. He cuts himself, curses -- Rain continues, straight ahead now. Carrigan motions to Landsdale. The two split up, drifting in different directions. They're gaining on her -- BACK TO RAIN, losing ground. She spies a rock, scoops it up -- and SMASHES across C rr_gan's Face! (CONTINUED) 64 CONTINUED: Carrigan falls, dropping the gun. He searches for it, desperate. Then he SEES it. But as he reaches for it -- -- Rain extends her hand, concentrating, eyes fluttering -- WHOOSH! The gun spins away from Carrigan, into Rain's hands. She doesn't hesitate for a second -BLAM!- First shot wings Carrigan, knocks Rain on her ass. Carrigan DIVES for cover.. She FIRES wildly --CLICK-CLICK-CLICK-- but then the gun is spent and -- -- Landsdale emerges through the corn, bagging Rain with his coat. As a shaken Carrigan gets to his feet, Landsdale slips his belt out of his pants and binds Rain tightly. EXT. HIGHWAY - DAY Carrigan and Landsdale return to the Hummer, which is still nose down in the culvert. Landsdale carries Rain under his arm, tightly wrapped, no longer struggling. Odell sits on the hood, daubing the bloody wound in his leg with a handkerchief. He SEES Carrigan's wound. ODELL Man, she shot you? (off Carrigan's nod, disbelief) Jesus. Lucky she didn't perforate my ballsack with that fucking pen. CARRIGAN (RE: HUMMER) What's the damage? ODELL Mounts are cracked, trans-axle's shot to HELL -- (shaking his head) -- this baby ain't goin' nowhere. CARRIGAN Fuck. Ma. Carrigan fumes, glances at Rain -- then he just snaps, starts angrily kicking at the door. After a few futile moments, he stops, paces, looks to Landsdale. CARRIGAN (CONT'D) We're going to need a place where we can hole up `til tomorrow. Wait for those boys of yours. (CONTINUED) 65. CONTINUED: LANDSDALE How `bout up there? Landsdale points past Carrigan at a squat group of buildings and machinery -- a shut-down ROCK QUARRY in the distance. EXT. QUARRY - FRONT GATE - DAY From a distance, we watch as Landsdale approaches a guardhouse with an empty gas can. A GUARD opens the electric gate, steps out to help. Landsdale pistol-whips him, drags his limp body in through the gate. INT_ QUARRY OFFICE - DUSK The Guard slouches in a corner, bound and gagged. Landsdale and Odell lounge nearby, keeping a watchful eye on Rain. Carrigan paces by a window, nervously cutting his deck of cards one-handed. He's watching the shadows lengthen outside, the setting sun. He looks to Rain, who matches his gaze -- creepy eyes penetrating his brain. CARRIGAN (to Landsdale, anxious) Where the fuck are those men of yours? LANDSDALE Don't worry. They're on their way. Carrigan nods, cuts his cards. He j worried. CUT TO: EXT. HIGHWAY - DUSK/NIGHT The abandoned Hummer in the culvert. A gang of CROWS tear a lizard apart. Dusk TIME-LAPSES into night. Stars. After a time, Nomi's pickup comes racing past. Blaze is driving, cranes to see the passing wreck. He pulls over onto the shoulder. Blaze and Nomi climb out, approach the vehicle. Nomi shines a flashlight, SEES blood on the front seat. She GASPS. Blaze reaches past her, touches the blood stain -- FLASH OF THE PAST Chaotic and violent. Rain attacking Odell. The Hummer crashing. The desperate race through the cornfield. (CONTINUED) 66. CONTINUED: BACK TO THE PRESENT as Blaze steps away from the Hummer, into the field. BLAZE She's alive. NOMI How do you know ---? But Blaze isn't listening. His gaze is now fixated on the distant lights of the rock quarry. EXT. FIELD - NIGHT Blaze and Nomi crest a rise in the field, hunker down: THEIR POV: We can see the main compound of the quarry from here. Landsdale is in view, having a smoke by the guardhouse. NOMI You think she's in there? Blaze nods. NOMI (CONT'D) Then let's go -- Nomi starts forward, but Blaze pulls her back. BLAZE No. We'll wait. (POINTEDLY) Dawn's less than an hour away. NOMI (taking out her gun) You wait. I'm heading in. BLAZE Look, they're not going anywhere. NOMI You don't know that. This is probably the best chance we'll get. They're sitting ducks. We can do this if you -- BLAZE If I what? Burn them alive? Eat their spirits? (DRAWING CLOSER) (CONTINUED) 67 CONTINUED: BLAZE (CONT'D) You still get it, do you? The Ghost Rider whales on whoever's got it coming, but it's Johnny Blaze that gets to remember their faces. And I Lb remember them. Every last one. Just then, we hear the RUMBLE of approaching MOTORCYCLES. Lots of them. Blaze turns, SEES a line of BIKERS chugging up the service road on ratted-out Harleys. NOMI They know we're coming, don't they? Blaze nods. Once again, Fate is royally fucking him. NOMI (CONT'D) I'm going in. You with me or not? EXT. QUARRY COMPOUND - NIGHT Landsdale opens the main gate. The bikers THUNDER into the compound -- low-rent Hell's Angel types culled form the shallow end of the gene pool known as the Gray Gargoyles. ARLO SKINNER, the Gargoyle's CEO, climbs off his hog, adjusts his nut-sack. As he approaches Landsdale. GUNT and CHESTER PULSIFER, his identical twin lieutenants, fall in behind. ARLO Brotherman. LANDSDALE Arlo. ARLO (GRINNING) I believe you know the Pulsifer Brothers, Chester and Gunt? EXT. QUARRY COMPOUND - ELSEWHERE - NIGHT Blaze and Nomi scramble over a fence, then drop down, crouch- running to avoid a security camera. They hug the shadows. At least a dozen of the Gargoyles are in view, lounging around, shooting the shit. BLAZE I'll find her. You stay here. Nomi moves to protest, but Blaze silences her. (CONTINUED) 68. CONTINUED: BLAZE (CONT'D) If things go South and the Ghost Rider takes over, I can't guarantee he won't -- NOMI I know. I'm on my own. (beat, more plaintive now) , Just bring her back to me. That's all I care about. BLAZE (NODDING) Start disabling the bikes. Last thing we need is a gang of pissed-off speed freaks on our tail. Rip out all the coil wires --- Blaze points to the motorcycle nearest him. Nomi rolls her eyes and pulls out a switchblade, deftly slicing through a fuel line. Gasoline leaks onto the ground. BLAZE (CONT'D) (CHAGRINED) -- or you could do that. As Blaze creeps away: NOMI BLAZE -- (as he turns back) Whatever happens -- BLAZE You're welcome. Blaze leaves. Nomi starts in on the other bikes. INT. QUARRY OFFICE - NIGHT Arlo enters, accompanied by the Pulsifer Brothers. Carrigan and Landsdale are waiting to meet them. ARLO So you need some contract work? CARRIGAN An escort. We're making a delivery first thing tomorrow morning. ARLO And will there be mayhem involved? (CONTINUED) 69. CONTINUED: CARRIGAN Yeah, I'd say a certain amount of hijinx are likely to ensue. EXT. QUARRY COMPOUND - OFFICE - NIGHT Blaze moves around the back of the compound. Up ahead, TWO GARGOYLES are lingering by a side entrance. INT. QUARRY COMPOUND - OFFICE - NIGHT Arlo takes out a nail clipper, starts trimming his fingernails. ARLO Well, I'll tell you, I got nineteen brothers out there willing to go the distance and enough firepower to give a small Balkan nation a fucking titty- twister. But we don't come cheap. So how many men we going up against? CARRIGAN One. EXT. QUARRY COMPOUND - SIDE ENTRANCE - NIGHT WHACK! Blaze elbows Gargoyle #2 in the face. As the biker drops, we SEE that Blaze has already disabled Gargoyle #1. Blaze quietly slips in through the door. EXT. QUARRY COMPOUND - NIGHT Nomi has worked her way through a half-dozen bikes now and a fair amount of gasoline has pooled on the ground around her. INT. QUARRY COMPOUND - OFFICE - NIGHT Arlo looks at Carrigan, incredulous. ARLO One man? CARRIGAN One man. ARLO You trying to diddle my nutpurse, Mister? CARRIGAN Absolutely not. Lemme clarify things -- 70. INT. QUARRY COMPOUND - HALLWAY - NIGHT Blaze sidles down the hallway, moving as quietly as he can. We can HEAR the men talking in the office just next door. CARRIGAN (O.S.) See, this guy's not really a "guy". He's more like a demon or something. ARLO (0. S.) A demon? CARRIGAN (O.S.) That's right. ARLO (O.S.) What, exactly, do you mean by demon? Blaze winces, lifting a hand before his face -- BLUE FLAMES dance over his fingertips. He leans against the wall for support. When he removes his hand, he leaves a singed palm- print on the drywall. INT. QUARRY COMPOUND - OFFICE - NIGHT Arlo puts the clipper away, starts arranging the fingernails on the desk before him into a neat little pile. CARRIGAN Like his head's on fire and shit. Arlo LAUGHS, the Pulsifers follow suit. Then Arlo turns to Landsdale, icy now. ARLO Brotherman, what in fuck's name is this smooth faggot talking about? INT. QUARRY COMPOUND - CORRIDOR - NIGHT Blaze exhales a wisp of BLUE FLAME, totally enveloped in a bubble of heat. More than anything, he wants to step inside, fully aflame. But he forces himself to simply take a peek -- BLAZE'S POV; The room, the men -- but no Rain. LANDS DALE He's telling the truth, Arlo. The guy ain't human. Saw him torch Albright and Chudacoff with my own eyes. (CONTINUED) 71. - CONTINUED: BACK IN CORRIDOR Blaze presses against the wall, desperately trying to rein the Ghost Rider in -- but FOOTSTEPS are coming. A Gargoyle is round; c the corner! INT. QUARRY OFFICE - NIGHT Gunt rips open his shirt, shows a chest covered in tattoos. GUNT Well, I say bring him on. You see this ink? That's a hundred hours under the needle. A motherfucking canvas of pain. He and Chester here, we're not afraid of fuck-diddly! INT. QUARRY COMPOUND - CORRIDOR - NIGHT The Gargoyle passes the doorway, lights up a smoke. Or tries to. The flame from his Zippo is bending sideways. He tries a couple more times. Same thing. Weird. ON BLAZE hidden in a dark alcove, struggling to contain himself. If the Gargoyle turns he will surely see him. The Gargoyle studies the flame, then notices an OPEN WINDOW nearby. He shuts it, lights his cigarette, turns back -- b= Blaze has moved on. INT. QUARRY OFFICE - NIGHT Arlo settles back in his chair. ARLO If this guy's as lethal as you say he is, I want fifty for me, another fifty for the club. Only you can't let the boys know we're takin' a 50K rake off the top, see? CARRIGAN How `bout sixty and I'll throw in a kilo of coke? ARLO (INCREDULOUS) Coke? That's like selling snow to Eskimos. You think I'm some kind of crack-smoking foolio or something? (CONTINUED) 72. CONTINUED: CARRIGAN (SIGHING) Seventy, then. Arlo reaches into his shoulder-holster, whipping out a mean looking nickel-plated Colt 44 Anaconda. ARLO Ninety, and not a nickel less, you fucking pillow-biter. INT. QUARRY COMPOUND - ANOTHER CORRIDOR - NIGHT Blaze continues, agitated. Where the fuck is the kid? He looks through a doorway, SEES -- TEN OR MORE brutish gargoyles drinking beer and cleaning their weapons. Blaze drops back. His snarling face contorts, starts to assume that awful skullish quality. The Ghost Rider wants out. mow. But Blaze fights, shoves it back down and deep. SOMETHING moves to Blaze's right -- a TINY WHITE FIGURE, lolling and flopping at the far end of the passage. EXT. QUARRY - COMPOUND - NIGHT Nomi slices through another fuel line, inadvertently drawing the attention of a Gargoyle who was taking a leak. He zips up his jeans, starts towards her -- INT. QUARRY OFFICE - NIGHT Carrigan grins, trying to calm the situation. CARRIGAN E a sy, gentlemen. No need to get all truculent on me. ARLO Truculent? You get that out of a Scrabble dictionary or something? What the fuck does "truculent" mean? (grabbing Carrigan by his shirt) I'll tell you what it means. It means FUCK YOU! 73. INT. QUARRY COMPOUND - ANOTHER CORRIDOR - NIGHT Blaze stares, hypnotised, his face flickering from skull to flesh and back again. The tiny figure is Rain's SKELETON DOLL, held upright, unsteady, by some unseen force. THAT MOMENT, ELSEWHERE - RAIN'S FACE Extreme mental concentration. Temples pounding. Her eyes are fluttering, rolled to white. BACK TO BLAZE as he starts towards the toy skeleton. He's in agony now, each breath a cough of fire, each footstep igniting the floorboards. He SEES a storage room up ahead -- INT. QUARRY OFFICE - NIGHT Carrigan smiles, seemingly unruffled by the gun. CARRIGAN Okay, alright -- how about seventy-five and we'll smoke the old peace pipe? ARLO (cocking the Anaconda) How `bout eighty or you're gonna be smoking my dick? INT. QUARRY COMPOUND - STORAGE ROOM - NIGHT Blaze enters, SEES Rain. He extends a hand to her -- and Odell steps out from behind the door where he'd been hiding, shotgun in hand. BLAZE Shit. EXT. QUARRY - COMPOUND - NIGHT Nomi tries to fall back into the shadows, but it's too late. The Gargoyle has spotted her. He draws a Taurus pistol -- INT. QUARRY COMPOUND - OFFICE - NIGHT -- and we hear a high-pitched BEEPING. Arlo turns. ARLO What is that? (CONTINUED) 74. CONTINUED: CHESTER (LISTENING) Sounds like a smoke alarm. GLINT (wrinkling his noise) Smells like somethin's burning. CARRIGAN What-is this, fucking charades?! It's h,jM, you- ass-holes ! EXT. QUARRY, COMPOUND - NIGHT A FIREBALL erupts from the back of the building. The milling Gargoyles spring into action. Nomi takes advantage of the distraction, STABS the Gargoyle nearest her in the thigh, bolts -- INT. QUARRY COMPOUND - CORRIDOR - NIGHT Carrigan and the others race out into the corridor even as Odell rushes from the storage room, a WAVE OF FIRE on his heels. THE GHOST RIDER emerges seconds later, Rain cradled in the crook of his arm, safe in a cool bubble of air. She looks to Carrigan. The meaning in her gaze is implicit: "I told you so". GARGOYLES appear from every direction. Guns BLAZE. Bullets turn-to slag, vaporizing as they enter the Ghost Rider's aura of hellfire. Rain drops from the Ghost Rider's arm, runs. The Ghost Rider advances. The Gargoyle nearest him empties a machine pistol into the Ghost Rider. The Ghost Rider reaches for the weapon. At his touch, the pistol becomes RED HOT -- The Gargoyle CRIES OUT. The Ghost Rider takes the pistol, and FIRES BACK. The Gargoyles stumble, clawing at their smoking wounds. In seconds, the entire weapon turns WHITE HOT, melting apart in the demon's hand, SIZZLING away into nothing -- The Ghost Rider keeps coming. Men are SMASHED aside, incinerated. Bravado turns to terror, to chaotic scramble -- 75. EXT. QUARRY COMPOUND - NIGHT FLAMES belch from every window. Panic-stricken Gargoyles try to start their bikes -- and the bikes detonate. one after the other! CRASH! Nomi's pickup barrels through the fence. She slaloms through a gauntlet of flames, skidding to a halt. She SEES Rain running towards her, throws open the passenger door -- NOMI RAIN! " Rain makes for the pickup, scrambles inside even as -- THE GHOST RIDER strides from the burning ruins of the compound. With a wave of his hand, the wall of flame parts like the Red Sea. He locks his gaze with Nomi, points a skeletal finger at her. His meaning is clear: "You are on the list." Nomi floors the gas. The pickup slews and grinds, finds purchase, leaps away from the monster as -- THE PULSIFER BROTHERS emerge from the building, burned but howling for blood, fueled by a lethal combination of stupidity and crystal mech. Carrigan, Landsdale, and Arlo fall in behind. The Ghost Rider moves, whipping his red hot chains. Left, he lassos a passing gargoyle, BURNS him. Right, another Gargoyle, dragged from his bike and reduced to ash. Then two more lashes to either side of the brothers. Two more victims reeled in -- charred corpses falling at the Ghost Rider's feet. The whole thing took three seconds. CHESTER (to Gunt, nerves failing) Forget it, bro, live to fight another day. The Ghost Rider slams his skeletal hand on the tank of a nearby bike. The bike glows RED HOT and CHANGES SHAPE, getting bigger, nastier, demonically slouched -- GUNT No fucking way! That's my hog! As the Ghost Rider mounts the newly transformed hellcycle, Gunt charges forward, infuriated. He OPENS FIRE with his mini-•un, .er. rounds a second. (CD N, - _ 1 ID) 76 CONTINUED: Moving with uncanny speed, the Ghost Rider grips Gunt by the throat and hauls him off his feet, unleashing the full fury of his Penance Stare. A BLAST-WAVE OF LIGHT erupts from the Ghost Rider's eye sockets, engulfing Gunt. Gunt SHRIEKS, his cries becoming infant-like ULULATIONS. Arlo, Carrigan, Chester, and the others instinctively shield their faces, falling back from the infernal glow -- CHESTER Gunt! ON GUNT, images from his own subjective hell assault him. Tears stream down his cheeks as his body ignites. His corneas are burning, melting. The Ghost Rider starts to accelerate now, from zero to sixty in an eye-blink, hauling Gunt's writhing body along with him - straight into the burning building. INT. QUARRY COMPOUND - NIGHT A juggernaut trajectory crashing through wall after blazing wall. The Ghost Rider skids to a halt, HURLS Gunt to the floor. Senses SOMEONE behind him -- A FIRE EXTINGUISHER, blasting the Ghost Rider's head. The Ghost Rider SQUEALS and for a split-second, the demon's flames are actually snuffed out. The cloud clears. The Ghost Rider glimpses ODELL rushing into another room, SLAMMING a steel door behind. INT. QUARRY - STORAGE ROOM - NIGHT Odell pauses in the darkness, hyperventilating. Outside, we hear the heavy FOOTFALLS of the Ghost Rider approaching. INT. QUARRY - HALLWAY - NIGHT The Ghost Rider places a skeletal hand against the steel door. His hand GLOWS WHITE HOT, like an acetylene torch. The steel door begins to bubble and melt. 77. INT. QUARRY - STORAGE ROOM - NIGHT The door to the storage room liquefies, flowing apart like molten lava. The Ghost Rider steps through and -- -- in the light cast by .he demon's owing hand. Odell realizes that the room is stacked with high explosives. CUT TO: EXT. HIGHWAY - NIGHT Nomi's pickup races into the night. A distant FIREBALL ERUPTS hugely, engulfing the quarry, setting off a chain reaction of smaller explosions -- BA-BOOM-BOOM-B-B-BOOOOM! EXT/INT. NOMI'S PICKUP - NIGHT Rain clutches at Nomi, frantic, looking back. RAIN What about the Ghost Rider? We have to go back for him! NOMI Are you crazy?! Sit down! Then Nomi glances in the rearview mirror. Oh. My. God. THE GHOST RIDER is coming after them. HOWLING, plowing through the inferno on his hellcycle. Nomi floors the gas. But the pickup is already maxed out. The Ghost Rider easily gains on the truck, leaving a wake of burning asphalt. He lashes out with his chains, snags the back bumper. The chain-links slice deep into the steel bodywork. The Ghost Rider hauls up onto his back wheel -- Nomi slams on the brakes. The truck fishtails. The Ghost Rider rear-ends the pickup. Bike and demon cartwheel crazily into the cargo bed, SLAMMING explosively against the back window of the cab. Hot glass showers Nomi and Rain -- The Ghost Rider is pinned, SQUEALING, entangled with his bike. Nomi floors it again. The truck leaps ahead -- -- but the Ghost Rider hangs on as his bike slides backwards. He reaches into the cab, clutching at Nomi. The pickup thunders up a rise -- (CONTINUED) 78. CONTINUED: The Ghost Rider's skeletal fingers clamp Nomi's shoulder. She HOWLS in pain, her clothing beginning to smoke. Rain tries to help, imploring -- RAIN No, no, no -- EXT/INT. NOMI'S PICKUP - DAY The truck makes the rise -- and there's THE SUN, dawning huge and white. flaring mightily over the distant horizon. THE GHOST RIDER recoils, blinded by the dawn. He releases Nomi, collapses backwards. His fire extinguishes, his skull-face fades -- -- and Blaze lies in the pickup bed, shaking. Nomi glances back through the shattered cab window, her face a mask of fear and sympathy. Blaze looks to Gunt's bike, which has also reverted to its original state, then SEES -- BLAZE'S POV: The bad guys coming on battered bikes -- Arlo, Chester, plus FOUR OTHER GARGOYLES. And bringing up the rear, a seven ton Mack dumper driven by Carrigan. Landsdale rides shotgun. Blaze looks to Nomi, SHOUTS over the wind: BLAZE Give me your gun! Nomi passes it back. The Gargoyles OPEN FIRE. Bullets zing and whine. Blaze shoves Gunt's cycle off the pickup bed The heavy wreck CRASHES and bounces, wasting the first Gargoyle. The others swerve around the sliding debris EXT. INTERSECTION/HIGHWAY - DAY Nomi runs a stops sign, slews across a rural intersection, pounds the HORN, swerving to avoid the crossing cars -- AN ONCOMING TANKER TRUCK brakes, jack-knifes. Four gargoyles make it past, the fifth is flattened. The Mack comes last, SMASHING a passing minivan into a spin -- (CONTINUED) 79. CONTINUED: ANGLE ON A GAS STATION A STATE TROOPER, hidden from view, hits his SIREN, gives CHASE -- BACK TO ARLO AND THE OTHER GARGOYLES Gaining, riddling the pickup with BULLETS. Blaze is pinned in the bed, can't get off a shot -- ON CHESTER PULSIFER, hanging back and riding one-handed. He hefts a 66mm LAWs rocket on his shoulder, LAUNCHES it -- Near miss. But the impact lifts the pickup's rear axle into the air. Nomi SCREAMS. Blaze hangs on for dear life. ON CARRIGAN, hauling the Mack alongside Chester -- CARRIGAN (yelling from the cab) The hell you doing? I need the kid alive!!! CHESTER Fuck the kid and FUCK YOU!!! Chester aims the launcher again. Carrigan swerves, CRUSHES Chester under the Mack's mighty wheels. THE TROOPER CAR pulls alongside the Mack, SIREN wailing. Carrigan veers hard, forcing it into the opposing lane. Up ahead: ROADWORKS. The highway narrows to a single lane -- BACK TO ARLO AND THE GARGOYLES Gaining on the pickup, trading shots with Blaze at ninety miles and hour. Blaze wings one Gargoyle, then plugs another who loses control, cartwheels catastrophically, EXPLODES -- Arlo zigzags the debris, guns his hog, screams closer. Blaze fires but -- CLICK, CLICK, CLICK -- he's out! (CONTINUED) 80. CONTINUED: (2) ROADWORKS The pickup mows down barricades like dominoes, clips a hot tar cooker, spins spumes of molten tar in all directions. HIGHWAY WORKERS run for their lives. Nomi SMASHES through barricades, leaps a pile of rough gravel. Blaze is nearly hurled out the bed, but hangs on, shoulder screaming -- A FOREGROUND WORKER operating a jackhammer fails to notice the careening pickup racing by, which-is, in turn, followed by Arlo and -- THE MACK TRUCK AND THE STATE TROOPER, ana necx at OOFJ2 Ann r i t s over, end. BACK TO SCENE Arlo rides against Nomi's door, lets rip with his Uzi. Glass SHATTERS. Rain and Nomi duck -- Arlo tries again, sticks his Uzi right into the cab. But Nomi forces the gun upwards. Bullets puncture the roof, shell casings ricochet- In desperation, Nomi reaches for the door latch, kicks her foot against the door. The door swings outward, taking Arlo along with it. UP AHEAD is a concrete divider. Nomi abruptly veers right, clipping Arlo against the divider, killing him instantly. ON BLAZE hauling himself back into the pickup bed even as -- THE MACK bears down on them. Landsdale jumps from the cab, landing alongside Blaze. The two men struggle in the cargo bed, hand to hand, exchanging a volley of vicious blows. Nomi is desperate, doesn't know what to do. Landsdalp is getting the upper hand. He grips Blaze by the throat, forcing him over the side of the pickup bed, shoving Blaze's head towards the churning wheels of the Mack -- (CONTINUED) 81. CONTINUED: (3) NOMI (to Rain, pleading) Do something!!! ON RAIN, concentrating, focusing all her energy on Landsdale. She CRIES OUT, makes a forceful hand gesture -- -- and Landsdale's glasses SHATTER. He SCREAMS, blood pouring from his eyes. Blaze rolls, throws Landsdale over his shoulder -- into the wheels of the Mack. UP AHEAD, A MASSIVE ROADBLOCK Barricades, bulldozers, dozens of state police cars. The pickup and the Mack pass over a line of TIRE SPIKES. The tires BLOW. The trucks drop. Metal rims SPARK and GRIND -- NOMI (CONT' D) Hold on to something! She brakes. The pickup fishtails. Carrigan also brakes, struggling to keep the Mack under control. Then the Mack catches a rim, flips, rolls -- SLOW MOTION The rolling Mack plows into the roadblock, seven tons of iron crushing cruisers and barricades alike. The pickup careens off the road, plunges into a cornfield, hits a rut, grinds to a halt -- A SERIES OF DISSOLVES The aftermath. Trooper cars sliding to a halt. Carrigan being dragged from the Mack at gun point, handcuffed. Armed TROOPERS plunging into the cornfield, YELLING. Nomi falling out of the cab, finding Rain, unhurt, alive. She drags Rain into the sea of corn. Rain looks back, SEES -- BLAZE being surrounded by Troopers, wrestled to the ground. CUT TO: 82. INT. COUNTY JAIL - DAY A cacophony of noise for the new meat. Hardened CRIMINALS BANGING their bars, SHOUTING as loud as they can. ON BLAZE chained, cuffed, struggling with TWO DEPUTIES trying to drag him to a cell. Further up, Carrigan is being similarly escorted. Blaze looks to the faces of his fellow prisoners, dread seizing his body. BLAZE I have to talk to the warden. You have to put me someplace else -- DEPUTY #1 Should've thought of that before you pulled that "Dukes of Hazzard" stunt. BLAZE Please, just listen to me. Put me in solitary, anywhere but here. DEPUTY #2 This isn't a fucking hotel, chief. BLAZE You don't understand, people will die -- WHACK! A baton blow to the knee. Blaze CRIES OUT, staggers -- DEPUTY Easy on the threats, big guy -- (shouts to door control) NUMBER TEN! The cell door opens. Blaze struggles even more violently now. BLAZE Do not put me in here! Do not leave me with these men! They'll die if you do this!! ! The deputies force Blaze inside, using batons, boots. A stun gun SPARKS. Blaze falls. The cell door SLAMS. The inmates opposite are LAUGHING, waving, bashing their bars with every metal implement they've got as we -- CUT TO: 83. EXT. MOTEL - DAY A grimy, little stop, held together with paint. Nomi and Rain step off a bus, each carrying a bag of supplies. INT. MOTEL ROOM - DAY Simple and clean. Rain locks the door, goes to the window and opens it wide -- a beautiful day outside, hills rolling down to a busy town a mile distant. Nomi drops her bag, sits wearily on the bed, peels her jacket open -- revealing a nasty shoulder wound. Burned to the bone, the impression of fingers clearly evident. Rain hurries to help, rummages antiseptics and bandages from Nomi's bag. Together, they clean the wound. Nomi's pain is clear, but she keeps it quiet. RAIN Are we safe now? Nomi regards her sadly. She's never been one to tell lies. NOMI Honey, I don't know if we'll ever be safe. Rain nods, knew the answer instinctively. Something about her look -- far too fatalistic for a child her age. RAIN He talks to me sometimes. NOMI Who? RAIN My father -- (beat, hesitant) -- when I'm dreaming. NOMI (FEARFUL) What does he say? Rain starts to cry now, suddenly overwhelmed. Despite her eerily calm demeanor, she's still a child. And a frightened one at that. RAIN I don't want to be like him, mom. (CONTINUED) 84. CONTINUED: NOMI You won't. RAIN (SOBBING) You don't know that. NOMI Yes, I do, baby -- Nomi hugs her, desperate, as if the world were ending. Outside, across the land, the sun shines gloriously bright. NOMI (CONT'D) -- yes I do. DISSOLVE TO: INT. COUNTY JAIL - BLAZE'S CELL - DAY On Blaze, immobile. Waiting for nightfall. Shadows lengthen around him in TIME-LAPSE as the day begins to die. He starts to shake. Tears streak from his eyes, burn his cheeks. INT. COUNTY JAIL - CARRIGAN'S CELL - DAY On Carrigan, in his cell at the end of the corridor. He's nervous, cutting a deck of cards. EXT. LANDSCAPES - VARIOUS - DAY/DUSK Ants feed on a praying mantis. An owl pulls at a recently killed mouse. Day TIME-LAPSES to dusk. Thunder RUMBLES. CUT TO: INT. MOTEL ROOM - DUSK Rain sleeps. Storm fingers scratch at the window. Nomi steps out of the shower. Towels off. Checks on Rain. She contemplates her sleeping child a moment, then taps a pack of Camels, realizes she's out. EXT. MOTEL - WALKWAY - DUSK Nomi quietly closes the door. Walks to the far end where the vending machines are HUMMING. CLUNK. A fresh pack of smokes. She tears it open, then notices -- (CONTINUED) 85. CONTINUED: A MOTH fluttering by an outdoor light, casting distorted shadows on the stucco wall. Nomi stares, uneasy, something tugging at- her memory as we SEE -- A BRIEF FLASH OF THE PAST Nomi back on the bed, ODing. The SHADOW of Starke falling over her. The moth fluttering above. BACK TO THE PRESENT as Nomi turns to the parking lot, SEES a coyote slouching out of the gathering darkness. And she knows. 5-ba fucking knows. WOMAN (V . 0 . ) My father used to say that the only way evil came into your life -- INT. COUNTY JAIL - BLAZE AND CARRIGAN'S CELLS - DUSK Blaze waiting, internal. Carrigan manically cutting his deck of cards. Over and over. Blaze suddenly CRIES OUT, throwing himself onto the floor. He begins to writhe as the other prisoners jeer at him. WOMAN (V.O.) was if you invited it. INT. MOTEL ROOM - DUSK Nomi bolts into the room, frantic. She shakes Rain awake. The child looks up, SEES the terror in her mother's face. RAIN Mom --?! NOMI Sweety, you have to get out of here now. FOLLOWING NOMI as she drags Rain into the bathroom. She tears the shower curtain back. There's a window just above the shower stall barely big enough for someone like Rain to squeeze through. WOMAN (V.0.) I'm not sure about that. At least not anymore. What I CQ know is this: (CONTINUED) 86. CONTINUED: We hear FOOTSTEPS in the walkway outside. SOMEONE is coming-___" Nomi tugs open the window, lifts Rain towards it -- NOMI Honey, go, GO! ? INT. COUNTY JAIL - NIGHT The other prisoners are SHOUTING, fed up with Blaze's "antics". He-rolls about, clutching at sides. Fire streams from his mouth, his-eyes -- WOMAN (V.O.) We are born alone and we die alone. ON CARRIGAN, terrified, backing into the far corner of his cell. THE OTHER PRISONERS pause, watching the beginning of Blaze's transformation, their CRIES taking on an entirely new kind of urgency. WOMAN (V.0.) (CONT ` D ) It's what happens in-between that matters. INT_ MOTEL ROOM - BATHROOM - NIGHT Rain squirms through the window, drops to the ground outside. WOMAN (V.0.) -- the choices we make, the people whose paths we cross -- She stands, casts a fearful look to at Nomi, then runs off into the stormy night. ON NOMI backing out of the bathroom as the front door EXPLODES OPEN. She turns around -- WOMAN (V.0.) (CONT'D) -- these are the things that determine our fate. STARKE stands in the doorway, coyotes slouching in around his heels. The beasts attack, growing and changing, their gnashing mouths of razored teeth opening wide to consume Nomi as -- 87. INT. COUNTY JAIL - NIGHT -- FWOOOSHH!!! A mushrooming blast-wave of HELLFIRE erupts from Blaze's body, expanding beyond his cell and across the- CORRIDOR -- EXT. WOODED RISE - NIGHT Rain runs for her life, weeping, distraught, stumbling down a rain-slick hillside. She SEES -- THE TOWN spread out below, FIREBALLS engulfing a distant building -- INT. COUNTY JAIL - BLAZE'S CELL - NIGHT The Ghost Rider stands in the center of Blaze's cell, a cyclone of hellfire swirling around him -- for there is a direct, casual relationship between the amplitude of his rage and the number of transgressors in its vicinity. He moves forward, melting the cell bars, stepping into -- THE CORRIDOR BEYOND The prisoners are frantic, leaping about like frightened lab animals. THOOM! THOOM! The Ghost Rider's heavy FOOTFALLS ring out as it strides down the corridor, turning his awful gaze on the first cell. The Ghost Rider extends a hand, sending a STREAM OF HELLFIRE coursing over the prisoner within. The Ghost Rider moves on, to the second and third cells, swiveling his gaze back and forth, BURNING the occupants within. Like shooting fish in a barrel. THOOM! THOOM! The Ghost Rider continues its rampage. Murderers, rapists, malefactors. Some curse, others plead, others simply drop to their knees and pray. For they know, instinctively, that the universe is not an arbitrary place, that their Day of Judgement has come. The entire jail is ablaze now, a roiling extension of the Ghost Rider's fury, drowning out the VOICES OF THE DAMNED. ON THE FINAL CELL where Carrigan cowers within. The deck of cards in his hands drops, scatters. Some of them catch fire, shrivel up -- (CONTINUED) 88. CONTINUED: The Ghost Rider waves his hand. The bars separating them melt, flowing to the floor like liquid. He stares down at Carrigan, his hollow eve sockets sparking to life. AS THE PENANCE STARE erupts from the Ghost Rider's eyes, Carrigan reaches for something beneath the bed -- cell wall. He holds it up. The effect is catastrophic, like the Medusa having her own deadly gaze turned back upon her. The Ghost Rider stumbles backwards, SHRIEKING, assaulted by an onslaught of subjective images. Visions horrifying enough to drive even a demon mad. EXT. COUNTY JAIL -- NIGHT The windows of the jail pulse with HELLFIRE, panes of safety glass EXPLODING OUTWARDS as a blast-wave expands and expands, making the world go white. DISSOLVE TO: INT. COUNTY JAIL - NIGHT FADE IN from white. Another aftermath. A circus of PARAMEDICS, POLICE, FIREMEN and REPORTERS. Every corner is blackened, every bar twisted and melted. Charred CORPSES are scattered like matchsticks. BOOTS are coming. We've seen them before. These boots belong to -- STARKE navigating his way through the bedlam. He passes between rushing emergency personnel, steps over a writhing VICTIM -- -- but no one seems to notice his presence. And as he progresses to the far end of the cell block, the cacophony fades, leaving only his FOOTSTEPS as he turns into -- CARRIGAN'S CELL Carrigan is terribly burned, but still clinging to life. Frantic paramedics are running an IV, struggling to stabilize him. His fear-filled eyes grow dim, then abruptly snap into focus as he SEES -- STARKE (O.S.) You look like you could use some help. (CONTINUED) 89. CONTINUED: -- Starke standing over him, his gaze stoic and pitiless. STARKE (CONT' D) You lost her, Carrigan. What happened? CARRI GAN (a choking sob) -- you didn't tell us -- what he was Carrigan starts to slip away. The SOUNDS of the outside world begin to intrude once more. Starke kneels, touching a hand to Carrigan's chest. The world ebbs away again. The paramedics continue their work, oblivious. Carrigan MOANS. CARRIGAN (CONT'D) -- please, I don't want to die -- Starke's arctic eyes gleam bright with mischief. STARKE If I could save you, would you be willing to make a deal? CUT TO: EXT. DESERT CEMETERY - DAWN Blaze sits against an old grave marker, gun in hand. Thousand-yard stare in his eyes. He contemplates the gun SILENT MEMORIES assault him -- good times with Roxanne, happy times, making the onrush that much more unbearable. We INTERCUT -- ROXANNE, radiant at the beach. Flickering sunshine makes her squint. BACK TO BLAZE, here and now, cocking the gun, turning it back on himself. ROXANNE folding clothes, seen through a sunny doorway. BACK TO BLAZE, fingering the trigger of the gun, edging closer to the unknown, the terrors that the afterlife holds for him. (CONTINUED) 90. CONTINUED: ROXANNE Her laughing face, loving Blaze from across a dinner table. BACK TO BLAZE suppressing a sob. The pain is too much. It's overwhelming -- ROXANNE and Blaze at the obstetrician's. On the sonogram monitor, w e SEE unborn child shifting positions within Roxanne's womb, PUSH IN on the eerily beautiful image and -- BACK TO BLAZE Fuck it. He presses the barrel against his forehead. Squeezes his eyes tightly shut, compresses the trigger -- -- but he can't do it. He lowers the gun, weeping with frustration and -- freezes, head cocked like he heard a voice. He scans the cemetery: graves, trees, nothing. Then he spins around --- RAIN stands behind him, waif-like. Big, melancholy eyes. They stare at each other for a long time, not knowing what to say. RAIN My mother is dead. The statement hangs. Another death. Another failure of Blaze's part. BLAZE How--? RAIN My father found us, just like she knew he would. Rain looks down at Blaze's hand -- the gun resting there. Blaze meets her gaze and tucks the gun away, embarrassed. The wind picks up. Rain looks to the graves. RAIN (CONT' D) What do you think happens when you die? Do you think there's a heaven? BLAZE I don't know. (CONTINUED) 91. CONTINUED: (2) RAIN (INSISTENT) But what do you think? Blaze studies Rain. This kid is hurting. What she needs now, is reassurance. And try as he might, Blaze just can' t seem to harden his heart against her. BLAZE Yeah, I think there's something. Maybe not angels playing harps and stuff, but (SEARCHING) -- something. Rain wipes her nose with her sleeve, wanting to believe it. RAIN He'll keep coming, you know. Unless you stop him. BLAZE (TIRED) I don't know that I can anymore. RAIN But you'll try, right? Blaze regards her curiously. Even in grief, she's a consummate negotiator. BLAZE I don't have anything left to give, kid. Blaze stands, starts walking. Rain follows. RAIN My mother said you were a good man. BLAZE I'm not. RAIN She said I could trust you. BLAZE You can't. RAIN (PERSISTENT) But don't you think there's a reason why all of this is happening? Like fate? (CONTINUED) 92. CONTINUED: (3) BLAZE I don't believe in fate. RAIN Maybe it believes in you. Blaze stops. Cold. Deja-vu all over again. He looks back at Rain. Sighs. CUT TO: EXT. MOUNTAIN HIGHWAY - DAY A battered truck full of MIGRANT FARM-WORKERS grinds to a halt. Blaze and rain jump out in a cloud of dust. DRIVER (POINTING) Alla! Mision de Sante Lupia! High up the mountain: an old adobe building perched on stilts, precariously overhung. On top of its bell tower, a crucifix stands clear and proud. RAIN We're going to a church? BLAZE It's not a church. It's a mission. They take people in. Blaze pays the driver. The truck roars away. Rain looks back to the mission, doubtful. RAIN Are you going to dump me there? CUT TO: EXT. THE MISSION - DAY 18th Century Spanish adobe. Chapel and dormitory, currently under renovation. VARIOUS TOUGH-LOOKING MEN are at work. Picks and hoes clink in the dirt. Blaze and Rain make their way towards the main building. TOLBEIN (40s, hard, mistrustful) intercepts them. TOLBEIN Can I help you? (CONTINUED) 93. CONTINUED: BLAZE Our car broke down a few miles back and my daughter and I were wondering if we could crash here for the night. Tolbein sizes them up -- doesn't like what he sees. TOLBEIN Don't think so. BLAZE What about a ride, then? Is there a town somewhere you could take us to? Other men have gathered behind Tolbein -- VISCOTT, WILSON. One of them, NUNEZ, nods to the South. NUNEZ Why don't you head back to Dawson? They got motels there. BLAZE That's not really an option. TOLBEIN Then I'd say you're out of luck. BLAZE Look, you must have a cot, something. The kid's hungry -- RHYMER (O.S. ) I'm sure we can figure something out. JOE RHYMER, 50s, approaches, silences Tolbein with a look. He's down to earth, capable, wearing a black shirt, cleric's collar, oily jeans, and muddy work boots. RHYMER (CONT'D) (offering his hand) Joe Rhymer. I'm the Padre. BLAZE This is Rain. RHYMER Rain? That's a pretty name. (TO RAIN) You hungry, Rain? Would you like something to eat? Rain nods. Rhymer ushers them inside. As he moves to follow, Tolbein stops him. (CONTINUED) 94 CONTINUED: (2) TOLBEIN Bottom line, Father. There's something wrong with those two. Especially the kid. RHYMER Duly noted, Richard. (POINTEDLY) And overruled. ANGLE ON A RAGGEDY FIGURE jutting into frame in the foreground. Blaze pauses at the threshold of the chapel, looks back, uneasy -- but it's just a SCARECROW being buffeted about by the wind. INT. MISSION - CHAPEL - DAY Rhymer leads Blaze down the central aisle. The chapel is dark, lit by candle-light, crowded with scaffolding and drop- sheets. As Blaze walks, the flames of the candles bend in his direction -- as if drawn by some unseen magnetic force. BLAZE Those men outside -- RHYMER Most of them are on a work-release program. We're a halfway house for ex- offenders. We try to get people on their feet, reintegrate them into society. Blaze glances at Rain, apprehensive. RHYMER (CONT'D) (misreading Blaze's look) Don't worry, you're perfectly safe here. But of course, that's not what Blaze is thinking. CUT TO: INT. MISSION - KITCHEN - LATE AFTERNOON Rain sits at the table, spooning her soup. Tolbein, Nunez and a few others watch them. Blaze watches them back, nonchalant in the face of their obvious hostility. EXT. COURTYARD - LATE AFTERNOON BUILDERS working. Men carrying provisions. There's a small vegetable garden in the center of the courtyard. Rain helps the GARDENER pull carrots. (CONTINUED) 95. CONTINUED: Blaze watches from a distance, cleaned up, clothes laundered-- Rhymer approaches, gestures to the garden. RHYMER It's turned out beautiful, hasn't it? We try to be as self sufficient as we can, back to the earth and all that. He notices that Blaze is staring at the lowering sun. RHYMER (CONT'D) You any good with diesel engines? BLAZE I know my way around a flywheel housing. RHYMER Well I've got a generator out back that's been on life support the last few weeks. Mind helping me try to resuscitate it? Blaze looks at him curiously. BLAZE Sure. INT. BASEMENT - LATE AFTERNOON Blaze and Rhymer work by flashlight, tinkering with the old generator. There are a number of vehicles stored around them, including a pair of dusty motorcycles. RHYMER So how long have you been running? BLAZE What do you mean? RHYMER You know what I mean. You spend as much time around lost souls as I have, you learn how to read a man's face. (NODDING) You want to hand me that crescent wrench? Blaze hands Rhymer the wrench, who then makes an adjustment. RHYMER (CONT'D) Take the girl, for instance. She's not your daughter, is she? BLAZE No. (CONTINUED) 96. CONTINUED: RHYMER So what happened to her mother? BLAZE She's dead. RHYMER Did you kill her? BLAZE No. Rhymer studies Blaze, decides he believes him. BLAZE (CONT' D) (ELABORATING) She doesn't have anyone else. I'm just trying to protect her. RHYMER And who's protecting you? MOMENTS LATER, Blaze and Rhymer are cleaning up. BLAZE Listen, I appreciate what you're trying to do, but I've never really been a come to Jesus kind of guy. RHYMER I wasn't talking about Jesus, I was talking about a little healthy introspection. Working here, staying in one place for a while, seeing what surfaces. I've found that people tend to arrive on our doorstep for a reason. Blaze considers this formidable man, a yearning moment then he shakes his head. BLAZE I can't stay. I'm sorry. RHYMER What about the girl, then? Whatever you're involved in, I can't imagine it's good for her well-being. (beat, gentle) We can find a home for her. (CONTINUED) 97. CONTINUED: (2) BLAZE (UNSURE) I'd have to leave tonight -- Rhymer nods, understanding, he motions towards a beautiful motorcycle parked back in the shadows -- a `71 Norton Commando 850. Black, with gold pin-striping. RHYMER You can take the Norton. BLAZE I don't have any money. RHYMER So send us some when you do. Blaze is moved by this man's simple humanity -- but he's also wrestling with the idea of abandoning Rain. CUT TO: EXT. MISSION - DUSK/NIGHT TIME-LAPSING SHADOWS cross the mission buildings and the surrounding wilderness landscape. The lonely scarecrow stares button-eyed and blank. INT. MISSION - BATHROOM - NIGHT Blaze gazes into a bathroom mirror. Been here so many times before. SOUNDS intrude upon his solitude. He bows his head, studies the coin, turning it over in his shaking fingers. The malicious coyote, the soaring eagle. Still the SOUNDS come, stronger, more insistent -- Cars CRASHING. Police SIRENS wailing. SCREAMS. GUNFIRE. FLAMES. Blaze looks up once more. His eyes are shadowed sockets. This is the real PENANCE STARE, and Blaze is feeling its awful, mournful ache. NOMI'S VOICE He wants to know if you're a bad man. He wants to know -- if the Ghost Rider turned its penance stare on you, would you burn? Blaze clenches his fist around the coin, spins on his heels. 98. INT. MISSION - DORM ROOM - NIGHT Blaze pauses in the doorway, looking in on Rain, who sleeps, dead to the world. Blaze sets the coyote coin on the bed table next to her, turns and leaves. We HOLD ON Rain's sleeping face for a beat, then she stirs, opening her eyes. She SEES the coin nearby, sits up. INT. MISSION - STORM CELLAR - NIGHT The Norton Commando ROARS into life, blasting webs from the exhaust. Blaze guides the bike up the coal ramp and out through the open cellar doors. EXT. MISSION - NIGHT A STORM FRONT is moving in, huge thunderheads gathering and roiling. Blaze pulls a dusty skid, pauses with the engine RUMBLING. Looks back forlornly at the mission. Then he wrings the throttle and hauls away into the night as we -- ANGLE ON A DORM ROOM WINDOW Rain stands at the glass, watching Blaze leave. CUT TO: INT. MISSION - DINING ROOM - NIGHT Rhymer and leads his wards in prayer. We can hear the WIND rising outside, gathering in strength. RHYMER That which was from the beginning, which we have heard, which we have seen with our eyes, which we have looked upon, and our hands have handled, of the Word of life." INT. MISSION - HALLWAY - NIGHT MOVING WITH Rain down a moonlit corridor- She clutches the coyote coin like a talisman, then --- SEES SOMETHING through a window which startles her -- only to realize that it's just the scarecrow out in the field, flapping wildly. (CONTINUED) 99. CONTINUED: THE MEN (V.O.) "For the life was manifested, and we have seen it, and bear witness, and shew unto you that eternal life, which was with the Father, and was manifested unto us." INT. MISSION - DINING ROOM - NIGHT RHYMER CONTINUES: RHYMER "That which we have seen and heard declare we unto you, that ye also may have fellowship with us: and truly our fellowship is with the Father, and with his Son Jesus Christ. And these things write we unto you, that your joy may be full. This then is the message which we have heard of him, and declare unto you, that God is light -- " CUT TO: EXT. COASTAL HIGHWAY - NIGHT Blaze rides like the wind along a snaking road, away from the storm clouds churning behind him. RHYMER (V.0.) -- and in him is no darkness at all." UP AHEAD, the land falls sharply away, spilling down into a wide expanse of moonlit ocean pregnant with the promise of release. CUT TO: INT. MISSION - DINING ROOM - NIGHT Rhymer and his men eat. Rain is there too. Nunez peers out into the darkness. Wind and debris are scratching at the window panes. We hear THUNDER now, too. NUNEZ Padre. You'd better take a look at this. Rhymer joins him. SEES what he SEES: COYOTES gathering. Six or more. They creep malevolently towards the mission. NUNEZ (CONT'D) You ever see anything like that before? (CONTINUED) 100. CONTINUED: Rhymer shakes his head, looks to -- RAIN She's acutely conscious of the men staring at her now, still clutching the coin like a rabbit's foot. TOLBEIN It's her -- she's the one doing this. RHYMER That's enough, Richard. TOLBEIN I'm telling you, Father, there's something wrong with -- CRASH! One of the windows SLAMS open, startling everyone. Rhymer moves to it, latches it shut again. INT. MISSION - ENTRANCE HALL - NIGHT LIGHTNING flashes. An eerie HOWLING arises. Tolbein and Nunez lead some men to the front door. Tolbein unbars the door, pulls it open, can't believe his eyes: THREE DOZEN HOWLING COYOTES, approaching the entrance. TOLBEIN What is this?! SCARE! A snarling coyote comes out of left field, just misses his throat -- Tolbein leaps backward, SLAMS the door. The men start SHOUTING. Rain backs away. She knows what's happening. WHAM! An animal rams the door. Then another. And another -- INT. MISSION - RHYMER'S OFFICE - NIGHT Rhymer breaks out a shotgun, shells, hears the men SHOUTING. INT. MISSION - DINING ROOM - NIGHT Rhymer rushes in. The men are confused, afraid. WHAM! WHAM! GROWLING coyotes are hurling themselves repeatedly against the windows, cracking the panes. RHYMER Get away from the windows! (TO WILSON) Wilson, take Rain to the chapel. (CONTINUED) 101. CONTINUED: Wilson hesitates, eyeing Rain with distrust- WILSON I ain't going nowhere with her. All the men are giving Rain a wide berth now. WHAM! Another snarling coyote hits the glass. RHYMER One of you, please, just take the kid to the chapel. TOLBEIN Father, that's the last place she should be. CRUNCH! Something strikes the room a massive blow. Something MUCH BIGGER than a coyote. Viscott starts praying. NUNEZ Quiet, Viscott! THUMP! CRUMP! More heavy blows. Like the Fist of God. Making the floorboards beneath their feet vibrate. SOMETHING shambles past the window. What in God's name was that? TOLBEIN (looking at Rain, accusing) I knEw we should've sent them away! THOOM! Another impact. THOOM!THOOM! Plaster cracks. Dust falls. Viscott wails, praying even more stridently. Nunez is losing it_ NUNEZ SHUT THE FUCK UP, MAN! TOLBEIN She's the one they want, I'm telling you! -- and the lights abruptly go ou The storm bellows and blusters. The men huddle together, fear thick and sour. CARRIGAN (O.S.) Raainn -- Raaaaiinnn -- A gastly VOICE, monstrously corrupt, but still recognizable as Billy-Ray Carrigan. CARRIGAN (O.S.) (CONT'D) -- where are you, Rainnnnnnn? Rain shrinks away from the insidious mewling. (CONTINUED) 102. CONTINUED: (2) TOLBEIN (to Rhymer, hissing) I told you -- Even Rhymer is shaken now. He moves to investigate, presses up against a cracked window -- RHYMER'S POV (THROUGH WINDOW) Carrigan stands outside, lurching between patterns of moonlight and shadow. But the movement is all wrong. And in our momentary glimpses of him, we get the sense that he's been horribly changed -- as if his body had been torn apart, then haphazardly reassembled into something else. CRUNCH! The wall fractures. Rhymer staggers back. WHUMP! CRUNCH! A row of impacts moves along the wall -- Tolbein and Nunez scramble to reach the dining room door. They close it, turning the locks. WHANG! Carrigan slams against the other side of the heavy, steel door. WHANG!WHANG! Again and again and again. The men are terrified, SHOUTING at each other. The door is buckling inward, the hinges bending and GROANING -- Then the pummelling stops. Just the sound of BREATHING, halting and phlegmatic. No one moves, not a whisper. CORROSION starts to spread across the metal door. NUNEZ What the fuck --?! Rhymer edges close to the decaying door, peering through a gap in the frame -- Carrigan peers back, moonlight illuminating his face. There are buttons where his eyes should 12P. He BELLOWS: CARRIGAN PRIEST! GIVE ME THE GIRL! The POUNDING begins anew, harder now. The weakened door is surely about to give way. Rain is terrified. TOLBEIN Do what he says! Put her out! RHYMER Get back with the others! (CONTINUED) 103. CONTINUED: (3) TOLBEIN We don't do what it says, that thing outside there's gonna kill us all. Rhymer steps in front of Rain, levels his shotgun at Tolbein's chest. RHYMER God as my witness, Richard, lay a hand on that girl and I will pull this trigger. Tolbein hesitates -- then grabs at the shotgun. He twists it from Rhymer's hands, SMASHES the butt across Rhymer's jaw. Rhymer sinks to the floor. Tolbein grabs Rain, drags her SCREAMING to the door. He waves the shotgun at the others -- TOLBEIN Open the fucking door! DO IT! Nunez fumbles with the lock. Rhymer recovers, throws himself at Nunez, tries stop him from opening it. The pounding ceases. All eyes sweep to the door -- TWO BUTTONS roll through the gap between the bottom of the door and the floor, coming to rest at Rhymer's feet -- immediately oottina the floorboards beneath them. CARRIGAN (O.S.) (a skin-crawling whisper) I can see you, Priest. I can see every last one of you. THE DOOR BURSTS OPEN, knocking Tolbein, Rain, Rhymer and Nunez on their asses. All eyes bug as Carrigan shoulders his way inside. Only he's n..t Carrigan anymore. Now he's -- THE SCARECROW A golem of dessicated flesh knitted together with straw and sodden burlap, pieces of insects, twine, and razor wire. Button-socket eyes. Jagged bone teeth. Beetle-black chitin for fingers and nails. His very existence is an affront to nature. Everything the Scarecrow touches instantly corrodes and decays. Floorboards rot, metal rusts. Every movement, every spastic shudder and twitch is a source of incalculable pain. (CONTINUED) 104 CONTINUED: (4) The Scarecrow thrusts his hand out and a STORM OF DEMONIC CROWS explodes from his chest, whirling about like a cyclone of knives. Now the coyotes enter too. Dozens of them, SNARLING, DIVING at the men, sinking their jaws into flesh. The men are trapped. Some try to flee. Others fight back, swinging chairs and planks -- THE SCARECROW stalks into their midst, snaring victims left and right, HURLING bodies or pulling them apart -- He snatches Viscott up by his throat. Bugs swarm over the SCREAMING parolee's face as it rots and decays. In seconds, Viscott's entire body decomposes, putrefies, falls apart -- RHYMER AND RAIN back up towards the kitchen. SCREECH! A crow-thing comes flapping. Rhymer FIRES. The creature SHRIEKS and flops -- Nunez claws another from his face, SEES it's not a crow at all, but some kind of wriggling eyeless monstrosity with a deformed razor beak, matted feathers, bony talons -- Wilson, trapped under a bench, BEATS desperately at a gnashing coyote. Lands a real blow. The beast falls back then stands up like a man? VARIOUS ANGLES as the OTHER COYOTES do likewise. The coyotes are changing shape, enlarging, canine skeletons CRACKING and re-arranging themselves into -- JAW-BEASTS The same half-glimpsed horrors we glimpsed accompanying Starke. All muscle and gnashing fangs and bloody, ripping claws. CUT TO: EXT. COASTAL HIGHWAY - NIGHT Blaze rolls the Norton to a stop. Kills the engine. Sits back in the saddle and drinks in the night. The moonlit landscape is profoundly silent, the starry sky clear and awesome. Nothing stirs. (CONTINUED) 105. CONTINUED: Not a cricket, not a lizard. Just the moonlit expanse of ocean below. Then we hear THUNDER, like distant artillery. Blaze looks back over his shoulder -- BLAZE'S POV Distant thunderheads. LIGHTNING flickering. CLOSE ON Blaze, trying to drive Rain from his mind. We can SEE on his face that it's a losing battle -- for poor, cursed Johnny Blaze has finally understood his purpose on this earth. CUT TO: INT. MISSION - KITCHEN - NIGHT Claws and jaws and razor-beaks tearing frenziedly through wood and plaster and lathe. Rhymer, Rain, Nunez and Tolbein struggle to repel the monsters, beating them back with whatever is at hand -- -- but the jaw-beasts and razor birds are winning, forcing their way into the kitchen -- Nunz is snagged. Slashing claws swarm all over him. The others try to pull him free -- Rhymer wastes two more precious SHOTS, but Nunez is lost. Dragged SCREAMING into the storm of mouths and claws. The survivors fall back as the door gives and -- THE SCARECROW pitches through the opening, lurching forward. Jaw-beasts fall in behind him. Razor birds whirl around his head. The survivors scramble for the far exit. Rain opens every gas burner on the grill as she passes by -- but the far exit is locked. And Rhymer doesn't have the key! BOOM! Rhymer shotguns the lock! The lock fractures, but the exit still won't open. Tolbein starts kicking. Rhymer aims AGAIN -- RAIN (tugging at Rhymer) Shoot the gas! RHYMER What? (CONTINUED) 106. CONTINUED: THE SCARECROW advances. Bugs swarm from beneath his tattered feet. Every metal implement and surface rusts as he passes. RAIN (pointing at the grills) SHOOT THE GAS! Rhymer hears the ranges HISSING and FIRES. CHOOM! The gas fireballs, catches Scarecrow full-on sideways. He squeals, reels. Burning jaw-beasts writhe and howl. Rain falls to the floor, dropping the coyote coin. It spins furiously as we -- CUT TO: EXT. COASTAL HIGHWAY - NIGHT Blaze. Coming back. Ninety_ One hundred. Wind tears wildly at his hair, jacket. The bike shudders. The tachometer edges upwards -- One twenty. One twenty-five. Nitrous booster. The Norton SCREAMS. One thirty. One forty. One fifty -- HEAT streams off Blaze. FLAMES wisp from his nostrils. One sixty. One seventy. The tachometer SHATTERS. The engine smokes. The bike SHRIEKS, pushing the edge of mechanical reason. FLAMES explode from Blaze's mouth and eyes. His hands ignite. He CRIES OUT in agony. His body alters violently. His face warps. Bones crack and shift. Flesh shrinks and tightens as the skull-visage emerges. The bike changes too, red heat spreading throughout. Tortured metal SCREECHES. Straining machinery pops and bulges. Shafts lengthen into skeletal "bones". The saddle slouches. The tank distends -- WHOOMPF! The wheels ignite, then the whole bike. HELLFIRE streams, an extension of Blaze's rage. Blaze SCREAMS from the pit of his soul as the Ghost Rider claws itself into being, more manifest that ever before -- And that's when the bike really accelerates - -- so fast that its air wake churns the dust on each side. (CONTINUED) 107. CONTINUED: so fast that molten asphalt spumes from behind like lava. -- so fast that the goddamn camera can barely catch it and -- B-BOOM!!! The hellcycle breaks MACH 1, SONIC BOOMS rocking the landscape as we -- CUT TO: INT. MISSION - NIGHT -- the Scarecrow, savagely burnt by the blast, but unstoppable. He rises, cocks his head, hears something -- VARIOUS ANGLES - DINING ROOM, KITCHEN, STAIRCASE The jaw-beasts_ The razor birds. All pause. All listen. They know something's coming. Something fast. Something bad. We hear it now too -- the WHINE of an APPROACHING ENGINE. ON THE COYOTE COIN wobbling to a stop, coyote side up. Realizing what's about to happen, the Scarecrow lets loose a GHASTLY WAIL and -- THE GHOST RIDER erupts through the wall in DEEP SLOW MOTION, sending forth a majestic tsunami of fire and debris. The monster bike skids, carves floorboards like matchwood -- JAW-BEASTS AND RAZOR BIRDS hurl themselves out of its scorching path -- The Ghost Rider vaults from the saddle, sends the bike spinning at the scurrying monsters. It ninepins a few, takes out the rest as it impacts the wall like a nuke -- THE CROW-THINGS are vanquished, squealing and flopping like living cinders. BUT THE JAW-BEASTS RECOVER, still aflame but very much alive. If anything, they seem emboldened by the fire. They circle the Ghost Rider, more and more of them joining the pack. (CONTINUED) 108. CONTINUED: THE GHOST RIDER readies his chains. The jaw-beasts attack. Three dozen horrors pouncing and GNASHING. The Ghost Rider takes them.- Chains, flames, sheer power and force -- Spines snap. Lupine skulls burn. The Ghost Rider tears the monsters limb from limb. The room becomes the Seventh Circle of Hell, and at the heart of the Inferno, the Ghost Rider exults in the slaughter -- The whole mission is ablaze now, fire and churning smoke consuming everything in its path. Rhymer, Rain, and Tolbein run for their lives. INT. MISSION - DORMITORY - NIGHT Rain, Rhymer and Tolbein are trapped. Fire has cut them off. They back their way towards the rear of the building, peer out the windows -- THEIR POV: a hundred foot drop straight down to the highway. TOLBEIN There's no way down from here! CRACK! The door behind them splinters. The Scarecrow's found them once again. INT. MISSION - DINING ROOM - NIGHT The Ghost Rider is having difficulty with the jaw-beasts. His fire burns them but they just keep coming -- blackened skeletal demons, possessed of an unstoppable ferocity -- For every one he throws aside, two more seem to take its place. He can wound them, sear the flesh from their bones, but still they pile on, sinking their teeth into his skeletal flesh, CRUNCHING through his hollow rib-cage -- The Ghost Rider SHRIEKS in pain, TEARS one from his back, SNAPS another's spine, PUNCHES a fist through a third's gnashing muzzle. He falls back through a doorway, onto -- A STAIRCASE And still, they attack. And now the Ghost Rider is weakening. He stumbles on the steps, falls to his knees. The fiends pile atop his back -- (CONTINUED) 109. CONTINUED: Summoning all his power, the Ghost Rider emits a SHOCKWAVE OF FLAME, a HEAT-BOMB that blasts the creatures clean off him. INT. MISSION - DORMITORY - NIGHT The SHOCKWAVE shakes the room. FIRE belches through the splintered doorway -- -- but the Scarecrow scarcely notices. He's flinging dorm beds left and right, HOWLING and GROANING as he hunts for -- RAIN huddled beneath a flimsy bed-frame. SCARECROW RAAAAINNN! RAAINN! The Scarecrow hurls aside a bed and finds Tolbein. He reaches for the man, sinking his spindly finger's into Tolbein's chest. Tolbein SCREAMS, instantly shrivelling, corroding into dust -- The Scarecrow hurls aside yet another bed and finds -- RHYMER aiming his shotgun, point-blank range! BLAM! The BLAST Takes a chunk out of the Scarecrow's face. INT. MISSION - THE STAIRS - THAT MOMENT All Hell breaks loose. The Ghost Rider unleashes wave after wave of HELLFIRE, incinerating the hounds as they leap towards him, fighting his way up and up the steps -- INT. MISSION - DORMITORY - NIGHT BLAM! Another BLAST chews apart the Scarecrow's neck. The monstrosity staggers, then lurches forward, grabbing the barrel of the shotgun, instantly corroding it -- The wave of corrosion swarms up the stock while towards Rhymer's hands and he drops the gun, rolling away, scooping up Rain as he runs towards the bathroom -- BACK TO THE SCARECROW, recovering, his makeshift flesh knitting itself back together. Flames kiss his body, causing sodden particles on his frame to SIZZLE and POP -- but because his decayed flesh is so wet, he never ignites. (CONTINUED) 110. CONTINUED: Enkindled BUZZING bug-ember things swirl around the Scarecrow's head in a halo, impossibly alive- He stumbles after Rhymer and Rain into THE BATHROOM A claustrophobic box of stalls and urinals. Rhymer and Rain are nowhere to be seen. Enraged, the Scarecrow tears into the stalls, ripping them aside one by one -- INT. MISSION - THE STAIRS - THAT MOMENT The Ghost Rider advances, hurling jaw-beasts left and right -- INT. MISSION - BATHROOM - NIGHT The Scarecrow rends the last stall asunder, finds Rain and Rhymer cowering like bugs. He looms above Rain, beetle- fingers clutching, flashing a rotted rictus-grin -- SCARECROW -- GOT YOU'. RED-HOT CHAINS whip viciously around the Scarecrow's sodden head and torso. He's wrenched backwards, hauled out of the bathroom and SLAMMED across the dormitory into the opposite wall -- EXT. MISSION - NIGHT The wall fractures. Debris falls, tumbling hundreds of feet down to the highway below. INT. MISSION - DORMITORY - NIGHT The Scarecrow recovers, SEES the room ablaze. SEES a swathe of blackened, twitching jaw-beast skeletons leading from the doorway to -- THE GHOST RIDER At the other end of the chains. More accurately, GHOST BLAZE, battered and weakened, staggering. His flames are barely flickering, his bony flesh has become chalky and brittle. He's holding a jaw-beast skeleton, drops it to the floor -- The Scarecrow attacks. Hand-to-hand combat. Massive blows and blocks. The burning room SHUDDERS with each impact -- (CONTINUED) CONTINUED: Ghost Blaze uses his chains, but he's weak, and Scarecrow turns them back on him, SMASHES him against the walls. More structural fractures, more dust -- EXT. MISSION - NIGHT The whole mission quakes. A huge hole in the wall falls open, the Scarecrow barely manages to stop himself falling The stilt-like support columns bearing the weight of the overhanging mission begin to CREAK and bend. Some snap -- INT. MISSION - DORMITORY - NIGHT The dormitory drops alarmingly, ten feet or more, the flooring canting precariously. Ghost Blaze stumbles, falls -- WHAM! Scarecrow grabs Ghost Blaze's neck. Squeezes tight. A WAVE OF DECAY AND CORROSION spreads over Ghost Blaze. He SCREAMS, his flesh putrefying, but Scarecrow will not let go -- ON RAIN AND RHYMER Desperate for escape, the flames closing in on them. There's nowhere to go. Except a small HATCH, high up in the ceiling -- BACK TO SCENE Ghost Blaze HOWLS, in agony as the Scarecrow's superior evil dominates. He feebly extends a hand towards the flames nearby, trying to compel the fire to him. The flames twist, briefly bend in his direction. The Ghost Rider HOWLS with frustration. He needs the flames. He will die without them. He tries again, reaching, reaching -- THE FLAMES surrounding the two foes are starting to bend in earnest now, streaming towards Ghost Blaze's bony, begging fingertips The Scarecrow is oblivious. Just keeps pouring more misery into Ghost Blaze's body as -- EXT. MISSION - NIGHT -- the entire mission, which was only moments ago completely aflame, is now extinguishing itself. An inferno in retrograde, roiling inward -- INT. MISSION - VARIOUS - NIGHT -- raging flames bend and draw long -- (CONTINUED) 112. CONTINUED: -- clouds of embers are pulled into coursing streams-.-- -- roiling fireballs are dragged wildly from walls, floors and ceilings -- -- flame and fury funneling thunderously into SCORCHING FIRE- SPOUTS that cyclone up and up and up into -- INT. MISSION - DORMITORY - NIGHT -- Ghost Blaze from every direction. Suddenly Scarecrow finds himself at the heart of a back- drafting firestorm, a sustained implosion feeding straight into Ghost Blaze. Then -- Nuclear silence. An instant in which Rhymer shoves Rain through the hatch -- An instant in which Scarecrow senses his own doom -- Because the Ghost Rider is back- But now he's more than the Ghost Rider. He's a white-hot nuclear bomb fairly vibrating with volcanic heat. And he DETONATES. An apocalyptic release that -- obliterates Scarecrow -- sends Rhymer ducking for cover -- bulges the dormitory's fractured walls and ceiling, lifting the ATTIC FLOOR mightily. HURLING Rain into the air! A FLAME TSUNAMI steamrollers through every room and passage, destroying everything in its path, consuming itself. INT. MISSION - DORMITORY - NIGHT Ghost Blaze lies GROANING at blackened ground zero. He's almost human now, spent. Charred timbers CREAK and GROAN around him. The entire structure is on the verge of collapse. ON RAIN emerging from the smouldering bathroom, ghostly white. She picks her way cautiously across the teetering floor. Kneels alongside Ghost Blaze -- (CONTINUED) 113. CONTINUED: Blaze's eyes are black pits, gaunt and skullish_ Rain casts --- - about, finds a BURNING EMBER, cups it in her hands, holds the flame close to his mouth -- Ghost Blaze senses the fire, breathes it in like a drowning man. Draws the flame deep into his lungs, keeps drawing until the ember is gone, internalized. Their eyes meet. RAIN Are you going to die? GHOST BLAZE (WEAKLY) Not today. He pushes up on his elbows, tiredly rises to his feet and -- THE MISSION Topples. Ghost Blaze and Rain run -- but they're not going to make it. The whole room is dropging away at their heels! Ghost Blaze snatches up Rain, DIVES through a widening split in the wall even as -- EXT. MISSION - NIGHT -- the dormitory folds up and slides away from them, pitching over the hillside. Breaking into TONS OF PLUNGING DEBRIS that CRASH SPECTACULARLY onto the highway far below. ON GHOST BLAZE AND RAIN, clutching precariously to a muddy hillside. Ghost Blaze looks up, SEES -- DAWN APPROACHING, first light bleeding in over the distant mountains. EXT. HIGHWAY - MISSION RUINS - JUST BEFORE DAWN Ghost Blaze strides over the smoking ruins. Finds what he was looking for -- CARRIGAN, back to human, hopelessly trapped deep in the wreckage. He's barely alive, just a face in the rubble. Carrigan blinks. CARRIGAN (a ragged whisper) who -- the fuck -- are you, anyway? (CONTINUED) 114. CONTINUED: GHOST BLAZE Vengeance. And Ghost Blaze raises his hand, HELLFIRE trickling down the length of his arm, swirling around his hand like a building static charge even as -- CARRIGAN (terrified, yet defiant) Do it, fucker -- dQ it. RAIN appears on a ridge just before them, eyes locking onto him. It's now or never. Ghost Blaze hesitates, hesitates -- then abruptly reins the flame back in. Metabolizes the fury. Pushes it down deep through sheer, agony-inducing willpower. Ghost Blaze SCREAMS, struggles -- -- and forces the Demon away, Now he's just Blaze, weak with exertion, but triumphant for the first time in years. He turns away and we -- CUT TO: EXT_ MISSION GROUNDS - DAWN -- Blaze and Rain walking, working their way across the scorched grounds. Rain kicks at a carbonized jaw-beast skull. It rolls, SMASHES against a tree, crumbles to dust. Blaze looks up just then, HEARS the sound of --- STARKE'S CADILLAC It slows to a stop at the end of the drive, ENGINE RUMBLING. Dusty and bug-begrimed from its cross-country journey. Blaze braces himself. A silent inhalation of breath. Rain stares, paralyzed by fear -- The driver's door opens. A hulking silhouette steps out. The Beast, backlit by the fiery dawn which is just breaking over the horizon. Sunlight FLARES outward, briefly blinding us. And when it subsides -- STARKE is standing there. Human. Windblown. He raises a hand, shielding his gaze from the light. Steps cowards them -- (CONTINUED) 115. CONTINUED: Blaze moves in front of Rain, blocking Starke's path. They stand there in silence. And Starke smiles, eyes alight with mischief. STARKE Looks like we've come to the end of the road, haven't we? BLAZE Guess so. After a long beat: STARKE Give me the girl and I'll lift the curse. Blaze looks down at Rain. This was all he ever wanted. The only thing that has kept him going all these years. He reaches into his jacket, retrieving a crumpled pack of cigarettes. Plucks one out -- BLAZE She's all yours, Starke -- -- and lights it without a match, somehow conjuring the flame from within himself. He takes a long drag. In the pits of his eyes, something glows there -- a kind of lambent darkness. BLAZE (CONT'D) -- but you'll have to go through me if you want her. Starke stares into Blaze's eyes. Doesn't like what he SEES. STARKE Don't be a fool, Blaze. I'm offering you your life back. BLAZE That's not a life. And least now one I'm interested in living. STARKE You think you can control it. You can't. BLAZE Guess I'm willing to take my chances. Starke nods, accepting defeat. For now. He looks down at Rain, a bitter smile creeping across his face -- (CONTINUED) 116. CONTINUED: (2) STARKE You have your mother's eyes. -- and walks away. Blaze and Rain watch him retreat. Presently, a coyote slips from shadows, joining him on the road. It--lopes along beside him. We watch them disappear over a rise. Then they're gone. Beat. Rain studies Blaze, reaches for his hand. RAIN He'll be back. BLAZE Yeah. BACK AMONGST THE SMOKING RUINS We pass broken concrete, smouldering timber, a rock snake constricting a mouse, an industry of beetles dissecting a bird's carcass. Finally, we come to a small, deep cavity -- and there, tucked away in the darkness, we find -- WOMAN (V.0.) And that's how it ended. With another beginning. A kind of balance struck between the flame and the fury. BLAZE'S COIN balanced perfectly on it's edge. How it fell like that, at the heart of the wreckage, is a mystery that will probably never be solved. DISSOLVE TO: INT. HOSPITAL ROOM - DAY A NURSE brings a postcard to a sleeping patient's bedside. The patient is ROXANNE, sleeping peacefully, bathed in sunlight. The nurse tacks the card to a wall filled with many -- dozens and dozens of postcards charting Blaze's journey back and forth across the country. And we realize now, that Roxanne is the woman who has been narrating our tale. (CONTINUED) 117. CONTINUED: ROXANNE (V.O.) And me? I still sleep. Wandering. Waiting. Listening to the whispers of the dead. CUT TO: EXT. RURAL HIGHWAY - DAY/NIGHT On Blaze, riding hard, as a scorching desert noon TIME-LAPSES into night. ROXANNE (V.O.) The world turns around without me. There are sharks. And there are doves. And nighttime holds far darker terrors than death. But I am never afraid because I know that he is out there, somewhere. And that someday, somehow -- Blaze ignites, SCREAMS, hurls back his head -- ROXANNE (V.O.) (CONT'D) -- he will return to me. -- and the Ghost Rider rockets headlong into black. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Ghost Ship.txt b/unformated_scripts/Script_Ghost Ship.txt new file mode 100644 index 0000000000000000000000000000000000000000..d2ed3ce12eae906494af8cd861f337f9af614046 --- /dev/null +++ b/unformated_scripts/Script_Ghost Ship.txt @@ -0,0 +1 @@ +"GHOST SHIP" (formerly "CHIMERA") by Mark Hanlon First draft FADE IN INT. BARGE - DAY Crewman EPPS (29), wearing a life vest and tool belt, jumps down into the darkness. She stands in a great hollow cavern, oily, wet, resonant with the sound of creaking, rusty steel and WATER MOVING OVER ITS HULL on the other side. INT. BARGE - LATER - DAY Epps comes to a low point in the darkness, shining her light on a lake of salt water sloshing against the bulkhead. She kneels. As the water sloshes back she sees that it is leaking in through the seams in the steel plate of the hull. EXT. BARGE - LATER - DAY Epps pulls herself onto the deck from below. She stands on a rusting 5000 ton tank barge being pulled in the open ocean by a brawny marine tug at the end of a 150 foot tow cable. It is a typical summer day in the southern Bering Sea, which means a healthy chop and a stiff cold breeze out of the north- west. She closes the hatch behind her and makes her way forward. EXT. BARGE - BOW - MOMENTS LATER - DAY Up ahead, the tug pulls steadily, grey-black clouds of diesel smoke rising from its massive turbine vents. Epps cinches and checks her body harness, focused and professional. The product of a rocky childhood in the Pacific Northwest and a few years of hard living, she's found her true calling now. And under some grime, several polypro shirts and a pair of orange men's Insulite pants she might even be considered pretty. She clips her harness into the tow cable where it attaches to a heavy pair of eye cleats at the bow. She climbs onto the cable, hanging out over the water as it breaks on the bow beneath her. She pulls herself forward on a roller bearing that fits over the width of the cable and starts off toward the tug at the other end. EXT. ARCTIC WARRIOR - LATER - DAY DODGE and GREER look on from the stern, where the boat's name "Arctic Warrior" is emblazoned on the transom. Dodge (37), scruffy chief engineer, wearing de rigueur greasy coveralls and nicotine stained fingers, is an expatriate Texan and former merchant marine. GREER (42), is the boat's first mate, African American, originally from some sweltering red-neck hellhole, now a tug pilot intentionally well to the north. They watch as Epps pulls herself toward them, the cable occasionally dipping a few feet with a spray of water as a passing swell slackens it. Epps pulls herself to the stern where the cable winds into a tow anchor. EPPS It's a slow leak. She unclips and drops to the deck. GREER What's slow? EPPS Maybe twenty gallons an hour. DODGE Where from? EPPS Amidships starboard at the beam. Just under the waterline. I don't think it's a problem. GREER Hear that, Dodge? Epps don't think it's a problem. DODGE I'll sleep good tonight knowing that. INT. ARCTIC WARRIOR - PILOTHOUSE - CONTINUOUS - DAY The view from the pilothouse commands 360 degrees as radar and GPS navigation displays glow. MURPHY, the ship's master, pilots the boat. He is 48, at sea all his adult life, and most of the rest, a fact written on his face and one that every crewman who's ever worked for him has been willing to bet his life on. A walkie-talkie CRACKLES AWAKE. GREER (V.O. RADIO) Greer to Murphy. MURPHY (lifting the radio) Go. Murphy turns back to see Greer, Epps, and Dodge looking up at him from the stern. GREER The number nine on the starboard side's half flooded. Epps says it's a slow leak just under the waterline, about twenty gallons an hour. They must've pumped it before we left Sitka. MURPHY Of course they did. GREER Let the buyer beware. MURPHY What do you say, Dodge? DODGE (V.O. RADIO) (taking the radio) If it started out at twenty an hour the piece of shit'd be at the bottom of the Gulf by now. Whether it'll make St. Lawrence is anybody's guess. EXT. OPEN OCEAN - DAY HIGH AND WIDE as the Arctic Warrior pulls the barge against the swell of a grey ocean and a darkening sky. DISSOLVE TO: EXT. PORT GERMAINE - ST. LAWRENCE ISLAND - DAY The shores of St. Lawrence Island open into a small port town of mainly pre-fab buildings as the Arctic Warrior approaches with the barge, now pathetically listing to one side as it moves into the harbor. EXT. PORT GERMAINE - DOCKS - LATER - DAY A smaller harbor tug helps the Arctic Warrior jockey the listing barge to the dock as Epps and Dodge jump off to tie her up. INT. ARCTIC WARRIOR - PILOTHOUSE - MOMENTS LATER - DAY Greer feathers the tug into position and shuts down the turbines. EXT. ARCTIC WARRIOR - CONTINUOUS - DAY Murphy jumps down from the pilothouse to the deck as a fat Russian man, Vasili (60) and a MECHANIC in grease-covered orange coveralls approach from the dock. VASILI I thought you say Tuesday. MURPHY Better late than never. VASILI (seeing the listing barge) What's this? MURPHY You got a leak in the number nine compartment. VASILI No, no. You got leak. MURPHY You pump it out and re-seam the hull, she'll be good as new. VASILI That cost me twenty grand at least. MURPHY Fifteen, at the most. VASILI Twenty. You knock off twenty and then we see. After my guy looks at it. INT. VASILI'S OFFICE - DAY In a prefab office with a view of the shipyard, Vasili cuts a check as Murphy and Greer look on. He tears it out of the book, handing it across the desk to Murphy, who inspects it. MURPHY You're kidding, right? VASILI You want fair pay, make hamburger for Mickey D. Otherwise, please to sign. Vasili pushes a transfer register toward him. Murphy signs. EXT. SHIPYARD - DAY Greer and Murphy walk back toward the dock. GREER Not bad for dragging a leaky tub half way to Russia. MURPHY He'll sell the scrap for three times what he paid. GREER I must be in the wrong business. MURPHY You got that right. GREER (imitating Vasili) Better than "making hamburger for Mickey D." INT. BAR - NIGHT A typical port town bar. Except this one is on an island in the middle of the Bering Sea. Epps lines up a shot at the pool table as a couple of SEAMEN check out her ass and a tattoo of Wiley Coyote poking out of her pants. Greer reads a paper near-by. Murphy enters, crossing to the bar where Dodge nurses a beer and a cigarette. Murphy throws down an envelope with Dodge's name on it. Dodge picks it up, thumbs through a thick stack of hundreds. DODGE Much obliged, skipper. INT. BAR - LATER - NIGHT The place is a little more crowded now as Epps pushes her way through to the bar, a cigarette dangling from her mouth. She buys two beers and pays the BARTENDER from her envelope of cash. She takes the beers back to the far wall where a young off-duty COASTGUARDSMAN stands. He takes one, they laugh. AT A TABLE Beers, cigarettes and pay envelopes on the table before them, Dodge, Greer and Murphy look on at Epps across the room, who is showing the coastguardsman a birthmark on her neck. GREER Looks like Epps' gonna get some tonight. DODGE With that coxswain dickhead. MURPHY You aren't jealous, are you Dodge? DODGE Are you kidding me? Jealous? Epps? Gimme a break. Greer and Murphy trade looks as Dodge raises his beer. DODGE What a laugh. A MINOR COMMOTION can be heard as they sit there. WOMAN'S VOICE (O.S.) I'll show you, bitch! They look over to see the coastguardsman's GIRLFRIEND, late 20s, hefty in a red miniskirt and big hair. GIRLFRIEND You want to mess with me, I'll kick your bitch ass, girl. WITH EPPS Epps coolly puts out her cigarette as a circle has gathered around her and the girlfriend, anxious to see a girl fight. EPPS I don't know what you're talking about. I just bought this guy a beer. GIRLFRIEND This "guy" is my man, honey. COASTGUARDSMAN Darlene -- GIRLFRIEND You, shut up. EPPS (starting off) Listen, I don't want any trouble, okay -- ? GIRLFRIEND (stopping Epps) Uh-uh. No. We're gonna fix this right now. MURPHY (stepping up) What seems to be the trouble, ladies? RIVETER Whyn't you mind your own business, chief. Murphy turns to see a shipyard RIVETER, a big man holding a beer, still wearing his welding leathers. Murphy turns back to Epps and the Girlfriend. MURPHY As I said, what seems to be the trouble? RIVETER Didn't you hear me, grandpa? Or you got your hearing aid turned down? MURPHY I heard you. But I'm choosing to ignore you. Epps, let's go. Epps starts forward but the Riveter stands in her way, taking Murphy by the collar. RIVETER These ladies was having themselves a discussion and you're interrupting it. MURPHY You got about two seconds to get your paws off me, Tarzan. RIVETER Or what? Or WHACK! Murphy can't help but wince as a pool cue breaks in two over the Riveter's head. Dodge, cigarette in his mouth, takes a look at the cue half he still holds, shaking his head. The Riveter's hands fall from Murphy's collar and his legs buckle. Some of his BUDDIES hold him up as Greer reminds some of the others he's holding a pool cue of his own. MURPHY Epps? He looks to Epps like let's get the hell out of here. She grabs her coat. COASTGUARDSMAN Wait. Epps holds there as the Coastguardsman steps up to his girlfriend. COASTGUARDSMAN Darlene. It's over. He gives her the ring from his finger. Murphy rolls his eyes as the others look on. COASTGUARDSMAN I don't love you anymore. Darlene breaks into tears as they all look on, some pat her on the back. COASTGUARDSMAN (to Epps) Come on, Candy. Let's get out of here. The Coastguardsman takes her by the hand. Epps looks to Murphy and the others as he leads her out. EXT. ARCTIC WARRIOR - DAY Murphy, Greer, and Dodge ready the tug to leave as Epps approaches on the dock. She jumps down onto the deck, a spring in her step and a song in her heart. EPPS Morning everybody. GREER Show your tatoos to that coxswain last night, did you Epps? EPPS Showed him a hell of a lot more than that. GREER I bet you did. MURPHY Candy? EPPS It's my pen name. INT. ARCTIC WARRIOR - PILOTHOUSE - DAY Murphy throttles up the turbines and backs the tug away from the dock as Greer studies the dawn sky. GREER Red sky at night, sailor's delight. MURPHY Red sky in morning, sailor take warning. EXT. PORT GERMAINE - DOCKS - CONTINUOUS - DAY As the tug turns into the harbor channel, the sun rising under a cloud bank of brilliant red and orange. DISSOLVE TO: INT. ARCTIC WARRIOR - CREW QUARTERS - NIGHT Dodge and Epps play cards at the galley table. DODGE Fuck it. He puts down his hand. Epps takes another drag from her cigarette, collecting her winnings. EPPS One more? DODGE Why not. She gathers the cards, shuffles. DODGE What is your first name? EPPS What? DODGE It just occurred to me I don't know your first name. All this time and I don't know it. She deals the cards in silence. EPPS (finally) Maureen. DODGE What? EPPS Maureen. DODGE Maureen? She looks on at him as he holds there, takes his cards. EPPS What's yours? Dodge takes a drag from his cigarette, thinking about it. DODGE Roger. EPPS Roger? DODGE Yeah. She wants to laugh, but only studies her cards. DODGE You think that's funny EPPS (lying) No. She takes a hit from her cigarette as she plays her hand. EXT. OPEN OCEAN - BERING SEA - NIGHT THE SONG "SOS" BY ABBA BLASTS as the tug plows westward through a steady chop and a mild swell. INT. ARCTIC WARRIOR - PILOTHOUSE - NIGHT The MUSIC COMES FROM HERE. Greer has the CD player cranked as he mans the helm in the glow of the pilothouse. He checks the radar, holds there a beat. He turns the MUSIC DOWN and picks up a walkie-talkie. GREER (into walkie) Greer to Murphy. Greer studies the radar display as he waits. MURPHY (V.O. RADIO) Yeah. GREER There's a large vessel out about ten miles to the north-west. INT. ARCTIC WARRIOR - MASTER'S QUARTERS - CONTINUOUS - NIGHT Murphy sits at his desk over the ship's log, holding his radio. GREER I been watching it for close to an hour and it hasn't moved. I can't raise it on the radio either. Makes me think it might be in trouble. MURPHY Alright. I'll be right up. INT. ARCTIC WARRIOR - PILOTHOUSE - LATER - NIGHT CLOSE ON RADAR DISPLAY as the sweep-refresh reveals a bright point of light in the middle of nowhere. MURPHY (O.S.) Merchant vessel at position one seven four one five west, five seven seven five north. Murphy holds the radio mic as Greer looks on, Epps and Dodge standing back. MURPHY This is tugboat Arctic Warrior whiskey alpha sierra bravo four zero niner two. Over. Only the quiet hiss of white noise comes back from the radio speaker as the bright point flashes on the radar screen. MURPHY (to radio) Merchant vessel at one seven four one five west, five seven seven five north, this is tugboat Arctic Warrior whiskey alpha sierra bravo four zero niner two. Over. Again, only white noise comes back as the point flashes on the screen. MURPHY Too deep to anchor out there. GREER Looks like it's adrift. EPPS Could be a fishing boat. GREER Too big. More like a freighter. MURPHY What the hell would a freighter be doing up here? It's way out of the lanes. There's not a port for 800 miles. DODGE Smugglers maybe. GREER Smuggling what? Tundra grass? A beat as Murphy holds there. He raises the radio mic. MURPHY Merchant vessel at position one seven four one five west, five seven seven five north, this is tugboat Arctic Warrior. Do you copy? Over. Again, only the quiet hiss of static comes back. GREER Call the Coastguard? MURPHY Steer to one eight five. Let's check her out. EXT. OPEN OCEAN - NIGHT The Arctic Warrior cuts a foamy break in the ink black water. INT. ARCTIC WARRIOR - PILOTHOUSE - NIGHT CLOSE ON RADAR DISPLAY as the phantom point flashes closer. Murphy looks on as Greer pilots, Dodge and Epps watching. MURPHY Alright. Back it off. Greer throttles back and the boat slows. MURPHY Hit the lights. EXT. ARCTIC WARRIOR - CONTINUOUS - NIGHT The halogen flood lights flare to life, brilliantly illuminating the water in front of the boat. INT. ARCTIC WARRIOR - PILOTHOUSE - CONTINUOUS - NIGHT The four of them look intently into the darkness beyond the light. Murphy reaches for the spot control, sweeping a broad beam of light with a joy stick. EXT. ARCTIC WARRIOR - CONTINUOUS - NIGHT As the tug moves along, servo motors sweep the searchlight over the bow of the boat and into the darkness. INT. ARCTIC WARRIOR - CONTINUOUS - NIGHT They peer into the night beyond the boat as it slowly moves, when a shadow looms into view. MURPHY Whoa, whoa. Greer throttles down all the way and they drift, as the shadow looms bigger before them in the light from the boat. As they approach, the shadow appears to be a giant rusting bow, rising up from the water, disappearing in the darkness above them. Murphy sweeps the searchlight to reveal more of what appears to be a large, darkened ship. As they come around, the name "CHIMERA" can be seen above the anchor alleys. MURPHY "Chimera." Murphy reaches for the mic, hits the LOUD HAILER. MURPHY Chimera. EXT. ARCTIC WARRIOR - CONTINUOUS - NIGHT The tug is dwarfed by the massive rusting hulk of the Chimera rising above it. MURPHY (O.S. LOUD HAILER) This is civilian tugboat Arctic Warrior. Is there anyone aboard? The quiet rumble of the tug's turbines is the only sound. INT. ARCTIC WARRIOR - PILOTHOUSE - CONTINUOUS - NIGHT Murphy raises the mic again. MURPHY Chimera, I am hove to at your port bow. Is there anyone aboard? They wait, looking on at the silent, darkened ship under the glare of their lights. MURPHY Epps, come with me. You guys sit tight. EXT. ARCTIC WARRIOR - LATER - NIGHT Epps and Murphy, in heavy parkas, climb a hydraulic deck crane up to the Chimera as Dodge man's the controls against the movement of the water. INT. ARCTIC WARRIOR - CONTINUOUS - NIGHT Greer holds the tug steady as Epps and Murphy can be seen making their way up under the floodlights. EXT. CHIMERA - FORWARD DECK - MOMENTS LATER - NIGHT Murphy pulls himself up and jumps down onto the deck. Epps jumps down behind him. Murphy throws his light up on the superstructure. All remnants of paint have been rusted over, lending a still darker ominousness to it. EXT. CHIMERA - FORWARD DECK - MOMENTS LATER - NIGHT Murphy and Epps move cautiously along, shining their lights as they go. Despite the omnipresent corrosion, everything seems to be in order. The decks are clear and there is no apparent damage. They come to a hatchway. Epps shines her light down the darkened passage. Murphy moves in. INT. CHIMERA - PASSAGEWAY - CONTINUOUS - NIGHT Murphy and Epps move down the passageway. Even the walls in here are rusted. They come to a flight of stairs. INT. ARCTIC WARRIOR - PILOTHOUSE - CONTINUOUS - NIGHT Greer and Dodge wait. Greer reaches for his radio. GREER (into radio) Talk to me, skipper. After a moment, Murphy comes back on the radio. MURPHY We're in a stairwell just under the main superstructure. INT. CHIMERA - STAIRWAY - CONTINUOUS - NIGHT Murphy and Epps climb the darkened stairway. MURPHY This is definitely an old boat, maybe sixty years old. She hasn't been in service for at least twenty years. Probably a lot longer. They top the stairs and walk into a wider passageway which takes them into an open area. Their lights shine around them, revealing sinks and counters and racks of old kitchen equipment, a few pots still hanging. They move through the galley and into another, narrower, passageway. INT. ARCTIC WARRIOR - PILOTHOUSE - CONTINUOUS - NIGHT Greer and Dodge look on. MURPHY It's funny. GREER How's that? MURPHY Besides a little rust, everything's pretty well-preserved. Greer and Dodge look at each other. MURPHY How she got out here is one hell of a good question. (a long beat, then) Jesus. Dodge and Greer hold there, waiting. Only silence from the other end. GREER What is it? No answer. GREER Murphy. No answer. GREER Murphy, goddamit. MURPHY (finally) Sorry. Another beat in silence. GREER What is it? INT. CHIMERA - BALLROOM - CONTINUOUS - NIGHT Murphy and Epps stand at the top of a stairway, looking over an immense ballroom. Murphy raises his radio. MURPHY It's a passenger ship. It's a damn passenger ship. Though it is dark, there is enough light to see its ornate opulence, tables and chairs in place near a large dance floor and orchestra well, and a magnificent crystal chandelier hanging over it all. EXT. ARCTIC WARRIOR - FOREDECK - NIGHT Epps and Murphy climb down the deck crane as Greer and Dodge meet them at the bottom. MURPHY (jumping down) There's nobody on that boat. INT. ARCTIC WARRIOR - CREW QUARTERS - NIGHT Dodge, Epps, Greer and Murphy sit around the galley table. DODGE Probably slipped her moorings, got tangled up in a current. EPPS Out here? What, so a seven hundred foot passenger liner drifted out of Spokane harbor and nobody managed to bump into her until now? DODGE Somebody's probably looking for her as we speak. MURPHY Whatever the reason, she's adrift and abandoned. We've got every right to salvage her. GREER You mean tow her back? That's a thirty thousand ton ship you're talking about. MURPHY We've done it before. DODGE Yeah, from one side of the harbor to the other. But we got half the Bering Sea and the whole Alaskan gulf to drag her over. MURPHY You have any idea how much a ship like that could be worth in salvage? The fittings alone could go for a few million. DODGE If you get it back in one piece. MURPHY It's a risk I'm willing to take. GREER All we got to do is hit some rough weather and you can forget about it. MURPHY So we cut her loose and wait it out. A little weather couldn't be anything she hasn't seen before. DODGE It's a bloody navigation hazard. One boat can't control a ship that size. MURPHY The damn thing's been floating around for God knows how long and it hasn't hit anything yet. So we take it easy. A little of the old push pull. A long beat as they hold there. MURPHY Listen. Forget this job's just a pay check for a minute. You know I've been good to you. But I'm prepared to offer you something better now. (a beat) If we do this right, it's worth a lot of money. A lot of money. They hold there looking on at him, waiting. EPPS Go on. MURPHY Salvage fees on a vessel like this could come in around four million bucks. At least. Who knows, could be more. Could be a lot more. (a beat) What I'm proposing is... we split it four ways. A beat. Dodge looks to Epps and Greer. MURPHY Think about it. A million bucks a piece. (a beat) You want to spend the rest of your days drag-assing tank barges on the gulf coast, fine. Otherwise, let's get to work. EXT. ARCTIC WARRIOR - DAY The tug is tied up alongside the Chimera, whose dark hull stretches off for seven hundred more feet in the light of day. INT. ARCTIC WARRIOR - PILOTHOUSE - DAY Murphy brings up the radio mic as Greer and the others look on. MURPHY (to radio) United States Coastguard, United States Coastguard, United States Coastguard. This is tugboat Arctic Warrior whiskey alpha sierra bravo four zero niner two. Over. After a moment, a distance-warped, coolly professional, female voice comes back. COASTGUARD DISPATCHER (V.O. RADIO) Arctic Warrior, Arctic Warrior, Arctic Warrior. This is United States Coastguard Station North Island. Over. MURPHY North Island, I wish to declare myself salvor-in-posession under section four two charlie of the International Maritime Convention. COASTGUARD DISPATCHER (V.O. RADIO) Affirmative, Arctic Warrior. What type of vessel? MURPHY A passenger liner. Over. COASTGUARD DISPATCHER (V.O. RADIO) Say again. Over. Murphy looks to the others, almost smiling. MURPHY A passenger liner, north island. Over. COASTGUARD DISPATCHER (V.O. RADIO) What is the vessel name, registry, and present position? Over. MURPHY Passenger vessel "Chimera." I will spell: charlie hotel india mary echo romeo alpha. No registry information is available at this time. I have determined to the best of my ability that the vessel has been abandoned on the high seas at position one seven four west, five seven north at... (checking his watch) Two zero one four hours zulu time. Over. COASTGUARD DISPATCHER (V.O. RADIO) Affirmative, Arctic Warrior. Please advise your salvage authority pending registry check. Over. MURPHY Roger, North Island. Arctic Warrior over and out. EXT. ARCTIC WARRIOR - STERN WINCH - DAY Dodge, Epps, Murphy and Greer are standing on the stern of the boat under the power winch. DODGE Okay. We're gonna use a heavier than usual twin cable rig this time, consisting of a pair of number three gauge braided wire tows. (a beat) We'll tie off through the anchor alleys. And come down to the aft port and starboard pins. Here. Thus, we need to get two of these... (indicating the cable) Up there. He indicates the bow of the Chimera. DODGE Seeing as though a foot of one of these fuckers weighs about a hundred pounds, it ain't gonna be what you'd call easy. (a beat) Any questions? EPPS Supposing one of those cables breaks under tow. DODGE Then we'll all be doomed. Any other questions? EXT. ARCTIC WARRIOR - DAY Murphy has backed the tug up to the bow of the Chimera. Greer operates the deck crane, one of Dodge's mammoth cables dangling from it down to the winch on the stern. WITH EPPS Epps hangs on to the top of the crane as it comes to the starboard anchor alley in the bow of the Chimera. Dodge pokes his face out from the other side. DODGE Ready? EPPS Bring it on, dude. Dodge disappears from the hole and his hand comes back with a smaller pilot cable, which Epps takes and threads through the loop at the end of the tow cable. She places the end of the pilot cable in a vice collar and uses a wrench to tighten it down, with the effect of joining the two cables. EPPS OK. Dodge disappears, pulling up the slack from the pilot cable through the anchor alleys. DODGE (O.S.) (finally) Hit it! Epps reaches over and unhinges the crane hook and the tow cable explosively drops, banging loudly against the Chimera's hull with a shower of black rust. EXT. CHIMERA - WITH DODGE - CONTINUOUS - DAY Dodge cranks a portable pulley winch on the deck, the pilot cable slowly pulling the tow cable up through the anchor alley. It is heavy and the winch shows the strain as Dodge cranks it. He continues, when something gives in the winch mechanism and the whole thing slides forward on the pilot cable, entangling Dodge's leg and dragging him on his ass along the deck. EXT. ARCTIC WARRIOR - WITH EPPS - CONTINUOUS - DAY The tow cable creates a spray of rust and smoke as it spills out of the anchor alley before Epps. EXT. CHIMERA - WITH DODGE - CONTINUOUS - DAY Dodge slides toward the anchor alley like a piece of meat toward a sausage grinder, when the winch slams into it and stops dead, the cable continuing on with a loud shriek dangerously close to his face, until... EXT. ARCTIC WARRIOR - WITH EPPS - CONTINUOUS - DAY The last of the cable explosively whips out of the anchor alley in front of Epps and splashes in the water below. A beat as she holds there. EPPS Dodge? You alright? EXT. CHIMERA - WITH DODGE - CONTINUOUS - DAY Dodge lies tangled in the winch. DODGE Yes! EXT. ARCTIC WARRIOR - DAY Two tow cables extend from the Chimera's anchor alleys down into the water and come up again from the water to the tow anchor on the tug's stern. Dodge looks on as Greer and Epps stand by. He raises his walkie. DODGE Alright, skipper, real easy. INT. ARCTIC WARRIOR - PILOTHOUSE - CONTINUOUS - DAY Murphy slowly throttles up, moving the boat forward. He turns to see as the Chimera drops back behind them. EXT. ARCTIC WARRIOR - CONTINUOUS - DAY The tug moves slowly away from the Chimera as Epps, Greer and Dodge look on. WIDE ON TUG AND CHIMERA As the tug widens the distance, leaving the Chimera in place. INT. ARCTIC WARRIOR - PILOTHOUSE - CONTINUOUS - DAY Murphy holds the helm steady as the Chimera recedes. DODGE Steady as she goes. EXT. ARCTIC WARRIOR - CONTINUOUS - DAY Dodge, Epps and Greer look on as the tow cables begin to rise in their wake. DODGE (into radio) Throttle back. The tug slows as the cables rise slowly from the water. DODGE More. The tug slows still more. DODGE More. It slows still more, until the tug just creeps along, and the massive tow cables rise entirely out of the water, straightening as the slack is pulled out. EXT. CHIMERA - CONTINUOUS - DAY Some fifty yards behind the tug, the tow cables come taught in the anchor alleys of the Chimera. INT. ARCTIC WARRIOR - PILOTHOUSE - CONTINUOUS - DAY Murphy holds the throttle. DODGE Right there, skipper. Right there. Murphy eases forward on the throttle and the turbines rise in pitch. EXT. CHIMERA - CONTINUOUS - DAY As the tow cables stretch and the bow of the Chimera inches forward. EXT. ARCTIC WARRIOR - CONTINUOUS - DAY The turbines grow louder as Greer, Epps, and Dodge look on at the Chimera behind them, the massive tow cables bowing under their own weight. INT. ARCTIC WARRIOR - PILOTHOUSE - CONTINUOUS - DAY Murphy eases forward on the throttle, picking up speed. EXT. CHIMERA - CONTINUOUS - DAY The giant ship CREAKS AND MOANS as it starts forward, a small bow break forming on its hull. EXT. ARCTIC WARRIOR - CONTINUOUS - DAY The tug is kicking up a foaming wake as it pulls the Chimera along behind it. Dodge lets out a hoot, exchanging high fives with Epps and Greer. INT. ARCTIC WARRIOR - PILOTHOUSE - CONTINUOUS - DAY Murphy smiles as he looks back at the Chimera following behind. INT. ARCTIC WARRIOR - PILOTHOUSE - DAY CLOSE ON A CHART. The south Bering Sea and the Gulf of Alaska. A pencil traces a route. MURPHY (O.S.) I figure we go through at the Unimak Pass here. Refuel at Sanak Island. Greer looks on from the helm as Murphy, Dodge and Epps stand over the map table. MURPHY With a little extra fuel, weather permitting, we should make Sitka in five days without another stop. DODGE Sounds reasonable. GREER Hypothetically speaking, what if we get this boat to Sitka and find out somebody wants it back? DODGE They shoulda thought of that when they let her float away. GREER I don't care what, ain't nobody just gonna let us walk away with a ship that size. MURPHY The law's on our side. If they want to challenge it, let them try. EPPS They must've scuttled it. Nobody just lets a ship float away. DODGE Nobody just scuttles a passenger liner either. EPPS Ever heard of insurance, big boy? MURPHY Either way, we found it. It's ours now -- . An EXPLOSIVE THUD shudders the boat. They look to each other. DODGE (moving for the door) What the... EXT. ARCTIC WARRIOR - MOMENTS LATER - DAY Dodge jumps down from the pilothouse as another LOUD THUMP BLOWS OUT OF THE TURBINE VENTS, SHOWERING OIL OVER THE DECK. DODGE (shouting up to the pilothouse) ALL STOP! ALL STOP! INT. ARCTIC WARRIOR - PILOTHOUSE - CONTINUOUS - DAY Greer shoves the throttle back. EXT. ARCTIC WARRIOR - CONTINUOUS - DAY The boat goes dead in the water, thick black smoke billowing from the turbine vents. EXT. CHIMERA - CONTINUOUS - DAY as the bow slows in the water, the tow cables coming slack. INT. ARCTIC WARRIOR - ENGINE ROOM - CONTINUOUS - DAY Dodge pulls open the door. The place is thick with smoke as he makes his way to the turbine gauges, Epps and Murphy behind. Dodge opens the number one turbine cover, looks inside. DODGE Mother fucker! MURPHY What is it? DODGE Threw a turbine blade. Dodge looks over the smoking turbine, pulls back an aluminum intake blade, hot to the touch. DODGE Son of a bitch! EXT. ARCTIC WARRIOR - DECK - DAY Greer, Dodge, Epps, and Murphy confer on the deck. DODGE The number one turbine's pretty well trashed. Number two runs, but it's way underpowered. MURPHY How long to fix? DODGE Hard to say. I gotta get in there and have a look. At least a couple days. Depending. GREER You think the extra strain caused it? DODGE Nah. Everything was cool. It's just one of those things. EXT. CHIMERA - DAY The Arctic Warrior floats tied to the side of the Chimera. INT. ARCTIC WARRIOR - ENGINE ROOM - DAY Dodge has both turbines opened up as he works. INT. CHIMERA - MEZZANINE DECK - DAY Lights shine on what was once an elegant interior promenade. Murphy and Greer stand looking on at it. MURPHY Some classy tub in it's day, huh? GREER Yeah. EPPS (O.S.) Check this out. AT THE PURSERS DESK Epps looks through a file cabinet behind a heavy wood counter as Greer and Murphy approach. EPPS Everything's still here. Ticket records, receipts, books of account. Greer picks one up. GREER One first class passage. Elizabeth James. Dubayy to Halifax. January 29th 1953. Murphy takes it, looking it over. MURPHY Chimera. Flag ship of the Dobbins Kirk Line. Nova Scotia. INT. CHIMERA - "B" DECK - DAY Murphy, Epps, and Greer top a staircase out onto a long, darkened corridor. They move down. Some of the doors are open, faint light from port holes showing small cabins with beds, desks, a few chairs. INT. CHIMERA - TOP DECK - FORWARD PASSAGE - DAY Murphy, Epps, and Greer come to a hatchway marked "BRIDGE." INT. CHIMERA - BRIDGE - MOMENTS LATER - DAY The forward windows show the expanse of the ocean before them and the rusting foredeck about 150 feet below. Light from the windows illuminates the bridge as Murphy, Greer and Epps look around. Despite a little corrosion and a layer of dirt, everything seems in its place. MURPHY (looking through scattered charts and papers) I'd sure like to get my hands on the general log. Epps steps up to the wall, where several framed photos hang. GREER That must be the old man right there. The uniformed man in the photo is a gaunt, stern-looking man from another century, with dark, hollow eyes. EPPS Looks like one hell of a stick up his ass. GREER He'd let you off at the nearest port, that's for sure. EXT. ARCTIC WARRIOR - NIGHT A dimming purple horizon is giving way to night as the tug floats under the bow of the Chimera. EXT. ARCTIC WARRIOR - ENGINE ROOM - NIGHT Dodge works up to his elbows in turbine 1 as Greer monitors a pressure gauge. DODGE How about now? GREER Sixty pounds. DODGE What? You sure? GREER That's what it says. DODGE (geting up to have a look) Lemme see. INT. ARCTIC WARRIOR - PILOTHOUSE - NIGHT Through the pilothouse windows, the hull of the Chimera disappears into the darkness beyond the tug's work lights. Murphy sits at the chart table as Epps steps in. EPPS Coffee? MURPHY (sitting up) Yeah. Thanks. She brings him his cup, seeing the documents he brought back from the Chimera. EPPS (taking a seat) What'd you find up there? MURPHY Some charts. A crew manifest. (looking them over) Looks like her last voyage was January 1953. The question is where the hell's she been since. EPPS She was sailing up north, right? MURPHY Her destination was Halifax, yeah. EPPS Well, suppose she got a little further north than she should have. Got stuck in the ice. The passengers and crew evacuated. She froze into the ice pack, which moved further north, where it froze in solid. They write it off. Fifty years later, the whole global warming thing happens. The ice melts, she gets loose and floats around til somebody runs into her. Murphy nods, considering it. MURPHY As reasonable an explanation as any, I guess. Epps takes a sip of her coffee as she thinks about it. MURPHY Ever heard of the Mary Celeste? EPPS Nope. MURPHY She was a two-masted brig boat sailing out of New York in 1872. One day she was sighted off the coast of Portugal by a merchant vessel, the Dei Gratia. As the crew of the Dei Gratia got closer, they discovered that no one was at the helm of the Mary Celeste. On boarding, they found her completely deserted. The captain, his wife, their daughter, and the entire crew, all gone. The last entry in their log made no mention of any trouble. The table was even set for dinner. And in the nine days after the last entry, she sailed 700 miles without anyone aboard. EPPS So what did happen? MURPHY Nobody knows. There've been a lot of theories, of course. But we'll never really know for sure. EPPS You think she's sailing without a crew? Murphy looks out at the Chimera off the bow. MURPHY I think we'd be surprised where a drifting ship might wind up with a little wind and the right current. EPPS You're more practical than superstitious. MURPHY Only way to be. Epps nods, takes another sip of coffee, looking on at the rusting hull of the Chimera stretching off in the light. EXT. ARCTIC WARRIOR - DECK - DAY Greer operates the crane arm as Dodge directs him. The crane hoists out one of the massive turbine fans onto the deck. Dodge gives him the thumbs up as it comes down easily. MURPHY What's this? DODGE Turbine rotor's shot. MURPHY I thought you said it was just a blade. DODGE Metal's crystallized. Gotta replace the whole deal. MURPHY How much longer's that gonna take? DODGE Like I always say -- MURPHY I know I know, two ways to do anything -- DODGE The right way and the wrong way. MURPHY But how long? DODGE Hard to say. MURPHY We gotta get outa here, Dodge. A storm blows up and we're history. DODGE I'm telling you, you don't want to be running that fan like it is. MURPHY What about running number two by itself? DODGE It's a full 2500 horses down. We couldn't drag that boat down hill on ice with it. MURPHY How long, then? DODGE I gotta pull the blades and re-seat everything in a new rotor -- . MURPHY How long? DODGE Three, four days. MURPHY Goddamit, Dodge. DODGE What do you want me to tell you, that we can throw this sucker back in and start pulling her like nothing happened? Can't do it, skipper. A beat as Murphy stands there, knowing he's right. COASTGUARD DISPATCHER (O.S RADIO) (from the pilothouse) Arctic Warrior, Arctic Warrior, Arctic Warrior. This is United States Coastguard. Over. A beat. INT. ARCTIC WARRIOR - PILOTHOUSE - MOMENTS LATER - DAY Murphy enters the pilothouse as the distance-warped VOICE comes back on the radio. COASTGUARD DISPATCHER (V.O. RADIO) Arctic Warrior, Arctic Warrior, Arctic Warrior. This is United States Coastguard Station North Island. Over. Murphy raises the radio mic as Epps, Dodge, and Greer step in. MURPHY (to radio) North Island, North Island, North Island. This is tugboat Arctic Warrior. Over. After a moment, the same professional, distance-warped voice comes back. COASTGUARD DISPATCHER (V.O. RADIO) Arctic Warrior, we have submitted your section four two charlie salvage notification. However, the International Maritime Authority record for a passenger vessel Chimera indicates it was lost at sea in the Gulf of Oman day two month two year one nine five three. Over. A beat as Murphy holds there. MURPHY North Island, please repeat? Over. COASTGUARD DISPATCHER (V.O. RADIO) Arctic Warrior, passenger vessel Chimera was lost at sea day two month two year one nine five three. Over. Another beat as Murphy holds there, as the others look on. MURPHY North Island, have you got any additional information? Over. COASTGUARD DISPATCHER (V.O. RADIO) Affirmative, Arctic Warrior. The vessel Chimera was registered to The Dobbins Kirk Line, Halifax. Nova Scotia. Date of commission day nine month seven year one nine three two. Over. A long beat as the static of the open channel comes back. MURPHY Roger, North Island. I am tied to the passenger vessel Chimera. And she is afloat. Repeat, she is afloat. Over. COASTGUARD DISPATCHER (V.O. RADIO) Roger, Arctic Warrior. I say again, our records indicate the passenger vessel Chimera was lost at sea. Over. MURPHY Roger, North Island. Please advise pending further information. Over. COASTGUARD DISPATCHER (V.O. RADIO) Affirmative, Arctic Warrior. This is United States Coast Guard North Island Station. Over and out. A beat as they hold there, thinking about it. MURPHY Obviously it's some kind of screw up. The shipping records aren't a hundred percent accurate. DODGE Man, it gives me the creeps. We got no business towing a ship that size anyway. I say we fix the turbines and hit the highway. GREER Are you crazy? Do you realize we got ourselves a ship? We own a ship, Dodge. DODGE Yeah, a ship that's supposed to have been lost at sea fifty years ago. You don't think that's just a little freaky? EPPS If this thing turns out to be a ship everybody thought sank a long time ago, we just hit the jackpot. DODGE Yeah, well how the hell you get something like that wrong? That's a damn big boat. It's either sunk or it ain't. MURPHY We all want to get outa here, Dodge. Especially me. With that boat in tow. You got three days. Make the most of it. A beat as Dodge looks back, then out at the Chimera. INT. ARCTIC WARRIOR - MASTER'S QUARTERS - NIGHT A pencil point on a map follows across Saudi Arabia, coming to the Persian Gulf and tracing the coast of the Arab Emirates to Dubayy. Murphy sits at his desk over the map. His pencil point follows the Persian Gulf from Dubayy, through the straight of Hormuz into the Gulf of Oman. Murphy marks an "X" there. A beat as he looks on at it. He opens a large envelope he found aboard the Chimera. He empties it on the desk. He looks through it, docking receipts from various ports of call, bills of lading, etc. He looks over the passenger manifest. INT. ARCTIC WARRIOR - MASTERS QUARTERS - DAY Murphy wakes. He lies on his bunk, having fallen asleep last night in his clothes, still holding the envelope and some of the papers inside. INT. ARCTIC WARRIOR - DECK - MOMENTS LATER - DAY Dodge disassembles the turbine fans on deck as Greer reads in the shade of the deck house. Dodge's hand slips and he skins his knuckles. DODGE Fucker! GREER Take it easy, Dodge. It's only a piece of metal. DODGE (inspecting his skinned knuckles) Damn mind of it's own. GREER (seeing Murphy) Morning, skipper. Murphy has stepped out into the sunlight. MURPHY Morning. GREER You're up late. MURPHY Guess I must've fallen back to sleep. Where's Epps? DODGE Went aboard. MURPHY She take a radio? GREER Yeah. Murphy nods. A beat. INT. CHIMERA - PUBLIC ROOM - DAY Epps steps from a passageway into a large public room. Tables and chairs are scattered haphazardly, light falling in from windows along the wall where tattered curtains hang. She walks on. A pair of empty glasses sit on a table, an empty sherry decanter beside them. An ashtray sits beside that. Epps stops, reaching down. She pulls back a half-smoked cigarette, lipstick smudging the end, yellowing and fragile from time. And, as she stands there, we see a FIGURE, IN MURKY SILHOUETTE, MOVE PAST THE DOORWAY IN THE BACKGROUND. In an instant it is there and gone. She puts down the cigarette, having sensed a presence. She turns to the doorway across the room, but there is nothing to be seen now. INT. CHIMERA - PUBLIC ROOM - MOMENTS LATER - DAY A doll's white face, eyes haunting and coldly blue, stares into the middle distance. It lies on a love seat as Epps steps up. She lifts it. Several other toys lie scattered about as she studies it, when the sound of a TICKING CLOCK CAN BE HEARD. A beat as Epps holds there. She turns, trying to locate the sound. From across the room, Epps stands, listening. As the TICKING CLOCK sounds from here. She turns, putting down the doll, holding a beat. She approaches, crossing the room, coming finally to a stop before us and what we come to see is an ancient grandfather clock. All but it's minute hand has fallen off its corroded face, but from inside it emits a weak though steady TICKING. Epps stands there as the clock ticks, looking on, when the TICKING CEASES. A beat as she holds there, as the clock faces her, now silent. INT. CHIMERA - PASSAGEWAY - LATER - DAY Epps shines her light in the darkness as she comes to a door where daylight falls from a small port. She looks through it. INT. CHIMERA - SWIMMING POOL - MOMENTS LATER - DAY Epps stands in a white tiled room. Light falls from port holes high in the wall. Running its length is a small swimming pool, it's rusted fixtures and stained surface creating bizarre patterns. INT. CHIMERA - SWIMMING POOL - MOMENTS LATER - DAY Epps comes to a row of changing stalls. Old clothing hangs there, unused for fifty years. A pair of woman's shoes lie on the floor. INT. CHIMERA - SWIMMING POOL - LATER - DAY Epps moves along, passing through a doorway into INT. CHIMERA - GYMNASIUM - CONTINUOUS - DAY Epps enters another room scattered with old exercise equipment circa 1950, a wooden rowing machine, barbells and a medicine ball. She steps up to the wall, where pictures hang. The Chimera can be seen in better days, sailing full speed on a calm sea. INT. CHIMERA - SUB-DECK - LATER - DAY Epps jumps down to a lower deck. She shines her light up to see that she is in an engine compartment, showing a massive diesel burner. She passes through into another compartment where the giant pistons of the ship's power plant rise up to the ceiling. INT. CHIMERA - SUB-DECK - PASSAGE - MOMENTS LATER - DAY Epps moves, passing still more diesel burners, towering over her in the cavernous space. She moves into a narrowing passage, piping and machinery ducts winding their way into the depths of the ship. Finally the passage opens into yet another compartment, apparently a cargo hold. Crates and boxes are stacked on loading palettes. In the corner, a rotting canvas drape covers something. Epps comes to it. She lifts the canvas, which crumbles away to reveal a 1951 Ferrari sportster. For the exception of a coat of dust and a small amount of corrosion, it is perfectly preserved. Mail bags lie in piles along the wall, stacked between more wooden crates and palettes, when something catches Epps' eye. A heavy, metal door in the wall is twisted on it's hinges, as though blown back from some terrific explosive force. Epps approaches, coming to the twisted door. She shines her light inside. A clutter of debris, shelving and wood, are visible in the shadows, when her light catches a glint of something. She swings her light back, revealing a yellowish bright object between broken wood slats. Epps steps in. She kneels, shining the light closer. The yellow glint is metal. Epps pulls back a slat, sliding away some of the debris to reveal that it is cast from a kilogram ingot of gold. She reaches out. She raises it, completely untouched by the years. She pulls back still more debris, revealing a stack of gold ingots, some having tumbled to the side. She slides away a large trunk that has fallen, pushing off more junk to see that the stack is much larger, perhaps four feet high and five feet across. A beat as Epps stands there, looking on at $50,000,000 in gold. INT. CHIMERA - CARGO COMPARTMENT - DAY The debris has been cleared away to reveal a clean 5'x 5' x 4' stack of gold ingots. DODGE (O.S.) What the fuck we gonna do with it? Greer, Murphy, Epps, and Dodge all look on. GREER What the fuck you think we gonna do with it? It's ours, baby. It's all ours. Murphy has stepped forward, taking an ingot, inspecting it. GREER How much you figure that's worth, skipper? MURPHY (still looking it over) Hard to say. Maybe forty, fifty million. GREER Ho, baby! EPPS That's a lot of money for somebody to just let float away. Murphy looks up at her from the gold. MURPHY Yes, it is. A beat as they all hold there. MURPHY It's a hell of a lot of money. DODGE What, you think there's something funny about it? MURPHY A ship with fifty million dollars in gold aboard, adrift? And nobody seems to care enough to come looking for it? GREER If they thought it was lost at sea, they probably just wrote it off. MURPHY Not for fifty million. An ocean liner maybe. But fifty million in gold, they come looking for. EPPS Maybe they didn't want it back. Maybe the whole fat deal was insured. MURPHY Maybe. But there's always somebody whose interest's at stake. GREER All I gotta say is it looks like that somebody's us right now. Greer cackles as he high fives Dodge. EPPS And it looks like somebody got here before us too. The steel hatch is twisted, as from a great hand ripping it back from the wall. DODGE (inspecting it) Didn't happen yesterday, I'll tell you that. Torn parts rusted bad as the rest of the boat. MURPHY Then it happened before they scuttled her. EPPS You mean, before she sank. GREER Cargo like this could make a crew think twice. MURPHY That it could. A beat, as they all look on at the gold. INT. ARCTIC WARRIOR - CREW QUARTERS - NIGHT After dinner, Murphy, Greer, Dodge and Epps sit around the galley table. GREER Then why didn't they take it. EPPS Probably didn't have time. DODGE Or somebody stopped them. MURPHY Either way, they must've had a pretty good reason. GREER Must be a damn good reason to jump ship and leave fifty million dollars aboard. A beat as they consider it. DODGE So what're we gonna do. That's the big question, right? MURPHY A salvage claim to a vessel's cargo's as valid as a claim to the vessel itself. It's ours. DODGE Then we're rich. We're damn, filthy stinking rich. MURPHY It looks like it. A beat as they let this sink in. GREER So what? We gonna unload the gold and get a move on? MURPHY We leave it where it is. Stick to the plan. DODGE You gotta be kidding? What the hell we need that tub for, we got fifty million bucks? MURPHY So we get a little more for the boat. Besides, the gold'll be safer where it is. GREER Yeah, but we still gotta haul that big piece of shit all the way back to Sitka. MURPHY It's worth the effort. Believe me. Besides we're gonna need her to prove the salvage. EPPS Why not call for help? MURPHY For now the best thing we can do is to keep quiet about this. DODGE Last thing we want is extra partners. EPPS Or uninvited guests. GREER I heard that. MURPHY Dodge, you gotta get on those repairs. DODGE Yeah, yeah. I'm on it. MURPHY The sooner we get under way, the sooner we are to spending what's ours. INT. ARCTIC WARRIOR - ENGINE ROOM - DAY Dodge, wearing a welding mask and gloves, braises an aluminum fitting over one of the open turbines. INT. CHIMERA - SUB-DECK CARGO COMPARTMENT - DAY Epps finishes stacking the gold ingots in a cleared space beyond the twisted hatch. GREER Two hundred twenty. Two twenty one. (as Epps stacks the last one) Two twenty two. Greer makes a note. GREER Two hundred twenty two kilograms of solid gold. EPPS That's what I call a payday. GREER Hell yeah. They slap hands. INT. CHIMERA - TOP DECK - PASSAGEWAY - DAY Murphy moves down the darkened passage, coming to a door marked "CAPTAIN." The door is ajar. He pushes it open. INT. CHIMERA - CAPTAIN'S QUARTERS - CONTINUOUS - DAY Murphy stands in the doorway of a spacious cabin panelled in dark wood. A large desk occupies a corner of the room by the windows. Though dirty and worn with time, everything is ordered and in its place. Murphy comes to the desk. He sits down in the chair behind it. The surface is clear and uncluttered. He pulls out the drawer to reveal pens, writing paper, a ruler, compass and protractor amidst other sundry items. INT. CHIMERA - CAPTAIN'S QUARTERS - BEDROOM - MOMENTS LATER - DAY Murphy steps in. The room is undisturbed, light falling in on the taught green bedspread through dirty, tattered curtains. A robe hangs on the back of a chair. A pair of slippers lie beneath it. INT. CHIMERA - CAPTAIN'S QUARTERS - BATHROOM - MOMENTS LATER - DAY Murphy stands in the bathroom. The tile has yellowed with time, but everything is exactly as it was left. Even the shaving kit is neatly arrayed on the sink as Murphy looks on at it. He looks up, seeing himself in the mirror, when an EXPLOSION SOUNDS. EXT. CHIMERA - TOP DECK - MOMENTS LATER - DAY Murphy comes to the railing, looking out over the bow of the ship to see black smoke rising from where the Arctic Warrior is tied. EXT. CHIMERA - FORWARD DECK - MOMENTS LATER - DAY Greer and Epps run to the side to see billowing smoke rising from the Arctic Warrior as Murphy climbs down the crane to the deck. EXT. ARCTIC WARRIOR - CONTINUOUS - DAY Murphy jumps down to the deck. Flames belch from an open hatch as Murphy grabs a fire extinguisher from a deck locker, coming to the engine room door. INT. ARCTIC WARRIOR - ENGINE ROOM - CONTINUOUS - DAY Murphy enters to find the engine room engulfed in flames and black smoke. He finds Dodge spraying at it with an extinguisher of his own. The flames belch up from an oil fire in the turbine well, the heat searing paint on the metal covers. Murphy sprays a cloud of halon and the fire dims, but only for a moment. Dodge grabs another extinguisher, his leg burned, face and hands singed. An EXPLOSION ROCKS THE BOAT and molten flames hurl through the air, catching Murphy's pant leg. He's so engrossed in fighting the flames, he doesn't realize he's on fire. DODGE (over the roar) Murphy! Murphy looks down to see his pant leg is on fire, as Dodge turns a cloud of halon on him, putting it out. DODGE Propane tanks're gonna go! Murphy crosses in the smoke, coming as close as he dares to the most intense part of the flames. He turns the extinguisher into them, holding it there. The flames dim, as Dodge joins him on the other side, turning his extinguisher on it too. The fire seems to dim yet again as clouds of halon rise up. Fire belches from a duct, crawling across the ceiling. Dodge fires his extinguisher at it, pushing it back across to the wall again. Murphy extinguishes the last of the flames in the turbine well as Dodge brings a snaking tendril of fire down to the deck, and finally out. They stand there in the sudden silence, the air heavy with smoke. A fine layer of halon powder lies over everything, but the fire is out. EXT. ARCTIC WARRIOR - DECK - DAY Dodge smokes a cigarette, now starting to feel his burned leg, which is oozing as Murphy and Greer look on. DODGE One minute I'm minding my own business, the next thing I know the whole place is burning up. (taking a drag) An oxygen tank must've blown on the welder. Started an oil fire. GREER Looks like it took out the backup genny too. MURPHY Terrific. Epps arrives with a first aid kit. MURPHY How's that leg? Epps cuts back the burned pant leg to see the burn. DODGE Seen better -- Ow! Epps cleans the burn with hydrogen peroxide. EPPS This's gonna hurt a little. DODGE Thanks for the warning -- Ow! Damn! Epps keeps cleaning as Dodge bears it. GREER What now? MURPHY We could call for help. GREER And get a bunch of fools sniffin' around here? EPPS What other choices have we got? DODGE I tell you one thing, we're not gonna be towing no ship now. INT. ARCTIC WARRIOR - PILOT HOUSE - NIGHT A gas lantern sits on the map table illuminating Murphy as he holds the radio mic. MURPHY (to radio) United States Coastguard, this is tugboat Arctic Warrior whiskey alpha sierra bravo four zero niner two. Radio check. Over. A moment, then: COASTGUARD DISPATCHER (V.O. RADIO) Arctic Warrior, Arctic Warrior, Arctic Warrior. This is United States Coastguard Station North Island. Your radio check is affirmative. Over. MURPHY Roger that, North Island. Arctic Warrior whiskey alpha sierra bravo four zero niner two. Over and out. INT. ARCTIC WARRIOR - CREW QUARTERS - NIGHT Dodge pours out a few cans of cold chili into a bowl and takes it to the table where Epps, Greer, and Murphy sit under the stark light of a gas lantern. GREER Fifty million four ways. That's twelve million and change a piece. What you gonna do with your share, skipper? MURPHY Not much at all, I guess. Retire. Live out my golden years and all that. DODGE I'm buyin' me a nice outrigger. Spend my time hauling rich Seattle business men through the Puget. MURPHY How about you Epps? EPPS Guess I'll just keep working. DODGE What're you crazy? EPPS I like my job. MURPHY Greer? GREER Moving to Sweden. DODGE What's so great about Sweden? GREER It's a beautiful country. Very clean. Very civilized. And cold. EPPS That's a good thing? GREER Hell, yeah. I like it cold. Colder the better. DODGE Yeah, but not as cold as those Swedish girls you only gonna dream about. GREER We'll see who's dreamin', m'man. MURPHY Dreamin's all any of you're gonna be doing if we don't get this boat running. DODGE Yeah, yeah. A STRANGE SOUND BEGINS. IT IS LIKE A DISTANT SHRIEKING, AS OF METAL AGAINST METAL, BUT ALMOST HUMAN, DISTANTLY ECHOING. GREER What the hell is that? The SHRIEKING CONTINUES, ECHOING EERILY AS IF FROM THE SEA. EXT. ARCTIC WARRIOR - DECK - MOMENTS LATER - NIGHT Dodge, Epps, Murphy and Greer emerge on deck. The DISTANT SHRIEKING IS LOUDER HERE, BUT SEEMS TO BE EMANATING FROM DEEP IN THE SHIP as they stand facing it on the bow. EPPS It's coming from inside. They hold there listening as the SHRIEKING CONTINUES. DODGE Sounds like the hull. MURPHY Warm water current maybe, making the metal expand. GREER That shit is seriously bizarre. The DISTANT SHRIEKING ECHO continues as they hold there. EXT. ARCTIC WARRIOR - DECK - DAY The engine room is black with soot, the turbines covered in halon powder. Dodge stands there looking at it. He sighs. INT. CHIMERA - GALLEY - DAY Greer goes through shelves of supplies, finding a stack of sterno cans and warming candles. He throws them into a wooden crate of other supplies he's gathered. INT. CHIMERA - FIRST CLASS STATEROOM - DAY Epps slowly pushes open the door. She holds a sack with a few items she's managed to scavenge. Light falls from curtained windows onto the room. A divan sits against the wall. A table stands in the middle of the room, a moth-eaten velvet table cloth sitting under a brass lamp on top. Two twin beds stand on either side. They are covered in dust and are moth-eaten, unmade, as if the occupants had just gotten up, fifty years ago. In one corner is an armoire. Epps steps up to it, pulling back the door to reveal a rack of woman's clothing hanging there undisturbed. INT. CHIMERA - STATEROOM - MOMENTS LATER - DAY A pair of slippers lie on the floor beside a chair, over which is draped a woman's robe. Epps lifts it, the material crumbling in her hands. INT. CHIMERA - STATEROOM - MOMENTS LATER - DAY A drawer comes back to reveal a number of personal affects, a man's billfold, cuff links, tarnished silver cigarette holder and case, coins, black horn-rimmed glasses, pocket watch and fob, and a room key. Epps pulls back the billfold. She opens it. Inside she finds a Canadian passport a picture of a dark-haired man with a mustache and black horn-rimmed glasses, circa 1950. In the folds she finds three hundred Canadian dollars. An insert holds pictures, of a suburban home, children, and a woman, presumably his wife. INT. CHIMERA - "A" DECK PASSAGE - LATER - DAY Epps steps from the room. She turns to close the door, but stops, holding there, strongly sensing something. THE CAMERA SLOWLY COMES AROUND TO HER OTHER SIDE, revealing the long passageway behind her, each bulkhead hatchway creating the impression of a tunnel of mirrors that frame one another and, standing at the very end of this tunnel in the foggy light from a porthole, a MAN in dark clothing. Epps slowly turns her head to see what she already senses, the man standing at the end of the passageway facing her. A beat as they hold there. The man only stares back at her, then turns to walk away. EPPS Hey! Epps moves off as the man walks around the corner. EPPS Hey, wait a minute! Hey! MOVING WITH Epps as she breaks into a run, going down the passageway. She comes to the corner, rounding it out onto another passageway. The man is nowhere to be seen. Epps moves quickly down the passageway, coming to the next corner, rounding it out to see only another long passageway. She turns back, running right into Murphy. MURPHY Take it easy, you'll live longer. EPPS Did you see him? MURPHY Who? EPPS The guy. He just came this way. MURPHY What guy? EPPS There's somebody else on this boat. MURPHY What? What the hell're you talking about. EPPS I saw him. Just a minute ago. Some guy. MURPHY Are you sure? EPPS Of course I'm sure. I saw him. MURPHY You sure it wasn't me? EPPS It wasn't you. It was somebody else. There's somebody else aboard. A beat as Murphy looks back at her. INT. ARCTIC WARRIOR - PILOT HOUSE - NIGHT Greer, Dodge, Murphy, and Epps stand around by lantern light. DODGE Light in those passages ain't so good. EPPS I'm telling you, I saw somebody. I don't know who it was. But I saw somebody. GREER What'd he look like? EPPS Maybe six feet. Lanky. I didn't get a good look. He was far away. But I saw him. I saw him as sure as you're standing there. DODGE Where's his boat, then? Where's his crew? He ain't gonna be out here by himself, that's for damn sure. GREER She's so big somebody could come alongside her on the other side and we'd never know it. EPPS Maybe that is his boat. DODGE Gimme a break. A beat as they sit in silence. MURPHY If somebody's aboard her already, she ain't ours. She's theirs. DODGE Bullshit. That boat hasn't made steam for fifty years. We found her. She's ours. MURPHY Not in the eyes of the law. EPPS So, we find this guy and make a deal with him. MURPHY We don't exactly have the best bargaining position. DODGE I say fuck the motherfucker. We're a professional salvage crew going about our business. What's some yahoo doing way out here by himself anyway? MURPHY And what do you propose? That we knock this guy off? DODGE Why not? Why the fuck not? A beat as Murphy, Greer and Epps exchange looks. DODGE Fifty million dollars. Fifty million. We gonna let this guy just take it from us? One guy? EPPS So we kill him? DODGE I'm saying we gotta do whatever we gotta do to preserve our interest. GREER I don't know. MURPHY Let's just take it easy here, alright? Nobody's gonna kill anybody. GREER Supposing he wants to get bad with us? DODGE One guy isn't gonna be so stupid. EPPS Maybe he isn't alone. They consider this a moment. GREER I say we off-load some of that gold now. MURPHY Would you hold on just a minute here, please? Look, there's no reason to panic now. Epps saw somebody. Fine. It's a big boat. Chances're real good he doesn't even know about the gold. If we stay cool, nobody'll be the wiser. (a beat) The gold stays where it is til we're ready to go. Like I said, it'll be a hell of a lot safer there than here. DODGE What if that fucker finds it before we're ready to go? MURPHY We'll stand a watch. Four on, eight off. Low man first. EPPS Guess that'd be me. Again. MURPHY Dodge, get on that turbine. I don't care if you don't sleep for a week. The sooner you're done, the sooner we can get out of here. How's the food situation? GREER Pretty low all around. MURPHY We'll have to take it easy then. I don't think we'll find much aboard the ship, but it's probably worth looking around. EPPS Say we run into this guy again. A beat as they consider this. MURPHY If he's reasonable, maybe we can make some kind of deal. If not. We'll have to re-consider our options. DODGE Yeah, reconsider fucking his shit up. INT. ARCTIC WARRIOR - WARD LOCKER - NIGHT Epps is dressed in her cold weather gear as she opens a locker, revealing a flare gun and a shotgun. Epps pulls back the shotgun and a box of shells. EXT. ARCTIC WARRIOR - DECK - NIGHT Murphy and Dodge look on as Epps loads the last of several shotgun shells into the pump action short barrel 12-gauge. She expertly shuttles a round into the chamber with one hand. Dodge takes a hit from his cigarette as Greer crosses from the deck house. DODGE Pretty handy with that scatter gun, Epps. You raised on a farm? EPPS (setting the safety) Seen a lota movies. MURPHY No cowboy shit up there, understand? EPPS No cowboy shit. Right. Greer extends a thermos to Epps. GREER Coffee. EPPS (pocketing it in her coat) You're a pal. She checks the squelch on her radio, pockets it too. MURPHY Got your light? EPPS Yup. DODGE Smokes? EPPS Oh yeah. Her bravado does little to hide her apprehension as she slings the shotgun on her back. EPPS See you boys later. (to Greer) Don't be late, I need my beauty rest. She looks up, climbs onto the crane and up toward the darkened ship above them. INT. CHIMERA - PASSAGEWAY - NIGHT A flashlight beam cuts through the darkness as Epps approaches. If this place is creepy in the daylight, it is terrifying now. She comes to a ladder and climbs down. INT. CHIMERA - CARGO COMPARTMENT - LATER - NIGHT Epps shines her light as she passes through, coming to the cargo hold. She crosses in the darkness, her light catching the tarnished glint of the gold. She comes up to it, stopping there, looking on at it, a perfectly symmetrical fortune. She looks around for a place to sit. She drags a palette to the bulkhead, settling in to face the rest of the compartment. She puts her shotgun down beside her and takes out her thermos to pour herself a cup of coffee. INT. CHIMERA - CARGO COMPARTMENT - LATER - NIGHT Epps has dozed off when a CLATTERING ECHOES DISTANTLY somewhere in the ship. Epps wakes. It is silent, as she holds there, not sure she heard anything, when a DISTANT BOOMING SOUNDS. She reaches out for the shotgun, intently listening. As Epps holds there, another deep BOOMING sounds distantly somewhere. Epps turns, her blood running cold. INT. CHIMERA - CARGO COMPARTMENT - MOMENTS LATER - NIGHT Epps moves along in the darkness when the DISTANT BOOMING CAN BE HEARD BRIEFLY AGAIN. She stops, holding there, in the silence. INT. CHIMERA - SHAFT ALLEY - MOMENTS LATER - NIGHT Epps jumps down into the shaft alley where the ship's massive propeller shaft hangs suspended above her. Epps moves along. Finally she comes out into... INT. CHIMERA - ENGINE ROOM - CONTINUOUS - NIGHT Where the propeller shaft extends into a large turbine. She continues on, past huge rusting diesel burners, disappearing into the darkness above her, when ANOTHER BOOM SOUNDS. She turns, shinning her light back from where she came. Nothing moves. Not a sound, but for her breathing and maybe her heart pounding in her chest. ANOTHER BOOM SOUNDS, again echoing distantly in the silence. She shines her light through the line of burners. Nothing moves. Epps moves quietly between the burners. She comes to a massive watertight door at the bulkhead. She steps through, finding herself standing between a row of huge oil storage tanks. THE BOOMING SOUNDS AGAIN, closer, as suddenly stopping. She moves on, cautiously walking between the tanks, holding her light out before her. She comes to the end of the compartment and another bulkhead. The BOOMING SOUNDS, still closer. She turns the light into the recesses, showing rusting machinery and a stack of oil drums. She approaches, holding the shotgun up. As she nears, the BOOMING SOUNDS AGAIN. She stops. It is coming from here. She tenses, raising the shotgun, holding the light as steady as she can manage. The BOOMING SOUNDS YET AGAIN. It is metallic and staccato. She stops in the corner beside an oil drum. Several drums have toppled and lie scattered in a pile when a draft stirs her hair. She shines her light up to see that she stands at the bottom of a giant hatchway shaft rising all the way through the ship to the top deck and an echoey breeze that betrays a throughway to the outside. The BOOMING SOUNDS AGAIN, this time coming from the pile of oil drums. She steps closer, raising the shotgun, ready to fire. A beat as she summons her courage, then reaches out to push a drum with her foot, when A BLUR EXPLODES OUT AT HER. She fires the shotgun and a spray of buckshot glances off the steel bulkhead in a shower of sparks, a flurry of frenetic flapping whizzing by her head as she looks up to see a large albatross flying back up the hatchway shaft toward the top of the ship and freedom. MURPHY Murphy to Epps. She settles back, exhausted. MURPHY Murphy to Epps. EPPS (taking her radio) Epps. MURPHY You just shoot at something? EPPS Yeah. Just a bird. Just a stupid bird. She wipes her brow on her sleeve, holding there a moment, when she smells something really awful. She steps forward, following the smell, pushing aside the toppled oil drums to see an unidentifiable form in the beam of her flashlight. She steps still closer, training her light on the form to see that it is a human torso. A large gash runs up its middle and the clothing has been torn by scavenging birds. She hesitates, then steps still closer when she steps on something. She starts, then shines the light on the deck in front of her where the body's decaying head looks back with wide, unseeing eyes. It takes everything she has just to hold there. She shines her light back to the headless torso. She shines her light beyond that, and up, to reveal a bent steam pipe hanging out over the deck, stained with dried blood, a pair of legs dangling from the pipe when, just behind her, a booted foot comes into frame, lightly touching her. She spins around to see another body above her. Except this one hangs in one piece, suspended from another bent steam pipe. It has been impaled length-wise on the pipe from rectum to mouth. One of its arms has rotted off and lies on the deck below it. A few feet away, a third body hangs impaled from another bent pipe. INT. CHIMERA - ENGINE ROOM - LATER - NIGHT A lantern illuminates the impaled bodies and their various rotting parts. GREER (O.S.) Ho-ly shit. MURPHY (O.S.) Couldn't have happened much more than a month ago. Greer, Dodge, and Epps look on as Murphy kneels over the remains of the headless torso. MURPHY Bodies're too fresh. DODGE Fresh ain't the first word that comes to mind. Murphy checks the pockets, finding a wallet. He looks through it. MURPHY Greek citizen. Merchant navy. (standing) Obviously we aren't the first to come across this ship. They probably stumbled across it just like we did. GREER And look what happened. DODGE Damn barbaric is what it is. MURPHY Could be meant as a warning. GREER Stay away. Or else. EPPS Because of the gold. MURPHY That'd be my guess. DODGE So whoever did this might still be around. GREER Maybe Epps's mystery man had something to do with it. MURPHY Maybe. A beat as they consider the implications of this. EPPS So, what? We report this? Call the Coastguard? Another beat as they hold there. DODGE Let's not be too hasty. GREER Yeah. Hell, what difference does it make if we report it now or later? We call this in now, gonna be Coastguard, FBI, who knows who, all over the place. A beat as nobody's too sure about this. MURPHY Dodge, if this isn't incentive enough to fix that boat, I don't know what is. DISSOLVE TO: INT. ARCTIC WARRIOR - ENGINE ROOM - DAY Dodge fires up a compressor, which feebly comes to life, turning over the turbine, then sputtering out in a cloud of smoke. DODGE All the seals and gaskets're shot. Anything that was rubber burned up. Murphy stands at the doorway, looking on. MURPHY Can't you use something else? DODGE I might be able to find something on the ship. But it's gonna take time. MURPHY Do what you need to do. Just do it fast. DODGE Right. INT. CHIMERA - CREW QUARTERS - DAY Epps sleeps in her bunk. INT. CHIMERA - BETWEEN DECKS - DAY Dodge and Greer climb down in the darkness. DODGE I need lag bolts, especially one inch standard. And sheet metal. Preferably steel, about a sixteenth of an inch. Aluminium, even tin'll do. GREER I ain't no mechanic, just so you know. DODGE You find anything that even looks like a compressor. I don't care what, grab it. INT. CHIMERA - RADIO ROOM - CONTINUOUS - DAY Murphy stands in the cramped room, full of radios and communications equipment. He looks through the shelves and cabinets, when he opens a drawer to find a dusty bound book. He pulls it back, opening it to see that it is a radio call log. He takes a seat, paging through it. INT. CHIMERA - GALLEY - WITH GREER - LATER - DAY Greer works to disassemble a compressor mechanism. He has difficulty getting the right purchase with his wrench, when he slips. GREER Dammit! A beat as he inspects his hand. In the silence A DISTANT SHRIEK SOUNDS, maybe metal against metal or maybe human, somewhere in the ship. He holds there, listening. GREER Dodge? He moves on, shinning his light as he goes. INT. CHIMERA - GALLEY - MOMENTS LATER - DAY Greer moves along in the darkness when he hears THE SHRIEKING AGAIN coming from somewhere in the ship. GREER Dodge! INT. CHIMERA - PASSAGEWAY - MOMENTS LATER - DAY Greer walks up a stairway, stepping into a darkened passageway. The SHRIEKING SOUNDS, THIS TIME CLOSER, as it echoes through the ship. He stops, holding there to listen. INT. CHIMERA - PASSAGEWAY - MOMENTS LATER - DAY Greer comes out onto another deck, stopping there. He looks down the passageway a beat, then moves on. He passes through a hatchway in a bulkhead when A MUSIC BOX CAN BE DISTANTLY HEARD. He stops. The song is "DAISY" ("Daisy, Daisy, give me your answer do. I'm half crazy, oh for the love of you."). He holds there, listening intently. A door stands open at the other end of the passage. The MUSIC COMES FROM HERE. He moves forward, walking toward the end of the passage, and the light falling from the open door. INT. CHIMERA - RADIO ROOM - CONTINUOUS - DAY Murphy pages forward to the last page of the radio call log book. On the page his finger runs down the columns of entries, coming to "TRANSMISSION 1 Feb 53 21:34 hrs GMT. Engine trouble notification made to passing vessel 'St. Charles.'" His finger moves down to the next entry, coming to: "TRANSMISSION 2 Feb 53 09:52 hrs GMT. Dead in Water. Notification made to passing vessel 'Normandy.'" His finger continues: "TRANSMISSION 2 Feb 53 14:07 hrs GMT. Captain relieved of command. Notification made to passing vessel 'China Sea.'" MURPHY Captain relieved of command. He holds there a moment, moving his finger down to the final entry, reading: "TRANSMISSION 2 Feb 53 21:24 hrs GMT. General SOS." He turns the page to see only the words "GOD SAVE US" scrawled in faded red ink. A beat as he holds there, when a CHANNEL OPENS WITH A SHORT BURST ON MURPHY'S RADIO. He looks to it, but there is no response from the other end. Another SHORT BURST AND THE CHANNEL OPENS AGAIN. This time it remains open, but no one says anything on the other end, UNTIL THE CHANNEL CLOSES AGAIN. Murphy takes the radio. MURPHY This is Murphy. Anybody trying to call me? Over. He waits as no response comes, then THE CHANNEL OPENS AGAIN. Only silence from the other end as someone seems to be there, but is not saying anything. Murphy presses the talk button. MURPHY Greer? Dodge? Again, there is no response, until the CHANNEL OPENS. Murphy holds there as he is answered by silence, WHEN A GRAVELLY, STRANGELY DISTORTED MALE VOICE COMES BACK ON THE RADIO: VOICE (V.O. RADIO) "Cock-a-doodle-doo," said the rooster to the crow. "Where are you now? I know, but won't say so." Murphy is momentarily stunned. He hits the talk button. MURPHY Who is this? The RADIO CHANNEL OPENS. Only silence comes back, as if someone were there but not speaking. MURPHY Who is this!! The CAMERA PUSHES IN AS MURPHY LISTENS. VOICE Penny whistle toy. Penny whistle toy. Penny whistle toy. Penny whistle toy. The CHANNEL CLOSES as the CAMERA STOPS CLOSE ON MURPHY. Murphy squeezes the talk button. MURPHY Greer! Dodge! Only silence comes back from the radio when A MAN'S BLOOD CURDLING SCREAM sounds from somewhere in the ship. INT. CHIMERA - PASSAGEWAY - MOMENTS LATER - DAY Murphy moves quickly down the passageway when his radio sounds. DODGE Dodge to Murphy. MURPHY (taking radio) Murphy. DODGE You better get down here quick, skipper. I'm on "C" deck. Cabin 400. MURPHY What is it? DODGE I think you better see this for yourself. INT. CHIMERA - STAIRWAY/PASSAGEWAY - MOMENTS LATER - DAY Murphy comes down the stairs and into the passageway we saw Greer in earlier. At the end, the light from the cabin falls from the open door as he approaches. AT CABIN 400 As Murphy comes to the door to see Dodge standing in the middle of the cabin. DODGE I found him like this. Greer is lying supine on the floor. His legs are rigid and his trunk is extended. His arms are flexed and twisted so that the palms are facing away, fingers splayed, wrists quaking over his chest as they fight to touch each other. Murphy kneels beside him. Greer's eyelids are half closed, his eyes rolled up into his head. His jaw is clenched, face contorted in a bizarre grimace. And he speaks, uttering nonsense words in harsh expulsions, as though speaking in tongues. GREER Oragishlaoomnudrasadrafantoshviska getofedobrodijotosiantosg. INT. ARCTIC WARRIOR - CREW QUARTERS - DAY AN EYE - EXTREMELY CLOSE As a light shines in it, the pupil is fixed and dilated. EPPS (O.S.) Hard to say. BACK TO SCENE Greer lies unconscious on a bunk, now quiet, no longer seizing as Epps shines a flashlight into his eye, Dodge and Murphy looking on. She turns it off, standing upright. EPPS I'm no doctor. But I'd say he's in a coma. DODGE A what? EPPS I don't know what else you'd call it. He's breathing on his own, but his pupils are completely blown out. He's totally unresponsive to pain. (a beat) What happened up there? DODGE I heard a scream. When I got there I found him on the floor. He was having some kind of seizure. I didn't see anybody else. MURPHY He must've seen something. A beat as they consider this. EPPS Other than the obvious, there's nothing wrong with him that I can see, not on the outside. DODGE Then what the hell happened to him? Another beat as they hold there. MURPHY Just before I heard him yell there was somebody on the radio. EPPS Greer? MURPHY I don't know. No. Not Greer. Somebody. Another long beat as they think about this. MURPHY It was a man's voice. Repeating some sort of children's rhyme. I don't know, it didn't make any sense. You didn't hear it? DODGE Not me. Another beat as this sinks in. EPPS (looking to Greer) He needs a doctor. MURPHY I'll call us in. Dodge, see how many signal flares you can scrounge up. (to Epps, meaning Dodge) Keep an eye on him. INT. ARCTIC WARRIOR - PILOT HOUSE - NIGHT A gas lantern sits on the map table illuminating Murphy as he holds the radio mic. MURPHY (to radio) United States Coastguard, United States Coastguard, United States Coastguard. This is tugboat Arctic Warrior whiskey alpha sierra bravo four zero niner two. Over. No response. MURPHY (to radio) United States Coastguard, United States Coastguard, United States Coastguard. This is tugboat Arctic Warrior whiskey alpha sierra bravo four zero niner two. Over. Again, no response. He holds there, then finally: MURPHY (to radio) Mayday. Mayday. Mayday. To any vessel. This is Arctic Warrior. Arctic Warrior. Arctic Warrior. Whiskey alpha sierra bravo four zero niner two. Last known position one seven four west, five seven north. I am afloat and drifting. Require immediate medical assistance for one person, possibly comatose. I am a one hundred twenty foot civilian tug, hove to at port bow of disabled passenger liner Chimera. I repeat, Chimera. Over. Only the desolate WHITE NOISE OF EMPTY AIR COMES BACK. INT. ARCTIC WARRIOR - CREW QUARTERS - NIGHT Greer lies unconscious as Epps looks on at him. The door comes open and Murphy steps in. MURPHY How's he doing? EPPS Same. Any luck? MURPHY No. I'll try again later. A beat as they look on at Greer. INT. ARCTIC WARRIOR - CREW QUARTERS - NIGHT Murphy and Epps sit at the galley table. Epps reads the log book Murphy found in the radio room. EPPS (reading it) They're dead in the water that morning. Four hours later the captain's relieved of his command. And that evening they issue a general SOS. MURPHY Possibly false. Hence the IMA record of being lost at sea. I don't think mutiny's out of the question here. DODGE (taking a seat) On a passenger ship in 1953? MURPHY If they knew what they were carrying. EPPS You're saying they mutinied for the gold? MURPHY If they were close enough to shore, they probably figured they could get away in the lifeboats. EPPS Only something must've gone wrong. DODGE Yeah, way wrong. A beat as they consider it. DODGE So. I got a question. Just from a, you know, purely technical standpoint. We call the Coastguard. Coastguard shows up. What exactly is the plan? MURPHY How do you mean? DODGE Well, they're gonna be asking a lot of questions. About us. About those bodies. About the gold. Seems like we oughta be prepared is all. MURPHY I guess the best strategy's just to tell them the truth. DODGE Yeah, well. The truth is one thing. When there's more than a few hundred million dollars involved, that's a whole new deal. MURPHY What do you propose? DODGE For starters, getting that gold off the ship. What they don't know about isn't gonna bother them. A beat as Murphy holds there. MURPHY There's no way we're gonna hide a few thousand pounds of gold from the Coastguard here. Besides, it'll be safer where it is. DODGE With all due respect, skipper. (a beat) Part of that up there's mine. I'd kinda like to have a little say in what happens to it. A beat as Murphy looks on. MURPHY Tell you what, Dodge. Once we get back to shore, you can do whatever you want with your share. But until then, the gold stays right where it is. Dodge holds there. He looks to Epps a beat, takes a drink of coffee. EXT. CHIMERA - DAY The sun comes up over a spectacular cloud bank as the Arctic Warrior drifts alongside the Chimera. EXT. ARCTIC WARRIOR - DAY Murphy crosses to the deck house, climbs the stairs. INT. ARCTIC WARRIOR - PILOTHOUSE - CONTINUOUS - DAY Murphy opens the door, stopping dead in his tracks. A beat. He steps forward, crossing to the corner. The radio set lies before him, dented in and completely demolished, as if someone had taken a bat to it. INT. ARCTIC WARRIOR - ENGINE ROOM - MOMENTS LATER - DAY Dodge works on one of the turbines when he is grabbed from behind and shoved into the wall. Murphy holds him fast. MURPHY Just what the hell do you think you're doing?! DODGE I don't know what you're talking about? MURPHY I think you know. DODGE Maybe you can tell me then. Murphy shoves him hard into the wall. MURPHY The radio! DODGE (not having a clue) The radio. Oh, yeah, the radio. Murphy tightens his grip. DODGE Take it easy, willya? What about the radio?! MURPHY You smashed it! DODGE What?! MURPHY Don't lie to me! DODGE What the fuck -- ? MURPHY You didn't want us calling anybody. Too liable to ruin your big payday. DODGE I didn't touch the fucking radio. Murphy tightens his grip still more. DODGE I didn't touch the fucking radio! (a beat) Ever occur to you there's somebody else on that boat, skipper? MURPHY Conveniently enough for you. DODGE Look, I didn't touch it. Alright? Murphy holds there a beat longer. He shoves Dodge back letting him go. DODGE Jesus. Dodge checks his throat as Murphy looks on. EPPS (O.S.) Murphy. They turn to see Epps in the hatchway. EPPS It's Greer. INT. ARCTIC WARRIOR - CREW QUARTERS - MOMENTS LATER - DAY Greer stands at the galley sink finishing off the last of a jug of water as Murphy and the others step in. He turns to see them. GREER Never been more thirsty in my life. MURPHY Drink up then. Greer smiles, raising the jug to drink as the others take a seat, looking on at him. MURPHY How're you feeling? GREER Lost my sea legs. EPPS Any dizziness? GREER No. EPPS Headache, nausea, lights? GREER Lights? EPPS Sudden flashes of light. GREER I feel fine. DODGE What day is it? GREER I don't know. Tuesday? DODGE Wrong. It's Friday. EPPS Try Wednesday. DODGE Right. Wednesday. A beat as they all hold there. Greer takes a seat. GREER What happened? MURPHY You don't remember? GREER Last thing I remember I was aboard the Chimera. Down somewhere in there scavenging around. MURPHY You've been out for about a day. GREER Say what? MURPHY Dodge found you out cold in one of the cabins. Greer only holds there. GREER Oh, man. MURPHY We heard you scream. Any idea what you might've seen? GREER I wish I could tell you. I'd be real interested to know myself. Another beat as they hold there, as Greer takes another drink of water. MURPHY The ah... the radio's out. EPPS What? MURPHY Somebody took it out of commission last night. A beat as they all hold there. MURPHY Smashed it up pretty bad. EPPS But, who -- ? DODGE The skipper seems to think I did it. That I'm more interested in that gold than my own safety or the safety of my fellow shipmates. A beat as they hold there, as Murphy looks back. EPPS Did you? DODGE Hell no. You think I'm crazy? Another beat as they hold there. MURPHY Regardless of how it happened, there isn't much of a chance to fix it. The odds of another vessel in range of the walkie-talkies are almost astronomical. So, as of today, we're pretty much on our own out here. INT. CHIMERA - STAIRWAY - DAY Epps and Murphy, carrying the shotgun, make their way in the ship. INT. ARCTIC WARRIOR - FIRST MATE'S QUARTERS - DAY Greer stops before a mirror to see himself. He finds an aspirin bottle, goes to open it. And as he does so, he sees that his hand is shaking uncontrollably. INT. ARCTIC WARRIOR - ENGINE ROOM - DAY Dodge works over the turbine. He stops, holding there. He looks on at the plugs and wires and hoses. A beat. He begins pulling out the hoses and wires, grabbing at them, yanking them loose, breaking them off. INT. CHIMERA - RADIO ROOM - DAY The chassis comes off an old radio to reveal a dusty assortment of tubes and condensers. Murphy looks on at it. WITH EPPS A tattered, bound book lies in the refuse of a forgotten corner. Epps picks it up. The cover has been ripped off and the pages are torn. But, as she looks through it, she sees that it is the ship's log. EPPS Murphy. Murphy steps over as she pages through the log book to the very end. The last pages have been ripped out. EPPS Looks like part of the general log. Epps points to a page that has been incompletely ripped out. EPPS "The crew have gone mad with greed and fight among themselves like wild dogs over fresh kill." MURPHY February first. EPPS The same day she supposedly went down. MURPHY Must not've been the captain's entry. He was probably out of the picture by then. Epps continues to read. EPPS "Their lacking diligence has undoubtedly caused the collision. Distress calls have been made." MURPHY Collision? With what? EPPS The page's missing. Then their SOS was real. MURPHY But where's the damage? EPPS Maybe the other ship took the worst of it. MURPHY If it was a ship she hit. A beat as they hold there, when his radio CRACKLES TO LIFE. DODGE Dodge to Murphy! Murphy reaches down for his radio. MURPHY (to radio) Yeah. DODGE You better get down here right now! We're taking water! Big time! EXT. ARCTIC WARRIOR - DAY Murphy and Epps jump from the deck crane as the tug is starting to list to one side. He crosses to the deck house and the open engine room hatch to see that it is rapidly filling with seawater as Greer and Dodge scramble to set a pump hose over the DIN OF THE PUMPS. MURPHY What the hell happened! DODGE Turbine chamber on number two must've blown! Took out part of the hull! GREER We're not gonna be able to pump it! MURPHY Alright. Everybody grab your gear! This' is where we get off! EXT. ARCTIC WARRIOR - MOMENTS LATER - DAY The tug is listing radically to the side, its deck awash with seawater, as Epps, Greer, and Murphy scramble with their gear to the crane. Water is starting to pour out of the deckhouse hatch as the towering framework rising over the pilothouse stabs precariously at the bow of the Chimera. Murphy stops to shout back at the deckhouse. MURPHY Dodge! INT. ARCTIC WARRIOR - CREW QUARTERS - CONTINUOUS - DAY Water is starting to pour in as the entire cabin lurches to one side. Dodge wades through toward the door. EXT. CHIMERA - FORWARD DECK - CONTINUOUS - DAY Epps pulls herself up onto the deck, Greer following behind, then Murphy. Dodge can be seen stepping from the deckhouse on the tug, which now lists at a near 45 degree angle. WITH DODGE Dodge stumbles toward the bow, slipping on the wet deck. He goes down, sliding into the water that washes over the starboard rail. He pulls himself up, using a cleat to push off. A deck locker opens and the contents tumble around him. He struggles to pull himself up to the base of the pilothouse. He climbs up and edges his way toward the bow. WITH THE OTHERS Epps, Greer and Murphy look on as Dodge climbs up on the skewed deck crane. WITH DODGE The tug is slowly lurching over as Dodge climbs the crane, the top of which is sweeping away from the Chimera. Below, the decks of the tug are swept with seawater as it sinks lower and lower. WITH THE OTHERS They look on as Dodge climbs toward them, the sinking tug pulling Dodge and the crane away from the ship. Greer pulls back a line, tying it into the deck railing. WITH DODGE As Dodge makes his way up, he's forced to climb onto the other side of the crane to keep from dangling over the water. Above, Greer casts a line. It falls near, but out of reach as the swell of the water starts to swing the crane to and fro. Dodge reaches out for the line again, his hand coming close but not close enough. The swell brings the crane toward the boat one last time and Dodge reaches out, his fingers just coming to the line, coaxing it into his grasp. He pulls it back and hangs on, as the crane sways back with the foundering boat. The crane falls away from Dodge, leaving him hanging in space by the line from the bow of the Chimera. WITH THE OTHERS Murphy, Greer and Epps look on as Dodge hangs over the water and the tug as its stern slowly sinks beneath the waves. Dodge climbs the line toward the bow railing as the tug rolls still further to port, the pilothouse dipping into the sea, slipping lower and lower. WITH DODGE As he pulls himself upward, coming to the bottom of the rail well on the Chimera where Murphy reaches out, just short of Dodge's hand. A SCREECHING SOUNDS and they turn to see the twin tow cables coming taught against the hull in the anchor alley's of the Chimera as the sinking tug pulls them tight. With a CONCUSSIVE STRIKE, one cable is freed, snapping against the Chimera's hull like a giant steel guitar string. It starts sliding along the hull as the tug drifts, pulling the cable with it, toward Dodge as he dangles in mid air. Dodge pulls himself up, reaching for Murphy, but still short. A LOUD HISSING SOUNDS and Dodge turns to see misty air escaping from ports and deck vents as the encroaching water forces it out of the tug below decks. The tow cable LOUDLY SCRAPES THE HULL in a shower of rust, as Dodge struggles to pull himself up. Murphy reaches out as Dodge extends as far as he can, their hands barely reaching. The tow cable is a mere few feet away and closing, ready to scrape Dodge into the water or smear him across the hull like a bug on a windshield, when Dodge pulls himself up with everything he's got and Murphy grabs his hand. Murphy pulls, lifting Dodge, as Greer grabs Dodge's other hand and they pull him up, the tow cable sweeping by with a SICKENING GRINDING SOUND OF HEAVY STEEL AGAINST STEEL. Dodge turns to see the bow of the tug dip below the surface, slowly going under until disappearing with a last exhalation of misty air. The pilothouse is next to go, the last of it slipping into the frothing water, then the crane, finally disappearing altogether into the depths. A long beat as they hold there in the sudden silence, phantom bubbles rising to the surface where the tug once stood. EXT. CHIMERA - TOP DECK - DAY A boot punches through a rotten wood hull. MURPHY (O.S.) That just about says it all. Greer stands at the bow of a lifeboat suspended from halyards above the deck. GREER Rotten stem to stern. Guess you couldn't expect much else. Greer jumps down as Murphy, Dodge, and Epps look on. GREER We ain't exactly in what you'd call your high traffic neighborhood either. MURPHY The coast guard has our last position. They'll send somebody out soon enough. A ship this size you can't exactly miss. EPPS It's a good bet they'll be asking a lot of questions when they get here too. MURPHY Let 'em ask. This ship's legally ours now. DODGE When they find out what it's carrying, they may not be so interested in what's legal. GREER Maybe you shoulda thought a that before you scuttled our boat. Dodge turns to see Greer. A beat. DODGE The turbine blew. GREER Lemme see, was that before or after the oil fire? A beat. Dodge takes a swing at Greer. MURPHY (grabbing Dodge) Easy, easy. Murphy holds on to Dodge as he will have none of it. GREER Gettin' a little hot under the collar, I'd say. MURPHY Shut up. GREER Must be a little too the truth, eh Dodge? Dodge jumps forward again, but Murphy hangs on. MURPHY I said, shut the hell up. Murphy shoves Dodge back. MURPHY Both of you. I don't want to hear it again. A beat as Greer and Murphy hold there. MURPHY So just stow it. You understand? (a beat) We don't need this right now. EXT. CHIMERA - FOREDECK - NIGHT A fire burns in an oil drum as Epps, Murphy, Dodge and Greer sit around it in silence. INT. CHIMERA - 4TH OFFICER'S STATEROOM - NIGHT Epps steps in. She shines her light on the room. It is exactly as it was left. She crosses to the bed, shining her light under it. She sits down, trying it. INT. CHIMERA - CARGO HOLD - NIGHT Dodge moves in the darkness, coming to the corner where the stacked gold ingots rest. He looks on at them. MURPHY (O.S.) You shouldn't be down here alone. Dodge turns to see Murphy standing there. DODGE Just wanted to check on our little baby. A beat as they look on at the gold. DODGE That oughta buy a man pretty much anything he wants. MURPHY If money can buy what he wants. DODGE I don't figure there's much I want money can't buy. MURPHY Then you're a lucky man. Murphy tosses the shotgun to Dodge, who catches it. MURPHY We'll stand the watch on deck tonight. You're up first. DODGE Right. Murphy holds there a beat longer, then turns to go, as Dodge looks after him. EXT. CHIMERA - DAY A grey chop gently rocks the Chimera, smoke rising from the top deck. EXT. CHIMERA - TOP DECK - DAY Greer and Dodge tend the flames of three fire barrels, adding broken up furniture to create heavy signal smoke. INT. CHIMERA - PANTRY - DAY Murphy moves through the pantry area with a pillow case, scavenging for food. INT. CHIMERA - GALLEY - DAY Epps scavenges for food in the semi-darkness of the large, open galley, when a MOVEMENT CAN BE HEARD SOMEWHERE BEYOND THE ENTRY separating the galley from the outer passageway. EPPS Murphy? No one answers. She looks off across the stillness of the galley. Nothing. INT. CHIMERA - PASSAGEWAY - MOMENTS LATER - DAY Epps steps into the passageway. Directly across is the entry to the swimming pool. She walks on. INT. CHIMERA - SWIMMING POOL - DAY Epps steps in. Light falls in from the dirty port holes at the ceiling, every movement echoing off the hard tile walls. She holds there a beat, then turns to go when she sees a GIRL of about 16 facing her on the other side of the pool. Epps holds there, as the girl only looks back. She is porcelain white, flaxen hair drawn behind her head, her clothing hanging loosely from a frail body. GIRL You must leave. A beat as Epps stands there. EPPS (finally) Who are you? From this distance and in the light it is hard to fully discern the girl's features. GIRL There's great evil here, more than you can know. Leave now or you may never leave. EPPS But -- A HATCH CLOSES SOMEWHERE IN THE SHIP. Epps turns to look. When she turns back the girl is gone. A quiet "TICK" SOUND ECHOES in the pool. She looks down to see that the pool is now very, very deep, like a mine shaft falling away into the depths. And, as she stands there, dark water is quickly rising up from the bottom. She steps back as the water gradually fills the pool to the top. It is very dark and the bottom is indiscernible, when the water begins to churn, as from bubbles of air reaching the surface. Epps steps closer, looking on as a faint red glow can be seen deep in the water below the churning bubbles. As she watches, the red glow grows in intensity. The glow spreads, illuminating a broad area until it becomes clear that the water is not water at all but blood. And, as the light grows still brighter, a figure is illuminated, well below the surface as it seems to rise up. Epps looks on as the figure rises higher into the light. It is a MAN, fighting desperately to reach the surface. The bubbles that rise up are produced from his silent screams. Epps starts forward, but another figure rises to the same point, a WOMAN, also struggling. Another MAN floats up, then another, and another, people floating up, fighting desperately to reach the surface, unable to do so, drowning in blood. EPPS My God.... Epps reaches out over the edge, plunging her hand into the blood, reaching for the man's hand, but they are too far apart. She struggles desperately as the man fights to get to the surface. The others are fighting for the surface too, as Epps reaches out, near tears, helpless to do anything. EPPS No!! Everything suddenly stops. A beat as Epps only holds there. The blood is gone, as are the people. The pool is back to its normal state as though nothing had happened, Epps looking on in disbelief. MURPHY (O.S.) You okay? Epps looks up to see Murphy standing at the door. EPPS Yeah. (looking back to the pool) Yeah, fine. A beat as she holds there, looking on at the pool. EXT. CHIMERA - FOREWARD DECK - NIGHT Greer, Murphy, Dodge, and Epps sit on deck around the fire. DODGE You'd think on a ship this size there'd be something left to eat. GREER After fifty years there ain't nothin' left but shoe leather. MURPHY Tomorrow we'll see if we can't find some line and tackle. Use some of those bodies below decks for bait. DODGE There's a charming thought. GREER We can always start shooting birds. Epps coaxes a hit out of her last cigarette. DODGE What say, Epps? You up for some roasted albatross? EPPS (snuffing it out) Why not? INT. CHIMERA - 1ST OFFICER'S STATEROOM - NIGHT The SOUND OF SOMEONE BREATHING HARD CAN BE HEARD in the dark room. As the CAMERA SLOWLY MOVES INTO THE ROOM, we see that it is Greer, lying on the bed. His body is tense and his arms arch rigidly toward his chest. His jaw is clenched and he expels harsh, guttural utterances, experiencing something between a night terror and a seizure. INT. CHIMERA - WHEELHOUSE - DAY Sheets of rain come down on the deck in the grey light of morning. Murphy stands on the bridge, looking off at it coming down when Greer steps in. GREER Looks like we're in a strong current. (closing the door) Must be making almost five knots full on ass backwards. Greer crosses to the window, stepping up. GREER Nasty little swell outa the north west too. Murphy nods as he looks out. MURPHY Let's just hope somebody sees us first out here. INT. CHIMERA - PURSERS OFFICE - DAY A file drawer comes open, revealing ticket receipts. Epps looks on at it. The receipts are labeled "FULL FARE PASSAGES" and are divided by first, second, and third class. She goes through them, coming to a section that says "ACCOMPANIED CHILDREN." She pulls out the folder, laying it on the counter, opening it. The first page is a receipt for a single passage to Halifax for a Tatterly, Stephen age: 14. She pulls it back to reveal another, Wilson, Harold age: 4. Another, Vitti, Angela age: 17. She pages through the stack, looking at the ages: 3, 15, 6, 11, 1, until coming across a 9. She looks to the name, Klein, David, a boy. She continues paging through the receipts coming to another 9. She stops, looking to the name, Nichols, Katherine age: 16. A girl. She looks to the cabin assignment: "400." She notes that it is the same cabin where Greer was found, when a REVERBERANT CONCUSSION SOUNDS THROUGH THE SHIP. EXT. CHIMERA - TOP DECK - CONTINUOUS - DAY Dodge runs to the side to see a 15 feet wide by 40 feet tall steel and concrete mid-ocean buoy bounce off the transom as the ship drifts into it. WITH GREER AND MURPHY They come to the side at the wheelhouse, seeing the bright orange letters "NOAA" emblazoned on the buoy's float pod as the ship drifts by. MURPHY It's a Noaa buoy. GREER A what? MURPHY Government weather. It's got a transmitter aboard. EXT. CHIMERA - FORWARD DECK - MOMENTS LATER - DAY Dodge quickly ties a loop in a coil of docking line as Greer, Epps, and Murphy look on at the approaching buoy. MURPHY Let's go, let's go, let's go. Dodge finishes as Epps ties the other end off to a cleat. ON THE BUOY As it drifts along the side of the Chimera. Murphy drops the line down, the buoy bouncing on the swell. BACK TO SCENE Murphy pulls the loop up as the buoy nears, aiming to hook it on its wind gauge. ON THE BUOY The buoy approaches, rising and falling with the swell. BACK TO SCENE Murphy corrects. EPPS Higher. You're gonna miss it. Murphy holds the loop steady. ON THE BUOY The loop is too low. It's going to miss the mark as the buoy drifts toward it, when the swell drops and the buoy goes down. BACK TO SCENE Murphy yanks on the line. ON THE BUOY And the loop catches on the wind gauge. BACK TO SCENE As the line goes taught he pulls his hands away just in time, the line snapping hard against the rail. Below, the buoy heels over as it's pulled. ON THE BUOY It drops with the swell, the line stretching, then swinging the giant concrete buoy float into the side of the hull with a huge BOOMING CLANG. BACK TO SCENE The line is smoking with the friction, the steel railing bowing a little with the weight as they look on. GREER We're still drifting. MURPHY The mooring hasn't come taught. EPPS It's not gonna hold us. MURPHY Doesn't matter. ON THE BUOY As the buoy falls again with a swell and slams into the side of the ship. The water returns, lifting it high. The ship is dragging it back and it begins to rise up as its mooring comes taught. The line rises with it and soon the buoy is at a steep angle as it comes out of the water. BACK TO SCENE The buoy is held fast between the docking line and its own mooring. ON THE BUOY The buoy rises fully from the water, all three tons of it, and as it does, the wind gauge's steel mount begins to bend. BACK TO SCENE As they watch the buoy suspended over the water between the creaking docking line and its own underwater mooring cable. DODGE No fucking way. ON THE BUOY The gauge mount snaps and the docking line flails free, sending the buoy hurtling back into the water in a curtain of spray, whipping wildly from side to side. BACK TO SCENE The buoy swings back and forth as it rights itself, rising on a swell, passing beyond the bow of the Chimera. MURPHY Damn it. They look on in silence, the buoy slowly receding as the ship drifts away. EXT. CHIMERA - FOREDECK - NIGHT Murphy stands watch by the fire as Epps joins him. EPPS Hey. MURPHY Hey. EPPS Couldn't sleep. MURPHY Wish I could say the same. They watch the fire in silence for a moment. EPPS What do you think happened on this boat? MURPHY I guess that's the sixty four thousand dollar question, isn't it? EPPS The what? MURPHY Never mind. Before your time. (a beat) I think at least some of the crew went a little nuts. The usual stuff that happens when people stumble on a fortune. Equal parts greed and paranoia, usually resulting in homicide. What happened after that is anybody's guess. But, judging by our Greek friends down below, it doesn't look like the last time. EPPS Are we smart enough to avoid that? MURPHY I don't know, are we? A beat as she looks back at him. She looks back to the fire, watching it. EPPS When you found me yesterday, at the pool. I'd seen... something. Someone. MURPHY Not our mystery guest again. EPPS No. Someone else. A girl. (hesitating, a beat) I'm not sure she was... real. She looks up to Murphy. MURPHY Not real? A beat as she only looks back. MURPHY What, like some kind of ghost? EPPS I don't know what else you'd call her. One second she was there, the next she was gone. Another beat as he looks on at her. EPPS And I had a kind of hallucination. (a beat) There were others. I saw them in the pool. Drowning. A beat as Murphy looks back, as she sees him. EPPS Maybe hallucination is the wrong word. It was more than that. As though they were showing me. MURPHY Showing you what? EPPS What happened. MURPHY Maybe it was one of them did the handy work on those Greeks. EPPS No. I think they are, were, just passengers. Innocent victims. MURPHY Victims of what? EPPS Something bad happened here, Murphy. MURPHY That much I think we've already established. EPPS More than just a mutiny. More than just the gold. A beat as he holds there. EPPS She said the ship was evil. That we had to leave right away. That if we didn't, we might never leave. MURPHY What's that supposed to mean? EPPS I don't know. A beat as she looks back. MURPHY Why you? How come the rest of us haven't seen these people? EPPS Just lucky I guess. Another beat as he holds on her. MURPHY Well. Getting off this ship's exactly what we're trying to do. Short of that, I don't know what else to tell you. She only looks back at him, then into the fire. MURPHY Do me a favor and wake up Dodge. He's next on. She starts to get up. MURPHY And Epps? She stands, looking back at him. MURPHY You can tell the others about this. But, for my money, I think it's best you keep it to yourself. She holds there a beat longer, then turns, walking off. INT. CHIMERA - PASSAGEWAY - LATER - DAY Epps comes to the 2nd officer's door, knocks. EPPS Dodge. (no answer, knocking again) Dodge. DODGE (O.S.) (finally, from inside) What? EPPS Get up. DODGE (O.S.) Yeah, yeah. INT. CHIMERA - 4TH OFFICERS ROOM - NIGHT Epps sits down on the bed. She lies back, not sleepy. A beat as she holds there in the darkness. EXT. CHIMERA - FOREDECK - NIGHT Murphy still sits by the fire as Dodge groggily approaches from the officers quarters, carrying a blanket and a jug of water. MURPHY You're late. DODGE Sorry. MURPHY (handing him the shotgun) Don't fall asleep. DODGE (laying out his blanket) Right. INT. CHIMERA - 1ST OFFICER'S STATEROOM - NIGHT Greer lies asleep on the bed. But his sleep is fitful, increasingly agitated, tormented. It is as if he tries to speak, but cannot. As THE CAMERA PUSHES SLOWLY IN, his words are forced and garbled, speaking in the same nonsensical language he spoke earlier, when he wakes with a start. EXT. CHIMERA - FOREDECK - NIGHT Dodge dozes, cradling the shotgun in his arms, when MUSIC CAN BE HEARD VERY DISTANTLY. Dodge wakes. It is "Daisy" playing on a music box somewhere in the ship. INT. CHIMERA - PASSAGEWAY - MOMENTS LATER - NIGHT Dodge moves along as the MUSIC BOX DISTANTLY CONTINUES. INT. CHIMERA - STAIRWAY/PASSAGEWAY - MOMENTS LATER - NIGHT Dodge moves cautiously down the stairway into another passageway. He approaches from the other end. He passes the open doors of stateroom after stateroom. The MUSIC BOX IS CLOSER HERE. It stops. He holds there in the darkness. He turns, shining his light back down the passageway. A beat. It is silent, when the CHANNEL OF HIS RADIO OPENS WITH A SHORT BURST. He raises his radio. But no one says anything, the CHANNEL REMAINING OPEN, a discernible presence on the other end. DODGE Dodge. SOMEONE'S POV - FROM THE FAR END SLOWLY MOVING TOWARD DODGE as he can be seen from the other end of the passageway. BACK TO SCENE He gets no response, then presses the talk button. DODGE This is Dodge. Over. He is answered by silence, the CHANNEL REMAINING OPEN, WHEN THE GRAVELLY DISTORTED VOICE THAT MURPHY HEARD COMES BACK ON THE RADIO: VOICE "Cock-a-doodle-doo," said the rooster to the crow. "Where are you now? I know but won't say so." Dodge hits the talk button. DODGE Who is this? The RADIO CHANNEL OPENS, but only silence comes back. DODGE Identify yourself, motherfucker! SOMEONE'S POV - FROM THE FAR END SLOWLY MOVING TOWARD DODGE as he can be seen from the far end of the passageway. BACK TO SCENE Only silence returns on the radio as Dodge holds there, then: VOICE Penny whistle toy. Penny whistle toy. THE CAMERA PUSHES SLOWLY IN ON DODGE as he listens. VOICE Penny whistle toy. Penny whistle toy -- . Dodge senses something behind him. He turns, and before he can draw a breath to shout, SOMETHING HEAVY SLAMS INTO HIM IN THE DARKNESS, his flashlight tumbling away in a squiggle of light. ON SHOTGUN As the shotgun clatters to the deck, the muzzle resting in frame as the radio falls a few feet away. A beat. The shotgun muzzle slides out of frame as some unseen person or thing pulls it away. EXT. CHIMERA - DAY A grey overcast stretches to the horizon. EXT. CHIMERA - FOREDECK - DAY Murphy comes out onto the deck. Dodge is nowhere to be seen. MURPHY Dodge? INT. CHIMERA - GALLEY STORAGE COMPARTMENT - DAY Epps shines her light on something. EPPS Check it out. Greer raises his light to reveal rows of canned goods. They are industrial sized cans, from the 1950s. Greer takes one. GREER I don't even want to know what that's gonna taste like now. EPPS Better than starving to death. Epps' radio CRACKLES AWAKE. MURPHY Murphy to Epps. EPPS (raising the radio) Epps, over. MURPHY Either of you seen Dodge? She looks to Greer who shakes his head. EPPS Nope. MURPHY He's not on deck and I can't raise him on the radio. EXT. CHIMERA - FOREDECK - LATER - DAY Dodge's stuff is laid out under the shelter of a vent duct as Greer, Epps, and Murphy stand over it. A blanket, a pillow and a plastic jug of water are all that remain. MURPHY He took the shotgun and a light. GREER Must've heard something below deck and went down to check it out. A beat as they hold there. MURPHY Alright. We stay together. Nobody goes any further than earshot. INT. CHIMERA - BELOW DECKS - DAY Greer and Epps move along as Murphy raises his radio. MURPHY (into radio) Murphy to Dodge. Murphy to Dodge. Over. INT. CHIMERA - PASSAGEWAY - CONTINUOUS - DAY Dodge's radio lies in the detritus of the ship as Murphy's voice can be heard on it. MURPHY Murphy to Dodge. Do you copy? Over. INT. CHIMERA - ENGINEERING - LATER - DAY Epps moves cautiously along in the darkness. MURPHY (O.S.) Epps? You there? EPPS Right here. WITH MURPHY As he moves along as well, eyes open. MURPHY Greer? WITH GREER As Greer moves along too. GREER Yeah, yeah. INT. CHIMERA - BELOW DECKS - LATER - DAY Epps jumps down, shining her light over machinery and across bulkheads when a WHISPERING CAN BE HEARD somewhere. She holds there, listening. It is echoey, distant. EPPS Murphy? No response as Epps holds there. The WHISPERING SOUNDS AGAIN, far off, unintelligible. It stops. She moves on, shinning her light. INT. CHIMERA - BELOW DECKS - MOMENTS LATER - DAY Epps moves along in the darkness, holding the flashlight before her, when the WHISPERING SOUNDS AGAIN. Epps stops, holding there in the silence. She reaches for her radio. The WHISPERING SOUNDS AGAIN. Epps turns to pinpoint it, coming from somewhere in the cavernous space. INT. CHIMERA - BELOW DECKS - MOMENTS LATER - DAY Epps passes under a catwalk. She moves on, passing a row of standpipes. Epps stops, listening. Somewhere, the WHISPERING CAN BE HEARD, then stops. It is absolutely silent. In the darkness behind her, the GIRL (KATIE) PULLS BACK INTO THE SHADOWS. Epps holds there a beat, then turns, running into Greer with a start. GREER Sorry. Didn't mean to scare you. She holds there a beat, looking around. GREER You okay? EPPS Yeah. Fine. I just thought I heard something is all. GREER What? EPPS Nothing. Let's get outa here. They start to leave, when Epps notices something. She stops. Beyond the standpipes, a faint glow can be seen in the darkness. Epps steps forward, crossing to it. Greer follows. MOVING WITH EPPS As Epps approaches, Greer behind her. The light is dim and low to the deck. She stops. WITH THE LIGHT As Epps starts toward it again. She and Greer come up to it, stopping there. She kneels, the dim glow shining on her. She reaches out toward it, pulling back Dodge's flashlight, still on. She turns it off, standing. She shines her light into the darkness and starts off, Greer following. INT. CHIMERA - BELOW DECKS - MOMENTS LATER - DAY Epps and Greer move along, shining their lights as they go, when something catches in the beam of Epps' flashlight. It is Dodge's radio. They stop over it. Epps picks it up, inspecting it. She looks to Greer, when a single dark spot appears on Epps' cheek. It begins to run, a crimson tear. She raises her hand to touch it, inspecting her finger to see that it is blood. She looks to Greer. They both look up to see, hanging suspended above them, Dodge's face staring back down at them from the darkness. He has been imperfectly impaled, the sharp point of a high pressure steam pipe protruding from his neck, head hanging limp beside it. INT. CHIMERA - BELOW DECKS - LATER - DAY Greer and Murphy lower Dodge's body on a rope as Epps guides it to the deck. They stand looking on at it a moment. GREER Can't find the shotgun. MURPHY So whoever did this now has our shotgun. GREER Doesn't look like it much matters. EPPS What do we do with him? MURPHY Leave him till we can get some help. (a beat) From now on, nobody comes down here. GREER What about the gold? MURPHY Leave it. GREER Now hold up just a minute. Let's be reasonable here. MURPHY You think whoever did this is reasonable? GREER All I'm saying is that gold's worth a lot more to us now than it ever was. EPPS I can't believe you. Dodge's dead and all you can think about is cashing in your share. GREER I didn't sign up to go home empty handed. And I sure ain't gonna roll over for the freaky motherfucker did this. MURPHY Nobody's going anywhere with that gold now. Anybody tries to board, we'll know about it. (a beat) You can do what you want, Greer. But neither of us is gonna risk saving your ass down here if it comes to that. GREER Fine with me. INT. CHIMERA - PASSAGEWAY - DAY Epps enters the dim passageway from the bright daylight. She moves down the passage, coming finally to the stateroom where Greer was found, room 400. She holds there a beat, then reaches for the door, hesitating. She opens it. INT. CHIMERA - STATEROOM - CONTINUOUS - DAY The door comes open and Epps steps in. It is dark, though spacious. It is divided into two rooms. Beyond the sitting room in the front, is a bedroom. Epps steps in. A dressing table sits against the far wall. A large bed is unmade. Suitcases lie open on stands at the foot of the bed, still half full as if they were in the process of being unpacked. From one, she pulls back a woman's gown, a blouse. The other contains shirts, trousers, socks, and underwear. Across the room a smaller suitcase can be seen lying open on an Ottoman in the corner. Epps crosses to it. She finds a few shirts, and a red print dress, some books. She takes one of the books, opening it. Inscribed on the inside of the cover is: "This book belongs to:" and then written in by hand: "Katie Nichols." A page is marked with a purple ribbon. She opens it to see a children's poem "The Rooster and the Crow" and a drawing of a rooster and a crow and a stanza of a poem: "'Cock-a-doodle doo,' said the rooster to the crow. 'Where are you now? I know, but won't say so.'" She puts it down. A tin penny whistle sits on the table. She picks it up, examining it. She opens a small picture book, thumbing through to see photos of a family, a young mother and father at the beach, the mother and a girl of about 9 years, the girl and an older girl of about 16, the girl she saw at the swimming pool, KATIE. Epps holds on this picture, when A MUSIC BOX SOUNDS. She looks up to the dressing table. On it a music box slowly plays "Daisy." AT THE TABLE Epps crosses to it, looking on at the music box as it slowly winds down, then finally stops. A beat. She picks it up, looking at it, when she looks up to see Greer standing there. A beat. The dirty white light falling into the room through the windows falls on him as he looks off at something we cannot see. His expression is empty, hollow. EPPS Greer? He does not hear her as he stands there. She approaches, stepping up. EPPS You okay? Another beat, as he looks off, into the light, when he slowly turns to see her. A long beat as she looks back. He holds there, the same empty look about him, when he grabs her by the throat and squeezes hard. She is stunned, breathless, but raises her hands to grip his wrists, fighting him. EPPS Greer! His grip tightens. He is much stronger and her efforts make little difference. EPPS Let go! She hangs on, starting to choke. She drops one hand, searching with it. GREER Oragishlaoomnudrasadrafantoshviska getofedobrodijotosiantosg. He speaks nonsense, his face distorted in an ugly grimace, eyes bulging as Epps fumbles over the table, a tray of glass and silver crashing to the floor as he pushes her back, still choking her. He backs her to the wall, pushing in, closing her windpipe the rest of the way. Her hand searches behind her, knocking over a small vase, a basket, some books. It comes to a brass desk lamp. It falls, a little out of reach. She is going to black out any second, as Greer strangles her. Her hand comes to the desk lamp, grabbing it. She raises the lamp, swinging with all her might, connecting with Greer's head. He stumbles back, a gash laid into his face, as Epps sucks in air, gagging and coughing, her neck purple with finger marks. She fumbles her radio up. EPPS (into radio) Murphy! I'm on C deck, cabin 400! Get down here now!! Blood is running down his face as Greer comes for her again. She throws down the radio. A bed stands between them. She feints right, then left. He's dazed and has blood in his eyes. She manages to slip by, but he dives, taking her down. He drags her back along the floor, spinning her around. He raises a fist to ram into her face when WHAM! Epps has shoved the butt of her flashlight into his crotch and he comes up SCREAMING. He grabs her face, striking her with his other hand. She swings the flashlight again and cracks him across the head. He swings yet again and connects, knocking her across the floor. She lies in a heap as Greer climbs to his feet, enraged and bleeding. He unbuckles his belt as he approaches, pulling it from his waist to do God knows what. Epps looks around to see him approaching. And we see that she has unhinged her gill knife. As his foot steps near, she lets go and drives the knife with all her might into his boot, plunging the blade through his foot and into the floor. He SCREAMS. After a moment he stops, looks to her. He is a bloody, wretched, enraged mess. He starts toward her as Murphy appears in the doorway. Just as Greer is upon her, Murphy blind sides Greer from behind at full speed, knocking him down. Greer and Murphy struggle as Epps climbs unsteadily to her feet. She staggers to them and raises the flashlight over Greer, bringing it down on his head. CUT TO BLACK INT. CHIMERA - PASSAGEWAY - LATER - DAY Epps and Murphy carry Greer's unconscious body. INT. CHIMERA - AQUARIUM TANK - LATER - DAY Greer tumbles down a sand bank in an empty aquarium. He stops at the bottom, now starting to come to. OUTSIDE Murphy slams the door shut as Epps looks on. She puts a steel pipe across the hatch lever so that it cannot be opened. INT. CHIMERA - AQUARIUM TANK - LATER - DAY Greer sits in the tank, visible through a large piece of armored aquarium glass, amidst the fake coral. He sits in the sand hugging his legs to his chest, bobbing slightly as he speaks in his nonsensical language. MURPHY (V.O.) Must've been him all along. Murphy and Epps look on from the outside in the promenade. MURPHY Smashed the radio. Scuttled the boat. Killed Dodge. Would've killed you. He's off his nut, no doubt there. They watch him in silence a moment as Greer mutters and bobs. MURPHY What do you think? EPPS Could be a stroke. Who knows? (a beat) The general log said the crew were fighting among themselves. "Like wild dogs." MURPHY Over the gold. EPPS Maybe it was more than that. Greer gets up, comes to the window, looking out at them. He presses his face to the glass. EPPS They went crazy. MURPHY Crazy with greed. Not crazy. Not like him. A beat as Epps looks off. In the window Greer drags his hideously distorted face over the glass, the blood from his wounds smearing in broad red streaks. EXT. CHIMERA - TOP DECK - DAY A partial hull of a rotting life boat falls into frame. Epps and Murphy stand over it. MURPHY We lash a few of these together it might get us far enough into the shipping lanes to be rescued. A beat as they look on at the rotting hull. MURPHY Hard to say which is worse, staying here or taking our chances in open water. EPPS If the weather holds it might not be so bad. MURPHY It's not the weather I'm worried about. The wrong current could drag us as far as the Aleutians before we come across another boat. EXT. CHIMERA - TOP DECK - DAY Epps and Murphy work to lash parts of the rotting boats into a single usable raft. INT. CHIMERA - AQUARIUM TANK - DAY Greer lies asleep on the sand bottom of the tank, the white light from the skylight falling on him from above. INT. CHIMERA - STORAGE AREA - DAY Epps has found a reel of wire and some metal braces, making her way into the darkness, when her radio CRACKLES TO LIFE. The channel remains silent a moment, then closes. She stops, raises the radio. EPPS (holding down talk button) Murphy? She waits, holding there as only silence comes back. EPPS Murphy, this is Epps. Do you copy? Again, only silence comes back until, after a moment, the channel opens again. No one speaks, though there is a palpable presence on the other end. EPPS (raising the radio) Who is this? The channel opens again, only silence returning. The sound of the MUSIC BOX CAN BE HEARD, "DAISY" COMING BACK OVER THE RADIO. INT. CHIMERA - PASSAGEWAY - MOMENTS LATER - DAY Epps walks along in the darkness AS THE MUSIC BOX CONTINUES TO PLAY OVER THE RADIO. She comes to the end of the corridor, stopping there. At the other end the light falls from the door at room 400. The MUSIC FROM THE RADIO STOPS, leaving in its absence the MUSIC AS IT CAN BE HEARD COMING FROM THE ROOM AT THE END OF THE CORRIDOR. INT. CHIMERA - PASSAGEWAY - MOMENTS LATER - DAY Epps approaches the other end, from where the MUSIC EMANATES, coming to a stop at room 400. A beat as she holds there. INT. CHIMERA - ROOM 400 - CONTINUOUS - DAY Epps steps in as THE MUSIC BOX PLAYS IN THE OTHER ROOM. The sitting room is dark as she holds there. After a moment, she continues on, coming to the bedroom. Epps steps in. Across the room the MUSIC BOX IS PLAYING. She crosses, coming to it as it continues, when her radio CRACKLES TO LIFE. The channel remains silent a moment, then: VOICE "Cock-a-doodle-doo, said the rooster to the crow. Where are you now? I know but won't say so." She holds there a beat, then crosses to the table to find the book of nursery rhymes. She opens it to the nursery rhyme "The Rooster and the Crow," seeing the same words on the page, when the radio CRACKLES AGAIN. VOICE Penny whistle toy. Penny whistle toy. Penny whistle toy. Penny whistle toy. On the table is the penny whistle she saw earlier. She takes it, holding on it a moment. She raises it and THE CAMERA SLOWLY PUSHES IN as she puts it to her lips and lightly blows a C-SHARP WHICH BECOMES A C-SHARP FROM A PENNY WHISTLE across the room. MOTHER "Cock-a-doodle-doo, said the rooster to the crow. Where are you now? I know but won't say so." On the other side of the room, the younger girl from the photo plays the penny whistle. She is sitting on the floor with the MOTHER who reads from the book we saw earlier. MOTHER "Cock-a-doodle-doo, said the rooster to the crow. Where are you now? I know but won't say so." Cassandra, if you insist on playing that while I read I'll just stop right now. THE GIRL Sorry. The room is warm with light, restored to its original condition some fifty years ago as Epps stands there, unseen, no longer holding the whistle. A man, the FATHER from the photos, steps from the bathroom wearing a new coat. FATHER What do you think? MOTHER He certainly did shorten it, didn't he? FATHER I thought this was all the rage. KATIE Maybe last year. Katie joins them from the outer room. FATHER What about this year? KATIE It's not your color anyway. GIRL I like it, daddy. FATHER Well thank you! GIRL Daddy, how much longer before we start moving again? FATHER They're working on the engines, honey. As soon as they fix them we'll be on our way. INT. CHIMERA - PASSAGEWAY - MOMENTS LATER - NIGHT Epps steps from room 400 into the passageway. It is lit with sconces running its length and the elegant furnishings and objets d'art stretching to the far end are all in their original condition. DISTANT MUSIC FROM THE BALLROOM CAN BE HEARD as Epps stands there. She moves along. INT. CHIMERA - PASSAGEWAY - MOMENTS LATER - NIGHT Epps walks in the passageway. Doors are open and she looks in to see people doing various things, some packing and putting their things in order. INT. CHIMERA - PASSAGEWAY - MOMENTS LATER - NIGHT Epps walks down the passage, rounding the corner to see three STEWARDS fighting with a fourth MAN in a tuxedo. They lift him up and carry him off down the stairs as he shouts and protests. She moves on, through a pair of double doors, into INT. CHIMERA - STORAGE COMPARTMENT - CONTINUOUS - DAY Epps moves through the now lighted storage area off the galley. A group of CREWMEN stand around at the other end and, as Epps nears, she sees that four figures can be seen among them. They are four men, OFFICERS, swaying gently from the ship's movement as they hang from ropes around their neck, dead. Epps keeps moving, through doors at the other end. INT. CHIMERA - PASSAGEWAY - MOMENTS LATER - NIGHT A commotion can be heard at the other end of the passageway as Epps keeps moving. A WOMAN SCREAMS, and is cut off when a door slams shut. The DISTANT MUSIC HAS BEEN REPLACED WITH INDISCERNIBLE SHOUTING, as of someone commandeering the microphone somewhere As she walks, she passes an open door where several CREWMEN fight over a steamer trunk, which breaks open, scattering the contents. INT. CHIMERA - PASSAGEWAY - MOMENTS LATER - NIGHT Epps walks along, coming to another door where a dead man and woman are laying in the middle of the room as a STEWARD takes money from a wallet. The steward looks up, reaches over and slams the door shut. She continues on. Another door stands open as she comes to it, back at room 400. She stops. A REPETITIVE SOUND CAN BE HEARD, coming from inside. INT. CHIMERA - ROOM 400 - CONTINUOUS - DAY Epps steps in as the SOUND CONTINUES. She crosses the sitting room, coming to the doorway of the bedroom to find several MUTINEERS, some in stewards attire, others wearing ships officers caps, obviously taken from their rightful owners. The repetitive sound comes from here, bed springs. And, from between the men, a woman's bare legs hang over the end of the bed as a pair of man's legs in boots lie between them, the bed rocking, the others looking on. Epps turns to see the father. He is on his knees, hands tied behind his back as he is forced to watch from the foot of the bed. EPPS LOOKS DOWN TO SEE EPPS' POV a geometric pattern of a lotus on the Persian carpet at her feet. When she looks up again she sees what the father sees. The mutineer finishes, climbing off the woman. Another of the men pulls her up to reveal that she is no woman at all, but Katie. The mother and sister lie in a bloody heap near-by as one of the other mutineers steps up to Epps. MUTINEER You like that, daddy? I'll show you something else now. The mutineer steps back to the bed. He sits Katie down so that she faces us on the end of the bed. He raises an axe over her, bringing it down as the world becomes a whirling blur -- EPPS (V.O.) NO!!!! BACK TO SCENE The CAMERA STOPS ON KATIE standing on the other side of the room, now empty of people, returned to its shabby, abandoned state. KATIE It isn't real. Epps looks back at her from the other side of the room where she stands. KATIE Many bad things have happened here. But you mustn't allow the evil inside. I tell you this because you can see me. The others can't. But you must leave. You must leave. A LOUD GUNSHOT SOUNDS SOMEWHERE IN THE SHIP. When Epps turns back Katie is gone. INT. CHIMERA - PASSAGEWAY - MOMENTS LATER - DAY Epps moves quickly along, raising her radio. MURPHY Epps to Murphy. Only WHITE NOISE COMES BACK. EPPS Epps to Murphy. Only WHITE NOISE COMES BACK as she rounds the corner out onto the promenade. At the other end, the aquarium can be seen. As she approaches she sees that the tank is empty. Greer is nowhere to be seen and the skylight at the top is broken out. A GREAT BOOMING SHUDDER rocks the ship. A LOUD SCREECHING OF METAL follows it. EXT. CHIMERA - CONTINUOUS - DAY The ship's hull being scraped at the waterline by a jagged mid-ocean island no bigger than fifty or sixty feet across. The ship has entered a small archipelago of such islands, a mine field for a drifting ship. INT. CHIMERA - PASSAGEWAY - MOMENTS LATER - DAY Epps moves quickly along, coming to the stairway, moving up, almost running into Murphy on his way down, carrying a canvas duffle. EPPS What happened? MURPHY We hit land. EPPS What? MURPHY We're in an island chain. It's only a matter of time before we hit another one. EPPS Greer's gone. He broke out of the tank. INT. CHIMERA - PASSAGEWAY - MOMENTS LATER - DAY Epps and Murphy move quickly along, when another HUGE BOOMING shudders the ship and the SHRIEKING OF METAL follows. EXT. CHIMERA - CONTINUOUS - DAY The ship bounces off another of the small, jagged islands as it drifts past, buckling the steel plate of the hull precariously. INT. CHIMERA - PASSAGEWAY - CONTINUOUS - DAY Murphy and Epps run toward the other end of the ship. As they do, something can be seen lying in the middle of the passage some distance down. AT THE OTHER END Epps and Murphy slow to see that it is a body, lying face down in the passage. They step up. Epps kneels as Murphy looks on. She rolls the body over. It is Greer, dead. EPPS He's been shot. Murphy kneels too, looking on at Greer's lifeless eyes. MURPHY Let's get the hell out of here. INT. CHIMERA - STAIRWAY/PASSAGEWAY - MOMENTS LATER - DAY Murphy and Epps come up the stairway, crossing to the doors. EXT. CHIMERA - FORWARD DECK - CONTINUOUS - DAY As Epps and Murphy come out, moving toward the make-do raft. MURPHY It should be enough to get us to one of those islands. Gimme a hand, wouldya? She joins him and they lift it off its stand, taking it to the rail. MURPHY Prop it here. We need to pull these braces off. There's a hammer on the stand. There. Epps crosses back to the stands. AT THE STANDS Epps kneels. No hammer. She pulls back Murphy's canvas duffle, folding back the flap to reveal a shotgun, the shotgun Dodge had when he died. A beat as she holds there, when Murphy's hand grabs it. MURPHY I'll take that. A beat as she looks to Murphy. EPPS It was you. He only looks back at her as she stands there. EPPS You killed them. MURPHY It was only a matter of time before somebody killed somebody. (a beat) You saw it coming as well as I did. Dodge had his plans, starting with scuttling the boat. And Greer too, except he went nuts. Couldn't take it, I guess. Could've happened in the middle of downtown Anchorage. But did it make him any less dangerous? I don't think so. EPPS So you killed them? MURPHY The way I figure it, it was them or me. I thought putting Dodge up on that pipe was a nice touch? Bought a little time. Made it look like whoever killed those Greeks was still around. But it's just us on this ship. Us and your... spirit friends. EPPS And now you're gonna kill me, is that it? MURPHY I didn't want it to turn out this way. EPPS Murphy, don't you see what's happening? MURPHY I think I see it pretty well. EPPS It's the ship. The ship's making you think this way. MURPHY I know a little bit about human nature and what I've seen only confirms that. EPPS It's a trap. There was no way we were gonna get away with that gold. Nobody ever does. It's just the bait. This ship sucks people in and it never lets them out. MURPHY I think maybe you been on this boat a little too long, with all that supernatural mumbo jumbo. There's nothing supernatural about greed. And that's what it comes down to, pure and simple. EPPS I don't give a damn about the gold. MURPHY I wish I could believe that. Either way, you know what I've done. I've got no choice. He raises the shotgun. MURPHY I'm sorry. He prepares to fire, when a CONCUSSION ROCKS THE SHIP. Epps ducks and Murphy fires, a spatter of buckshot shredding the vent behind her. A SCREECHING OF METAL DEEP IN THE SHIP SOUNDS as she gets up, diving for cover as Murphy shuttles the gun again. WITH EPPS Epps scrambles behind a deck vent. EXT. CHIMERA - CONTINUOUS - DAY The ship has bounced off yet another small island, the jagged rocks loudly scrapping the hull with a deafening shriek. EXT. CHIMERA - FORWARD DECK - CONTINUOUS - DAY Murphy crosses toward the deck vent. MURPHY There's no reason to make this any more difficult than it has to be. WITH EPPS As Epps holds there she sees the vent opening. She pulls herself up and climbs inside. INT. CHIMERA - AIR SHAFT - CONTINUOUS - DAY Epps climbs down the air shaft where a giant fan spans its width. She squeezes through the fan blades and drops down where several vent ducts lead in different directions below it. EXT. CHIMERA - FORWARD DECK - CONTINUOUS - DAY Murphy comes to the vent duct where Epps went down. INT. CHIMERA - AIR DUCT - CONTINUOUS - DAY Epps crawls through. She comes to a vent that leads out to a passageway. INT. CHIMERA - STAIRWAY - CONTINUOUS - DAY Murphy runs quickly down the stairway, shotgun at the ready. INT. CHIMERA - PASSAGEWAY - CONTINUOUS - DAY The vent is shoved out and falls to the metal catwalk. INT. CHIMERA - STAIRWAY - CONTINUOUS - DAY The CLANG FROM THE VENT SOUNDS HERE and Murphy stops. INT. CHIMERA - PASSAGEWAY - CONTINUOUS - DAY Epps extends her feet and climbs down into the passage. INT. CHIMERA - PASSAGEWAY - CONTINUOUS - DAY Murphy rounds the corner, moving on the same deck. INT. CHIMERA - PASSAGEWAY - CONTINUOUS - DAY Epps moves along on a metal catwalk in the darkness when something can be heard ahead of her. She stops. FOOTSTEPS SOUND at the end of the passage. Epps pulls back into the shadows, holding there. The footsteps sound as if they are coming down stairs at the other end, when the FOOTSTEPS STOP. Epps holds there, listening intently in the silence when, at the other end, THE SOUND OF CREAKING METAL, as from a hatch slowly opening, can be heard. It stops. All is silent, WHEN THE HATCH CREAKS AGAIN at the other end. She begins moving toward it. As she approaches, she can see that the hatch is half open, swaying slightly with the movement of the ship. A CREAKING SOUNDS behind her. She turns, just as Murphy steps into view. She ducks as he fires and a spray of buckshot ricochets off the metal around her. She scrambles on her belly as Murphy fires again. She swings down from the catwalk, letting herself fall to the next deck. AT THE BOTTOM Epps gets up, runs. WITH MURPHY Murphy climbs down a ladder to the lower decks. INT. CHIMERA - BELOW DECKS WITH EPPS - CONTINUOUS - DAY Epps moves quickly along. INT. CHIMERA - BELOW DECKS WITH MURPHY - CONTINUOUS - DAY Murphy follows, when A RUMBLING SOUND CAN BE HEARD. INT. CHIMERA - BELOW DECKS WITH EPPS - CONTINUOUS - DAY Epps stops where she is in the cavernous engine room, looking on at the massive hull rising above her as the RUMBLING GROWS IN INTENSITY. Though it seems to resonate throughout the ship, it seems to originate from here, from directly below, as though the hull were being dragged over a rocky bottom. She steps back as the sound grows still louder, until it becomes absolutely deafening. The ship begins to shudder. The steel bulkheads visibly move and the steel plates in the hull can be seen to bend back and forth. INT. CHIMERA - BELOW DECKS WITH MURPHY - CONTINUOUS - DAY Murphy slows and finally stops. INT. CHIMERA - BELOW DECKS WITH EPPS - CONTINUOUS - DAY A few rivets pop in the hull. Then a few more, as the RUMBLING GROWS STILL LOUDER. Epps puts her hands to her ears and begins to back away, when the RUMBLING REACHES A PINNACLE. The rivets are springing out of the hull like machine gun fire when the steel plate of the hull gives way, A MASSIVE CRAG OF ROCK SMASHING THROUGH WITH A TREMENDOUS BOOM AND A TORRENT OF SEAWATER. Epps ducks for cover as the crag tears a diagonal line through the Chimera's hull like a jagged claw through paper in a HORRENDOUS TUMULT OF NOISE AND STEAM AND SPARKS. EXT. CHIMERA - CONTINUOUS - DAY The Chimera is impaled broadside by a particularly devious rock promontory of a small island. INT. CHIMERA - BELOW DECKS WITH EPPS - CONTINUOUS - DAY The giant claw begins to pull back, as the ship drifts off, water pouring in behind it. EXT. CHIMERA - CONTINUOUS - DAY The ship is drifting free of the island with the current, a huge gash rising on its port side. INT. CHIMERA - BELOW DECKS WITH EPPS - CONTINUOUS - DAY A massive torrent sweeps over Epps as seawater pours in through the breach. INT. CHIMERA - BELOW DECKS WITH MURPHY - CONTINUOUS - DAY Murphy stops where he is to see water rushing in at the end of the passage. He begins backing away. INT. CHIMERA - BELOW DECKS WITH EPPS - CONTINUOUS - DAY Epps is forced under as the water in the hull is already half way up the side, the ship listing WITH A GREAT GROANING EXERTION. INT. CHIMERA - BELOW DECKS WITH MURPHY - CONTINUOUS - DAY Murphy moves down the passageway, coming to the cargo compartment. INT. CHIMERA - BELOW DECKS WITH EPPS - CONTINUOUS - DAY Epps comes up for air. A clatter of all manner of debris, tools and general detritus hammers against the far bulkhead as the ship eases over. A boiler breaks loose of its stays. Epps looks up to see it coming right for her. She ducks under the water as the boiler slams into the bulkhead where she was. WITH EPPS Epps is forced down by the boiler, trapped between it and the bulkhead. INT. CHIMERA - CARGO HOLD - CONTINUOUS - DAY The gold slides off the palette, crashing into the far wall. Murphy hurries to it, collecting ingots and putting them in his pockets. INT. CHIMERA - BELOW DECKS - CONTINUOUS - DAY Epps struggles under the water to free herself, but she is trapped, the heavy boiler and its broken stays caging her. ABOVE THE WATER The level of the water has now almost completely reached the deck above, filling the ship almost entirely below decks. INT. CHIMERA - CARGO HOLD - CONTINUOUS - DAY The water is threateningly high as Murphy pockets one last ingot and makes his way for the exit. INT. CHIMERA - BELOW DECKS - CONTINUOUS - DAY Epps is trying to pull back the boiler stays, without luck. She swims down lower, finding a pipe fitting she pries at the stays, without luck, when a form drifts into view in the murky water. Several more forms appear. They are human, suspended in the water. As Epps looks, the several forms have become many. They are the bodies of the dead she saw in the pool before. As they look on at her from where they are, one form emerges. It is Katie. She reaches toward Epps, as if beckoning her to take her hand from the other side. Epps raises her hand, taking it. The girl leads Epps down into the murky darkness where she finds a way out. She takes her back further, coming to the breech, leading her out and into a cool green void of water. Katie stops at the breach. Epps turns to her. She only looks back at Epps. Epps turns away, swimming upward toward the light of the surface. EXT. OCEAN SURFACE - MOMENTS LATER - DAY Epps breaks through, gasping for air. She looks to see the Chimera, listing heavily to one side, its bow decks fully awash. INT. CHIMERA - PASSAGEWAY - CONTINUOUS - DAY Murphy staggers through the flooded passage. EXT. OCEAN SURFACE - CONTINUOUS - DAY The Chimera is getting lower in the water, the bow submerged and the stern beginning to rise. Epps sees another small island some distance off. She begins swimming toward it. INT. CHIMERA - STAIRWAY - CONTINUOUS - DAY Water runs down the stairway as Murphy struggles toward the top. EXT. ISLAND - CONTINUOUS - DAY Epps swims as the ship sinks in the distance. INT. CHIMERA - PROMENADE - CONTINUOUS - DAY A river of water rushes through as Murphy crosses with difficulty. EXT. ISLAND - CONTINUOUS - DAY Epps reaches the jagged rock of the island. She pulls herself up. EXT. CHIMERA - TOP DECK - CONTINUOUS - DAY Water rushes in as Murphy wades out onto the Chimera's top deck. He is heavily weighted down and periodically goes under as he half wades half swims, the length of the ship's aft portion rising above him as the bow sinks. EXT. ISLAND - CONTINUOUS - DAY Epps collapses on the rocks. EXT. CHIMERA - TOP DECK - CONTINUOUS - DAY As the ship moves lower, Murphy pushes off. He bobs under momentarily, then comes back up with difficulty. The forward smoke stack has dipped under and is now taking on water, the current from the rushing water pulling him toward it. EXT. ISLAND - CONTINUOUS - DAY Epps looks on as the giant ship angles higher and higher. EXT. CHIMERA - WITH MURPHY - CONTINUOUS - DAY As the ship dips lower, the rushing water forms an eddy that pulls at Murphy. Murphy struggles, too heavy to resist as he is pulled closer and closer to the sucking maw that is the smokestack's opening. The ship sinks further and Murphy is pulled to the edge of the stack. He frantically grabs for something to hold on to, without success, until he is finally pulled into the smoke stack and sucked into the bowels of the ship by the rushing water. EXT. ISLAND - LATER - DAY Epps sits perched under a rock out of the wind, looking on at the Chimera, her stern rising high above water as she goes down, when the RUMBLE OF ENGINES CAN BE HEARD. She turns to see a Coastguard plane sweeping low over the Chimera, then banking back and flying right over as she shouts and waves her arms. EXT. ISLAND - LATER - DAY The Coastguard plane flies by one more time, this time dropping a survival pack. The Chimera's stern rises up out of the water, almost vertical now, slipping further and further under. Epps looks on one last time, as the ship goes down. EXT. OCEAN - WITH CHIMERA - CONTINUOUS - DAY The afterdeck of the Chimera sinks slowly, slowly down, the CAMERA PUSHING IN TO "CHIMERA" as the name comes to the water, then slips slowly beneath the surface. And THE CAMERA FOLLOWS, MOVING INTO THE WATER to reveal that, beneath the surface, there is no ship at all, only the vast empty depths of the ocean. FADE TO BLACK THE ENDAdditional Info \ No newline at end of file diff --git a/unformated_scripts/Script_Ghost and the Darkness, The.txt b/unformated_scripts/Script_Ghost and the Darkness, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..643248e515b484c84f26f9327bdc2b8d6826a19d --- /dev/null +++ b/unformated_scripts/Script_Ghost and the Darkness, The.txt @@ -0,0 +1 @@ +"THE GHOST AND THE DARKNESS"byWilliam GoldmanFADE IN ONA TINY FIGURE OF A MAN hurrying toward camera. The figure gets larger as he approaches. But as yet we cannot tell who he is or where we are. MALE VOICE (over) This is the most famous true story of Africa. It happened a hundred years ago, but even now, when children ask about it, you do not tell them at night. (The FIGURE continues to grow) It began with the race to build a railroad across Africa. (beat) But this is not about building a railroad- it is about Patterson.And now we can tell that the FIGURE is a YOUNG MAN, A LIEUTENANT COLONEL. This is PATTERSON. He is gifted and bright and serious, serious about his life, serious about his career. He has been successful in everything he's attempted, in part because of his talents, in part because he is willing to outwork anybody.AND THIS IS WHERE WE ARE: ENGLAND.More specifically, in a high-ceilinged corridor of an elegant building - lovely woodwork all around. Everything is neat, everything is clean and in order. MALE VOICE (over) Patterson was thirty. A brilliant engineer. A fine man, but do not become attached to him- there are many fine men in this story but do not become attached to any of them. (beat) So many of them die.Patterson stops at a large ornate door, knocks. Waits. MALE VOICE (over) And remember this: only the impossible parts of what follows really happened... (Now the door opens and we-)CUT TOJust a wonderfully handsome man standing in the doorway. This is ROBERT BEAUMONT - 40, with an irresistable smile. We're in his office and the place reflects the man - clean, cold. There are maps and charts on the walls. He ushers Patterson inside. BEAUMONT (The great smile flashes) John Henry Patterson, come in. I'm Robert Beaumont. (They shake hands) Firm- I like that, tells me a lot about you- (beat) -now why don't you tell me about me? To get you started, many people find me handsome, with a wonderful smile. I'm sure you agree. (Surprised, uncomfortable, Patterson nods) Winning personality, heaps of charm? PATTERSON My wife is the game player in the family, sir. BEAUMONT Games? (staring dead at Patterson) Look at me closely, Patterson: I am a monster. My only pleasure is tormenting people who work for me, such as yourself. (again the smile - only now it's chilling) One mistake and I promise you this: I'll make you hate me.CUT TOPATTERSON, as he realizes Beaumont is serious. Beaumont turns sharply and moves to a large map.CUT TOTHE MAP. It covers a great deal of East Africa with a very clear line that ends at Lake Victoria, a distance of some 600 miles. BEAUMONT (pointing along the line) We are building this railroad across Africa for the glorious purpose of saving Africa from the Africans. And, of course, to end slavery. The Germans and French are our competition. We are ahead, and we will stay ahead providing you do what I hired you to do-CUT TOA MORE DETAILED MAP. This one ends at "Tsavo," 130 miles in. BEAUMONT -build the bridge over the Tsavo river. And be finished in four months time. Can you do that? PATTERSON I'm sure you've examined my record. So you know I've never yet been late on a bridge. BEAUMONT You've never built in Africa. PATTERSON But I have in India- every country presents problems. BEAUMONT You'll need your confidence, I promise you. PATTERSON I've got a reason far beyond confidence: my wife is having our firstborn in five months and I promised I'd be with her when the baby comes. BEAUMONT Very moving, Patterson; I'm touched you confided in me. (beat) But I don't really give a shit about your upcoming litter. I've made you with this assignment- (the smile) -don't make me break you. PATTERSON (smiling right back) You won't have the chance. (glancing at his watch) Any further words of encouragement? (silence) Then I've a train to catch.They look at each other a moment in silence - and it's very clear they do not like each other. Patterson turns, leaves and weCUT TOA RAILWAY STATION, IMMEDIATELY AFTERA train is loading up. A lot of activity, a lot of noise. Patterson stands in the midst of it, anxiously looking around.CUT TOHELENA PATTERSON, hurrying through the crowd. Early 20s, with the kind of serene beauty of Jean Simmons. She is still slim, has not begun to show. She spots him, puts a smile on, goes straight into his arms. HELENA I tried to be late, John- it would have been easier if you'd gone. PATTERSON (They are nutty about each other - he nods) We're not much good at goodbyes, Helena. HELENA (brightly) Tell me about Beaumont- does he understand how brilliant you are, how lucky he is to have you? PATTERSON It was embarrassing- the man showered me with compliments.They start to walk hand in hand along the platform toward a quieter place. Patterson is suddenly very serious- HELENA Oh dear- (beat) -you're geting that downtrodden look again- PATTERSON -well, it's just... (beat) ...other men don't abandon their wives at such a time- HELENA (not unkindly) -oh please- if I'd been against your taking this, you would have abandoned me. You've been desperate to see Africa your whole life. PATTERSON What if there are complications?- HELENA -not "what if"- there will be, there always are. Which only means that our "son" and I- note my confidence- will have an excuse to come visit.THE TRAIN WHISTLE sounds. HELENA Go, now. (He kisses her hand) Such a gentleman. (Now he holds her) PATTERSON I am desperate to see Africa- but I hate the leaving.CUT TOHELENA. She hates it, too. HELENA You build bridges, John- (beat) -you've got to go where the rivers are.They hold each other a moment more, then break, then back into each other's arms a final time, then-CUT TOTHE TRAIN, and thick clouds of steam--Patterson runs into the clouds and disappears.HOLD FOR A MOMENT.KEEP HOLDING.Patterson runs out of the steam and wePULL BACK TO REVEALA DIFFERENT TRAIN, A DIFFERENT COUNTRY, A DIFFERENT WORLD.This is the train to TSAVO and Patterson is alone on the engine seat- a wooden bench in front of the engine used by railroad inspectors and visiting VIPs. Behind it is a white circular piece of wood used to keep the engine heat from the passengers.CUT TONIGEL STARLING, running as best as he can alongside the train, trying to pull himself up onto the engine seat.STARLING is a terribly appealing young man. Clothes do not fit him well, and he is constantly tugging at this sleeve or that shirttail, trying to get things right. He wears glasses, tends nonetheless to squint at the world. He is, above all, a good man, morally impeccable and very much a product of these Victorian times. STARLING (as Patterson helps him aboard) Many thanks. (squints) You're Patterson, yes? (Patterson nods) Nigel Starling- I'll be assisting you at Tsavo- but surely Beaumont must have told you that. PATTERSON He just gave me his "monster" speech. STARLING That. I know Robert seems dreadful, but when you truly get to know the man, well, he's much worse. (beat) And I'm one of his defenders. (Patterson smiles) Forget him for now- it's your first ride to Tsavo- I think you'll find it breathtaking. (And on that word-)CUT TOSTARLING coughing like crazy, hands over his face which is caked with dust- he and Patterson stare out at an absolutely dreary desert. PATTERSON (shouting toward Starling) "Breathtaking" doesn't begin to do it justice. (As Starling starts to laugh, his mouth opens and sand flies in, and his coughing fit returns and)CUT TOTHE DESERT. ENDLESS. LATER IN THE DAY.CUT TOTHE TWO OF THEM, bent over, arms covering their faces as the dust gets worse- a wind has kicked up.CUT TOTHE TRAIN, TRYING TO MAKE IT UP A STEEP GRADE. STILL LATER.Patterson and Starling are walking beside the train now, helping to push it, trudging through the dust. All the other passengers spread out behind them, also pushing- the train obviously needs all the assistance it can get.CUT TOINSIDE A RAILROAD CAR, EARLY EVENING.Patterson and Starling, filthy, sit together. Starling has nodded off. Patterson has a book open in his lap--we can tell there are drawings of African animals- not all that accurate.Now Patterson's eyes close and he sleeps.CUT TOTHE TRAIN POUNDING THROUGH THE NIGHT.Stokers shovel coal. They are exhausted but they keep at it.CUT TOPATTERSON. WAKING IN THE CAR, RUBBING HIS EYES. IT'S DAWN.He stares out--and from his face it's clear something special has happened. And now, at last-CUT TOSOMETHING SPECIAL- and what it is, of course, is Patterson's first view of the Africa of his imagination.Because the desert has ended, and now there are grasses and trees and one more thing--bursts of animals. On both sides of the train.A flock of birds materializes here, a cluster of gazelles doing there amazing leap there.Patterson is like a kid in a candy store.CUT TOPATTERSON AND STARLING, back outside in the engine seat again. Starling points- STARLING Aren't they amazing?CUT TOWHAT HE'S POINTING AT: Some giraffes running along, their absurd shape suddenly graceful as they eat up the ground in incredibly long strides.CUT TOPATTERSON AND STARLING, staring out. PATTERSON You know the most amazing thing about them?- they only sleep five minutes a day. (Starling glances at him- clearly, he didn't know that)CUT TOA FAMILY OF HYENAS. Close by, loping in their scary way. STARLING Don't much like them. PATTERSON (nods) The females are bigger- only animal here like that- have to be or they wouldn't survive because the males eat the young.CUT TOSTARLING studying Patterson. Clearly, he didn't know that, either.CUT TOSOME HIPPOS moving along. Starling turns to Patterson. STARLING Anything special about them? PATTERSON Just that they fart through their mouths. (beat) Must make kissing something of a gamble. STARLING (laughs) I've lived in Africa a year and I don't know what you know. How long have you been here? PATTERSON (looks at his watch) Almost three hours. (beat) But I've been getting ready all my life. (Now, from them-)CUT TOA BUNCH OF IMPOVERISHED-LOOKING NATIVE WOMEN. They hold children who wave at the passing train. The children are more impoverished looking than their mothers. STARLING (suddenly touched) Every time I see something like that, I know we're right to be here- to bring Christianity into their lives, enrich their souls. PATTERSON Beaumont says it's to end slavery. STARLING (shrugs) We all have our reasons. Mine is simply to make them understand happiness, accept salvation, know the serenity that comes- (interrupts himself) -best I stop. One of the by-products of my belief is that I can become amazingly boring. But I know God smiles on me. PATTERSON (They really like each other) Have you got that in writing? (Starling, amazingly good natured, laughs. And now-)CUT TOA WHITE CLAW.PULL BACK TO REVEALHundreds of white claws.KEEP PULLING BACK TO REVEALThey aren't claws at all, they're thorns as sharp as claws and they're on a twenty-foot high thorn tree.And there are dozens of those trees, packed together. All mixed in with other trees, low and stunted, and thick underbrush and baked red rocks--now the train begins to slow.Smoke drifts across.A bunch of wildebeest scatter off the tracks. STARLING (over) Welcome to Tsavo. (on the word)CUT TOTSAVO.We have arrived at the train station area and what we see is a place that is still being built. There are tin shacks; a water tower is under construction--men are working everywhere, for that's what Tsavo is: a place for work.THE TRAIN goes slower still.No one stands idly around here.But no one looks happy either.ONE MAN is apart from the rest: this is SAMUEL.An ageless Masai, tall and slender, he has a smile that can light the world.CUT TOPATTERSON AND STARLING as they step off the train. STARLING (indicating Samuel, who is approaching) Samuel is camp liaison- absolutely indispensable- the only man here everyone trusts. PATTERSON (softly) Does he speak English? SAMUEL (not softly enough) And very poor French. STARLING (introducing) Samuel- John Patterson. SAMUEL (as they shake) The bridgebuilder- (gesturing to the working men) -we have been getting ready for you. PATTERSON Excellent. Could I see the bridge site? (Samuel nods) STARLING I've got medical supplies to deliver. Come along to the hospital when you're done. (starting off) SAMUEL I will bring him, Nigel.We should realize by now that Samuel's was the voice we heard at the very beginning of the picture.CUT TOPATTERSON AND SAMUEL, starting to walk. They pass the water tower.Standing on top of it in a precarious position is an extremely powerful INDIAN. He waves to Samuel who waves back. This is SINGH.WORKERS study Patterson as he moves by. Not smiling. Up ahead, some SIKHS are erecting tents. Not smiling. PATTERSON Why do the workers look unhappy? SAMUEL Because they are here. (beat) Because Tsavo is the worst place in the world. (He points ahead) Come, John- to the bridge. (And on that-)CUT TOTHE RAILROAD TRACKS as the camera pans along.CUT TOTHE RIVER in the distance as they walk toward it.And here is as good a place as any to explain just what the spot where the movie takes place was like.There were five hundred men working for Patterson. And they lived in a spread out area. A bunch of Indian coolies who might have come from the same town back in their country might choose to live in one cluster of tents. A group of natives might be in another cluster.What we have then, as far as living places are concerned, are dozens of clusters of tents. (Eventually, as the terror began, these areas all got surrounded, each with its own thorn fence.)The places we'll come to know best are, among others, Patterson's living area, the hospital tent area, the area by the river where the bridge is to be built, etc., etc.As they move, Samuel points out various camps.A SECT OF INDIANS is getting ready for prayer.ANOTHER SECT OF INDIANS is eating.A GROUP OF AFRICANS are cleaning their tent area.Anyway, you get the idea. Just remember that the place covered a wide expanse, maybe a mile square, maybe more.Okay, back to the story. PATTERSON (as they pass the INDIAN tent area where prayer is starting) It's all wonderfully under control, Samuel- you've done a splendid job. SAMUEL Thank you. The truth is this: you have to work at it constantly. PATTERSON The workers don't get on? SAMUEL Get on? They detest each other. Obviously the Africans hate the Indians. But the Indians also hate the other Indians. Some of them worship cows, while others eat them. (As they move on)CUT TORAILROAD TRACK.PAN ALONG TOMORE RAILROAD TRACK.KEEP PANNINGAnd suddenly the track just stops in mid-air as wePULL BACK TO REVEALPATTERSON AND SAMUEL standing high above the Tsavo River. The track has come to the edge of the area above the riverbank- where it just stops--and picks up on the far side. All that's missing, in other words, is the hundred-yard-long bridge that will connect the pieces of track. SAMUEL (to the far side) Railhead is across there.CUT TOTHE DISTANCE. Nothing can be made out clearly but there are great clouds of dust. SAMUEL Three thousand men laying track- when the bridge is done, it all joins up.Patterson nods, says nothing, but goes to his haunches, staring at the space where the bridge is to be. SAMUEL Did it look like this in your mind? PATTERSON (shakes his head) This is more difficult-CUT TOPATTERSON. CLOSE UP. Excited. PATTERSON (eyes bright) -but how wonderful that it's difficult, it should be difficult- what better job in all the world than build a bridge?- make things connect- bring worlds together- and get it right! (Now from Patterson-)CUT TOTHE HOSPITAL TENTas Patterson and Samuel walk in. Patterson glances around--it's not bad at all. Of course there are some patients, injured or with fever. But like the rest of the camp we've just seen, everything is working well, everything is under control. Starling approaches. STARLING Finish your tour? PATTERSON (nods) And anxious to get started. (indicating the hospital) What is this, mostly malaria? STARLING Yes- but their suffering is only transitory- once they except God into their hearts, He will vanquish all pain. MAN'S VOICE (over) That's just vomitous talk, Nigel- the poor bastards will relapse if you keep on that way. (As they turn-)CUT TODOCTOR DAVID HAWTHORNE. A tough, middle-aged cockney. And a heavy drinker. A man who hasn't been tactful in twenty years. HAWTHORNE (to Patterson) I'm David Hawthorne, this is my hospital. And my advice to you is, "don't get sick in front of it." (beat) That was meant to be charming, sorry. I seem to have lost the knack. STARLING You never had it. HAWTHORNE Nigel and I don't like each other much. SAMUEL (breaking the tension) I am also liaison between these two. PATTERSON (to Hawthorne) Clearly you don't agree about building the railroad? HAWTHORNE This sham? Ridiculous. Who needs it? It's only being built to control the ivory trade, make men richer. PATTERSON Then why do you stay? HAWTHORNE Who else would hire me? (to Starling) Beat you to it, didn't I? (beat) Oh yes, almost forgot- brought you a little welcoming gift. (Now he gestures and we-)CUT TOA NERVOUS ORDERLY who approaches them. He has been freshly bandaged across one shoulder. HAWTHORNE This is Karim, one of my orderlies- attacked by a man-eater earlier today- first incident of that kind here.Patterson says not a word, just studies the wounded man. STARLING (incredulous) A man-eater attacks and you're such a buffoon you almost forget to mention it? HAWTHORNE Well, he got away, didn't he? (to Patterson) Riding a donkey not far from here when the lion sprang on them- donkey took the brunt of it- then suddenly the lion ran off.CUT TOPATTERSON. Listening. No emotion on his face.CUT TOHAWTHORNE. He's kind of enjoying this. Bearing down. HAWTHORNE I know it's your first day and of course you must be tired from the journey- (beat) -but what are you going to do about it? PATTERSON (a long pause, then evenly-) Karim will have to show me where it happened. And of course, I'll need the donkey. (beat) With any luck, I'll sort it out tonight. (And he walks out, leaving an astonished Starling staring after him)CUT TOPATTERSON'S TENT AREAStarling has a tent there, too, as do Samuel and Hawthorne. And there are half a dozen ORDERLIES.Right now, Patterson is unpacking, moving in and out of his tent. Starling, sipping tea, sits and watches. STARLING I couldn't believe it when you said "sort it out." As if it were the most normal thing in the world. "Ho-hum, what lovely tea, I think I'll bag a killer beast this evening, nothing much else going on anyway." PATTERSON Well, he put me in a spot, didn't he? But that's all right- after all, I'm responsible for everything that happens here. And it certainly won't do much for morale if a man-eater's on the prowl.He goes into his tent with some books now and we go with him. There is a photo of Helena on a small table. A photo of an ELDERLY COUPLE, clearly his parents. His clothes are stacked with precision. He arranges his books precisely too.Clearly, John Patterson is a man who believes in order. STARLING (calling out) You said "of course" you'd need the donkey. Why "of course"? PATTERSON (taking a rifle, moving outside) We know three things about man-eaters. First, they always return to where they've attacked before. Second, they're always old- they can't catch other animals so they turn to us. And third, they're always alone- they've been cast out by their pride because they can't keep up.CUT TOSTARLING, sipping his tea and there's no hiding it, he's excited. But also a bit reluctant. STARLING I don't suppose I could watch. PATTERSON (delighted) Might be exciting for you. STARLING I've never been all that adventurous. I wouldn't be in the way? PATTERSON I'd love the company. And I've hunted all my life. STARLING (gathering courage) Well, why not? You seem so calm and experienced. (standing, teacup in hand) Why not, indeed! (Now from that-)CUT TOA SLIGHTLY WOUNDED DONKEYIt's roped loosely to a tree, bells around its neck. When it moves, they make a sound. Middle of the night. A night wind.PULL BACK TO REVEALWe're in a clearing with thick trees all around.KEEP PULLING BACK TO REVEALPATTERSON AND STARLING, seated uncomfortably in a tree on the edge of the clearing, twelve feet up in the air. Patterson has his rifle ready. This next is all whispered. STARLING (embarrassed) I hate to be a bother, John, but the cramp's getting worse. (Pulls up his trousers- his leg is knotted) The pain is actually quite unbearable now. PATTERSON Shhh. STARLING I'm sure you mean that to be comforting, but- PATTERSON (interrupting) -you'll have to deal with it, Nigel. STARLING That is precisely my plan- but back in my tent. (And he begins to climb down)CUT TOPATTERSON, grabbing him. PATTERSON They own the night- nobody moves when there's a man-eater out there.Starling glumly obeys. Then- STARLING John? I know this isn't the time to ask, but- PATTERSON What? STARLING Since you'd only been here three hours when we met, are you sure this is how you hunt lions? PATTERSON Not to terrify you, Nigel, but it's worse than you think- I've never even seen one.CUT TOSTARLING, not pleased with this news. He massages his calf, tries to get comfortable, which is impossible. Patterson just stares at the night.CUT TOJUST BEFORE DAWNThe donkey dozes. So does Starling. Patterson has not so much as moved.Now the bushes behind the donkey shake just a little.And the donkey is suddenly awake and scared--and then it all goes crazy- the donkey screams and a lion appears from the bushes and Patterson fires one shot and the sound EXPLODES--and Starling topples from the tree to the ground, landing shocked but unhurt--he has landed close to the dead lion- he stares at it. STARLING (amazed) ...one shot... PATTERSON (even more amazed) So that's what a lion looks like. (Now from the tree-)CUT TOTHE HOSPITAL TENT AREA - JUST AFTER DAWNHOLD for a moment. SAMUEL (over) One shot- one-KEEP HOLDINGNow Samuel comes walking into the shot, really excited--it's the first time we've seen his wonderful smile. SAMUEL Patterson has made the nights safe again.KEEP HOLDING FOR JUST A MOMENT MORE.As he walks on, behind him come THREE COOLIES carrying the body of the lion. As dozens of men come running in from all over to see the dead man-eater- SAMUEL (mimes shooting) BOOM! (Now as the crowd continues to grow-)CUT TOA ROUGH ENGINEER'S DRAWING OF WHAT WILL BE THE BRIDGEIt has two embankments on either side of the river.These embankments are big- forty feet wide, fifty feet high.CUT TOPATTERSON AND STARLING standing on the high ground where the embankment will start. From here, there is a slope down to the river itself.Also present is UNGAN SIGNH, who we saw earlier standing precariously atop the water tower. Singh, enormously powerful, is another assistant. Bright, a great worker, another main character in what is to follow.Now Patterson starts to walk down the slope towards the river- it's not that easy to do without falling, but that doesn't bother him. He talks and gestures as he explains to the other two who move down with him.Singh, for all his massive size, moves like a cat. Starling does not, slipping and sliding. PATTERSON (gesturing) All right, I'd like to start the embankments today- (to Singh) -sufficient supplies on hand? SINGH (nods) More than. STARLING With much more on the way- (loses balance, falls) -John- we could have had this chat on flatter ground- PATTERSON -true enough- but without the comedy relief. (Starling, amazingly good natured, smiles, gets back up)CUT TOTHE RIVER as they scramble down to it.CUT TOTHE SLOPE they've come down- it's a long way back to the top.CUT TOTHE THREE MEN. It's a glorious morning. PATTERSON How lucky we are. STARLING Aren't we full of ourselves today? (beat) I think it's because of the lion. PATTERSON Possibly. SINGH (soft) You know, I too have killed a lion. STARLING How many shots did you need?CUT TOSINGH. Almost embarrassed. SINGH I used my hands.He holds his big hands up, palms out. Starling looks at Singh to see if he means it--he means it all right. Now, from Starling's perpetually surprised face-CUT TOSURVEYING EQUIPMENTPULL BACK TO REVEALPATTERSON sighting through it- we are on the far side of the river now. Singh is there, Starling, too.Behind them: a field of tall grass. PATTERSON All right- thee second embankment will go there. (He gestures toward the river) STARLING You do plan to mark it a bit more precisely than just- (imitating Patterson) -"there." PATTERSON (smiling) In your honor, Nigel. And you and Singh will be in charge of building them- and you'll also build the roadbeds and the three foundation pillars- and you'll be finished in eight thrilling weeks. STARLING (very dubious) John, it will not be easy. PATTERSON Nigel, you'll just have to use your hands- (And he smiles, repeating Singh's gesture, both palms out)CUT TOSINGH. He smiles back, starts to reply. But his words stop, his smile dies. He just stares and we-CUT TOWHAT HE'S STARING AT- the surrounding field of tall grass. Nothing unusual about it.CUT TOPATTERSON. He stares, too.CUT TOTHE FIELD OF TALL GRASS- suddenly it begins to bend and sway in a fresh wind.CUT TOPATTERSON. Silent. As before. Starling follows his glance.CUT TOSINGH. Frozen.CUT TOTHE FIELD. And now the field is making odd patterns- as if something unseen were moving through.CUT TOPATTERSON. Quiet. Just the wind.CUT TOTHE FIELD. Nothing visible. But the odd pattern seems to be making its way across the field.CUT TOSINGH AND STARLING. Quiet. Just the wind.CUT TOTHE FIELD. The odd pattern seems to stop. Around it, the wind makes different shapes of the grass.CUT TOPATTERSON, as the wind continues to blow. He continues to stare at the spot where the pattern stopped.CUT TOSINGH. As before. Except for one thing: suddenly, he begins to shiver, as if from cold.CUT TOTHE BUILDING SEQUENCEAnd what we see are a lot of cuts of a lot of activity.Huge wooden logs are carried in and hammered to each other and driven deep into the ground- the framework for the embankments.And Singh carries the heaviest loads and leads the workers- and as the structure rises, he is the one darting along the top, high in the air, pulling more logs up, helping here, helping there.And alongside him is his assistant, ABDULLAH, a little man with glasses and very bright eyes.Meanwhile, Starling is leading construction on the embankment that is on the far side of the river. And he does his best, tries to help on the top part as it rises- but alas, he is a bit on the clumsy side and balance is a problem for him. But he stays with it, does well.And Patterson, in tremendous spirits, helps when needed, but mostly he is dealing with other aspects of the bridge- such as the placements of the three stone foundation pillars--he wades into the water, climbs the structures, takes it all in- and at the start he is still in the uniform he has worn since the start of the story- but it's clumsy for labor--so he changes halfway through to civilian clothes--which is all he wears from now on.And the workers tire in the heat- but Singh keeps them going, working with the power of three--and there are accidents and explosions, injuries and falls- and Hawthorne appears when needed to help with the wounded--it's hard, brutal work--but gradually, the wooden structure part is finished- two huge skeletons facing each other across the Tsavo River- and now work on the roadbed is going full blast and in the river, the three foundation pillars are taking shape-CUT TOTONS OF RED ROCK- being shoved into the wooden skeleton to complete the embankments. As this goes on-CUT TOPATTERSON AND SAMUEL in the river- the foundation pillar work is going very quickly.Patterson stops working, looks across the river--movement in the grassy area on the far side.CUT TOSEVERAL NANDI TRIBESMEN as they rise out of the grass, gesture to Samuel who gestures back. The Nandi are a tribe of powerful little men, primitive, with teeth that have been sharpened to points.CUT TOPATTERSON AND SAMUEL watching them. PATTERSON What are they looking at? SAMUEL You- they cannot believe you're still here. PATTERSON Nonsense. SAMUEL You don't know what Tsavo means, do you? (Patterson doesn't) It means "slaughter"...CUT TOTHE NANDI TRIBESMEN, staring at Patterson, shaking their heads.CUT TOTHE TWO EMBANKMENTS, as more and more red rock is shoved and pushed into shape.CUT TOTHE THREE FOUNDATION PILLARS- almost finished.CUT TOTHE ROADBED. The same.CUT TOTHE NEAR EMBANKMENT as still more rock is forced in andCUT TOTHE FAR EMBANKMENT done at last-CUT TO-and Singh stands on the top of the near one while across the river, Patterson pulls Starling to the top of the other.And they all look at each other- the embankments are both finished- THE THREE OF THEM are flying--and what they do is this: hold their hands out toward each other, in Singh's gesture. It's kind of become their password.HOLD. A big moment for them all!CUT TOSINGH'S TENT AREAHe sits around a fire and the man is exhausted. His dinner plate is beside him, untouched. He's too tired to eat.CUT TOPATTERSON'S TENT AREAStarling is there, getting ready for bed. He's wiped out, too.CUT TOSINGH, going into his tent, lying down, breathing deep.CUT TOSTARLING is in his tent, turning out his lamp, half asleep already.CUT TOPATTERSON in his tent, closing his eyes.CUT TOSINGH, deep asleep in his tent--he shares it with a dozen others and they're all deep asleep. They lie on the floor of the tent, heads together toward the center pole, feet toward the edges of the tent.HOLD ON SINGH. It's very dark. HE AND HIS MEN just lie motionless, breathing deeply.KEEP HOLDING.Now the CAMERA moves up, high into the center of the tent, looking down at the circle of men.KEEP HOLDING.They don't move, not even an inch. The steady breathing is the only sound.YES, KEEP HOLDING.KEEP HOLDING.Nothing is going on down there. Nothing at all.KEEP HOLDING.Not a goddamn thing.KEEP ON HOLDING. KEEP ON HOLDING.And now two things happen at the same time- Singh's eyes go wide--and he starts to slide out of the tent, as if being pulled by some giant invisible wire-CUT TOSINGH. CLOSE UP. Screaming.CUT TOTHE OTHER MEN IN THE TENT, waking, staring around andCUT TOSINGH as he slides out of the tent into the night and his screams grow even louder as weCUT TOTHE OTHER MEN IN THE TENT and it's like a bomb just went off, they rise, spin, cry out, stare-CUT TOTHE NIGHT OUTSIDE AND SINGH'S BODY sliding along the ground. It's pitch black, and he's going head first now, face upwards and he's going ast tremendous speed and whatever the hell it is that's making this happen is something we can't make out- because it's so dark and because it's on the far side of the man, and his body is in our way andCUT TOUP AHEAD, some bushes andCUT TOSINGH, his body going faster than before and his cries are weakening--CUT TOTHE NIGHT and his body and there is no sound at all coming from him now and there is no sound from whatever it is that is making this happen- all we see, barely, is the limp body of the big man as it skims along and-CUT TOUP AHEAD NOW, a low clump of bushes.CUT TOSINGH'S BODY, coming closer andCUT TOTHE BUSHES and as we get in on them we can tell they are thorn bushes and now-CUT TOSINGH, suddenly rising magically in the night, his body flying over the bushes and gone!CUT TOPATTERSON AND STARLING, early morning, their rifles held in front of them, racing along, suddenly stopping, staring down andCUT TOTHE GROUND. At first we can't make out much. Then we can- a spot of red.CUT TOPATTERSON AND STARLING, hurrying on again.CUT TOTHORN TREES, and as they force their way through them-CUT TOA LARGE VULTURE, wings spread wide as it floats slowly to earth--HOLD--as it lands we can see A DOZEN OTHER VULTURES are already there, surrounding something--but we can't make it out. We are in an area of grass and shadow--and specks of blood.CUT TOPATTERSON, cries out in shock and fury, fires his rifle, races forward.CUT TOTHE VULTURES screeching and screaming, taking off, and as we watch them soar into the morning sky- HAWTHORNE'S VOICE (over) What the lion must have done, once he'd killed Singh, was lick his skin off so he could drink his blood-CUT TOTHE HOSPITALHawthorne is examining Singh's body, trying to be professional, but he's clearly upset- it's awful. HAWTHORNE -then he feasted on him, starting with his feet- STARLING (evenb more upset) -please- you needn't be so graphic- HAWTHORNE You intend "sorting this out" tonight? PATTERSON I'll try- but this feels so different- that old lion I killed could never carry off a man Singh's size. STARLING (maybe a little alarmed) But you said they were always old. PATTERSON That's what the books say... (Now from that-)CUT TOFLAMES RISING IN THE DARKENING SKY. NOW-CUT TOABDULLAH in tears. Where are we?PULL BACK TO REVEALThis is Singh's funeral pyre.Singh's body is being burned.A LOT OF INDIANS are there. We've caught sight of some of them before- they worked with Singh on the embankment or lived with him in his tent.There is a terrible sense of shock.Patterson stands at the rear. He is terribly moved. Now, unseen by the others, he holds his hands out in Singh's gesture one final time.CUT TOTHE FLAMES; they continue to rise...CUT TOSINGH'S TENTNight. The flaps that were open when Singh was alive are now shut and tied.CUT TOPATTERSON, the middle of the night. He is alone, fifteen feet up in a tree near Singh's tent. He holds his rifle, ready for anything. He cannot get comfortable.CUT TOTHE AREA- nothing, no movement.CUT TOSINGH'S TENT. As before.CUT TOTHE AREA. No sign of movement of any kind. Dead.CUT TOTHE MOON. Lower in the sky. The night is growing to a lose but there is still darkness.CUT TOPATTERSON. Battling fatigue- but now, for a moment, losing- his eyes, against his will, start to close, and as they do-CUT TOTWO HUGE YELLOW EYES. That's all we see, just the eyes and they are near Patterson's tree and they are staring up at him and-CUT TOPATTERSON, startled, grabbing his rifle more tightly, staring down and-CUT TOTHE HUGE YELLOW EYES- only they're gone.CUT TOPATTERSON, blowing on his hands, looking toward the sky.CUT TOTHE SUN, RISING, THE NIGHT DONE.CUT TOPATTERSON, wrinkled and weary, frustrated and sore, walking back toward his tent area. Now he stops.CUT TOABDULLAH and a large group of workers- only they're not working. They smoke, play cards, sit around.CUT TOPATTERSON, steaming, going up to Abdullah. PATTERSON You were contracted to work- ABDULLAH (gesturing around) -malaria epidemic; very sudden. PATTERSON Let me see the sick. ABDULLAH (not backing off) Oh, you're a doctor now, too? PATTERSON There is no reason for fear. ABDULLAH On that I choose to remain dubious. (beat) Two are dead now in two nights. (And on that news-)CUT TOPATTERSON. Rocked. He didn't know. Behind him now, Starling hurries up, Samuel alongside. PATTERSON (to Starling) Second death? Where?- STARLING (gesturing) -far end of camp- man wandering alone at night. Hawthorne's examining the body now. (beat) There's even less of him than of Singh. PATTERSON (just shakes his head) But it's crazy- the lion shouldn't be that hungry this soon. (getting control- he looks to Samuel) Samuel? SAMUEL We should construct thorn fences around every tent area. Fires burning at night. PATTERSON Fine. Get started. And a strict curfew- no one allowed out at night. (to Abdullah) Send half your men to the bridge, the rest with these two. (Abdullah nods) And I'm sorry for my tone earlier. But I repeat- there is no reason for fear. I will kill the lion and I will build the bridge. ABDULLAH Of course you will, you are white, you can do anything... (They look at each other. They are not friends. Now-)CUT TOTHE THORN BUSHES WE SAW ON OUR ARRIVAL TO TSAVOENDLESS NUMBERS OF THEM. There is a machete-like sound as weCUT TOA BUNCH OF WORKMEN, led by Samuel, chopping down branches. They do it with care- these are claws-CUT TO-STARLING, in charge of another area, and he's not hanging back, he's taking less care than the others, hacking away with his machete, moving in between bushes andCUT TOONE OF THE BUSHES, SNAPPING BACK into Starling, and Starling taking the blow with his arms- the claws cut his clothing--his arms are starting to bleed--he is unmindful, continues to wade into the bushes, chopping at them, cutting them down. He is a good man doing a good thing and right now, he is possessed.CUT TOPATTERSON, leaving his tent area, lost in thought, going toward the bridge. Up ahead is a grassy area.CUT TOTHE GRASSY AREAFor a moment, nothing. Then there is the same kind of movement we saw with Singh. Something is making the grass move--only now there is no wind... HOLD.CUT TOPATTERSON. Did he see it? We'll never know.CUT TOSTARLING, in charge of a thorn fence that is halfway finished. His clothes are shredded. A WORKER has finished with a section and satisfied, moves on--but Starling is far from finished. He grabs the thorns with his bare hands and squeezes them together. STARLING Not good enough- look, it's got to be tighter. Tighter.CUT TOTHE AREA IN WHICH HE'S BEEN WORKING. FENCES ARE WELL ALONG TOWARD COMPLETION. IT'S LATE AFTERNOON.PULL UPWe see more fences around more camp areas.KEEP PULLING UPThe entire place is filled with fences now, all the individual areas protected.The skies are starting to darken- dusk is coming fast.Fires start up. Dozens of them.Still darker.Now workers come racing home to their camps, anxious for safety before darkness takes over. They zig-zag this way, that way, dodging past each other sometimes they slam into each other, fall, get up, run on-CUT TOTHE SUN. Falling out of the sky.CUT TOTHE CAMP. The fires rise higher. No one moves... HOLD.CUT TOSTARLING in the main tent area. He is bathing his bloody hands. Samuel is with him. Both are exhausted.Patterson brings them each drinks. They nod thanks, drain them. They stand there together, lit by the flames of their fire. You get the sense these three will be friends forever. STARLING What a good week. PATTERSON You mean nobody died? STARLING (shakes his head) We all worked together. Worthy deeds were accomplished. I liked the labor. (beat) My mother insisted on piano lessons- broke the dear woman's heart when I turned out to be tone deaf- but she still was always at me about being careful with my hands. (looks at them) I like the blood, is that strange? SAMUEL Oh yes, I think so. (Starling smiles, starts to speak) PATTERSON Look out, Samuel, here it comes. STARLING Even you two must admit that it is a glorious thing, what Man can accomplish. When there is a common splendid goal, there are no limits. Think what we will accomplish when we all have God's warmth in our hearts. (Samuel's eyes have closed; he begins to snore. Patterson can't help laughing)CUT TOSTARLING. As good natured as ever. STARLING I am immune to your disdain. (He looks at them now) When I came here, I had but one small goal: to convert the entire continent of Africa. (shakes his head) Now I've decided to move on to something really difficult: I will not rest until both of you are safely in the fold. SAMUEL I've had four wives, good luck. STARLING The struggle is the glory... (HOLD ON the three friends)CUT TOPATTERSON, the next morning, working with Abdullah and some others at the bridge.CUT TOSTARLING completing work on the fence from the day before. It's high and taut and he's done a terrific job.CUT TOTSAVO STATIONA BUNCH OF OTHER MEN are working near a large grassy field. One of the men starts a chant. The others pick it up. It's really pretty.CUT TOPATTERSON wading into the river- he stops as the sound of the chant comes distantly to him on the wind.CUT TOTHE WORKMEN CHANTING LOUDER. It's turning into a stunner of a day- glorious blue sky broken up by pale clouds.CUT TOSTARLING. Pauses briefly, listening to the sound of the men.CUT TOTHE MEN WORKING AND SINGING. As before.CUT TOTHE GRASSY FIELD. As before--except it isn't. Because if you looked carefully, something flicked in a 180 degree arc. No telling what it was, it was gone too quickly.CUT TOTHE MEN WORKING, SINGING ON.CUT TOPATTERSON waist deep in the river, listening to the sound of the men, of the birds. The sun is higher in the sky.CUT TOTHE GRASSY FIELD--and here it comes again, only the other way this time, flicking back in another 180 degree arc--still hard to tell for sure what it was but maybe it was this: a tail. Now quickly-CUT TOPATTERSON wading out of the river as Samuel comes into view. He holds an envelope. SAMUEL For you. PATTERSON (taking it) Thank you, Samuel. SAMUEL (watching as Patterson opens it) Good news? PATTERSON (glancing at the letter) I expect so- it's from my wife. SAMUEL Do you love her? PATTERSON I do, actually; very much. SAMUEL (his wonderful smile) You give me hope, John. (As he walks away-)CUT TOSTARLING, probing at the thorn fence, searching out any last weaknesses.Behind him now, in the tall grass, something moves.Starling, intent on his work, notices nothing.CUT TOTHE SINGING MEN, getting more and more into it.CUT TOPATTERSON, by the river, reading the letter.There is a large tree up the riverbank. It casts a large shadow.In the shadow now, something moves.Patterson, intent on his reading, notices nothing. HELENA (over) Darling one- the big excitement yesterday was when some school- children spotted a whale- (pause) -they were looking at me, John-CUT TOHELENA, in their bedroom, moving across to the window, staring out. She now has a considerable stomach. HELENA That was an attempt at humor but I don't feel very funny these days. I miss you terribly and after our son- I still have total confidence- well, after he's born I think travel might be broadening. As he kicks me at night I'm quite sure he's telling me he definitely wants to come to Africa. (pause) Thought you might need reminding.CUT TOPATTERSON by the river. He smiles, folds the letter. Now-CUT TOTHE SINGING WORKMEN at Tsavo station- and they sense how good they sound, and they really concentrate on it, on making that sound even better--there must be twenty of them, working and singing--and screaming!CUT TOPATTERSON, turning his head sharply andCUT TOSTARLING, doing the same andCUT TOTHE SCREAMING WORKMEN and they're running now, running and shrieking and that's all we see, the workmen--some of them run left--some run right--and now a few of them are starting to cry.CUT TOA FAT COOLIE running and running, glancing back, screaming louder, running on and on andCUT TO-a shadow in the grass- no telling what- but it's big and it's moving andCUT TOTHE FAT COOLIE and this next goes so fast it could be a dream- or, more accurately, a nightmare-SHOCK CUT TOA GIGANTIC WHITE MANED LION as it leaps onto the Fat Coolie, brings him to earth, bites his neck in two, kills him, just-like-that.CUT TOPATTERSON AND SAMUEL, as they race away from the river andCUT TOSTARLING, running from the fenced area- he holds a rifle in his hands.CUT TOANOTER PART OF THE CAMP AND A DIFFERENT BUNCH OF WORKMEN- they freeze as the screams reach them andCUT TOPATTERSON, on the way to his tent area andCUT TODIFFERENT WORKMEN listening in fear andCUT TOPATTERSON, racing to his tent, grabbing his rifle and cartridges andCUT TOSTARLING, running toward the screaming andCUT TOPATTERSON, as he charges ahead, loading his rifle on the fly andCUT TOSAMUEL, carrying more ammunition, running behind Patterson, keeping up andCUT TOTSAVO STATION and nothing is visible now- the men are gone and from this angle, it looks deserted andCUT TOPATTERSON, catching Starling, leading him into the TSAVO STATION area, Samuel just behind them.CUT TOA RECTANGULAR SHED, ahead of them. They move to it, slow--then they stop--a sound is heard- from around the corner- the sound continues- Patterson glances at Starling- the sound could be this: the crunching of bones.CUT TOPATTERSON, checking his rifle.CUT TOSTARLING, doing the same. Samuel, holding the extra ammunition, moves close to Patterson. Now-CUT TOPATTERSON as he suddenly steps away from the shed, rounding the corner and as he does-CUT TOTHE WHITE LION, with the Fat Coolie- the lion is crunching at his feet--then the lion stares toward the shed as weCUT TOPATTERSON, moving out into clearer view, Starling and Samuel right with him. THE LION is a good distance away.CUT TOTHE WHITE LION, a low growl coming from him as he takes the coolie's body by the shoulder, begins backing away with it.CUT TOPATTERSON, dropping to his knees for the shot andCUT TOSTARLING, doing the same andCUT TOTHE WHITE LION, growling louder andCUT TOPATTERSON, taking aim andCUT TOSAMUEL, crying out and pointing and suddenly we're into super slow motion--Samuel has pointed back toward the roof of the shed and--and this thing is suddenly there--this huge dark thing and it seems to suddenly appear from the flat roof of the shed andCUT TOTHE SUN, blocked out as this dark thing moves across it, fully stretched, it seems to go on forever andCUT TOPATTERSON, turning around to see andCUT TOSTARLING, turning too, and we're coming back into regular motion now as weCUT TOThis enormous BLACK-MANED LION diving into the three, sending them all sprawling andCUT TOTHE WHITE MANED LION roaring andCUT TOTHE BLACK MANED LION roaring, running to the other andCUT TOTHE TWO LIONS IN CLOSE UP.THE GHOST AND THE DARKNESS, for that is how they will be referred to--and The Ghost has blood and bits of flesh on its mouth--The Darkness has eyes that are crazed--they are destruction bringers, these two, they can kill the old and the young and the fat and the strong-CUT TOPATTERSON, lying in pain, dazed, shoulder bleeding, trying to reach for his rifle andCUT TOTHE GHOST AND THE DARKNESS, the white and the black, as they move toward the field of tall grass, roaring andCUT TOSAMUEL, lying in pain, his leg is bleeding andCUT TOPATTERSON'S RIFLE andCUT TOPATTERSON, as he reaches it, manages to lift it and the roaring sounds are deafening now andCUT TOTHE TWO GIGANTIC MALES, backing into the tall grass--they roar one final time-CUT TOPATTERSON, gun ready to fire but it's futile and he knows it as weCUT TOTHE TALL GRASS and they're gone, the grass is full of moving patterns from the wind- that's all we see- just the grass blowing this way, that way-CUT TOPATTERSON, staggering to his feet, staring at the grassy field. PATTERSON (dazed) Jesus, two of them...CUT TOSAMUEL. Dazed too. He points. Patterson registers, turns andCUT TOSTARLING, LYING DEAD, his throat ripped open. HOLD briefly on the young man, then-CUT TOTHE STATION AREAA train from Mombassa is slowly pulling in. And things are fairly chaotic- there is the usual activity of what is ordinarily one of the busier parts in camp--but now, something new has been added: Abdullah is there with several dozen coolies who work under his command. THey are waiting for the train.Patterson and Samuel are there too- and at the moment, Abdullah and Patterson are in the middle of a screamer- first one of them walking away, then coming back, then the other doing the same. PATTERSON (shouting over the noise of the approaching train) -oh, sing a different song, Abdullah- (gesturing toward the men who stand by the train tracks) -there's nothing wrong with your men so stop telling me there is- ABDULLAH (advancing on Patterson now) -you do not call me a liar- you know nothing of their health- consider yourself fortunate I persuaded so many to stay- consider yourself fortunate I have decided to stay- PATTERSON (losing it) You think you matter? (gesturing toward the train which is close to stopping now) -Beaumont is on that train- he matters-CUT TOPATTERSON, moving in on Abdullah now- PATTERSON He sees this chaos, he'll replace you all. ABDULLAH He'll replace you, too- that's all you really care about. PATTERSON You think so? Fine. (finished arguing) It's best you get out. Go. Tell all your people to go, run home where they'll be safe under the covers and when the bridge is built and the railroad is done, they can tell their women that out of all the thousands who worked here, they were the only ones to flee- (And he wheels around, starts to walk away as we-)CUT TOABDULLAH. Quiet, staring after Patterson.CUT TOSAMUEL. Patterson has won. As the two of them exchange a quick glance-CUT TOBEAUMONT standing in the door of a passenger car, handsome as ever. Somehow his clothes are still pressed.Patterson moves up. In a splendid mood. Samuel is happy too. PATTERSON Pleasant journey? BEAUMONT (stepping off the train) How could it be? I hate Africa.Now there is the sudden sound of men singing- Patterson looks around and weCUT TOABDULLAH and his workmen, moving away from the train- they are singing the same song that the workmen sang just before The Ghost and The Darkness attacked- it's pretty- but it's also a little unnerving.CUT TOBEAUMONT. Listening a moment. BEAUMONT Lovely sound- they seem happy. PATTERSON Don't they, though? BEAUMONT So work must be going well?CUT TOPATTERSON. He and Samuel share another glance. PATTERSON (delicately) Truthfully? (beat) There has been the occasional odd hiccup- but then, as you so wisely told me, I'd never built in Africa. BEAUMONT But overall, you're pleased? SAMUEL (moving in) I have never experienced anything like it.CUT TOBEAUMONT; almost longingly looks back at the train. BEAUMONT I almost feel like getting right back on. (glances at his watch)CUT TOPATTERSON AND SAMUEL. They do not breathe.CUT TOBEAUMONT. He really wants to leave and for a moment it looks like he just might. BEAUMONT (a sigh) I suppose it would be a dereliction of duty not to at least look around.Now Abdullah wanders happily by. PATTERSON (waving) Morning, friend, glorious day. ABDULLAH As are they all.CUT TOBEAUMONT. He takes a step inside the passenger car.CUT TOPATTERSON AND SAMUEL. Hoping.CUT TOBEAUMONT. Reluctantly returning. He has a large box. BEAUMONT I do need to see Starling. PATTERSON (dully) Starling? BEAUMONT Awhile back he ordered some bibles- (indicating the box) -I've brought them. (looking around) Is he here? PATTERSON (beat) Yes he is. BEAUMONT Well, I need to speak to him. SAMUEL (helpfully) Let me deliver the bibles.CUT TOBEAUMONT. His eyes flick from one man to the other. It's over. BEAUMONT Excellent show. (voice low) Where is Starling?CUT TOPATTERSON. The jig is up. He gestures- PATTERSON Here he comes now. (And on that-)CUT TOHALF A DOZEN NATIVES CARRYING STARLING'S COFFIN. They start to put it on the train and as they do-CUT TOBEAUMONT. Stunned. And furious! He storms off the train and we-CUT TOTHE BRIDGEas Beaumont sees it. Patterson and Samuel are with him.Little more work has been done than the last time we saw it. A few men are working slowly.And now there are guards with rifles patrolling it.CUT TOBEAUMONT. A deadly look at them. He storms off.CUT TOTHE HOSPITALas Beaumont sees it- Patterson, Samuel, and Hawthorne stand quietly.It's much more crowded than the last time. Still under control, but barely.Beaumont is icy now. He gestures sharply toward Hawthrone to join them.CUT TOOUTSIDE THE HOSPITALTHE FOUR MEN speak low and fast- BEAUMONT What in hell is going on? SAMUEL The Ghost and The Darkness have come. BEAUMONT (snapping) In English. PATTERSON It's what the natives are calling the lions- (beat) -two lions have been causing trouble- BEAUMONT -what's the surprise in that, this is Africa? PATTERSON It hasn't been that simple so far. BEAUMONT What have they done besides kill Starling? (beat) How many have they killed? (Patterson nods for Hawthorne to answer)CUT TOHAWTHORNE. Doing his best. HAWTHORNE Well, of course, I can't supply a totally accurate answer because there are those that are actually authenticated and there are those that we once thought were workers killing each other or deserting from camp so any number I give is subject to error- BEAUMONT (cutting through) How many? HAWTHORNE Thirty, I should think. BEAUMONT (stunned) Christ! (whirling on Patterson) What are you doing about it? (Now from there-)CUT TOSOMETHING VERY ODD:We are looking at a small railroad car in a deserted area. This is not near the track but off by itself, in an area surrounded by thorn trees.Several workers are erecting a cloth tent to cover it, trying to disguise the fact that the small railroad car is, indeed, nothing but a small railroad car.It is difficult work and they are perspiring heavily.PULL BACK TO REVEALPATTERSON AND BEAUMONT looking at it. BEAUMONT This is supposed to be salvation? (staring at Patterson) What kind of idiocy are we dealing with here? PATTERSON (keeping control) I'm calling it my "contraption"- we're going to surround it with a boma- a fence, to you- and we're going to leave a small opening opposite that door.CUT TOTHE RAILROAD CAR. There is, in fact, an open front door. Patterson gestures for Beaumont to follow him inside.CUT TOINSIDE THE CAR AS THEY ENTER. It has been divided in half by thick metal bars from floor to ceiling. The bars are close together, only a few inches between them. PATTERSON In that half will be bait- human bait- I'll start things off- (points to the open doorway) -a sliding door will fit above that and a trip wire will run across the floor. BEAUMONT (The smile is back) Genius- the beast will enter, tripping the wire, the door will slide down, trapping him, you, safe behind the bars, will have him at your mercy and will shoot him.Patterson nods. Beaumont explodes. BEAUMONT Are you running a high fever, man? How could you expect something as lunatic as this to succeed? How could you even conceive of it? PATTERSON I didn't conceive of it for the lions- I built one in India when there was trouble with a tiger. BEAUMONT (incredulous) And it worked? PATTERSON (He hates to say this) In point of fact, it didn't. (hurrying on) But I'm convinced the theory is sound.CUT TOTHE TWO OF THEM. They move outside. The tension between them is considerable. Beaumont looks at Patterson for too long a moment. PATTERSON What? BEAUMONT I made a mistake hiring you- you're simply not up to the job. (Silence. Then-)CUT TOPATTERSON. CLOSE UP. PATTERSON You genuinely enjoy trying to terrify people, don't you? Well, fine- (lashing back) -except there isn't a higher rated engineer and we both know that. And since time is so important to you, how long do you think it would take to find someone else qualified and bring him here?CUT TOBEAUMONT. Blazing. BEAUMONT Let me explain about time- you've been here three months and already two months behind. And the Germans and the French are gearing up. And I don't care about you and I don't care about the thirty dead- I care about my knighthood and if this railroad finishes on schedule, I'll get my knighthood and I want it. (glancing around as Samuel appears, goes to the workers) Professional hunters may be the answer. PATTERSON All they'll bring is more chaos and we've plenty of that already- and if they come in, word will get out- and what happens to your knighthood then? BEAUMONT I'm going to try and locate Redbeard- I assume you've heard of him. PATTERSON Every man who's ever fired a rifle has heard of him- by the time you find him, the lions will be dead. BEAUMONT (long pause) Very well, the job's still yours, I'll go. But if I have to return, you're finished. And I will then do everything I can to destroy your reputation. Am I not fair? (The great smile flashes) Told you you'd hate me. (And he turns, walks off)CUT TOSAMUEL. Moving up to Patterson. Samuel has a bag. PATTERSON (staring after Beaumont) I do hate him. (takes the bag from Samuel, pulls out flares) I want you to distribute one bag of flares to every tent area- (takes out a flare) -tell the men to light them if there's trouble- (beat) -make it two bags. (HOLD briefly, then-)CUT TOPATTERSON. ALONE. THAT NIGHT. IN HIS CONTRAPTION.A lamp burns alongside him. Across the bars, the door of the railroad car is open. Flickering shadows. Above the doorway is a thick wooden slab the size of the door. n the ground, barely visible, the trip wire.CUT TOTHE DOORWAY. Outside, something is moving.CUT TOPATTERSON, rifle ready, holding his breath.CUT TOTHE DOORWAY. SIlence. Nothing moves now.CUT TOPATTERSON. He rubs his eyes with his hands...CUT TOFLICKERING SHADOWS on the wall. It's later that night.CUT TOPATTERSON. The man is bleary with fatigue. He sits in a corner of the car, writing a letter. PATTERSON'S VOICE (over) "Dearest... ...peace and tranquility continue to abound here- the workers report each day with a smile- except for your absence, this whole adventunre is providing me nothing but pleasure..."CUT TOTHE FLICKERING WALLS OF THE RAILWAY CAR. It's later still. Patterson, finished writing, stares out at the night.CUT TOA FLARE, rising brightly toward the sky.CUT TOPATTERSON, seeing the flare. The man is miserable.CUT TOA TREE BRANCH. MANY FLOWERS AS WELL AS THE CLAW THORNS. PATTERSON'S VOICE (over) Fire.The branch is destroyed, the flowers blown away.CUT TOPATTERSON AND THREE INDIAN COOLIES. NOT FAR FROM HIS CONTRAPTION.THE COOLIES hold rifles. They look like brothers, which they are. They also look tough. And they are that, too. THREE STREETFIGHTERS. PATTERSON (impressed) Very good indeed. MIDDLE COOLIE (he wears glasses) We have hunted since childhood. PATTERSON All right- you'll spend your nights inside. (He indicates the railroad car. The Coolies nod) You'll have plenty of ammunition. You're totally protected, you have really nothing to fear. MIDDLE COOLIE That is correct. (beat) Nothing.Patterson looks at the three men. Obviously, he could not have chosen better. From them-CUT TOTHE BRIDGE. DAY.A lot of men working under Patterson. Progress is slow.CUT TOTHE BRIDGE. NIGHT.Some men sit on the part that's been built. Spending the night there for protection. Now, they all turn and weCUT TOANOTHER FLARE going off in another part of camp.CUT TOPATTERSON, in a tree alone, in despair.CUT TOTHE THREE COOLIES IN THE RAILROAD CAR.Tough as ever. Ready for anything. But nothing is happening. Silence.CUT TOTHE BRIDGE AGAIN AS NIGHT FALLS - MORE CROWDED THAN BEFORE.STILL MORE MEN are moving into the river. They wade til the water is up to their necks. Then they reach out, hold hands, start to sing.CUT TOPATTERSON moving high into a tree. He listens to the sound. Lovely.CUT TOMOONLIGHT ON THE WATER. The men stand as before, singing softly. The river here is calm, no current to speak of. The men are safe--or rather they should be.CUT TOTHE DARKNESS swimming softly, his great jaws silently encircling the neck of the last man in line, pulling him silently away and as the others start to scream-CUT TOPATTERSON, watching another flare rise, helplessly listening.CUT TOA CATTLE PEN. THE CATTLE ARE NERVOUS--one of them kicks wildly at the wind.They should be nervous--The Ghost walks among them, chooses which one to kill, leaps on it, brings it to earth as the dust rises.CUT TOANOTHER FLARE IN THE NIGHT.CUT TOTHE HOSPITAL. DAY. PACKED.HAWTHORNE seems overwhelmed.CUT TOSOMETHING.And for a moment we don't know what it is. There is a faint light and now we see what it is we're looking at: a wire.HOLD ON THE WIRE.And now a paw walks across it--and the instant that happens-CUT TOTHE THREE COOLIES, the brothers, in the contraption, two of them asleep, a flickering lamp the only illumination in the railroad car andCUT TOTHE DOOR OF THE RAILROAD CAR slamming loudly down andPULL BACK TO REVEALTHE DARKNESS, standing alone in one half of the railroad car- it's incredible, just incredible but Patterson's idea actually worked andKEEP PULLING BACK TO REVEALThe entire of the car- the thick bars separating the two halves. In one half, the huge lion. In the other, the three armed, tough coolies.For a moment, it could be a frozen tableau- both sides are too startled and surprised to do anything but stare--and then all hell just explodes as weCUT TOTHE DARKNESS, and this incredible roar comes from his throat, the kind of roar that can be heard five miles away in the night but this one in the enclosed room sounds even louder and more terrifying andCUT TOTHE DARKNESS, throwing his huge body at the bars andCUT TOTHE BARS and both his front claws are slashing through andCUT TOTHE THREE TOUGH COOLIES and they retreat against the rear wall of the car.CUT TOTHE DARKNESS, rage building, throwing its body at the bars again andCUT TOTHE COOLIES, pressed in fear against the far wall, unable to do anything but stare andCUT TOTHE CLAWS, ripping at the air andCUT TOTHE DARKNESS, leaping forward, smashing into the bars andCUT TOTHE CEILING WHERE THE BARS are connected and the sheer power of his leap has made them jiggle just the least bit andCUT TOTHE COOLIES, staring up at the ceiling andCUT TOTHE DARKNESS, AND HERE HE COMES AGAIN, roaring and his body hits the bars andCUT TOTHE CEILING- and the bars shake--but they're not giving way.CUT TOTHE TOUGH COOLIES, as they begin to realize this andCUT TOTHE DARKNESS, clawing for them andCUT TOTHE DARKNESS, raging and roaring on his side of the bars andCUT TOTHE FIRST COOLIE, raising his gun andCUT TOTHE SECOND COOLIE, his gun raised too andCUT TOTHE THIRD COOLIE and he's ready andCUT TOALL THREE AS THEY FIRE--and reload--and fire again, and reload, and-CUT TOTHE RAILROAD CAR- and suddenly the lamp is knocked over--and a fire starts, flames grow and it's starting to look like hell in there--only it gets worse as we-CUT TOTHE DARKNESS at the bars--and suddenly it stands up- it seems to fill the car, towering over everything, it's like a nightmare come to kill you-CUT TOTHE COOLIES staring up at this giant thing, and of course they're more terrified now than they've ever been in their lives- but these are tough men and they ignore the flames, ignore the deafening roars of the beast andCUT TOTHE DARKNESS, standing there, going crazy on his side of the bars, trying to knock them down but they're holding andCUT TOTHE TOUGH COOLIES, reloading andCUT TOTHE DARKNESS, racing around the enclosed area now and he's trapped and the flames make him seem like something unalive and his eyes have never been so bright, his roars as deafening andCUT TOTHE THREE COOLIES, firing again andCUT TOTHE DARKNESS, leaping at the bars again, and they shake, sure they shake, but they keep on holding andCUT TOTHE COOLIES, firing, reloading, firing, reloading and as they do, something's starting to come clear--amazing as it may seem, impossible as it may be to conceive, they're missing.CUT TOTHE DARKNESS, whirling on his side, roaring and leaping andCUT TOTHE COOLIES and sure they fire, but they're still so goddam scared andCUT TOTHE DOOR THAT SLID DOWN- it's held in place by some thick wooden bars--and now the Coolies start to hit something- the wooden bars because they begin to splinter andCUT TOTHE DARKNESS, whirling, leaping at the bars andCUT TOTHE COOLIES firing and then-CUT TOTHE DOOR as it flops open and just like that-CUT TOTHE DARKNESS. Out the door and gone. HOLD.CUT TOPATTERSON JUST AFTER DAWN IN THE DAMAGED RAILROAD CAR.Patterson stands where The Darkness was. The three Coolies are where they spent the night, on the other side of the bars.This was the lowest point yet for Patterson. Not only had his notion come so close to working, he could never fully comprehend how the coolies missed. It never seemed possible- but of course, it really happened. PATTERSON Not once?- you didn't hit it once?- MIDDLE COOLIE -I would never make excuses- but a fire broke out- the light was bad- he kept moving- PATTERSON -well, of course he kept moving- but he couldn't have been more than ten feet away from the three of you- surely you must have wounded the thing- MIDDLE COOLIE I assure you we came close many times-Abdullah is in the doorway near Patterson now- with several dozen men. And from Abdullah's face, this is clearly going to be a confrontation. MIDDLE COOLIE -the next time we will do better. (Patterson makes no reaction; moves outside)CUT TOABDULLAH, simmering, moving straight to Patterson as soon as he's out. ABDULLAH The next time will be as this time- The Devil has come to Tsavo- PATTERSON (not in a mood for this) -that's ridiculous talk and you can't seriously believe it- ABDULLAH (moving in- tension rising as others crowd behind him) -now you're telling me my beliefs?- I don't think so-CUT TOTHE BUSH just beyond- something is moving- an animal?- Impossible to say. PATTERSON I wasn't and you know it and don't push it- just listen- we have a problem in Tsavo- ABDULLAH (cutting in) -at last you're right- we do- you are the problem in Tsavo- PATTERSON -careful, Abdullah-Patterson and Abdullah and suddenly it's dangerous. ABDULLAH You do not tell me "careful"- you do not tell me anything- you listen while I talk- (Now suddenly a shadow seems to cross-)CUT TOABDULLAH. CLOSE UP. His eyes widen.PULL BACK TO REVEALAN ENORMOUS PISTOL. Pressed hard against Abdullah's temple. MAN'S VOICE (over) -change in plan- you listen while I talk- because you have a question that needs answering. (beat) Will I pull the trigger?PULL BACK FURTHER TO REVEALREDBEARD.We are looking at one of those legends- ageless and powerful, with a tanned face and a thick grey beard. He has seen everything and is capable of anything.Just now he seems more than capable of killing Abdullah. Very calmly, he cocks the pistol. SAMUEL (over) It's Redbeard, Abdullah- he'll kill you. REDBEARD (not looking around) No hints, Samuel. ABDULLAH (The name has registered) You don't know all that has happened here- the Devil has come to Tsavo. REDBEARD You're right. The Devil has come. Look at me. I am the Devil.CUT TOABDULLAH, staring at Redbeard. Right now Redbeard just could be. ABDULLAH (louder) I am a man of peace. REDBEARD Am I to take it you want to live? ABDULLAH Most certainly. Absolutely. Yes. REDBEARD Excellent decision. (Now he suddenly reaches out, shakes Abdullah's hand) Your name is Abdullah? I'm sure we'll meet again. Go and enjoy the splendid morning. ABDULLAH (dazed- leaving) I think it's been a pleasure.CUT TOREDBEARD, and now he does another surprising thing: embraces Samuel. REDBEARD (three words) You got old. (Now he releases Samuel, turns to Patterson) I'm sure you're John Patterson. (before Patterson can reply) Stay out of my way. (And without another word, he's gone)CUT TOTHE HOSPITALas Redbeard moves through, taking it all in. It's even worse than when we last saw it- bodies crammed everywhere and always the sound of pain and sickness.Patterson stands in the doorway, watching, waiting. PATTERSON (as Redbeard approaches) I didn't have a chance to thank you. REDBEARD (preoccupied) What did I do? PATTERSON Got me out of trouble. REDBEARD (matter of fact) Nonsense- Samuel would have done something. (starts to move on) PATTERSON We need to talk. REDBEARD Let me save time- (1) you are the engineer; (2) you are in charge; (3) you're sorry I'm here. Right so far? (Patterson nods) Good- because (1) I am not an engineer, (2) I don't want to be in charge, and (3) I'm sorrier than you are that I'm here- I hate Tsavo. So I will help you by killing the lions and leaving, and you will help me by doing what I tell you so I can leave. See any problems? PATTERSON Actually, no. REDBEARD All right- let's go into battle. (suddenly taking Patterson's hand) I'm Redbeard. (as they shake) PATTERSON Somehow I guessed. (As they move outside-)CUT TOTHE FRONT OF THE HOSPITALA BUNCH OF MEN WAIT. Hwathorne, Samuel, Abdullah, and perhaps a dozen other worker leaders. Redbeard and Patterson move to them. REDBEARD Starting now, we attack them. ABDULLAH How; we don't know where they are? REDBEARD We'll have to make them come to us, won't we? And since there are two of them, we're going to set two plans in motion. (to Hawthorne) First: we must move the entire hospital by tomorrow night. HAWTHORNE (appalled) That's a terrible idea- REDBEARD (backtracking) -is it, I'm sorry, but then, of course, you're the doctor, you should know. HAWTHORNE Silliest thing I ever heard of- why in the world should we go through all that? REDBEARD (charming now) I suppose I could answer you. I suppose I could explain that the place is so inviting, what with the smell of blood and flesh, that they have to strike. It's even possible that I tell you I found some fresh paw marks around back which means they're already contemplating feasting here. (Turning on Hawthorne now- his voice building) But I don't want to answer you because when you question me you are really saying that I don't have the least idea what I am doing, that I am nothing but an incompetent, that I am a fool. (big) Anyone who finds me a fool, please say so now. HAWTHORNE (The words burst out) I have been desperate for Patterson to let me move the hospital since the day he arrived. REDBEARD (nice smile) Then we agree. (And on that-)BEGIN THE BUILDING SEQUENCE.It was a huge effort and they got half of it done that day- but there was always the sense of impending bloodshed.What we see first are Patterson and a bunch of shots of a lot of workers- laying out the dimensions of the new boma that would surround the place. This was to be by far the biggest wall fence they had in Tsavo.And now here comes Abdullah leading a crowd of men, wading into a huge patch of thorn trees, cutting the thick branches down, starting to load them for carrying--and it's high noon now, and Patterson drenched with sweat, leads the start of the actual building- taking the thorn branches, bunching them together, forcing them so there is no room between them--and we can just begin to get the sense of what the fence will be- except at the moment it's barely a foot high--and now Redbeard appears, beckons to Patterson, andCUT TOA LONG SHOT OF A FLAT GRASSY PLAIN. AFTERNOON NOW.Patterson, Redbeard, and Samuel walk quickly.CUT TOSAMUEL turning to Redbeard and Patterson. SAMUEL Soon. (Redbeard nods) PATTERSON (to Redbeard) I have to ask- why do you need me? REDBEARD I don't really. But understand something- even though it may take me two or three days to sort this out- (Patterson has to smile at the phrase) -when I'm gone, you'll still have to build the bridge. And I don't want the men to have lost respect for you. PATTERSON (kind of surprised) That's very considerate. REDBEARD I'm always considerate- my mother taught me that.CUT TOSAMUEL, who just breaks out laughing. REDBEARD Why do you laugh?- you don't believe she taught me? SAMUEL I don't believe you had a mother. (And as Redbeard laughs too-)CUT TOA MASAI VILLAGE as they approach. Redbeard walks ahead. PATTERSON You like him, don't you? SAMUEL Oh yes. But it takes time. PATTERSON You've known him long? SAMUEL (He has) Since his beard was red.CUT TOINSIDE THE VILLAGE. AN AGED CHIEF RUNS THINGS.Redbeard, Patterson and Samuel stand near him. WOMEN and CHILDREN are there. Some of the children look at Redbeard, mime shooting, fall down dead. Samuel translates as necessary. SAMUEL How many cattle? REDBEARD Four should do it. SAMUEL They will want a lot of money. PATTERSON (to Redbeard) Have you got it? REDBEARD No, but you do- (beat) -see, you were needed after all. (to Samuel) And fifty warriors at the camp before dawn. SAMUEL (Samuel explains. The Masai Chief replies. Translating) Why so many? REDBEARD Because I have two plans to kill the lions- one involving the cattle, the other the men.CUT TOREDBEARD AND PATTERSON watching as Samuel tells the Chief.CUT TOTHE MASAI CHIEF. He moves toward Redbeard and Patterson. As he speaks, Samuel translates quietly. There is a sadness in the Chief's tone. SAMUEL (translating) The Ghost and the Darkness have come... and we can do nothing... but if you anger them... they will stay in Tsavo... and life will become more unberable, that I know...CUT TOPATTERSON, watching as Redbeard replies. REDBEARD (beat) Two lions are all that have come... they're only lions, that I know. (beat) And I will kill them both tomorrow. (HOLD BRIEFLY, then-)CUT TOSHADOWS AND FIRELIGHT. IT'S NIGHT NOW.We're not sure for a moment where we are but we can hear metallic sounds.Now we hear voices. REDBEARD VOICE (over) I'll need you by me in the morning. SAMUEL VOICE (over) Whatever you wish.CUT TOWHERE WE ARE- IT'S PATTERSON'S TENT AREA. Patterson, Redbeard, Hawthorne, and Samuel sit around a fire.THey are cleaning their guns, getting ready.A WORD ABOUT THEIR WEAPONS. Patterson's is a good rifle and he cleans it expertly.Redbeard's surprisingly, is the oldest. And the way his hands move as he assembles it, he might be bathing a child.Hawthorne is the least skilled of the three. But his rifle is clearly the finest. Bigger than the others, with great killing power.There is a tremendous tension- Patterson, Hawthorne, and Samuel show it. Redbeard is as before. HAWTHORNE (terribly tense) You're certain about tomorrow? (Redbeard is) But you don't seem excited. (Redbeard isn't) PATTERSON You don't enjoy killing, do you? (Redbeard doesn't) HAWTHORNE Then why do it?CUT TOREDBEARD. CLOSE UP. He stares at the fire. Then- REDBEARD I have a gift.CUT TOTHE CAMPFIRE. Silence for a moment except for the sound of the weapons being reassembled. Redbeard's hands fly. His rifle is back together. He stands, nods, goes.CUT TOHAWTHORNE, watching him. HAWTHORNE Strange man. (to Samuel) Has he always been this way? SAMUEL Much gentler now. HAWTHORNE (shakes his head on that) John?- (He holds out his beautiful rifle) Change guns with me- mine's much more powerful. I'll be finishing the hospital tomorrow so I won't be with you- but if you'll use this... (beat) ...then I will.Patterson, touched, changes weapons. PATTERSON Thank you. (He turns to Samuel) Why does he need you by him? SAMUEL He doesn't. He needs nobody. But we have hunted many times... (beat) ...he knows I am afraid of lions...HOLD ON THE FIRELIGHT UNTIL WE SHARPLY-CUT TOTHE BRIDGE. BEFORE DAWN.Misty- hard to see much.Then GHOSTS appear-KEEP HOLDING-they're not ghosts, they're MASAI WARRIORS emerging from the mists. They are powerful and painted and they carry noisemaking equipment- tin cans and tom toms and as more and more of them materialize-CUT TOA HUGE THICKET.Redbeard, Patterson, and Samuel wait as the Warriors approach. REDBEARD (whispered) I spotted one of them- (gesturing toward the thicket) -in there.CUT TOTHE THICKET again- alive with thorn trees. Dark, filled with long dark shadows.CUT TOREDBEARD AND PATTERSON AND SAMUEL. A lot of tension. REDBEARD The best way to ensure the kill when you're using trackers is for one to shoot while the other uses the trackers to force the lion toward the shooter. Have you ever led trackers? PATTERSON (He hasn't) I can try. REDBEARD (no good) Samuel says you killed a lion. PATTERSON It was probably luck- I'd rather you did the shooting. REDBEARD You'd never force the lion to me- and nobody ever got a lion with one shot by luck. (points- hand out straight) Around there's a clearing- you'll know it from the anthills- get there and hide and listen to the sounds- I'll make the lion come directly to you. (He gestures for Patterson to take off and as he does-)CUT TOTHE WARRIORS as Redbeard goes to them- REDBEARD (as Samuel translates) -all of you- spread the width of the clearing- no gaps- go- (claps his hands once)CUT TOTHE WARRIORS, spreading apart.CUT TOTHE SUN. Starting to appear more strongly on the horizon.CUT TOPATTERSON, running like hell.CUT TOTHE WARRIORS, moving quickly, silently.CUT TOA THICK CLUSTER 0F THORN TREES.CUT TOPATTERSON, ducking his head, blasting through.CUT TOTHE WARRIORS, starting to cover the entire width of the thicket.CUT TOPATTERSON, quickstepping over rocky terrain.CUT TOSAMUEL staying close to Redbeard. The fear is there.CUT TOREDBEARD, studying the position of the Warriors, who are almost ready.CUT TOPATTERSON, circling now, racing toward a clearing, picking up speed.CUT TOTHE WARRIORS, spread out. They look to Redbeard.CUT TOREDBEARD. Not yet.CUT TOPATTERSON, racing into the clearing, glances around- lots of anthills.CUT TOAN ANTHILL, eight feet high. It casts a long shadow.CUT TOPATTERSON. Holding Hawthorne's marvelous rifle, he slips silently into the shadow.HOLD ON PATTERSON- it's almost as if he weren't there.CUT SHARPLY TOREDBEARD. CLOSE UP. Suddenly screaming andCUT TOSAMUEL, screaming too andCUT TOTHE WHOLE LINE OF WARRIORS, suddenly moving forward, all of them shouting and screaming and pounding on their drums and it is loud.CUT TOPATTERSON in the shadow. The noise is faint- but he can hear it.CUT TOA DOZEN DRUMMERS, moving forward, banging away.CUT TOA DOZEN MORE DRUMMERS, even louder.CUT TOREDBEARD, moving forward, his eyes flicking ahead-CUT TOTHE THICKET AHEAD. Nothing. No movement. No lion.CUT TOPATTERSON. Just the least bit louder now.CUT TOTHE WHOLE LINE OF WARRIORS, screaming and pounding andCUT TOSAMUEL- the fear worse, dogging Redbeard's steps.CUT TOREDBEARD. His eyes flicking ahead.CUT TOTHE THICKET AHEAD. Nothing. No movement. No lion.CUT TOPATTERSON. It's a lot louder now. He's totally still. And he's ready.CUT TOTHE DENSEST PART OF THE THICKET we've seen yet.CUT TOTHE WARRIORS, slashing their way through, drumming and shouting andCUT TOREDBEARD, at their head, eyes, as always, flicking.CUT TOTHE THICKET AHEAD. Nothing. No movement. No lion.CUT TOREDBEARD- starting to suddenly get louder and point--because something is there-CUT BACK TOTHE THICKET AHEAD, and we didn't see it before, only Redbeard saw it before--but now something begins to move andCUT TOREDBEARD AND THE WARRIORS and it's all going crazy now, and they're starting to move faster andCUT TOPATTERSON IN THE SHADOW.The noise has kicked up and all the time it's coming closer andCUT TOREDBEARD AND THE WARRIORS and the movement up ahead is more distinct and the Warriors are almost in a frenzy as weCUT TOA FLASH OF THE GHOST IN THE THICKET- eyes bright- it starts to move away from the sound--and toward where Patterson is waiting.CUT TOREDBEARD. Faster, screaming louder andCUT TOSAMUEL and the fear starting to leave and he screams louder too andCUT TOPATTERSON- he fingers the weapon.CUT TOTHE GHOST, angrily retreating faster from the sound- and now instead of going straight back it begins to veer left andCUT TOREDBEARD, immediately spotting the shift, gesturingto the Warriors to get left andCUT TOTHE WARRIORS, shifting over as Redbeard directed, blocking The Ghost's intended path andCUT TOTHE GHOST, shifting, trying to go the other way this time andCUT TOREDBEARD; he spots that too, gestures for the Warriors to shift the other way andCUT TOTHE WARRIORS, racing to thier new positions, blocking the animal's path again andCUT TOTHE GHOST, rattled, upset, and now it starts retreating back in the original direction- toward Patterson andCUT TOREDBEARD AND THE WHOLE LONG LINE OF MEN, and it's as if mass hysteria has gripped them, because their sound keeps building and sure, their throats must ache and yes, their arms must tire, but you couldn't tell that from what they're doing-CUT TOPATTERSON. Waiting by the anthill. Waiting. Then, at last-CUT TOTHE GHOST, backing into view, staring back at the sound, unaware of Patterson's existence behind him.CUT TOPATTERSON. Noiselessly he steps away from the anthill into the sunlight. He raises Hawthorne's gun.CUT TOTHE GHOST, backing toward Patterson.CUT TOPATTERSON, sighting along the glistening barrel.CUT TOTHE GHOST, starting to turn.CUT TOPATTERSON, ready to fire.CUT TOTHE GHOST IN CLOSE UP, CAUGHT IN THE CROSSHAIRS OF THE RIFLE. And now its lips go back as it sees Patterson.CUT TOPATTERSON, CLOSE UP, and this is it, this is the moment and as he squeezes the trigger-CUT TOPATTERSON AND THE GHOST, and a totally unexpected sound- a dull snap- Hawthorne's rifle has misfired.CUT TOTHE GHOST, unharmed andCUT TOPATTERSON desperately workingthe rifle, trying to make it function andCUT TOTHE GHOST. It stares at Patterson.CUT TOPATTERSON, and the goddamn gun won't work and he's a dead man andCUT TOPATTERSON AND THE GHOST--and for a moment, they might be frozen in some horrible tableau--THEN THE GHOST ROARS-CUT TOREDBEARD as he hears it, breaking into a wild run- REDBEARD Shoot for chrissakes!-CUT TOPATTERSON standing his ground as now THE GHOST takes a step toward him.CUT TOREDBEARD, firing, reloading on the move, and up ahead is the clearing and as he reaches it-CUT TOTHE GHOST. Its great head turns in the direction of Redbeard andCUT TOREDBEARD's position- anthills block him from getting a clear shot at the animal- he curses, races for a better position andCUT TOTHE GHOST. One final stare at Patterson--then it makes an effortless leap intothe thicket--and it's safe and free and gone.CUT TOPATTERSON. CLOSE UP. Rocked.The low point of his life.CUT TOSAMUEL, catching up to Redbeard. SAMUEL Did you ever see a lion that size? REDBEARD Not even close. (Now he moves to Patterson) What happened? PATTERSON (a whisper) ...misfire... it jammed... REDBEARD Has it ever done that before? PATTERSON ...don't know... SAMUEL It's Hawthorne's.CUT TOREDBEARD. Trying for control. REDBEARD You exchanged weapons? (Patterson nods) You went into battle with an untried gun? (Patterson nods)CUT TOREDBEARD. CLOSE UP. For a moment it's impossible to tell what he's going to do. It seems that a Homeric burst of fury is about to happen.CUT TOPATTERSON. Drained, he epects it. It's very quiet.CUT TOREEDBEARD, studying the younger man. And when he finally speaks, his voice is surprisingly quiet. REDBEARD They have an expression in prizefighting: "everyone has a plan until they're hit." (beat) You've just been hit... (beat) ...the getting up is up to you... (And he turns, moves off and)CUT TOTHE NEW HOSPITAL.Nearly finished. The fence is eight feet high and Hawthorne is supervising men and material that are being transferred.CUT TOREDBEARD, checking security in the New Hospital which is close to the center of camp. (The Old Hospital was situated on the outskirts, because they wanted to keep the workers away from the sick and the wounded.) Late afternoon, now.Patterson, Samuel and Hawthorne are moving with him. As are TWO EXPERIENCED ORDERLIES, both armed with powerful rifles. Patterson is silent here, the effects of the misfire still evident on his face. REDBEARD (to the Orderlies) Gentlemen, there's no sickness smell at all here, and little blood. When we leave, close the gate securely, don't open it til morning and keep your fires high. Any questions, ask them now. (They understand- now to Samuel and Hawthorne) You two will sleep beautifully in your tents. (beat) And stay there. SAMUEL And where will you sleep beautifully? REDBEARD (smile) Patterson and I will be in the old hospital- where the enticing smell of sickness still lingers- (beat) -and by the time we're done, I promise you, the odor of blood will be irresistible. (And on that-)CUT TOTHE OLD HOSPITAL. STARTING TO GET DARK.Redbeard and Patterson have buckets which they empty around the inside perimeter--buckets of blood.CUT TOPATTERSON AND REDBEARD. Darker. They empty still more full buckets of blood. Redbeard seems pleased.CUT TOSAMUEL AND HAWTHORNE, hurrying toward their camp.CUT TOPATTERSON AND REDBEARD, leading Masai cattle into the grounds of the Old Hospital.CUT TOTHE ORDERLIES IN THE NEW HOSPITAL, firmly closing and locking the gate.CUT TOPATTERSON AND REDBEARD, just outside the fence of the Old Hospital- they carry many large chunks of raw meat, drop them as they move.CUT TOTHE SUN. Dying... dying...CUT TOPATTERSON AND REDBEARD. They slip inside the deserted Old Hospital, pull the gate securely shut.CUT TOTHE CATTLE. They stand in the center of the Old Hospital, calling to each other.CUT TOTHE NEW HOSPITAL. Full. Clean. The men are exhausted. Most are already asleep. The Orderlies sit by a fire, alert for anything.CUT TOTHE OLD HOSPITAL. Patterson and Redbeard stand across from their fire, waiting. The cows are quiet.CUT TOHAWTHORNE by his fire near his tent with Samuel. Nervously, they drink tea.CUT TOTHE MOON. Higher. An hour has passed. Perhaps more.CUT TOREDBEARD. Walking the fence perimeter.CUT TOPATTERSON. The cows are edgy. He calms the cows.CUT TOOUTSIDE THE OLD HOSPITAL. The large chunks of meat are visible in the moonlight.CUT TOTHE NEW HOSPITAL. The orderlies are calm.CUT TOREDBEARD, still walking the perimeter.CUT TOPATTERSON sitting by the fire, staring at the night. Redbeard moves to him, speaks in a whisper. REDBEARD Think about something else. PATTERSON Have you ever failed? REDBEARD (sad smile) Only in life... (He walks away. Patterson watches.)CUT TOTHE NEW HOSPITAL. The Orderlies tend the sick. Quietly.CUT TOTHE NIGHT AND THE MOON. Lovely.CUT TOREDBEARD. Stalking the perimeter. No sound. The night is deadly quiet.CUT TOPATTERSON. He stalks the perimeter now too, on the far side from Redbeard- and suddenly a different and frightening sound- the ripping of flesh-CAMERA MOVES UPNow we can see both Patterson inside and also outside where, in shadow, The Ghost and The Darkness are devouring a hunk of meat.Redbeard moves quickly across the perimeter, gestures for Patterson to switch positions with him.As he reaches where Patterson was, the eating sound stops.Silence again.Patterson reaches the far side of the fence.Now the eating sound comes again, and again, BOTH LIONS are outside, directly across from Patterson.CUT TOREDBEARD looks across the perimeter at Patterson. Whatever's going on, it's sure as hell odd.CUT TOTHE CATTLE- they are very upset suddenly- one of them kicks out violently against the night- the same gesture the cattle did just before The Ghost walked through their pen and killed one--now a different sound is heard: scratching-CUT TOPATTERSON AND REDBEARD tracking the sound--the main gate is starting to be pushed in. Inside the gate the ground is covered with blood stains from where they emptied their buckets.CUT TOTHE GATE. More pressure against it- it could give way any moment.CUT TOREDBEARD AND PATTERSON and from the look on Redbeard's face, this is it! Patterson seees this, readies his rifle and we-CUT TOTHE CATTLE, going nuts and then-CUT TOTHE GATE. All pressure gone.CUT TOPATTERSON AND REDBEARD. Patterson is furious. PATTERSON Goddammit! REDBEARD It's all right. Stay ready. (indicates the blood) They know it's there.Patterson takes a few steps away, stares at the moon.CUT TOREDBEARD; he studies Patterson who so clearly craves redemption. REDBEARD (going to him) Meant to ask you- the railroad car trap. Your idea? (Patterson nods) Excellent notion- I used the same device myself once. PATTERSON But of course yours worked. REDBEARD In point of fact it didn't- but I'm convinced the idea is sound.He goes back to walking the perimeter. Patterson watches him- and for the first time since the misfire, Patterson's mood begins to lift.CUT TOTHE NEW HOSPITALand an ORDERLY, blood pouring from his throat as he lies by the fire andCUT TOTHE SECOND ORDERLY rounding a corner, seeing the violence; before he can scream-CUT TOTHE GHOST AND THE DARKNESS suddenly beside him, and their giant paws slap out so fast we can't follow andCUT TOTHE SECOND ORDERLY, dropping to the ground, and now we're starting to spin into madness and these next cuts go like lightning.CUT TOA TENT FULL OF SICK MEN with malaria andCUT TOA PAW flashing andCUT TOTHE DARKNESS, lips pulling back andCUT TOA SICK MAN, falling from his bed, blood pouring from his slashed face andCUT TOTWO MORE SICK MEN, trying to rise andCUT TOTHE GHOST, leaping on them andCUT TOTHE DARKNESS, eyes narrow and brilliant andCUT TOA SICK COOLIE, and he's terrified and he tries to scream--the sound barely escapes him, but even so, it's the first cry we've heard andCUT TOTHE ENTIRE CAMP, NIGHT, WITH ALL THE FIRES BURNING- AND PATTERSON'S TENT AREA IS CLOSE BY--but the New Hospital is on the other end, a good distance away.CUT TOPATTERSON AND REDBEARD, rifles ready- but no sound reaches them.CUT TOHAWTHORNE, out of his tent, because he's close by and he heard it and he lights a torch, starts for the gate of the camp as Samuel does his best to stop him--but Hawthorne rips free and weCUT TOA SECOND TENT, as it starts to collapse andCUT TOTHE MEDICINE TENT, as The Ghost and The Darkness enter andCUT TOMEDICINE, flying across the tent andCUT TOGLASS, shattering and more medicine is destroyed andCUT TOA BLIZZARD OF CUTS, of lions' claws and lions' teeth and those terrible bright blazing eyes andCUT TOA TENT POLE, being pulled out of the ground andCUT TOTHE GHOST AND THE DARKNESS and what they are doing is this: destroying the New Hospital andCUT TOMORE TENTS collapsing andCUT TOTHE GHOST AND THE DARKNESS. CLOSE UP. Eyes crazed.CUT TOHAWTHORNE ALONE IN THE NIGHT, scared shitless as he runs.CUT TOSHADOWS, moving, as Hawthorne's torch lights the surroundings andCUT TOHAWTHORNE, heart pounding, looking around and then he gasps as weCUT TOTHE AREA NEARBY- TWO LARGE EYES are staring at him.CUT TOHAWTHORNE, panicked, stumbling, falling, getting up, staring around-CUT TOTHE AREA AROUND HIM- the eys are gone--and now there are loud shrieks in the night coming from the New Hospital and the instant they are heardCUT TOREDBEARD AND PATTERSON, grabbing torches, throwing the gate open and they're off as weCUT TOHAWTHORNE, running toward the New Hospital just up ahead now.CUT TOPATTERSON AND REDBEARD, tearing through the night.CUT TOTHE NEW HOSPITAL. (We see all this next through Hawthorne's eyes.) The tents are all down. The place is devastated.CUT TOINSIDE THE FIRST TENT. Filled with the dead and the dying.CUT TOHAWTHORNE. Ashen. Moving on.CUT TOPAN ALONG THE TENTDead. Blood. Pain.PAN TO THE SECOND TENTMore dead.More dying.It's a slaughterhouse.CUT TOHAWTHORNE. He's crushed. His body sags. He takes a breath, his last.THE GHOST AND THE DARKNESS are on him, roaring.CUT TOPATTERSON AND REDBEARD as the roar reverberates- they glance at each other--then they slow.Because the New Hospital has come into view.CUT TOREDBEARD, CLOSE UP, staring at the disaster.And this terrible crosses his face. For a moment, you think he's going to fall. His body seems drained of all its power. He stands there. Just stands there. Unable to move.CUT TOPATTERSON. And he does move. Slowly. Carefully. Into the chaos.He stares around- the dead and the dying are everywhere. Hawthorne, his face clawed almost unrecognizably, lies alone.All that's left now is this: the sound of pain.HOLD.Dust rises. It covers everything. Only the sound remains.Now different sounds take over--an incredible babble of human voices.AND A RAILROAD TRAIN.Patterson walks through the dust. Samuel, a worried look on his face, is a few steps behind.We are at the STATION AREA and it is jammed. A train has pulled into the station--only you almost can't tell it's a train: all you can see are workers climbing up, and the inside is full so the workers clamber up onto the roofs of the cars--covering the cars--everyone is leaving--Patterson can only watch.Abdullah stands on one of the cars--the train begins to pull out of the station.More and more workers chase after it, get pulled on.Now the station area is empty, the flat car roofs full.Patterson still watches, eyes vacant.Abdullah sees him, looks away.The train gathers speed.Rounds a corner......gone...Patterson turns from the scene, begins to walk. Samuel stays close behind him, the worried look still there.CUT TOTHE OLD HOSPITAL.A FEW AFRICAN ORDERLIES do the best they can. Patterson watches only a moment, walks on. Samuel still behind him.CUT TOTHE CAMP as Patterson walks through. A ghost town now. Only Africans remain.CUT TOTHE CONTRAPTION where the coolies missed The Darkness. Patterson looks at it a moment, walks on.CUT TOTHE ANTHILL IN THE CLEARING where Patterson misfired. Patterson looks at it a moment, walks on. And now, at last-CUT TOPATTERSON'S TENT AREA. One or two Africans. Samuel darts into his tent, emerges with something, holds it out to Patterson.IT'S A NECKLACE OF LION CLAWS.Patterson makes an almost courtly bow of thanks, puts it on- he never takes it off again. He walks on alone now until at last-CUT TOTHE BRIDGE.It stops abruptly, halfway done; the foundations are in place, a lot of the scaffolding, but it's useless. Late afternoon. Desolate.Redbeard sits alone, high on one of the foundations. He looks as he did the night before.Patterson walks to the top of the near embankment. He is unshaven, wrinkled, he fingers the lion claw necklace.For a moment, neither says a word. Then- REDBEARD (out of the blue) It would have been a beautiful bridge, John. I never noticed before, occupied with other business, I suppose... (He's rambling) ...never really pay much attention to that kind of thing but I've had the time today, nothing else on, and this... it's graceful and the placement couldn't be prettier... and... (He goes silent now, stares off) PATTERSON You just got hit. (Redbeard nods) The getting up is up to you- but they're only lions- (beat) -and I'm going after them crack of dawn... (And on that-)CUT TOA LONG SHOT OF A HIGH ROCKY CLIFF--we haven't seen anything like it before- it's hundreds of feet tall- gorgeous early morning light.As we watch, we realize there are two dots on the side of the cliff.As we watch a moment more, we realize the dots are moving.CAMERA MOVES CLOSER.THE DOTS are Patterson and Redbeard, working their way along the rock face. Patterson is much more nimble. It's dangerous, of course, but neither of them seems to have that uppermost in mind. They travel lightly- small knapsacks and their weapons.CUT TOTHE TWO OF THEM as they make it over the cliff face. They stand, stare out.CUT TOWHAT THEY SEE: the world. They move on.CUT TOA RAVINE. They are moving along the edge. It's tricky going- if you fell you wouldn't much like it. They are both concentrating on their movements, paying no attention to each other as Redbeard starts to speak. They don't stop moving. REDBEARD In my town, when I was little, there was a brute, a bully who terrorized the place. (beat) But he was not the problem. He had a brother who was worse than he. But the brother was not the problem. (beat) One or the other of them was usually in jail. The problem came when they were both free togther. The two became different from either alone. (beat) Alone they were only brutes. Together they became lethal, together they killed. PATTERSON What happened to them? REDBEARD (pause) I got big. (They move on)CUT TOPATTERSON AND REDBEARD working their way up a steep ravine. It's hard going. They help each other.CUT TOPATTERSON AND REDBEARD, moving along the edge of the ravine now. Slow. Silent. Redbeard stops, points-CUT TOA TANGLE IN THE BUSHES AND THORNS with one odd thing about it: there is a clearly defined archway, as if a buffalo or rhino used it as a regular passage.CUT TOTHE TWO OF THEM at the archway. They look at each other, without a word move through it.CUT TOTHE OTHER SIDE. A small clearing. And at the end of the clearing: a cave.CUT TOTHE CAVE MOUTH. Dark.CUT TOREDBEARD AND PATTERSON. They each check their guns, move toward it.CUT TOTHE CAVE MOUTH. Closer. Suddenly it's getting eerie.CUT TOREDBEARD, moving slowly, Patterson right with him.CUT TOTHE CAVE MOUTH. They're by it- Redbeard squints inside.CUT TOWHAT HE SEES: it's dark and dangerous and there is a long low tunnel you have to half-crawl through.Without a word, they start inside.CUT TOREDBEARD AND PATTERSON, crouched low, moving through the tunnel. Ahead there is light. They move on.CUT TOTHE END OF THE TUNNEL- they can see the cave beyond.CUT TOREDBEARD AND PATTERSON. They glance down. Nothing much there- just a copper bracelet, the kind a native might wear.Now they move past it and as the tunnel ends, they stand up.CUT TOINSIDE THE CAVE - IT'S BIG.CUT TOPATTERSON AND REDBEARD, moving deeper into the cave. It's scary- dark with shafts of light coming from cracks in the rock. It's dank. It all feels as at any moment, the world could end.CUT TOREDBEARD. CLOSE UP. Thunderstruck- REDBEARD Dear God- (And on those words-)CUT TOTHE FLOOR OF THE CAVE. More copper bracelets. And still more--and now bones--the floor of the place is littered with human bones--eyeless skulls peer up at them from all around.PULL BACK TO REVEALThe rest of the cave. We are looking at a carpet of bones. PATTERSON Their den? (Redbeard nods) Have you ever seen anything like this? REDBEARD Nobody's seen anything like this. Lions don't have caves like this- (beat) -they're doing it for pleasure.CUT TOSEVERAL TUNNELS, dark and ominous, leading from the cave--and now there is a sound from one of the tunnels--something is coming close and coming fast andCUT TOREDBEARD AND PATTERSON as Redbeard fires into the tunnel and the sound explodes-CUT TOTHE TUNNEL--shrieks-CUT TOREDBEARD AND PATTERSON. What the hell is it?CUT TOTHE TUNNEL- and here they come, screeching and angry--bats--swarms of them- hundreds of them-CUT TOPATTERSON AND REDBEARD, diving to the ground, lying there amidst the bangles and the bones and the skulls-CUT TOTHE BATS. Circling above them. Screeching louder.CUT TOPATTERSON AND REDBEARD, lying very still, eyeless skulls all around, staring.CUT TOTHE BATS. For a moment, it seems as if they might attack.CUT TOPATTRSON AND REDBEARD. Waiting, waiting. Then-CUT TOTHE BATS back into the tunnel andCUT TOPATTERSON AND REDBEARD, scrambling to their feet. REDBEARD One of my chief attributes is that I'm always calm.And then without warning, from behind them, a roar-CUT TOPATTERSON AND REDBEARD spin around, start back toward the entrance of the cave-CUT TOTHE LOW ENTRANCE TUNNEL as they scramble half-crawling through it.CUT TOOUTSIDE as they make it, stand straight, look around-CUT TOTHICK BUSH beyond- another roar and sudden movement andCUT TOPATTERSON AND REDBEARD, entering the thick bush- but carefully, because they are vulnerable now and an attack could come from anywhere- there is the sound of water--slashes of light hit their eyes, making it hard to see- and they're totally vulnerable now but it doesn't stop them- the water sound gets stronger- and as they burst clear-CUT TOAN AMAZING PLACE- AN AREA OF FLAT ROCK SPLIT UP AHEAD BY A WIDE FAST-RUNNING WATERFALL.CUT TOPATTERSON AND REDBEARD. They look around. Nothing is there. But the spot is wide open, exposed. PATTERSON (The words pour out) Where could it have gone? How could it get across the water? (looks at Redbeard) They're only lions, yes? REDBEARD (shakes his head; he doesn't know) Don't they have to be?...They look around a moment more. Nothing to see--they turn, leave, re-enter the thick bush. And now-CUT TOTHE DARKNESS- who knows where it is but it's there--watching Patterson.HOLD BRIEFLY on The Darkness, then-CUT TOPATTERSON'S TENT AREA. JUST BEFORE DAWN--outside the fence a dreadful sound- the crunching of bones.Patterson, Redbeard, and Samuel emerge from tents, listen. Patterson is on one side of the area, Redbeard and Samuel on the other. SAMUEL (pointing) Both of them over there.He is pointing to Patterson's area. Patterson goes to Redbeard. PATTERSON Ever have to use a machan? (Redbeard hasn't) I did once. In India. We will tonight. (Now from that-)CUT TOA CLEARING. LATER IN THE DAY.Patterson leads the few remaining men in constructing an odd looking structure: four slender poles lashed together, slanting inward with a plank tied on top, a dozen feet up in the air. Redbeard and Samuel approach. PATTERSON They're used to people in trees, not in a clearing. (indicating the plank) It may be tight. REDBEARD Not for me- I'm too bulky and it's your idea, you go up there. (to Samuel) Take the others to the water tower for the night. PATTERSON I'll be bait alone? REDBEARD Yes. And I'll be in some distant tree where I can provide no assistance whatsoever. (beat) Can you control your fear? PATTERSON I'll have to. REDBEARD I can't control mine- I'd be lost without the shame factor driving me. PATTERSON Was that supposed to make me feel better? (Redbeard doesn't reply. Now-)CUT TOA DONKEY BEING LED IN. LATER.THE MEN start to tie it down, across the clearing from the machan.Patterson takes a long look at the machan. He tests the support poles- they're rickety.CUT TODUSK. The sun quickly beginning its quick fall.CUT TOTHE WATER TOWER IN THE STATION AREA. Samuel is with the remaining men who clamber up to the platform on top.CUT TOTHE DONKEY IN THE CLEARING. Quiet.PULL BACK TO REVEALRedbeard, holding a wooden ladder that is propped against the plank. Patterson climbs his slow way up. It's dangerous.CUT TOTHE PLANK as Patterson makes it, clambers off the ladder, manages to sit.CUT TOTHE VIEW. Nothing is around the machan. He is totally vulnerable.CUT TOREDBEARD, taking the ladder down. Patterson tries to get comfortable. He can't. REDBEARD (glancing around) It's certainly the best chance they've had to kill you. PATTERSON You think they'll come then? (Redbeard does) Why? REDBEARD (not answering) Good luck. PATTERSON Why? REDBEARD (beat) Because I think they're after you.CUT TOPATTERSON. This registers. Finally, he nods. Redbeard starts to leave. PATTERSON How many do you think they've killed? REDBEARD (reluctantly) The most of any lions... a hundred...? (beat) Probably more. (Now Redbeard looks up at the younger man) Johnny...?They study each other in the gathering darkness. They've been through a lot together, these two. They're not what they were when they first met. An emotional moment clearly is at hand. REDBEARD Don't fuck up. (And he turns, never looks back, just goes)CUT TOPATTERSON. He is alone now.CUT TOSHADOWS. Growing longer.CUT TOSAMUEL. On top of the water tower. The remaining men are with him.CUT TOTHE DONKEY. It peers around.CUT TOPATTERSON. His fingers move slowly along his rifle barrel--there is no noise- but you have the sense that, at any second, the world could explode.CUT TOTHE EDGE OF THE CLEARING, a good distance away. A bunch of trees. Nothing unusual.MOVE IN CLOSER:Redbeard, motionless, rifle in hand, is high in the branches.CUT TOTHE SUN. About to die.CUT TOPATTERSON, trying to get comfortable. It's not possible.CUT TOTHE DONKEY, tethered, but able to move.CUT TOPATTERSON, testing the machan- not a good idea- it trembles. He stops, stares out at the setting sun, the light hitting his skin, giving it color.CUT TOTHE SUN and here's the thing about Africa- the sun doesn't just set, it literally drops out of the sky. Suddenly it's bright and in a blink it isn't. As it drops-CUT TOPATTERSON. CLOSE UP. It's madness that he's up here. And he knows it. And that shows.CUT TOTHE SKY. No moon. Just thick cloud.CUT TOTHE DONKEY. Quiet.CUT TOPATTERSON. On his precarious perch. He scans constantly ahead of him past the donkey.CUT TOTHE THICK BUSH BEYOND THE DONKEY. Nothing moves-CUT TOPATTERSON. He swallows, moistening his throat. He stares down at the donkey.CUT TOTHE DONKEY. LATER. MIDDLE OF THE NIGHT. DARK.And now, just the beginning of a mist.CUT TOTHE SKY. THICKER AND THICKER CLOUDS. LATER STILL. GETTING TOWARD MORNING.CUT TOPATTERSON sitting there twelve feet up as the silence extends, listening for something, anything--but all there is is silence.CUT TOTHE DONKEY. It lies still and quiet.CUT TOPATTERSON, looking around- you get the feeling he'd like to scream.CUT TOTHE BUSHES AROUND HIM. The mist is getting stronger.CUT TOREDBEARD in his tree, cursing, trying to see through the growing mist.CUT TOPATTERSON, listening, listening--and then there is a sound and it's so quiet you can barely hear it but to Patterson it might as well be thunder--from behind the donkey there has come this: the snapping of a twig.CUT TOTHE DONKEY, and it's eyes widen-HOLD ON THE DONKEY.Because now something happens that hasn't happened before: suddenly there are no colors, only tones--because lions can't see colors, only tones, and that's what's happening- we are looking at the donkey from the point of view of the lion-PULL BACK TO REVEALTHE EYES OF THE GHOST. Watching the donkey.And from now on, when we are using PATTERSON'S POINT OF VIEW, everything is clouded and thick with mist, and sounds are muted.When we are using THE GHOST'S POINT OF VIEW, everything is totally clear- and sounds are thunderous.CUT TOWHAT PATTERSON SEES: just mist and vaguely, bushes.CUT TOWHAT THE GHOST SEES: The donkey. And CAMERA begins to move closer as The Ghost moves, just the barest few steps closer.CUT TOPATTERSON. Still no sound- but beyond the donkey there seems to be some movement in the bushes.CUT TOWHAT THE GHOST SEES: The donkey, very, very close-CUT TOPATTERSON. Squinting desperately at the area beyond the donkey but the mist is so thick, he can't make certain of anything.CUT TOWHAT THE GHOST SEES: THE DONKEY.HOLD.Now there is something else visible, something behind the donkey: the four legs of the platform.HOLD.Now we travel up the platform- the four legs grow closer together.HOLD AS THE GHOST AT LAST SEES PATTERSON.CUT TOTHE EYES OF THE GHOST. NARROWING.CUT TOPATTERSON. Involuntarily, a shiver.CUT TOWHAT THE GHOST SEES: PATTERSON, but the angle shifts--what's happening of course is this: The Ghost is circling around the platform in the safety of the bushes and the mist.CUT TOPATTERSON, following the whispered sound of the bushes moving. He half turns the other way quickly, making sure that nothing is behind him.CUT TOWHAT THE GHOST SEES: PATTERSON shifting as the angle continues to change.CUT TOPATTERSON as the realization hits: the beast doesn't care about the donkey anymore, it's stalking him.CUT TOREDBEARD. In the tree. The mist obscures everything.CUT TOWHAT THE GHOST SEES: PATTERSON. Still circling, still closer.CUT TOPATTERSON, and it's scary now, this thing circling and circling, always closer, never visible and his throat is dry and you know he's just dying to blast it with his weapon or scream for it to do anything but this constantly circling movement. (In truth, the lion circled him for two hours, always coming closer, never quite seen.)CUT TOWHAT THE GHOST SEES: PATTERSON, always the circling around.CUT TOPATTERSON, trying to turn on his shaky plank, trying to never to let the animal's position out of his sight.CUT TOWHAT THE GHOST SEES: PATTERSON. Closer...CUT TOPATTERSON, staring, staring at the goddamn mist, about to come apart now with the tension as it builds and builds and builds andCUT TOWHAT THE GHOST SEES: PATTERSON. Closer.CUT TOPATTERSON, gripping his weapon tightly as his head keeps on turning.CUT TOWHAT THE GHOST SEES: PATTERSON. Closer.CUT TOPATTERSON, suddenly yelling out loud as an owl lands on him- that's right, a goddamn owl landed on him, thinking he was a tree, almost knocking him off the plank andCUT TOWHAT THE GHOST SEES: PATTERSON, starting to slip off the platform andCUT TOPATTERSON, fighting the owl away, but his balance is going and he's trying not to fall andCUT TOWHAT THE GHOST SEES: PATTERSON, beginning to topple off andCUT TOPATTERSON, helpless, balance going, going-CUT TOTHE GHOST, starting to charge forward and Christ he can move and as he starts his leap-CUT TOREDBEARD, racing from the tree to the edge of the clearing, firing his rifle, firing again andCUT TOTHE GHOST, as this incredible roar comes from him, and he spins, lands, and sure, he's been hit but he's gone, back into the bushes and the night has him andCUT TOSUDDEN DAWN AND PATTERSON AND REDBEARD, running, stopping, staring at the ground-CUT TOTHE GROUND. Blood.CUT TOPATTERSON AND REDBEARD, moving quickly forward again-CUT TOTHE GROUND. More blood and...CUT TOTHE TWO OF THEM, starting to slow-CUT TOSTRANGE TERRAIN- huge anthills all over, the tallest we've seen, some of them fifteen feet high, some even higher.CUT TOPATTERSON AND REDBEARD. They separate, take different paths through the anthills.CUT TOREDBEARD. Alert. One step at a time.CUT TOPATTERSON. The same. One step at at time.CUT TOTHE GHOST. Crouched high up behind one of the biggest anthills, staring down at them both.CUT TOREDBEARD. He gestures for them to stop. They do. For a moment they might be statues.CUT TOTHE ROCKY GROUND. Spots of blood. Redbeard kneels to examine them and as he does-CUT TOTHE GHOST, launched in mid-air andCUT TOPATTERSON, whirling, falling, firing and as the sound detonates-CUT TOTHE GHOST, in mid-air, body twisted and--and FREEZE.Freeze on The Ghost silhouetted against the morning sky.HOLD. THen-CUT TOSAMUEL, WALKING INTO THE SHOT--we're by the river and this is a repeat of the earlier moment when the three men brought the old man-eater into camp--only now eight men appear, carrying The Ghost- eight is the actual number of men that it took, and as they lower the dead animal to the ground-CUT TOTHE GHOST- and now there's a flash of light as wePULL BACK TO REVEALBEAUMONT, kneeling by the dead animal. He is smiling beautifully, and there is no questioning the look of triumph on his face.CUT TOA PHOTOGRAPHER; loads of bulky equipment. Patterson and Redbeard stand behind him, watching him. We're in a lovely spot by the river. Patterson and Redbeard have definitely been drinking. BEAUMONT I think another for posterity- this is an important moment in my life.He strikes another pose- the Photographer goes to work. BEAUMONT Understand, I had help- PATTERSON -not a time for modesty, Bob- REDBEARD -undeniably your triumph. BEAUMONT Oh surely there's enough credit for us all- let's not forget, you did the actual shooting. Of course, I hired you, I was the general who put the team together. And generals are the ones who tend to be remembered. PHOTOGRAPHER Perhaps you might put your head in its mouth, sir- could be a corker. BEAUMONT Clever idea, I like it.CUT TOTHE MOUTH OF THE GHOST- it is huge--Beaumont manages to get it open- puts his head between the enormous set of teeth- he's nervous, tries to hide it when weCUT TOREDBEARD suddenly giving a loud imitation of a lion roaring andCUT TOBEAUMONT, surprised and frightened--he jerks his head away--there is the sound of laughter, Patterson's and Redbeard's--Beaumont tries for his smile, can't bring it off, looks around, humiliated, and as the laughter builds-CUT TOTHE TENT AREA. NIGHT.Patterson and Redbeard flank a fire. It's a sweet moment for them, their first, no fear in the vicinity.It should be noted that they both are drinking from bottles of champagne.It should also be noted that the Patterson we see is a world away from the young man who went to meet Beaumont. He's unshaven, his eyes have seen terrible things, he is weary, he has known failure- he is more at ease with the world. PATTERSON (drunk) I never thought I'd say this, but I'm glad you came. REDBEARD (drunk) Understood- you realize now you could never have done it without me. PATTERSON Actually, I could have done it much more easily without you, but for whatever reason, I'm glad you came. (They toast each other)Samuel, with his own bottle of champagne has wandered over, joins them. SAMUEL (drunk) Where do you go next? REDBEARD Some Russian princes want to hunt the Himalayas. You? SAMUEL Help finish the railroad. PATTERSON I want to meet my son- he must be what, two months old?They look at the fire a moment. Then- SAMUEL Three years I've worked for the railroad. Now I don't know why. It seemed a good idea once. PATTERSON I feel the same about the bridge. This country certainly didn't ask for it, doesn't need it. REDBEARD Too soon to tell.They look at him. REDBEARD My life was shaped because someone invented gunpowder. Our lives have crossed because two lions went mad. But what if in the future the three of us do something grand for humanity? Was that worth all the lives? Too soon to tell. SAMUEL (drinks) Some mysteries should not have solutions. REDBEARD (finishes his bottle, rises, looks at Patterson) Hold your son high. (And he turns, goes to his tent) PATTERSON (beat- quietly) He has children? SAMUEL (beat- quietly) Once... (HOLD on the two in the firelight. Then-)CUT TOTHE STATION MASTER AT TSAVO STATION, WORKING IN HIS OFFICE. THE NEXT DAY. FEMALE VOICE (over) I'd like to see John Patterson, please. (As he looks up-)CUT TOHELENA standing there in Tsavo; she looks weary from travel, but still lovely. She holds their son in her arms. The kid is adorable. HELENA Could you tell him that his wife- (catches herself, smiles) -that his family has come to see him. (On that-)CUT TOPATTERSON AT THE BRIDGE- Samuel hurries to him with the news- Patterson takes off running andCUT TOTSAVO STATION and Helena; she holds the sleeping child, walks back and forth along the shaded front of the building, no sound at all but her heels.CUT TOPATTERSON, running like crazy and up ahead now is the station area.CUT TOHELENA- and now, in the distance, she sees him and she leaves the building, walks out into the open, smiling and waving excitedly andCUT TOPATTERSON, excitedly waving back andCUT TOTHE DARKNESS, moving out of the grassy area behind Helena andCUT TOPATTERSON, suddenly screaming "Get back- back-"CUT TOHELENA, and she's too far away- his words are lost on the wind- she smiles again, waves again andCUT TOPATTERSON, screaming now, all he has, "GET BACK" andCUT TOHELENA, and she still can't make out what he's saying but just the same, she stops andCUT TOTHE DARKNESS, stalking silently, closing on the mother and child.CUT TOHELENA, and the baby wakes, smiles andCUT TOTHE DARKNESS, starting to run andCUT TOPATTERSON and now it shows on his face- he's not going to get there, he's never going to get there-CUT TOHELENA, and at last she knows something is terribly wrong and she turns--but too late, too late as weCUT TOTHE DARKNESS, flying toward her now andCUT TOPATTERSON, in agony.CUT TOTHE DARKNESS, leaping on them, taking them to the ground and as Helena cries out helplessly-CUT TOPATTERSON, crying out helplessly andPULL BACK TO REVEALPATTERSON IN HIS TENT,continuing to cry out until he realized the nightmare he just had is over--he staggers to his tent opening, goes outside.CUT TOOUTSIDE. It's dawn. Patterson, shaken, tries to rid himself of the dream. He looks around.Redbeard's tent is ripped- Patterson runs to it-CUT TOINSIDE THE TENT. It's empty. Patterson stares around--there is blood on the tent floor and quickly-CUT TOTHE SUN. RISING.CUT TOPATTERSON running wildly, rifle in hand andCUT TOSAMUEL, carrying a weapon, hurrying to keep up andCUT TOPATTERSON, flying across rough terrain and as he and Samuel splash across a small river, he gestures for them to split and they do, widening the area of search andCUT TOSAMUEL, veering off andCUT TOTHORN TREES, as Patterson rips through them, unmindful of the damage to his clothes or his skin andCUT TOMORE THORNS- he plunges wildly ahead andCUT TOA LARGE ANTHILL- it seems to be casting an unusual shadow- Patterson slows, rifle ready, takes a breath, moves around it--nothing at all- just his imagination which has been working overtime and is only getting worse-Patterson stands there a moment, unsure where to go, what to do--and then SAMUEL'S VOICE on the wind- calling to him-CUT TOPATTERSON, tracking the sound- Samuel's voice cries out again, louder--Patterson starts to run and run, and as he rounds a bend-CUT TOA FIELD OF WHITE GRASS. So lovely.With one patch in the middle that is blood red.Something is moving in the blood red area.Patterson has his rifle ready--and then Samuel rises from the blood red patch.CUT TOSAMUEL. In shock, in despair, call it what you want- he has seen something beyond imagination.CUT TOPATTERSON, rushing across the field of white grass, rushing to where Samuel stands in the patch of blood red grass- he looks down into the grass--clearly, Redbeard is there and clearly he is dead. Patterson and Samuel stare mute at one another--and now, from frighteningly near them, comes the triumphant roar of The Darkness. They don't even react.CUT TOFLAMES RISING IN THE LATE AFTERNOON.We should already have a sense of where we are; we've done this before.START PULLING BACK.Samuel stands there, trying to hold it together.KEEP PULLING BACK.Patterson stands there too, trying to hold it together.KEEP PULLING BACK TO REVEALREDBEARD'S FUNERAL PYRE. Flames consume the body.Just Patterson and Samuel. No one else is there.The flames lick at the sky...HOLD...CUT TOA LARGE BABOON. ONE LEG IS TIED TO THE END OF THE BRIDGE. GETTING DARK NOW.PULL BACK TO REVEALPATTERSON AND SAMUEL, both armed, climbing the crane tower in use at the bridge, not far from the baboon. PATTERSON You're positive lions hate baboons? (Samuel is) Pebbles? (Samuel holds up a bag) Let's get it over with.CUT TOPATTERSON AND SAMUEL as they reach the crane tower platform, fifteen feet from the baboon.They help each other into position. Almost night.CUT TOTHE LARGE BABOON, baring its enormous teeth, shrieking out into the darkness.CUT TOPATTERSON AND SAMUEL on the platform. Samuel tosses a pebble toward the baboon and the baboon cries out again, not in pain but irritation-CUT TOTHE PLATFORM. PATTERSON AND SAMUEL ARE FLOODED BY MOONLIGHT. IT'S THE MIDDLE OF THE NIGHT.They're both tired. Samuel throws another pebble. The baboon cries out.CUT TOPATTERSON, TENSE, ON THE PLATFORM. MIDDLE OF THE NIGHT.He's tossing pebbles now as Samuel dozes. Paterson looks wild; only nervous energy is keeping him going now.CUT TOTHE SKY. The moon. Peaceful- then it turns bright yellow and frightening black clouds gather andCUT TOPATTERSON, blinking, coming hard back to reality because the sky is not yellow nor were there black clouds- he's starting to hallucinate.CUT TOPATTERSON AND SAMUEL ON THE PLATFORM.Samuel is awake now. Patterson stares at the river which is calm.CUT TOTHE RIVER, raging and black and lethal.CUT TOPATTERSON, hallucinating again.CUT TOJUST BEFORE DAWNand The Darkness suddenly is there, creeping across the bridge toward the shrieking baboon and the instant it appears-CUT TOPATTERSON. Firing-CUT TO-THE DARKNESS, and it's hit and it roars and goes down and-CUT TO-PATTERSON, turning, reaching for Samuel's rifle, grabbing it, turning back, ready to fire again-CUT TOTHE DARKNESS- gone.CUT TOPATTERSON AND SAMUEL, blinking, looking around. PATTERSON Where is it? SAMUEL (pointing down) Underneath. (beat) Somewhere.CUT TOWHERE HE'S POINTING. The superstructure for the bridge- it goes several levels beneath the level where the railroad will run.They look at each other- not good news and we find out why when weCUT TOEARLY MORNING LIGHT.Patterson and Samuel climb carefully down from their platform to the railroad level. They reach the railroad level. PAtterson releases the baboon which races away.CUT TOWHERE THEY ARE. At the end of the bridge where they began construction. The bridge, two thirds finished, stretches away before them.CUT TOThey begin to walk the incomplete bridge... carefully.....as they go the look down through the crevices of their level, making sure they miss nothing.CUT TOSAMUEL. Terrified. Holding his rifle extremely tightly.CUT TOPATTERSON. Ready for anything.CUT TOTHE BRIDGE up ahead of them. There are some holes.CUT TOPATTERSON AND SAMUEL slowing.CUT TOTHE HOLES. The nearest one is the largest.CUT TOPATTERSON. He goes on tiptoe, trying to see what's in the hole.CUT TOTHE HOLE. It seems empty.CUT TOPATTERSON AND SAMUEL. One step forward. Another. They hold their breaths.CUT TOTHE HOLE. It seems empty.CUT TOA SHOT FROM BELOW BRIDGE LEVEL- The Darkness is there.CUT TOPATTERSON, firing.CUT TOTHE DARKNESS, going down through another level of scaffolding.CUT TOPATTRSON AND SAMUEL, trying to track it.CUT TOTHE SCAFFOLDING. Nothing is visible.CUT TOPATTERSON AND SAMUEL- Frozen. They listen--nothing but their breathing.CUT TOPATTERSON, looking around everywhere.CUT TOTHE HOLE. Nothing.CUT TOTHE FIRST LEVEL of scaffolding. Nothing.CUT TOTHE SECOND LEVEL of scaffolding. Nothing.CUT TOSAMUEL, looking this way, that way.SHOCK CUT TOTHE HOLE AS THE DARKNESS JUST FUCKING FLIES OUT OF IT- Patterson falls back and fires and The Darkness is hit and goes down but it gets up andCUT TOPATTERSON, turning for Samuel's rifle--only Samuel isn't there--he's taken off for the trees at the end of the bridge andCUT TOTHE DARKNESS ROARING ANDCUT TOPATTERSON and he turns, starts running too, running across the narrow half-completed bridge and it's a bitch to do it without slipping or falling andCUT TOTHE DARKNESS, wounded, sure, but the mother can still run and it takes off after Patterson andCUT TOSAMUEL, making it to the end of the bridge and jumping for the nearest tree andCUT TOPATTERSON running for his life across the bridge andCUT TOTHE DARKNESS, closing the gap and ordinarily Patterson would be a dead man but even though The Darkness hasn't got its ordinary speed, it's still faster than Patterson andCUT TOPATTERSON, and he's never gone this fast in his life andCUT TOTHE TREE HE'S HEADED FOR, a different one from Samuel's and it's just up ahead andCUT TOTHE DARKNESS, closing andCUT TOTHE TREE, andCUT TOTHE DARKNESS, springing into the air now andCUT TOPATTERSON, diving for the lowest branch, grabbing hold with both hands, swinging his body up as weCUT TOTHE DARKNESS, barely missing as Patterson gets his body onto the branch and now comes this insane roar andCUT TOSAMUEL with his rifle, as he climbs higher into his tree.CUT TOPATTERSON in the next tree, climbing higher, until he's fifteen feet up.CUT TOTHE DARKNESS, on the ground, circling the trunk of Patterson's tree, raging with frustration.CUT TOPATTERSON, exhausted but it's okay now, he's safe, and as he looks across at the next tree not far away where Samuel is- SAMUEL (embarrassed) Afraid of lions.CUT TOPATTERSON. PATTERSON It's all right, Samuel- we all get hit- (Now he shuts up fast and-)CUT TOTHE DARKNESS, as it does this incredible thing- it starts to climb the tree after Patterson. Lions are cats and when they want to climb, up they go and that's what The Darkness is doing now, going up andCUT TOPATTERSON, and it's terrifying- he reaches for the branch above, climbing higher andCUT TOTHE DARKNESS, climbing higher too and the tree is sturdy but there is a four hundred pound thing rocking it now andCUT TOPATTERSON, going still higher but the branches are getting thinner and the tree is shaking, and he could fall-CUT TOTHE DARKNESS, climbing on, nothing can stop it-CUT TOPATTERSON AND THE DARKNESS, together in the tree, and there's no further Patterson can go and it's harder for The Darkness too, but slowly it moves in andCUT TOPATTERSON, calling out- PATTERSON Samuel! (And he gestures for the rifle and the instant he does-)CUT TOSAMUEL, and he takes the rifle between his two hands andCUT TOTHE DARKNESS, steadily moving in andCUT TOSAMUEL, tossing the rifle with great care and Patterson's less than fifteen feet away andCUT TOPATTERSON, hands out to catch it andCUT TOTHE RIFLE in mid-air andCUT TOPATTERSON, both hands ready andCUT TOTHE RIFLE as it strikes a tree branch, spins away to the ground.CUT TOTHE DARKNESS, almost on Patterson now andCUT TOPATTERSON, suddenly leaping out of the tree, and yes it's a long way and sure it's going to damage him but sometimes there aren't a lot of choices in this world andCUT TOSAMUEL, staring as Patterson falls andCUT TOPATTERSON, crashing hard to earth, stunned, hurt, ribs broken, leg broken andCUT TOTHE DARKNESS, and it's so big it's hard for it to get room to turn but it does andCUT TOPATTERSON crawling for the rifle, and he's in terrible pain but he reaches the weapon, grabs for it andCUT TOTHE DARKNESS, skittering down the tree and as it reaches the groundCUT TOPATTERSON, forcing himself to his feet andCUT TOTHE DARKNESS, a dozen feet away as with a roar it starts its charge.CUT TOPATTERSON, aims, fires andCUT TOTHE DARKNESS, hit again and down it goes again but up it comes again andCUT TOPATTERSON, firing the final shot andCUT TOTHE DARKNESS, hit again and it has to stop, it just has to--but it doesn't.It roars and roars and moves slowly toward Patterson.CUT TOPATTERSON; all bullets gone, no place to hide.CUT TOTHE DARKNESS. Still moving forward.CUT TOPATTERSON. He takes a step backward, falls backwards over a branch, lands hard andCUT TOTHE DARKNESS, framed between Patterson's legs. Six feet away, now four, now-CUT TOPATTERSON, helpless on the ground.CUT TOTHE DARKNESS, and the eyes glow--a branch is on the ground in front of it- it buries its huge teeth into the branch--now a long dying sigh... and it goes to the ground.CUT TOPATTERSON. Can't breathe.CUT TOTHE DARKNESS, dead, its teeth still buried in the tree branch.CUT TOPATTERSON. CLOSE UP. And suddenly he just empties and tears pour down his face and he begins to cry out loud, his body wracked with sobs. He manages to get to his knees, moves next to the animal-CUT TOPATTERSON AND THE DARKNESS. Just the sound of Patterson's tears...HOLD.KEEP HOLDING.CAMERA BEGINS TO RISE--WE ARE LOOKING AT THE BRIDGE NOW- AND IT'S FINISHED!-hundreds of people are watching as the first train goes oer it--Samuel is there- lighting up the world with his smile--and Patterson's there, too. He stands with Helena, his young son in his arms.Everybody smiles, everybody waves, the train goes triumphantly by.CUT TOPATTERSON. He looks wonderful again, vibrant and young. Watching him, you might think he hadn't been through the nightmare as he stands there, holding the boy tightly.But with his other hand, he fingers the lion claw necklace...HOLD ON PATTERSON.Now slowly dissolve to an African evening. Animals stretch from one horizon to the other. SAMUEL VOICE (over) Here we still wonder about them. How did they escape for nine months? And kill 135 men? And stop the railroad? (beat) And were they only lions? (beat) If you want to decide for yourself, you must go to America. They are at the Field Museum in Chicago, and even now, after they have been dead a century, if you dare to lock eyes with them... (beat) ...you will be afraid.In the distance, the animals continue to move. SAMUEL VOICE (over) Sleep well.HOLD ON THE ANIMALS. They seem to go on forever...FINAL FADE OUT.THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Ghost.txt b/unformated_scripts/Script_Ghost.txt new file mode 100644 index 0000000000000000000000000000000000000000..d65356bb80fd1ca01f673d859b0b2e3bae6379ea --- /dev/null +++ b/unformated_scripts/Script_Ghost.txt @@ -0,0 +1 @@ + "GHOST" Screenplay by Bruce Joel Rubin SHOOTING DRAFT INT. TRIBECA LOFT - DAY The CAMERA TRACKS slowly through clouds of moving dust. Shafts of muted light pierce the dense atmosphere. An eerie netherworld envelops us. Strange ghostly forms appear and disappear in the distance. They seem like apparitions. Broken timbers and dangling cables emerge from the smoky light. We see hints of a huge demolished space. An old white plaster wall FILLS THE SCREEN. Momentary blips of light flash across it. SOUNDS of street traffic are heard dimly in the distance. With startling impact, the SOUND of a sledgehammer explodes out of nowhere. The wall shudders. HAMMER BLOWS assault the audience. They are loud and jarring. The wall buckles. Chunks of plaster CRASH to the floor. The air fills with new swirls of white dust. The SLEDGEHAMMER smashes INTO VIEW. Beams of sunlight cut through the cracks, piercing the atmosphere like searchlights in a fog. A huge section of wall falls toward camera as more plaster billows into the air. We hear voices talking. MOLLY (O.S.) What a mess! SAM (O.S.) I told you! Through jagged holes we can make out three dim figures on the other side of the wall, all wielding SLEDGEHAMMERS. SAM I can't breathe. MOLLY Use your mask, dummy. One of the figures adjusts something over his face. Isolated rays of sunlight dance around him casting long shadows in the air. SAM (singing) "Volga boat..., man." Whoomph! His hammer pounds the wall. Molly laughs. ANGLE The CAMERA MOVES IN and for the first time we see them. MOLLY JENSEN, in her late 20's, has a bandanna around her hair and a workman's mask over her nose, but we can tell from her eyes and cheekbones that she is beautiful. SAM WHEAT, in his late 30's, is also hidden behind a mask, but he has a strong forehead and handsome features. Sweat is dripping down his brow, leaving streaks in the dust. CARL BRUNER, early 30's, removes his mask revealing a good looking young man with a fashionable two-day stubble. Both men have their shirts off. CUT TO: ANGLE BLACKNESS AND A LOUD THUD. Suddenly a shaft of light penetrates the darkness. Another thud and more light. We see a hole. The hook of a crowbar enters it, grappling with something around the edges. Then, with a tug and a loud yank, a huge section of tin ceiling crashes to the floor. Huge clouds of dust fly into the air. Molly looks up, astonished. MOLLY Sam, look, there's a whole eight feet up there. SAM And about eighty years of dust. MOLLY We have all this height, Sam. We could add a second floor and put our bedroom upstairs. That would leave all this space. SAM (eyeing her curiously) For what? MOLLY For space. Just space. SAM Be great for bumper cars. Carl laughs as he looks at Sam. Their bodies, covered with white powder, appear as strange, ghostly figures. CARL Sam, this may be none of my business, but I'm concerned you're doing too much coke. Sam glances down at his white body. They all laugh. MOLLY Hey, Sam, turn around. Sam obeys. Molly doodles on his chest, drawing a bow tie and the outline of a tuxedo jacket. Her lines are quick, accomplished, and subtly erotic. CARL (offering his body) How 'bout me? Molly nods. She reaches out and superimposes an armless female torso over his. His stomach jumps sensually as she touches it. Molly pulls back to admire her work. He looks like a Greek statue. CARL I'll never wash again. Molly laughs. ANGLE Sam, Molly, and Carl are holding their sledgehammers. Molly begins to count. MOLLY All together now. One, (they strike the wall with their hammers. The wall shakes) two, (they pound again. The wall begins to give) three. In unison, they hit it once more. A massive section of plaster and metal topples to the ground. New clouds of dust fill the air. Suddenly, Sam spies an old jar lying on the floor. Something rattles inside it, a penny. SAM Hey, look what I found. There's a penny inside. (he hands it to Molly) For luck in our new loft. It's a good omen. MOLLY (shaking her head, disagreeing) You're the good omen. She glances at him lovingly. Carl looks at the two of them and grins. As the dust settles we see, for the first time, the outlines of the space they are working in. It is a huge loft over four thousand square feet. Banks of windows run east and west. Molly steps back and admires the room. MOLLY It's gorgeous. CARL You guys lucked out. Hell, I bet you could sell it tomorrow and double your investment. MOLLY Sell it? Carl, we just bought it. CARL What I wouldn't do for a place like this. SAM It's gonna be great. OMITTED EXT. MARKET SECURITY BANK & TRUST - HEADQUARTERS - DAY It is morning rush hour. Sam and Carl, both wearing suits and ties, exit the Wall Street subway station and approach the Headquarters of Market Security Bank & Trust. CARL Oh, by the way, Sam, I had to move your 3:00 with Bob Kahan to 4:00 so you could squeeze in Gary Alan. He called yesterday and said he has to see you today about the Danway stuff. Three o'clock was the only time he could make it. Also, the board meeting in L.A. has been confirmed for the 12th. I got you on a 9:00 a.m. flight. Sam seems preoccupied. CARL (continuing) Hey, Sam, relax. This isn't brain surgery you're going into. SAM I hate pitching to these Japanese guys. They make me nervous. I mean, what am I supposed to say, "Who do you think'll win that big Sumo championship"? CARL Sam, you'll be fine. You're great with people. Sam's jacket flares open. He is wearing yellow suspenders. Carl notices. CARL (continuing) Hey, nice. I like those. Sam, not completely comfortable wearing them, buttons his jacket. SAM ...Molly. Carl smiles and then turns to admire a car going by. CARL Jesus, look at that, a Testerossa. That's the car I'm gonna drive when I'm making two hundred grand. SAM Better pay off your Mustang first. INT. BANK HEADQUARTERS, ELEVATOR - DAY Sam and Carl are standing on a crowded elevator. It is deadly quiet. Suddenly Carl elbows Sam and winks. There is something he wants him to do. Sam hesitates a moment, annoyed, and then relents. He clears his throat. SAM So Carl, what did the doctor say? CARL He said it was contagious. Very contagious. I shouldn't be going into work today. (he coughs loudly) But what could I do? He sneezes. People on the elevator freeze. SAM And what about the rash? CARL Not good. It's spreading everywhere. SAM On your genitals again? CARL Everywhere. He said be sure not to touch anyone. We see people trying to inch away. Carl coughs again. They hold their breath. The elevator stops at the next floor. All the passengers get off. INT. BANK HEADQUARTERS, EXECUTIVE OFFICES - DAY Sam and Carl, laughing, walk through a large office area bustling with activity. Employees, in various cubicles, are talking on telephones and punching information into computers. Sam heads into his executive office. Carl steps into a cubicle across the aisle. ROSE, Sam's secretary, approaches him. ROSE Morning, Mr. Wheat. SAM Morning Rose. Listen, when the Kobiashi people arrive, have Elenore take them right to the... ROSE They're already here. She points to a windowed conference room. Sam turns around and sees a large group of JAPANESE MEN standing inside. SAM They're early! ROSE I know. And Andy Dillon called. He said they need $900,000 transferred to Albany by noon. SAM Noon? Damn! He hurries over to Carl's cubicle. He is on the phone. Carl cups the mouthpiece. CARL Hold on. SAM Listen, Dillon needs $900,000 in Albany by noon. Can you transfer it to his payroll account? CARL Sure. Just let me have your MAC code. Sam pulls out his wallet and extracts a small address book. He jots the code numbers on a piece of paper and hands it to Carl. SAM Discretion, huh? CARL You bet. I'll do it right away. INT. WELL-APPOINTED EXECUTIVE BOARDROOM - DAY Sam and a group of fifteen somber Japanese businessmen are sitting around a large granite conference table. Sam stands up and speaks a simple greeting to them. SAM (in Japanese) Good morning, Gentlemen. On behalf of Market Security Bank & Trust, I welcome you to our city. The men smile happily and nod their heads in unison. MEN Arigato. They look to Sam, expecting more. Uncomfortable, he clears his throat. SAM I'm afraid that's the only Japanese I know. But I realize it's not our language fluency, or lack of it, that brings you to Market Security. Rather, I'm sure, it is our banking expertise, our ability to represent and anticipate all of your banking needs. As you know, we are not the largest banking establishment in New York. (his throat goes dry and he takes a sip of water) But, with combined assets of over 200 billion dollars, we have a firm commitment to the international marketplace. A SECRETARY enters the room and hands Sam a piece of paper. It reads "MOLLY ON LINE 2. URGENT." She hands him a phone. Sam looks surprised. He nods apologetically to his guests. SAM Excuse me. (he picks up the receiver) Hello? CUT TO: MOLLY dressed in a long, clay covered smock. She is in a potters studio. SEVERAL OTHER POTTERS are in the background working at their wheels. A five-foot high ceramic vase stands beside Molly. It is still wet. She toys with it as she speaks into the phone. MOLLY A man and a woman are lying in bed when the woman's husband suddenly comes home. Frightened, she tells the man he has to leave instantly through the window. He has no time to dress. CUT BACK TO: SAM straight-faced, listening and trying to look as if it is important. SAM Uh hmm. MOLLY (V.O.) It's raining outside. The man, running naked along the street, sees some joggers approaching. The entire contingent of Japanese men is staring at Sam. MOLLY (V.O.) (continuing) One of the joggers calls out. "Hey, do you always go jogging naked?" And the man says, "Yes, always." SAM Okay. MOLLY (V.O.) And then the other jogger says, "And do you always wear a condom?" The man looks down, embarrassed, and replies, "Only when it's raining." Sam squelches a smile. SAM Well, that's just fine. MOLLY (V.O.) Now just relax and have fun, okay? It's not the end of the world if you lose this account. You've always got me. SAM Thank you. I'll remember that. MOLLY (V.O.) See ya. He hangs up and stares at the Japanese men. A short smile crosses his face. CUT TO: A CARVED WOODEN ANGEL eight feet tall, ascending into an afternoon sky. As the CAMERA PULLS BACK we see that we are inside a building and that the angel is dangling outside an open doorway high above the street. A group of workmen grab for the angel, but have difficulty bringing it in. Suddenly Molly steps INTO the FRAME. MOLLY Where you guys from, the New York City Ballet? With a gutsy maneuver, Molly leans out over the sidewalk and tries to grab hold of the ropes. She can't reach them. Suddenly a pair of hands grabs her around the waist. She screams. SAM Saved your life. Sam laughs as he pulls her back into the loft. She does not think it is funny. MOLLY You bastard. Don't do that to me. You scared me half to death. SAM Better than seeing this gorgeous body splattered all over the street. Here, look out. Sam jumps up, grabs hold of the door's top molding, and swings out over the sidewalk. Molly gasps. Sam's feet push at the angel and send it swinging away and then back toward the loft. Quickly he jumps back, grabs hold of it, and brings it in. The workmen applaud. Molly eyes him with admiration. Suddenly we hear a voice call out. CARL (O.S.) Sam? Molly? Anybody home? Molly looks to Sam. MOLLY Carl? Did you invite him? SAM (under his breath) I couldn't keep him away. Carl enters, shakes Molly's hand, and pats Sam on the back. CARL Hi, Moll. Hi, Sam. So, how's it goin? Before they can answer, a WORKMAN turns to Molly. WORKMAN (V.O.) Where do you want this? MOLLY In the bedroom. INT. LOFT - DAY As the angel pulls away from camera, we see the newly decorated loft for the first time. It is painted now in lovely pastels. The floor, a huge gymnasium-like expanse, is lacquered with polyurethane. Furniture and boxes are piling up along the walls. Dominating the space, with a kind of surreal presence, are a large number of Molly's sculptures and ceramics. There is also a vintage jukebox. Carl is impressed. CARL Wow! The place looks great. Really great. MOLLY You like it, huh? CARL "Like" is hardly the word. I never imagined it would be this beautiful. This is incredible. A mover lugs in a heavy old chair. Molly sees it. MOLLY Sam, you kept that chair? SAM What do you mean? It's comfortable. For T.V. I love that chair. MOLLY But it doesn't go with anything. SAM It goes with me. MOLLY It's okay, I'll paint it. Sam pinches her ass. Molly smiles. INT. KITCHEN - DAY - LATER Sam, Molly, and Carl are sprawled out on the floor, eating from Cartons of Chinese food. Frank, a gray cat, eats beside them. Unpacked boxes are scattered everywhere. SAM It was the middle of December. I was sitting in my old office, the one Charlie's in. Suddenly, I heard this woman screaming. I thought someone'd been shot or something. MOLLY They took away my MasterCard. It was Christmas, for godssake. SAM She was four thousand dollars over her limit. MOLLY It wasn't four thousand. And I'd already sent in the payment! You're the ones that lost it. SAM She's still angry. MOLLY No I'm not. The cat begins nibbling Sam's food. SAM Get outta here, Frank! (the cat scampers away) You should have seen her. All pink and flushed. Her skin was gorgeous, like a rose. And she's screaming, demanding to see the president. So Wilton brought her to me. CARL You? You weren't even a VP yet. SAM She didn't know that. Carl smiles. MOLLY Can you believe it? And the next thing I know, he's telling me his life story. I couldn't believe it. Everything. About his divorce, how he'd just arrived in New York, how he didn't know any women. And all with this Montana accent. SAM What's a Montana accent? MOLLY The one you always slip into it when you get nervous. "Yes, Ma'am. Thank you, Ma'am. Can I fondle your breasts, Ma'am?" SAM (laughing) I wasn't nervous. MOLLY Admit it. You liked me. You were interested. SAM (matter of factly) I thought you were cute. MOLLY Cute? (looking at Carl) Do you believe this? I should have been Picasso's mistress. I should have been living in Barcelona or Paris. But no, I'm moving in with a New York banker who thinks I'm cute. She looks at Sam and grins. Carl is staring at Molly, obviously turned on by her. He is embarrassed when she catches his gaze and quickly looks away. OMITTED INT. MOLLY'S STUDIO - NIGHT Molly, dressed only in a T-shirt, is sitting at her potters wheel throwing a series of pots. Sam enters the studio. He is barefoot, shirtless, wearing jeans. SAM What are you doing? MOLLY I felt inspired. SAM At 2:00 am? She nods and presses her hands into a pot that is forming in front of her. Sam watches the sensual movement of her fingers, molding and forming the clay. She is forceful, assured, gifted. The clay responds to her slightest effort. Slowly, almost unconsciously, Sam reaches for her shoulders and begins kissing them. SAM (continuing) You notice Carl's eyes today? They were all over you. MOLLY What? Are you jealous? Sam, let me tell you something. He's not even looking at me. It's you he idolizes. He doesn't see me at all... Anyway, he's not my type. Sam reaches over her and gently adds his fingers to the clay. Molly looks up at him. MOLLY (continuing) What are you doing? SAM I feel inspired. His hands dig into the clay. Molly smiles. Their fingers seem to dance together. After a moment, she reaches up to him, her clay-covered fingers streaking his face and curving down to his chest. Sam grins and reaches down to her. MATCH CUT TO: SAM'S FINGER as it presses two buttons on his jukebox. We watch as the mechanical arm selects a record and slowly, sensuously, lowers it to the turntable. The arm hovers over the record and then descends. It begins to play. The song is "Unchained Melody" by the Righteous Brothers. SAM AND MOLLY are dancing in the middle of the dark loft. Moonlight pours through the windows and shines off the floor. Wads of packing paper swirl sensuously around their feet. Molly runs her fingers down Sam's naked back. The moment is sweet and erotic. We watch as Sam slowly draws his fingers down over Molly's face, gently caressing her forehead, her eyes, her lips. Sam slides his hands under Molly's T-shirt, slowly moving them toward her breasts. Her breathing slows. They dance silently, her hair swaying in the soft light. We hear the sounds of their bare feet on the highly polished floor. Sensuously, Molly's shirt lifts above her navel as Sam presses into her. Their stomachs touch and part and touch again. She bites her lip. Sam eyes her moonlit form as she strokes his chest, slowly moving her fingers down his torso, around the curve of his hips, and then digging into the back of his jeans. Sam leans into Molly and nips at her neck. She stops dancing. Her eyes close. She stands absolutely still. Sam's hands move to her backside. He pulls her closer. DISSOLVE: LIVINGROOM - NIGHT SAM AND MOLLY, making love on the livingroom carpet. Paper and packing materials crumble beneath them and scatter across the floor. For all their sensuality, it is their hands and eyes that are most expressive, revealing a tenderness that is deeply moving. Their lovemaking is full of love. JUKEBOX The song ends. The jukebox arm retracts and gently slides the record back into its slot. DISSOLVE: OMITTED BEDROOM - NIGHT Sam and Molly are lying together silently. Molly gazes at him. MOLLY What's the matter? SAM The matter? MOLLY I can tell. SAM Nothing... really. MOLLY You're worried, aren't you? About moving in together? SAM No. Not really. MOLLY Then what? The promotion? SAM I don't know. A lot of things. I just don't want the bubble to burst... Whenever something good happens to me I'm just afraid I'm going to lose it. Molly gently strokes his head. MOLLY You know what? SAM What? MOLLY I love you. I really love you. He smiles and strokes her cheek. SAM Ditto. Suddenly the T.V. blares into the room. Sam jumps up, grabbing the remote control unit from under his buttocks. Molly laughs as he turns the SOUND DOWN. The news is on and they are showing the remains of an airline disaster. Sam stares at the tube. SAM Oh Jesus. Another one. MOLLY Don't watch that stuff. He motions to wait. Dead bodies litter the screen. CORRESPONDENT ...It is estimated that 34 people died in the crash, the second in less than two weeks. The T.V. goes OFF. Sam, confused, spins around. Molly is holding the remote control. She nods for him to lie down. SAM I should cancel my L.A. trip... These things always happen in threes. MOLLY Threes? Sam, get serious. Besides, you lead a charmed life. SAM Yeah. So did they. Sam looks at her and then back at the screen. SAM (continuing) Amazing, huh? (he snaps his fingers) Just like that. Blackout. EXT. WALL STREET ESTABLISHING SHOT - DAY OMITTED INT. SAM'S OFFICE - DAY Sam is sitting at his computer. His address book with his access codes is sitting open beside him. He seems perplexed by something happening on the screen. After pushing a series of buttons and getting the same response, he whacks the computer on the side. Carl, walking in the door, sees him. Sam looks up sheepishly. SAM A glitch. What's up? CARL The Mark Greenberg and Larry White accounts. I can't get in. Your MAC code doesn't work. SAM I changed it. CARL Why? What's up? SAM Nothing. I just want to nose around a bit... Can you keep your mouth shut? CARL Yeah, sure. Tell me, what's going on. SAM I think I've stumbled onto something. There's too much money in these accounts. CARL Too much money. That's ridiculous. How could there be too much money? SAM That's what I keep asking myself. CARL It must be the computer. SAM I've been checking. CARL Yeah, Mr. Fixit. (he hits the computer like Sam did and laughs) Come on, move over. Let me see what I can do. SAM Not yet. I'm gonna dig around a bit. CARL Okay, okay. Just call me when you're ready for help. (he heads for the door) So, what are you and Moll doing tonight? SAM We're going to the theatre. She wants to see "Macbeth" at the Spring Street Repertory. Carl winces. Sam smiles. INT. SPRING STREET REPERTORY - NIGHT Sam and Molly are sitting in the fifth row of a crowded auditorium. He is sound asleep. ANGLE STAGE A scene from "Macbeth". Sam begins to snore. Molly grabs his nose. He jerks awake. Molly grins. EXT. SPRING STREET REPERTORY - NIGHT Bright marquee lights sparkle overhead as Sam and Molly exit the theatre. It is a beautiful brisk night. SAM I loved it. MOLLY I could tell. She smiles and squeezes his arm. They walk silently down a dark street, heading toward their loft. The pavement is full of shadows. MOLLY (continuing) Did I tell you what Marcia said? SAM Six times. MOLLY Six? No I didn't. Sam, don't be so blasÈ. I'll have two major pieces in the show. The New York Times reviews her gallery all the time. This could be huge. SAM Molly, the "New York Times" is some frustrated little critic with pimples on his ass who flunked out of art school. Who cares what The New York Times thinks? MOLLY Eight million readers, that's who. SAM Your work's beautiful. That's a fact, Moll. It doesn't matter what anyone thinks. We can tell from the expression on Molly's face that it does. Sam puts his arm around her. She nestles close to him. Then, suddenly, she stops and looks up. There is an unexpected seriousness in her voice. MOLLY (continuing) I want to marry you, Sam. SAM (taken aback) What? MOLLY I've been thinking about it for days. More than thinking. I want to do it. I want to jump in whole hog... (she pauses) What is that look for? SAM (staring at her) It's just been so long since... I mean, you never wanted to talk about it. There is a long pause. MOLLY Do you love me, Sam? SAM What do you think, Moll? MOLLY How come you never say it? SAM What are you talking about? MOLLY You say "ditto". It's not the same. SAM People say "I love you" all the time. It doesn't mean anything. MOLLY Sometimes you need to hear it. Sam stops and stares at Molly. He pauses quietly. He is about to speak when A MAN'S FACE emerges from the shadows behind him. Molly gasps. Sam spins around. AN INTENSE LOOKING MAN is standing in the darkness between two buildings. He stares at the couple for a moment and then steps onto the sidewalk. Sam and Molly stand motionless. The man hesitates and then begins walking the other way. Molly exhales a deep breath. Sam takes Molly's arm and they continue briskly down the street. Suddenly they hear FOOTSTEPS coming after them. MOLLY What should we do? SAM Let me handle this. Sam stops abruptly and turns around. A gun is staring him in the face. Molly screams. WILLIE Your wallet! Sam waits a beat. MOLLY Give it to him! Sam reaches for his jacket. The Mugger grabs his wrist and then carefully pulls the wallet out himself. SAM Take the money. Just leave the wallet and my... He swipes Sam across the head. Molly screams. The Mugger whacks her across the face. Sam explodes, plowing into the mugger with all his might. MOLLY Sam, No! There is a wild, all out brawl. Sam fights like a mad man. Suddenly the GUN goes off. The Mugger panics and takes off running. Sam charges after him. MOLLY Sam!!!!! The two men run down the dark street, but the Mugger is already a full block ahead and disappears into the shadows. Sam gives up. Slowly he turns and begins walking back toward Molly. We can see Molly dimly at the end of the block as Sam approaches. She is screaming for help. Frightened, Sam calls out. SAM Molly! She doesn't answer. Sam tenses and starts running toward her. He is just three feet away when suddenly he stops. An expression of pure terror overwhelms his face. CUT TO: CLOSEUP - MOLLY drenched in blood. Her eyes are glazed, on the verge of shock. Panting, she stoops down to the curb as THE CAMERA TRAVELS WITH HER. She grabs hold of something lying in the shadows and pulls it toward her. It is Sam's dead body she is holding in her arms. Sam's ghostly form, still solid to all appearances, stands beside Molly. His eyes are awash in horror and confusion. He seems unable to move. THE CAMERA HOLDS on his face as the full impact of his situation dawns in his eyes. Suddenly he lets out a blood-curdling scream. SAM No!!!!!! He jumps down toward his body and reaches out to grab hold of his motionless form. His hands make a strange SOUND as they pass right though it. It is terrifying. Sam jumps up, crazed, frenzied, and begins circling Molly. It is as though he is trying to undo what has been done. SAM (continuing) This isn't happening. It's not happening. He reaches out to Molly for help. His hand cuts through her shoulder. He screams. FOOTSTEPS. People are running down the street. The sound of SIRENS can be heard in the distance. Two MEN run toward Sam. He yells out at them. SAM (continuing) Help me! They run right through him. He gasps in stunned terror. Sam watches helplessly as they reach his body. Molly looks up and begins screaming hysterically. One of the Men grabs her as the other goes for Sam's wrist. There is no sign of life. The first Man holds Molly back as his friend stoops down and begins some form of cardio-pulmonary resuscitation. There is no response. Sam bends down, trying desperately to help. It is a futile gesture. SAM Do it! Do it! The Man bangs on Sam's chest. Blood gushes from the wound. Molly recoils. He bangs again. CUT ABRUPTLY TO: INT. LOFT - NIGHT Sam shoots up in bed, panting. It is dark. He stares around the loft in sudden confusion. With a lurch he flicks on the night light. Molly is lying beside him, her head buried beneath a pillow. Sam seems stunned. SAM Molly? Molly! Tears stream down his face. Molly stirs. MOLLY Sam? What's the matter? Is something wrong? SAM Molly! Sam is so relieved to hear her voice that he can hardly breathe. MOLLY What is it, honey? Molly, groggy, tries to sit up. Sam reaches out for her. As she turns around, we see A SKELETEL VERSION OF HER HEAD staring at the camera. It speaks. MOLLY (mocking him) What is it, honey? Sam bolts upright, screaming. It is a scream so consumed by terror that one fears it will never stop. CUT UNEXPECTEDLY TO: CLOSE-UP OF SAM asleep in bed. He is thrashing at his pillow and moaning. Suddenly, a hand reaches out and touches his shoulder. Sam jumps straight up in bed and kicks wildly at the sheets. CUT TO: SAM'S P.O.V. Molly is sitting on the bed looking at him, afraid. Sam stares down at her. He is breathing heavily, not trusting his own senses. His hands clutch at the wall. SAM What's happening to me?! ANGLE Suddenly, a brilliant white light shoots into the room as a host of glowing forms, radiating an intense inner light, float before us. A blinding tunnel spirals in an infinite vortex behind them. Sam is awed and confused. We sense that the light is enchanting him. The entire room begins to disappear in the light. Molly screams. MOLLY Don't leave me. I need you, Sam. ANGLE Sam turns and sees Molly, only she is not in the bed. She is back on the street. To his amazement, he is on the street, too, still bathed in the soothing light. Frightened, he calls out to her. SAM Molly! She does not hear him. He calls again. SAM (continuing) Molly. There is no response. Sam, deeply troubled, hesitates for a moment. He is torn between Molly and the light. Then, in a painful, but conscious gesture, he turns from the light and walks toward Molly. At that instant, the light behind him disappears with the sound of a pneumatic door closing. There is a sense of terrible finality as the tunnel evaporates into the void. Sam is left on the dark pavement. He stands there a moment, as if in shock, and then begins running toward Molly. An AMBULANCE is rounding the corner. CUT TO: OMITTED EXT. NEW YORK STREETS - NIGHT Swirls of light speed toward the ambulance as car headlights and streetlamps merge in a wild dizzying rush. The SIREN wails into the night. INT. AMBULANCE - NIGHT Sam's body is lying in the back of the ambulance as a PARAMEDIC applies electric paddles to his chest in an effort to save him. After a moment, he looks up at Molly. We can tell from the expression in his eyes that it is hopeless. Sam yells. SAM Don't stop! I'm not dead! Molly, kneeling over Sam's body, grabs him and begins to cry in long terrible sobs. INT. HOSPITAL EMERGENCY ROOM - NIGHT A DOCTOR, comforting Molly, accompanies her from one of the emergency operating rooms and leads her through a pair of swinging doors into a separate waiting area. We see TWO POLICEMEN and TWO DETECTIVES stand up and approach her. Sam doesn't want Molly to go and begins to follow her, but then seems torn, afraid to leave his body. He turns back just as his corpse, covered in a green sheet, is wheeled into the corridor and parked alongside the wall. Sam seems stunned and inconsolable as he sits down beside it. A wrinkled OLD MAN approaches Sam and joins him on the bench. He begins talking. MAN So, what happened to you? Sam is startled, amazed that the man can see him. SAM What? MAN You're new, huh? I can tell. SAM Are you talking to me? MAN Relax. It ain't like before, you know. It's a whole new ball-a-wax. SAM Who are you? MAN I'm waiting for my wife. She's in 4C. Cardiac wing. She's fighting it. The man sticks his head into the green sheet covering Sam's body. His head disappears. Sam is terrified. MAN (continuing) Shot, huh? That'll do it every time. Poor bastard. Well, get used to it. You could be here a long time. (leaning in close) I'll tell you a secret. Doors ain't as bad as you think. Zip zap. They ain't nothin' at all. You'll see. You'll catch on. Suddenly there is a loud COMMOTION and we see several PHYSICIANS operating furiously on an Old Man lying on the table beside them. It is a life threatening situation and they seem to be failing. MAN (continuing) He ain't gonna make it. I've seen it a million times. He's a goner. See? Here they come. Lucky bastard. Could have been the other ones. You never know. ANGLE Before Sam can understand what is happening the entire room fills with a strange preternatural light. Suddenly he looks up and freezes. The amorphous forms he saw right after he died are floating down through the ceiling and reaching for the body on the operating table. They are emitting a powerful light. DOCTOR Hurry, we're losing him. MAN What'd I tell you? Bingo! The glowing forms take hold of the man's spirit and help extract it from his body. His physical form changes instantly from a solid object into an ethereal substance. Sam stares in amazement as the strange beings carry the spirit upward. They evaporate through the ceiling. DOCTOR He's gone. ANGLE The light in the room grows dull instantly. Nurses cover the dead man with a dark sheet as the doctors step away. Sam turns to the Old Man. SAM Who are you? What's happening...? The Man isn't there. An Orderly approaches the gurney with Sam's body and begins pushing it toward the elevator. Sam jumps in front of him. SAM (continuing) No! CUT TO: SAM'S P.O.V. as the stretcher begins to roll right through him. The penetration of his physical space is horrifying to Sam. He stands, almost paralyzed, as the body of the Orderly intersects with his. It is a stunning moment of extraordinary strangeness as we witness the atoms and molecules of the Orderly's body passing through his. It is like a glimpse of ultimate chaos, the universe within. Then, in a flash, the Orderly has passed through, but Sam is still shaking. He stares up at the ceiling. SAM Oh God, help me. CUT TO: SAM'S P.O.V. as the ceiling lights and acoustical tiles begin to blur. The hallway grows dark. It is as though Sam is blacking out. EXT. CEMETERY - DAY Slowly, images begin to emerge out of the blackness. It takes a moment to realize that they are scenes from Sam's funeral. The CAMERA TRACKS along rows of mourners as seen from SAM'S P.O.V. He seems to be floating among them. We hear snippets of conversations. It all seems strangely odd and disjointed. Time seems unfixed, malleable. We see a MINISTER standing beside the grave. MINISTER As we say farewell to our friend Sam Wheat, we are reminded of his kindness, his generosity, his buoyancy of spirit... The CAMERA KEEPS MOVING. Sam's associates from the bank are among the mourners. MINISTER (continuing) All that we treasure, our friends, our loved ones, our body, our mind, are but on loan to us. We must surrender them all. We are all travelers on the same road which leads to the same end. Sam notices a WOMAN in a fancy print dress comforting one of the mourners. The woman looks up at him, smiles, and waves. Sam is surprised. He looks behind him, but no one is there. As he turns back, the woman is walking away. She appears just like any normal person until she approaches a large gravestone and passes right through it. Sam is shocked. MINISTER As our loved one enters eternal life, let us remember that love, too, is eternal, that although we will miss him, our love will light the void and dispel the darkness. Suddenly, Molly ENTERS THE FRAME. Sam spots her. The CAMERA STOPS. SAM Molly. She does not respond. RUTH, her sister, leans over to her. Tears form in Molly's eyes. A hand reaches out to give her a tissue. Molly looks up. It is Carl. She gives him her hand. He squeezes it with affection. MINISTER ...and into Your hands we commend his spirit. May he rest in peace. In the name of the Father, the Son, and the Holy Ghost. Amen. The casket is lowered into the ground. Molly approaches the grave. She us a little unsteady. Carl takes her elbow. A shovel is placed in her hands. With great emotional effort she lifts a shovelful of dirt and tosses it onto the casket. It lands with a REVERBERATING finality. Sam shudders. DISSOLVE: LONG SHOT - PEOPLE leaving the cemetery. We hear them talking. VOICES What time you going back to work?... What's the buzz on Digital? It's sad. He was so young... How's your new Honda?... Going away this weekend? CUT BACK TO: CLOSEUP - SAM desperately alone. Down the hill, people are getting back into their cars. Sam can see Molly being let into a limousine. He stands there staring at his own casket, grieving. Then, after a moment, he turns away. Separating from his body, from his own grave site, he runs after her. DISSOLVE: INT. LOFT - DAY Molly is sitting on the couch in the middle of the loft surrounded by FRIENDS and WELL WISHERS. A young GIRL, her niece, cuddles in her lap. People are eating and milling around. Slowly THE CAMERA BEGINS TO PAN. It ends on Sam, standing alone in a corner. In the midst of all the activity he is lost and alone. FADE TO BLACK: ANGLE Raw clay on a potter's wheel spins hypnotically, sensuously. Molly's wet hands press in, shaping it, molding it. A bowl begins to appear. The camera pulls back and reveals Sam. He is sitting on the floor behind her, knees pressed to his chest, rocking aimlessly. Molly looks away from the bowl she is forming. It distorts and bends. Angry, she digs her finger into it. The bowl disintegrates. Tears form in her eyes. Frank jumps up on the bench beside her. Molly stares sadly around the room. Quietly, she begins talking to herself, to the air. MOLLY Oh God, Sam... Sam looks up. MOLLY (continuing) I picked up your shirts this morning. I don't know why. Mr. Reynolds said to tell you hello. I broke into tears. It's so hard... Sam walks over to Molly. Desperate for contact, he reaches out to touch her cheek, but then hesitates and pulls back. MOLLY (continuing) I think about you every minute. It's like you're still here, like I can feel you, Sam. He stares at her, hoping, wondering. SAM I am here, Moll. I am. ANGLE Suddenly, as if hearing Sam's voice, the cat begins to hiss. Molly spins around. The cat scans the room. Unexpectedly, Sam's and the cat's eyes meet... With a wild SCREECH, the cat jumps from the bench and takes off running. Sam recoils. Molly stands up. MOLLY Frank, what's wrong? Frank? The cat is nowhere to be seen. All of a sudden, Molly freezes. Sam is standing right beside her. It is almost as though she senses his presence. MOLLY (continuing; whispering) Sam? She holds very still for a moment. Sam watches breathlessly, loving her, wanting her. Then quietly, hopefully, he reaches out. It is a useless gesture. In a moment of great poignancy, Molly shakes her head and walks right through him. He remains IN THE FRAME, alone. INT. BEDROOM - DAY Sam, stands in the corner of a large, walk-in closet, watching as Molly goes through his effects. Boxes, scattered underfoot, are filling up with his life's possessions. Molly reaches for a shirt. SAM Wait, Moll. Not that one. That's my favorite... She tosses it into a box and then takes down a sweater. It is obviously handmade, about four sizes too big. Sam recognizes it. Molly holds the sweater tenderly and presses it to her cheek. After a moment she puts it back. Then, in a surprising outburst, she cries out and begins flailing at the shelves. Everything comes flying off. Sam reaches out to console her. SAM (continuing) Molly, don't. Unexpectedly, Carl comes rushing into the room. He takes hold of Molly and sits her on the bed. SAM (continuing) Say something. Help her, Carl. CARL It's hard. It's very hard. SAM (sarcastic) Oh good. That's really good. CUT TO: OMITTED INT. KITCHEN - DAY Molly and Carl are standing over the kitchen table folding piles of Sam's clothes and placing them into boxes. As Molly lifts one of Sam's jackets, something falls from a side pocket. It is his small black leather address book. Sam stares at it with recognition. Carl sees the book fall and stoops to pick it up but Molly gets it first. MOLLY Sam's address book. She skims through it a moment, but the memories it evokes are too powerful for her. She places it carefully into a box labeled "Sam's Things -- Valuable" and continues packing. She finds the old jar with the penny in it. It's marked "For Luck". She holds it tenderly for a moment and then places it on the nightstand beside the bed. Carl discovers some old ticket stubs in another of Sam's jackets. He examines them. CARL Dave Brubeck. Newport '86. Should I toss 'em? MOLLY No! SAM Molly, we hated that concert. She takes the stubs and lovingly puts them in the box. Sam groans. Carl finds a half used package of Rolaids. Molly takes them from his hand and puts them in the box, too. CARL Oh, you want to save those? SAM Rolaids? What are you doin' Moll? Molly just stares for a moment. MOLLY I miss him, Carl. Carl comes over and takes her hand. CARL We all do. Molly buries her head on his shoulder. Carl strokes her hair. CUT TO: ANGLE Carl lifting a pile of boxes and carrying them to the door. Suddenly Molly yells out. MOLLY Wait. Wait. Not that one. She hurries over and pulls the "Valuable" box from the stack in his arms. He looks at it with surprise. CARL Oh, shit. I'm sorry. I don't know how that got in there. He turns to the door and then back to Molly. CARL (continuing) Hey, Moll. Why don't you come? It's like summer outside. MOLLY No. CARL Just for a stroll. It'd be good to get out. Molly shakes her head and turns away. MOLLY I can't do it Carl. Carl, annoyed, walks over to her. CARL Molly... you're not the one who died! Molly stops and looks at him. He has struck home. After a moment she nods her head. MOLLY Okay. Just a short walk. He gently squeezes her shoulders. CARL Thata girl. Before Sam even understands what is happening, they are exiting the loft. Sam jumps up and runs after them. SAM Hey, Molly! Wait! ANGLE The door slams shut. Sam is locked inside. Frightened and desperate, he rushes for the door knob. His hand sinks through it. There is a strange sound, like ELECTRICAL STATIC, as it penetrates the metal and wood. Frightened, he yanks it back. Sam circles the space several times and then returns to the door. Clenching his teeth, he reaches out again. As his hand pushes up against it, we sense that he experiences a subtle resistance. The hairs on the back of his hand vibrate as his ghostly form presses into it. We sense Sam's fear as his entire arm DISAPPEARS FROM VIEW. The grating ELECTRICAL SOUND shudders up his spine. The sight of his amputated limb is unsettling but Sam does not pull back. Slowly he edges in and presses his face into the molecules of the wood. CUT TO: SAM'S P.O.V. as atoms and electrons spin past him at frightening speed. There is a sense of a universe in total chaos. Terrifying SOUNDS charge through his body. CUT TO: SAM pulling back from the door. He is trembling. INT. LOFT - AN HOUR LATER THE CAMERA MOVES SLOWLY THROUGH THE LOFT AND GRADUALLY DISCOVERS SAM. He is sitting in a corner singing quietly to himself. SAM "Singing bye bye, Miss American Pie. Drove my Chevy to the levy, but the levy was dry. Them good ol' boys were drinkin' whiskey and rye, and singing this'll be the day that I..." He stops, realizing the last word of the song. He sits silently, staring at the wall. Suddenly, there is a SOUND at the door. Sam's eyes shoot up. The door begins to open. Sam stands up. His face begins to tighten. We know instantly that something is wrong. His eyes fill with a fury we have not seen before. The Mugger, the man who killed Sam, is entering the loft. He has a key in his hand and puts it in his pocket. Sam is stunned. The Mugger locks the door. ANGLE Sam goes wild. He shoots at the man with all his might, attacking him unceasingly, but with no effect. His hands and feet pass right through him. SAM You motherfucking bastard! What the hell are you doing here? What are you doing? The Mugger, unaware that anything is going on, glances around nervously as he moves through the vast space. ANGLE Entering the bedroom, the Mugger goes to the dresser and quickly examines the drawers. He is very neat, careful to leave no sign that he was there. He seems to be looking for something but cannot find it. ANOTHER ANGLE Suddenly we hear a KEY TURNING in the front door. The Mugger seems startled. He dashes from the bedroom and hides quickly behind one of the large sculptures. We hear the door OPEN. Molly is standing there. Sam goes crazy. SAM Molly, no! Get out! Molly closes the door and locks it shut. Sam freezes as she heads for the bedroom. She walks right past the Mugger. To Sam's horror she stops and turns to look around. There is a curious expression on her face. Seeing nothing she continues through the loft. The Mugger pulls out his gun. Sam looks on in absolute terror. Molly's purple blouse hits the floor as she begins to remove her clothes. She turns on the radio. Sam doesn't know what to do. The Mugger seems excited by Molly's semi-nudity. He begins skirting the edges of the loft, moving toward the bedroom. Sam is crazed. Suddenly, out of nowhere, Frank appears at the Mugger's feet. Sam's eyes light up. He drops to his knees, crawls over to him, glares into his eyes, and screams. ANGLE - THE CAT SCREECHES and jumps straight up. His claws shoot out at the mugger's face, ripping into the flesh near his eye. Blood appears. The mugger sees it dripping through his fingers. The sight of it upsets him. He grabs the cat angrily by the neck. It SQUEALS. Molly in her bra, peers from the bedroom. MOLLY Frank, what's wrong? The Mugger holds the cat's mouth shut. Seeing and hearing nothing, Molly steps back into the bedroom. The Mugger takes the cat and throws it across the floor. Holding his eye, he gets up and rushes for the exit. Sam runs after him, but the door closes before he can get through. He is left inside. ANGLE - SAM stares at the closed door in a wild panic. He doesn't know what to do. Then, summoning all of his courage, he takes a blind, running slow motion leap and charges through it. SAM'S P.O.V. There is a brief sense of passing through a molecular force field, a miniature universe inside the door. ANGLE - SAM as he emerges from the door and lands on the other side. He seems excited to have survived and is very pleased with himself. EXT. NEW YORK STREET - DAY The Mugger steps out onto the sidewalk and hurries toward the subway. A patch of sleeve soaks up the blood from his eye. Sam starts after the man but instantly freezes. Hordes of people crowd the sidewalk. The crush of humanity is frightening. Two lovers, holding hands, are coming right at him. Before Sam is able to move, we hear the sound of their arms cutting through his ghostly form. Sam tries instinctively to dodge the crowds but people approach him from all angles. We hear a BABY CARRIAGE roll through Sam's feet and he nearly falls over trying to avoid it. His instincts will not let go. A barrage of images and SOUNDS assaults Sam. It is more than he can handle. Still, he refuses to give up. He stays close to the Mugger. EXT. NEW YORK SUBWAY STATION - DAY The Mugger heads down a flight of steps into the IRT. INT. SUBWAY TRAIN - DAY The Mugger gets onto a crowded subway car. Sam stands near a corner of the train watching him. Suddenly, Sam notices that something odd is happening. One of the riders at the other end of the car is walking toward him. As he approaches the Mugger, he does not stop, but passes right through him. It takes Sam a moment to realize what is happening, but then it is too late. ANGLE - THE OTHER GHOST With unholy fury the New Ghost charges into Sam. The attack is so unexpected and ferocious that Sam has no sense of how to defend himself. With unexpected power, the Ghost grabs hold of him and slams him into the subway door. Sam's head plows right through it. ANGLE on Sam's head sticking outside of the car as the subway tunnel rushes past him. There is a panicked look on his face. The look intensifies as he turns and sees another train barreling down on him. ANGLE on Sam's body inside the car still struggling with the Ghost as the other train shoots by the window. With a huge gasp, Sam shoots back into the car, and wrests himself free of the Ghost's hold. The Ghost flies after him, screeching. Sam surges through the door at the end of the train and finds himself on the bridge between the subway cars. The subway Ghost stares at him through the window with a wild, insane look. GHOST Stay off! This is mine! ANGLE FAVORING WINDOW With shocking impact, the Ghost's fist goes flying into the window. To Sam's terror and amazement, the window SHATTERS. The Ghost smiles. Passengers scream and Sam dives for cover. Sam stares at the broken glass with fascination and confusion. Suddenly, the train moves from the darkness of the tunnel into broad daylight. EXT. ELEVATED SUBWAY STATION - DAY The train stops at an elevated subway platform in Brooklyn. OMITTED SAM'S P.O.V. Sam sees the Mugger exiting the train and frantically rushes after him. EXT. BROOKLYN STREETS - DAY Sam follows the Mugger down a long covered staircase to the street. EXT. 321 PROSPECT PLACE - DAY The Mugger heads toward 321 Prospect Place. The streets are lined with old apartment buildings. Many windows are boarded up. TWO MEN, standing on the corner, are slamming a piece of heavy machinery onto the pavement. Sam hears GOSPEL MUSIC coming from a storefront church and notices a sign, "SISTER ODA MAE BROWN, MEDIUM, SPIRIT READER, ADVISOR." He looks up to a third story window and sees a similar sign with day-glo arrows pointing to the entrance on the street. He seems curious, but then realizes that the Mugger is nearly halfway down the block. He turns and rushes after him. EXT. 321 PROSPECT PLACE - DAY Sam and the mugger approach a tenement building at 321 Prospect Place. INT. TENEMENT HALLWAY - DAY Sam follows the Mugger into the building and watches as he opens the mail box for APT. 4D. The name scribbled across it is WILLIE LOPEZ. There's no mail. INT. WILLIE'S APARTMENT - DAY Sam enters Willie's apartment. It is a squalid affair. Peeled paint chips litter the floor. The bed is unmade. Willie pulls open a drawer in a small nightstand and drops in the keys to Molly's loft. Sam sees his wallet. His driver's license, bank ID, and a photo of Molly are there, too. Furious, Sam lunges for Willie but then holds his punch, knowing it will have no effect. He turns instead to a window and, like the Ghost on the subway, smashes it with his fist. Nothing happens. SAM Damn! Willie dials the phone. Someone comes on the line. WILLIE She came home. I couldn't get it. Give me a couple of days. I'll go back. He hangs up. Sam stares at him in wild confusion. SAM Get what? Who the hell are you? What were you doing at Molly's? What the hell's going on? Willie grabs a bottle of wine from the nightstand and lies down. After a moment he reaches over and takes Molly's photo from the drawer. He studies it slowly. Sam stands by the door in a state of motionless rage. There is nothing he can do. SAM (continuing) Stay away from her! EXT. BROOKLYN STREETS - DAY Sam storms down the street. His movements seem undirected, utterly aimless. He is seething inside. Suddenly Sam looks up. An old BAG LADY is walking down the street talking loudly to a SHORT WOMAN tagging along beside her. As they approach a street pole, the Bag Lady swerves to the side. The Short Woman, however, walks right through it. Passersby laugh at the Old Lady talking to herself. Sam, unsettled, rushes away. As Sam rounds a corner, a sudden blast of MUSIC explodes out of nowhere. Sam jumps into the street, gasping. A phonograph needle SCRATCHES across a record and the MUSIC STOPS. A woman's voice booms out: WOMAN'S VOICE Sorry 'bout that. PANNING SHOT to a pair of loudspeakers in a storefront window. The MUSIC blares out once more and SOUNDS of gospel fill the street. Sam looks up. He is back in front of the storefront church with the sign for SISTER ODA MAE BROWN, MEDIUM, SPIRIT READER, ADVISOR, hanging overhead. Below it is another sign. "Contact the dearly departed. $20.00". Sam stares at the sign with curiosity. The MUSIC is compelling. After a moment's hesitation, he goes in the open door. INT. STOREFRONT - DAY A record player is sitting near the storefront window, a makeshift microphone placed in front of it. Several rows of folding chairs face a raised platform with nothing on it. A number of people are sitting there, mostly women. One gets the sense that this is a cross between a waiting room and a meeting hall. A black WOMAN steps up on the platform and calls out: WOMAN Rosa Santiago. MRS. SANTIAGO tucks a Spanish paperback romance into her purse and heads to a door at the rear of the hall. Sam follows after her. INT. SEANCE ROOM - DAY Mrs. Santiago enters a dark room with a window and door leading to a side street. A paisley bedspread is tacked over the window. In the center of the room is a round seance table. Two heavyset sisters, CLARA (39), and LOUISE (36), are standing beside an open closet. It is empty. WOMAN Please be seated. Mrs. Santiago sits at the table. She seems apprehensive. Clara steps into the closet and taps on each of the walls as though demonstrating that they are solid. CLARA My sister will be with us soon. She steps back out and closes the door. Louise inserts a tape into a boom box and then steps forward. LOUISE Sister Oda Mae. Grant us the gift of your all-seeing presence. Appear for us now. ANGLE FAVORING CLOSET She turns back to the closet and opens the door. Like magic, ODA MAE BROWN, 41, appears standing inside. She is a black woman in a white tunic. The whiteness of her garment makes it look as if she is glowing in the dark. Mrs. Santiago is wide-eyed. Sam smiles as Oda Mae steps into the room. ODA MAE Mrs. Santiago. MRS. SANTIAGO Buenos dias. She takes a twenty dollar bill from her purse and hands it to Oda Mae. Clara graciously intercepts the money. ODA MAE I understand you are hoping to contact your husband. MRS. SANTIAGO Si. Si. ODA MAE Well, I believe he's gonna be with us today. MRS. SANTIAGO Oh, tsank you, tsank you. Tears well up in her eyes. She crosses herself several times. ODA MAE But there's no telling about the other world. You gotta cast out all doubt. You gotta believe. Do you believe? MRS. SANTIAGO (nodding her head vigorously) Si. Si. I believe. I believe. ODA MAE And remember, we don't make no promises. I can phone up there till I'm blue in the face, (she points to the ceiling) ...but it don't necessarily mean he's gonna be home. Them folks go shopping, they play bingo. It's just like here. You can't always get 'em. Mrs. Santiago, utterly fascinated, nods understandingly. SAM Sure lady! Oda Mae's eyes glance up curiously for a second, as though she heard something, and then she continues. ODA MAE Okay, let's get ready then. Sam steps back as the sisters get up and position themselves behind Oda Mae. The moment feels rehearsed, theatrical. Oda Mae raises her hands into the air and closes her eyes. There is a hush in the room. Her body begins to tremble. Mrs. Santiago clutches her chair. Suddenly Oda Mae breaks out of her trance. ODA MAE We got a problem here. I don't think he's in. Wait. I feel something. Did he know someone who's passed over, someone named Anna... Mary... Consuela... Maria? MRS. SANTIAGO Si, si! His mama. She's Maria. ODA MAE Ah! I knew it. He's with his mama. SAM (sarcastic) Oh my God... Oda Mae's eyes dart uncomfortably around the room. ODA MAE I'm afraid this is gonna be too hard. Now I got two souls I gotta contact. I don't know about that. It's difficult, you know. The pain. The effort. MRS. SANTIAGO I pay more. How much? How much? ODA MAE Twenty dollars. SAM Way to go. Milk her for every penny. Oda Mae jumps up and stares at her sisters. They look back at her curiously. They can't figure out what's wrong. Neither can Oda Mae. Mrs. Santiago reaches into her purse. A twenty dollar bill changes hands. Sam watches, amazed at it all. Oda Mae sits down and goes back into her trance. Her eyeballs roll up into their sockets. CLARA/LOUISE Praise the Lord. Thank you, Jesus. Oda Mae is beginning to shake again. The two women grab her shoulders to keep her from falling out of the chair. Suddenly her whole body stiffens. CLARA/LOUISE (continuing) Have mercy! Have mercy! Mrs. Santiago stares on in amazement. After a moment Oda Mae's body collapses in a heap. Then, like a phoenix rising from the ashes, she pulls herself up in her chair and assumes a normal pose. After several seconds to get her bearings, Oda Mae begins to speak. Only now she has an entirely new voice. It sounds deep and hoarse, like an old man's. For all its put on theatricality, it is strangely convincing. ODA MAE Welcome, Rosa Santiago. You are fortunate today. The channel is clear. Many spirits are gathering. SAM (scanning the room) Yeah? Where? Oda Mae jerks. Her eyes dart nervously around the room. MRS. SANTIAGO My husband? ODA MAE (a bit uneasy) I can feel his vibration. Yes, yes, he is drawing toward us now. I can see him coming. MRS. SANTIAGO Julio! Julio! How is he? How does he look? ODA MAE Oh, he is a very handsome man. MRS. SANTIAGO (surprised) Handsome? ODA MAE In our Father's Kingdom we are all handsome. MRS. SANTIAGO (understanding) Julio! Sam looks on dismayed. ODA MAE He is standing before me. He is wearing a black suit. MRS. SANTIAGO A black suit? Oh yes, yes. He was buried in that. Mrs. Santiago begins to cry. Sam looks around the room with growing disgust. Then he leans over to Oda Mae and yells into her ear. SAM What a crock of shit! Oda Mae nearly falls off her chair. She spins around. ODA MAE Who's there? Sam is stunned. Clara and Louise look at one another in total confusion. This is obviously not part of the act. Mrs. Santiago seems frightened. ODA MAE (continuing) Where are you? SAM (looking around) Who? Oda Mae screams and jumps up thrashing at the air. Her knee kicks the table and sends it toppling. Mrs. Santiago is terrified. MRS. SANTIAGO Julio! Julio! SAM What's going on? ODA MAE Get out of here! Leave me alone! Mrs. Santiago doesn't know what to do. She begins to cry. SAM Who are you talking to? Clara runs up to Oda Mae. ODA MAE Keep him away! Louise looks at the empty room. SAM Are you talking to me? ODA MAE Do something. Help me. Clara just stares at her sister. Sam is excited and amazed. SAM I don't believe this. Hey you. My name is Sam Wheat. Can you hear me? Sam Wheat! ODA MAE Stop it! SAM Say my name! Sam Wheat! Say it! CLARA Talk to me, Oda Mae. Say something. ODA MAE Sam Wheat! Sam nearly falls on his face. Clara's eyes widen. She is more confused than ever. SAM Jesus! CLARA Samweet? Oda Mae runs into the closet. It has a false panel leading to a hidden chamber on the left side and she barricades herself inside it. Clara and Louise stand outside pulling on the handle. They seem frightened. CLARA/LOUISE Oda Mae! Oda Mae! INT. CLOSET - DAY Oda Mae is rocking back and forth on the floor praying. Sam's feet enter the frame beside her. ODA MAE Lord, I swear, no more cheatin'. I promise, Lord. I don't want to go to hell. I'll do anything. Gimme a penance. Just make him go away. SAM Go away. Hell no. I'm stayin' right here! Oda Mae screams, jumps back into the closet, and bolts up against the door. It tears from its hinges and falls into the seance room, nearly crushing Louise. Mrs. Santiago runs out screaming. Oda Mae takes one look around and collapses in a dead faint. OMITTED INT. ODA MAE'S LIVINGROOM - DAY Beads of sweat collect on Oda Mae's brow and cheeks. She seems feverish. Clara and Louise are sitting beside her with damp towels nervously soaking up the perspiration. Oda Mae appears to be talking to herself until we PULL BACK and reveal Sam nearby. ODA MAE My mama, her mama, may they rest in peace, they had de gift. Mama always said I had it, but I never did. She tol' me all about it, how it felt an' all. But now that it's happenin' I don't know what to do. You're scarin' me half to death. Please, you gotta go away, you gotta find someone else. Clara and Louise look at one another with growing concern. SAM Someone else? Are you outta your mind? ODA MAE I'm gettin' there fast. (she pushes Louise's hand) Leave me alone. SAM Not till you help me. ODA MAE Where are you? LOUISE Where? I'm right here. SAM I'm standing right beside you. ODA MAE (mimicking his words) "I'm standing right beside you." (she pauses and looks up) Are you white? SAM What? ODA MAE Oh God, I knew it. He's white. Why me? Louise looks at her sister and shakes her head. SAM Listen, damn it. You can help me. There's a woman, Molly Jensen. She's in terrible danger. The man who killed me broke into our apartment. He's going to go back. You've gotta warn her. ODA MAE Why would she listen to me? SAM She has to! This man's a killer! He's got a key. ODA MAE Forget it, mister. I can't. SAM It's just a phone call. You're all I've got. Lookit. I'm not leavin' till you help me. I don't sleep anymore, so I can sit here day and night. I don't care how long it takes. I can talk forever. Oda Mae gulps, a horrified expression on her face. INT. LOFT - DAY The telephone rings. Molly, preparing dinner, runs to answer it. MOLLY Hello. ODA MAE (V.O.) Molly? Is this Molly speaking? MOLLY Yes. ODA MAE (V.O.) My name is Oda Mae. I'm a spiritual reader and adviser. (she hesitates) I'm calling for a friend of yours. He asked me to call. This is important. You gotta believe me. Don't be afraid. MOLLY Who is this? ODA MAE (V.O.) I got a message from Sam. MOLLY (stunned) What? ODA MAE (V.O.) Sam Wheat. He asked me to call. Molly slams down the receiver, panting. For several seconds she doesn't move. Slowly, she walks to the couch and sits down. She is trembling. INT. ODA MAE'S KITCHEN - DAY Oda Mae hangs up the phone. ODA MAE What'd I tell you. SAM You gotta go there. ODA MAE Look, I don't care what you do to me, I'm not goin' nowhere. INT. ODA MAE'S BEDROOM - NIGHT Sam is sitting on the edge of Oda Mae's bed, singing. It sounds like he's been singing for hours. He is very hoarse. SAM "I'm Henery the Eighth I am / Henery the Eighth I am, I am / I'm gettin' married to the widow next door / She's been married seven times before / And every one was an Henery / Wouldn't take a Willie or a Sam / I'm her eighth old man I'm Henery / Henery the Eighth I am, I am / Henery the Eighth I am / Second verse same as the first / I'm Henery the Eighth I am..." Oda Mae bolts upright in her bed, her hands over her ears. ODA MAE Okay! Okay! I'll go. You just shut your mouth. EXT. NEW YORK CITY BUS - ESTABLISHING SHOT - DAY INT. BUS - DAY Sam and Oda Mae are sitting at the rear of a crowded bus. She appears to be talking to herself. ODA MAE I can't believe I'm doin' this. I gotta be a crazy lady goin' into the city with you. I never go there. What the hell you doin' in my life, huh? Why me? Several people move away. OMITTED EXT. LOFT BUILDING - DAY Oda Mae approaches the loft building and buzzes Molly's apartment. She waits a few moments. ODA MAE There's nobody there. SAM Just wait. ODA MAE No, sir. I did what I promised. I said I'd come and I'm here. I didn't say anything 'bout waitin'. SAM Just one more time. Please. It's a big place. Oda Mae turns to leave. Sam, desperate, starts to sing. SAM (continuing) "Ninety-nine bottles of beer on the wall, ninety nine bottles of beer," Oda Mae stops. She turns back to the buzzer and rings once more. Suddenly Molly answers. MOLLY (V.O.) Hello, who's there? ODA MAE (nervous) Don't go away. It's Oda Mae Brown. I called you last night. Your friend Sam says you gotta talk to me. There is a CLICK as Molly hangs up. INT. LOFT - DAY Molly walks away from the intercom, shaken. Suddenly we hear Oda Mae yelling up from the street. ODA MAE (O.S.) Hey you, Molly! You gotta listen to me! this is for real. Sam is here. He needs to talk to you. Molly walks over to the window and looks down. Oda Mae is standing in the street looking up. She is calling out at the top of her lungs. Molly pulls back. She is afraid. ODA MAE (O.S.) (continuing) He says remember the starfish at Montego Bay? Remember the picture he took a' you in Reno? (pause) Remember his green underwear, the pair you wrote your name on? She wrote her name on 'em? Molly tenses. There is a sign of recognition in her eyes. EXT. TRIBECA STREET - DAY Oda Mae is standing by the curb and shouting up to Molly's fifth floor window. Several people stare at her curiously. She turns to them. ODA MAE Hey, do you mind? This here's a private conversation. The people turn away. She turns back to the window. Sam prompts her. SAM Ask her about the sweater in the closet, the one she knitted that's too big. ODA MAE What about the sweater you knitted that was too big? SAM Four sizes. ODA MAE Four sizes. SAM She couldn't throw it out. I saw. I was there. ODA MAE You couldn't throw it out. He saw. He was there. This is for real. Hey do you hear me up there? A WORKMAN peers out of a second story window. WORKMAN I hear you. ODA MAE I'm not talkin' to you. WORKMAN Haven't you ever heard of phones? ODA MAE Kiss my behind! (yelling again) Listen, I'm not gonna stand here all day. WORKMAN Thank God. ODA MAE Forget it. I've had enough of this. Oda Mae is about to walk away when the entrance door opens. Molly steps outside. Oda Mae sees her and stops. ODA MAE (continuing) Molly? (Molly nods) I'm Oda Mae Brown. (walking over and shaking her hand) You can call me Oda. INT. SOHO LUNCHEONETTE - DAY Molly and Oda Mae are sitting in a booth staring at one another. MOLLY Why should I believe you? Why should I believe any of this? ODA MAE Girl, if you think I'd come down here for the fun of it, you got another think comin'. This Sam of yours... I don't know, lady. I mean, you ever hear a whole night of "Henry the Eighth I am?" MOLLY He did that? That's how he got me to go out with him. ODA MAE And he cain't carry a tune. MOLLY I know. Oh God. This is all so crazy. I can't believe I'm talking to you like this. I don't believe in these things. I don't believe in life after death. SAM Tell her she's wrong. ODA MAE He says you're wrong. MOLLY You're talking to him right now? ODA MAE What? You think I'm makin' it up? MOLLY Where is he? ODA MAE How should I know? It's not like I can see him. I just hear his voice. SAM I'm holding her hand. ODA MAE He says he's holding your hand. MOLLY I'm sorry. I don't believe you. Why are you doing this to me? I don't believe a word you're saying. Sam is dead. He's dead. SAM I'm holding her hand. ODA MAE He says he's holding your hand. Molly's hand jumps. Oda Mae looks at her. There is a long, poignant moment. Sam chokes up. SAM God, I love her. I love her so much. ODA MAE He says he loves you... so much. MOLLY (shaking her head) No. He would never say that. SAM (his eyes brightening) Ditto. Tell her "ditto". ODA MAE Ditto? What's that mean, ditto? Molly starts, an expression of true astonishment shining in her eyes. MOLLY Sam? INT. LOFT - DAY Molly is pressed up against the edge of the couch listening nervously as Oda Mae speaks. Sam wanders around the room, anxiously. ODA MAE To tell the truth, I don't know how I'm doin' it. In fack, confidentially, nothin' like this never happened to me before. Now, all a sudden, I can't turn it off. (she sees a photo of Sam) Is this you? Is this him? They both say "yes" at the same time. ODA MAE (continuing; to Sam) Hazel eyes, huh? You sound like they'd be blue. MOLLY I don't understand. Why did he come back? Why is he still here? ODA MAE Cause he's stuck, that's why. He's between worlds. It happens sometimes, when their spirits get out too quick. He thinks he still has stuff t'do down here. SAM Come on Oda Mae, stop rambling. ODA MAE Oh, oh, now he's got an attitude. Molly stares at Oda Mae. SAM I do not have an attitude. ODA MAE (to Molly) We're having a discussion. (back to Sam) Whataya mean, you're not angry? If you weren't angry you wouldn't be raisin' your voice like that. SAM Goddamn it, Oda Mae! ODA MAE Ah ah, baby. That does it. I don't talk to anybody who takes the Lord's name in vain. She stands up, as if to leave. Molly watches with growing discomfort as Oda Mae seems to be talking to herself. SAM Relax, Oda Mae. ODA MAE You relax. You're the dead one. You want my help, then you apologize. Nobody talks to me like that, understand? SAM Jesus Christ! ODA MAE (to Molly) Excuse me, girl. Time for me to go. Oda Mae heads for the door. Molly is confused. MOLLY I don't believe I'm watching this. SAM Damn it. All right. I apologize. Oda Mae stops, pauses a moment, and walks back to the couch. Sam, relieved, paces back and forth. Oda Mae's eyes follow his voice as Molly watches her curiously. SAM (continuing) Please, Oda Mae, I need you to tell Molly what I'm saying. You gotta tell her word for word. ODA MAE Monsieur has a message for you. SAM Molly, you're in danger. ODA MAE You can't tell her like that. And would you stop movin' all over the place? You're makin' me sick. Molly looks concerned. Sam leans into Oda Mae. SAM Say it! ODA MAE He's sayin' you're in danger. MOLLY Danger?... What do you mean? SAM I know the man who killed me. Willie Lopez. I know where he lives. ODA MAE He says he knows the man who killed him, Willie Lopez. He's Puerto Rican. Molly grows pale as she listens. Her forehead tightens. SAM Write it down. ODA MAE Write it down. SAM You do it! ODA MAE Now I'm a secretary. Oda Mae takes a card from her purse and grabs a pencil. SAM 321 Prospect Place. Apartment 4D. ODA MAE 321? Hey, that's my neighborhood. Oda Mae seems perplexed as she writes it down and gives it to Molly. SAM Molly, he's got my wallet and my key. He was in here. ODA MAE He's got his wallet and key. He was in here. MOLLY In here? SAM (directly to Molly) You have to go to the police. The Mugger wasn't acting alone. It was a setup, Moll. I was murdered. ODA MAE He says he was set up, that he was murdered. He wants you to go to the police. Molly stands up, afraid. Oda Mae stands up, too. ODA MAE (continuing) I'm sorry. I don't want nothin' to do with this. Oda Mae heads for the door as Molly watches in a daze. SAM Where you going? ODA MAE Don't follow me! I've done all I'm gonna do. (opening the door) I'm finished. And I ain't comin' back. So don't you come botherin' me again cause it's over. I mean it. This is it. Have a nice life. Have a nice death. I'm goin'. She lets herself out. Sam just stands there as the door slams shut. OMITTED INT. KITCHEN - THAT NIGHT Carl is pacing nervously. He seems very upset. After a moment he approaches Molly. Sam is behind her. CARL Molly, there's no one on earth who'd like it to be true more than me, but you've got to be rational about this. I understand your desire to hold on to him, but this... this is absurd. MOLLY It was real, Carl. She was real. SAM Listen to her, Carl, goddamn it. She needs some support here. CARL Molly, you're a grown woman. How can you believe some fortune teller from Brooklyn...? MOLLY She was in touch with him. CARL I don't believe it, Molly. Not for a minute. SAM Come on, Carl. Open your mind. Carl sits down beside her. MOLLY Carl, she knew things. CARL What kind of things? MOLLY I told you, the picture in Reno, the starfish,... damn it, Carl. (with great difficulty) She said Sam knew who killed him. That he was set up... murdered. CARL Oh boy. This is getting deranged. We're going off the deep end here. SAM Give him the address, Moll. MOLLY She had a name, an address -- Willie Lopez, 321 Prospect Place. She said he had Sam's wallet. Sam smiles. Carl stands up. His voice begins to rise. CARL This is sick. This is really sick. How can you swallow this crap? Who knows if this guy exists? Maybe she's just setting someone up. MOLLY That's what I have to find out. CARL Find out? What are you talking about? MOLLY Sam wants me to go to the police. CARL Sam wants you to go to the police? Molly! Jesus! Are you outta your mind? What are you gonna tell 'em? Some storefront psychic's been getting messages from the dead? Do you know how that sounds? You're talkin' ghosts here, for God's sake. Molly looks suddenly vulnerable. CARL (continuing) I'm sorry. This stuff just really gets to me. MOLLY You don't believe me. You don't believe any of this, do you? CARL (half heartedly) I'm trying to, but... Look, if it'll make you sleep any better, I'll check it out, okay? Now why don't you go to bed. Try and get some sleep. Molly looks at Carl, annoyed. She doesn't believe him for a second. INT. CARL'S CAR - NIGHT Carl, in his red Ford Mustang, is speeding up town. Sam is beside him in the front seat. INT. WILLIE'S BUILDING - NIGHT Carl steps into the lobby of Willie's building. Sam follows, wide-eyed. He seems both intrigued and astounded by what Carl is doing. When Carl stops to read the apartment number on Willie's mail box, Sam is thrilled. SAM Way to go, Carl! Carl climbs the stairs two at a time and approaches Willie's door. He bangs on it, loudly. ANGLE - THE DOOR opens a crack as Willie peers out. Carl pushes it hard and it opens the rest of the way. Willie steps back. WILLIE Carl, what're you doin' here? Sam freezes as Willie addresses Carl by name. He can barely move. CARL (scared, in over his head) Who've you been talking to? WILLIE Talking to? What the hell do you mean? What's going on? CARL Some woman knows all about you. The murder, everything. Where's she getting it from, huh? WILLIE What the hell are you talking about? I haven't said a word. Sam is staggered. His body is shaking. CARL She knows your name, goddamn it! She knows where you live! WILLIE A lot of women know where I live. Carl is fuming. CARL This isn't a joke, man. You find that bitch, whoever she is, and... get rid of her, you hear me? I've got four million dollars stuck in that fucking computer. If I don't get those codes, if that money's not transferred soon, I'm dead. If I lose Balistrari's money, we're both dead. WILLIE Tell him you only wash dirty money on the first of the month. CARL What is wrong with you? Is everything a joke? You were supposed to steal his wallet. You weren't supposed to kill him. Was that a joke? WILLIE (casually) I did you a favor. Freebee. CARL Jesus! (sickened) These are drug dealers, man. (pause) Don't blow this for me, Willie. I've risked my job here. I could go to jail. A hundred thousand of that money goes to me. Now give me Sam's key. I'll get that address book myself. Willie goes to the desk drawer and takes out Sam's key. Sam, unable to control himself, explodes in a fit of rage. Hauling back, he slugs Carl with all his might. His fist has no impact. SAM You killed me, Carl. You had me killed. Look what you've done to me! Look what you've done! EXT. STREET - NIGHT Carl is on the street heading back to his car. Sam is beside him, yelling right into his face. He is screaming and cursing at the top of his lungs but Carl doesn't hear him. SAM You fucker! You mother fucker! I had a life, Goddamn you. I had a life! From the distance, we see Sam smashing into Carl. It is like hitting the air. For all of his rage and bluster, there is nothing he can do. EXT. LOFT BUILDING - DAY Molly, neatly dressed, exits her building and hails a cab. She hops inside. Seconds later she hops out again, yelling. MOLLY You white fascist bigot. Who do you think you are? Bed Stuy's part of New York, you know. This is America. The driver speeds off. Molly gives him the finger. EXT. BROOKLYN STREETS - ELEVATED TRAIN - DAY Molly exits a subway station and walks toward 131st Street. She is the only white woman on the block and heads turn as she passes. WOMAN Hey, Snow, you lost or sumpin'? Molly pays no attention. Children run up to her, stare, and run away. TRACKING SHOT When Molly turns down 131st Street, the crowds disperse and she is all alone. There is a sense of menace in the air. A group of young men sitting on a stoop watches as she walks by. One of them whistles. Molly keeps walking. EXT./INT. WILLIE'S BUILDING Molly sees Willie's building. She walks into the dank lobby. It is dark and full of shadows. Leaning close, she examines the mail boxes. Willie's name is there. She backs away, afraid. INT. LIVINGROOM - DAY A dresser drawer opens and a box labeled "Sam's Things -- Valuable" is slowly pulled out. A hand reaches inside it and extracts Sam's address book. As THE CAMERA PULLS BACK, we see that it is Carl standing in Molly and Sam's livingroom. Carl opens the book and quickly jots down a series of code numbers he finds in the back. His eyes sparkle with excitement. INT. POLICE STATION - DETECTIVE'S OFFICE - DAY Molly is sitting in a room opposite DETECTIVE SERGEANT THOMAS BEIDERMAN, 48, and SERGEANT DOROTHY WALLACE, 29. Both officers are staring at her as she speaks. She seems very uncomfortable. MOLLY Look, you've gotta believe me. I don't even believe this stuff, myself. But this is real. Do you think I'd come here if it wasn't real? You told me to come if I had any new information. Well, here I am. The officers don't respond. MOLLY (continuing) Don't look at me like that. You guys use psychics all the time. There is dead silence. MOLLY (continuing) Damn it. I know how this sounds. I hear myself saying it and I want to cringe. But this woman knew things she couldn't have known, intimate details. WALLACE How intimate? MOLLY Things Sam only said to me. WALLACE (smirking) Okay, let me get this straight. According to this psychic lady, there are ghosts and spirits all over the place, watching us all the time, huh?... (she stands up) I'm sorry. I've got important things to do. She leaves the room. Molly gives her a dirty look and turns to Beiderman. MOLLY I'm telling you. The killer's name is Willie Lopez. I've got his address. You've got to check it out. Sgt. Beiderman gets up and looks over to Molly. SGT. BEIDERMAN Okay. You just wait here. Let me see if this guy's got a record. He heads out of the room. Molly sits back with an air of enormous relief and gratitude. Sergeant Wallace comes into the room again and picks up a folder. Molly waits nervously. After a moment Sergeant Beiderman returns with a police file in his hands. Molly looks up at him, and then smiles at Wallace as she sees it. She feels vindicated. He lays the thick folder on the desk and opens it up. She hurries over to him. CUT TO: MUG SHOTS OF ODA MAE and reams of police paperwork. WIDEN as Molly stares at it all in sudden shock. MOLLY What are you doing? Where's your file on Willie Lopez? SGT. BEIDERMAN There's no file for a Willie Lopez. He was probably some old boyfriend she was trying to get even with. This psychic woman's record goes back a long way. Fraud, numbers rackets, you name it. She's a real pro. CUT BACK AND FORTH between the records and Molly's stunned reaction. We see recent photos of Oda Mae and others going back to her youth. They are fascinating and revealing. We even see photos of her mother and grandmother. In addition, there are pages of arrest records and prison files. SGT. BEIDERMAN (continuing) 1967. Shreveport, Louisiana. Forgery, selling false ID. Served one year. 1971. Baton Rouge. Arrested for fraud, numbers racketeering. Served ten months. 1974. Hattiesburg, Mississippi. Fraud, seven months. 1984. Albany, New York. Petty larceny. It goes on and on. Molly is overwhelmed by the evidence. SGT. BEIDERMAN (continuing) This woman's a charlatan. You can't believe anything she said. MOLLY This isn't possible. There were words, private things. How could she have known all that? SGT. BEIDERMAN They have ways. MOLLY Ways? What ways? SGT. BEIDERMAN They've got a million cons. A lot of times they read the obits. All she had to do was see the word "banker". Hell, they even go through your garbage to find things they can use, letters, old papers. They don't need much. Molly turns away. SGT. BEIDERMAN (continuing) I bet you threw stuff out, huh? It could have been anything. What about that underwear she knew all about? Molly's eyes widen. SGT. BEIDERMAN (continuing) Green underwear. I'll bet she zeroed right in on that. MOLLY No! She was real. She said things. She knew about a sweater I knitted, about songs we sang... She knew about this place we went, Montego Bay... Molly begins to cry. SGT. BEIDERMAN I'm sorry. I know this is hard. People want so much to believe. They're grieving, vulnerable. They'd give anything for one last moment... money, insurance policies. Believe me, these people know what they're doing. Look, I know how you must feel. You know, you can press charges. Molly shakes her head no. Sgt. Beiderman closes the file. Molly sits for a long time. She is in terrible pain. MOLLY Oh God, I wanted it to be Sam. Sgt. Beiderman nods his head compassionately and then turns away. INT. BEDROOM - LATE AFTERNOON (THE SAME DAY) Molly is sitting in her bedroom. The glow of the late afternoon sunlight casts long shadows across the bed. She seems deeply depressed and alone. Gradually her gaze falls on a jar sitting on the nightstand. In it is the penny Sam found when they were first working on the loft. A label on the jar says, "For Luck!" In a moment of sudden rage, she picks it up and throws it against the wall. It SHATTERS on the floor. INT. CARL'S OFFICE - NIGHT The code from Sam's address book, jotted on a piece of paper, is sitting beside Carl. CARL (excitedly) God, let this be it! Anxiously, Carl punches the code into a computer and, suddenly, Sam's old accounts appear on the screen. A look of relief wafts across Carl's face. CARL (continuing) Oh God, yes! Carl is staring at the same accounts Sam was examining the afternoon before he was killed, the accounts with too much money in them. Carl picks up the phone and punches a number. Someone answers. CARL (continuing) Tony, this is Carl. I'm all set. We're fine. Everything's fine. Just tell me what you want me to do. A VOICE on the other end begins to speak. VOICE We want you to transfer the money from the 12 separate accounts into a single account under the name "Rita Miller". Tomorrow, at five minutes before closing, 3:55 p. m., transfer the full account to First Island Bank of Nassau, registry number 486- 9580. Carl writes it all down. VOICE (continuing) Call us when it's done. CARL Tell Mr. Balistrari there won't be any problems. VOICE I'll do that. Carl hangs up. He seems deeply relieved. REVEAL SAM He is standing in front of Carl, watching. Quickly, Carl begins punching commands into the computer. He is setting up the dummy account. Rita Miller, #926-31043. INT. LOFT - THE SAME NIGHT Molly, in a short terrycloth robe, is sitting in a chair. A magazine is on her lap but she is staring vacantly into the loft. She seems lost in the vast space. Sam is pacing back and forth. There is a melancholy look in his eyes. SAM Why can't you hear me, Molly? I need you. Suddenly the BELL rings. Molly jumps. Molly's finger is on the intercom. She seems unsettled. MOLLY Who's there? CARL Molly, it's Carl. Can I come up? Sam freezes. Molly is surprised. She hesitates a moment and then pushes the buzzer to let him in. We hear Carl bounding up the stairs. SAM Don't open it. He's a murderer, Moll! There is a KNOCK. Molly opens the door. Carl seems buoyant, almost celebratory. He has a bag of fruit in his hand. He is still in a suit and tie. CARL Hi. Thanks. I know it's late. I'm sorry to disturb you. I felt bad about last night. This supernatural stuff just makes me so uncomfortable. I don't even read horoscopes. MOLLY Don't worry. It's okay. CARL No it's not. You needed me to hear you and I didn't and that was wrong. I want you to know that I'm your friend, Moll. SAM You were never our friend. CARL (holding out a paper bag) Hey, I brought you some Japanese apple pears. I know you like them. MOLLY (taking the bag) Oh, that's so sweet. CARL Listen, can I come in for a minute? I won't stay long. I've had one of those days. Maybe a cup of coffee? SAM No, Moll. Don't do it. Don't let him in! MOLLY (hesitating) Sure. OMITTED INT. LIVINGROOM - NIGHT Carl, in shirt sleeves and Molly in her robe, are sitting on the couch drinking coffee. We notice that Carl is wearing yellow suspenders. Sam is beside himself, watching them. MOLLY Are you alright? You look nervous, upset. CARL (glancing at her thighs) What can I tell you. It's been tough. Hell, you know. It still hurts so much. (he poses sadly) Then on top of it all... it's the responsibilities. They've given me my own accounts, but I've had no time to adjust. My mind has been reeling. Molly reaches out and pats his arm. There is an awkward pause. CARL (continuing) Where were you this morning? I thought you were coming to the bank to sign those papers. MOLLY I didn't have time. (beat) I went to the police, Carl. Sam looks at her, amazed. Carl, on the other hand, stiffens. He laughs nervously. CARL You're kidding. You really did it? I don't believe... What did you tell them? What did they say? MOLLY You were right, you know. I felt like such a fool. They brought out a file on this psychic woman ten inches thick. It was awful. CARL (relieved) A ripoff artist, huh? SAM (shocked) Molly, no. MOLLY The sad part is that I believed her. I believed her, Carl. (pause) It was all a sham. CARL (relaxing) Sometimes we need to believe. MOLLY Why?... I was a fool. I don't believe anything anymore. Why would people do such things? Sam is devastated. CARL (milking it) It's hard to face reality, Moll, the hard cold facts of it. What you have to remember is the love you felt. That's what's real. You have to remember how good Sam was. How much he loved you. Molly holds back tears. Carl reaches out tenderly and strokes her hair. CARL (continuing) You were everything to him, Molly. You were his life. MOLLY (finally crying) I feel so alone. CARL You're not alone. You're young. You've got so much talent. You're fantastically gorgeous. MOLLY (appreciating his words) Oh God, I don't know what's real anymore. I don't know what to think. CARL Just think about Sam. Think about what he meant to you, the years you had together, how wonderful they were. Carl glides his hand slowly, lovingly across her cheek. CARL (continuing) Let your feelings out. Almost imperceptibly, his hand moves down to the nape of her neck. As she moves, her robe opens slightly. Carl notices, glimpsing her nakedness beneath it. Sam notices, too. He freezes. CARL (continuing) Life turns on a dime, Moll. People think they have forever, that they'll always have tomorrow. But it's not true. Sam taught us that. We have to live for now, for today. Molly can barely contain her tears. Carl moves toward her moist cheeks and kisses them gently. Slowly, he guides his lips to her neck and kisses it, too. It is all hateful and sensual at the same time. Sam turns away. Molly feels Carl's tenderness, needs it. She does not notice his hand reaching for the cord on her robe and slowly pulling it toward him. With a little tug the cord unravels and the robe falls open. Molly is confused, aroused, not sure what to do. She starts to pull it closed. He holds her hand. For a moment they do nothing. Then his fingers reach for her thigh. Her body quivers. Carl feels her openness and pulls closer, his hand rising gently up her naked body. Molly's eyes close. She says nothing. SAM No!!! OMITTED ANGLE Sam charges wildly at the couch and begins flailing uncontrollably at the two of them. Unexpectedly his foot kicks out and hits a framed photograph of him and Molly that's sitting on an end table. The picture CRASHES to the floor, the glass SHATTERING. Molly jumps up, the mood suddenly broken. She sees the photo and recoils. Carl reaches for her. She backs away. Sam is stunned by what has happened. He jumps up and tries kicking over another picture but nothing moves. His foot goes right through it. Molly looks at Carl, drying her tears. MOLLY I can't. I'm sorry. I can't. It's too soon... You've been great Carl, but... I need you to leave. Please. I need you to. CARL Sure. It's okay. I understand. I really do. She reaches out and takes his hand. CARL (continuing) Look, what if we have dinner tomorrow night? Just talk. Can I interest you in that? SAM NO!!! Molly hesitates a moment and then nods her head "yes". Carl smiles. INT. SUBWAY STATION - NIGHT Sam rushes madly down a flight of stairs into a subway station. A train is just leaving. He jumps on board. CUT TO: INT. SUBWAY TRAIN - NIGHT Sam begins quickly casing the aisles, looking for something. It is not there. Another train can be seen speeding past the window. Sam takes a running leap and jumps onto it, passing through the walls. CUT TO: OMITTED ANGLE - SAM disappointed. Suddenly, an express train passes alongside his local. Sam sticks his face inside it. Suddenly, he smiles and rushes onto it. ANGLE Sam does not have to stand there long. Within seconds, the terrifying Ghost he had seen before comes charging at him. We notice him more clearly now. He is wearing a dark blue pea coat. There is a grizzled look about him. He has stained teeth and seems perpetually unshaven. GHOST Get off my train! This time Sam does not back away. He holds his ground. The Ghost lets fire every trick in his arsenal. Posters come flying off the walls. A bag of groceries topples from a woman's arms, an old man's cane flies across the aisle, a boy's Mets cap flips off his head. People on the train move quickly to other cars. Unable to frighten him, the Ghost kicks Sam in the stomach. Sam recoils, feeling it, but gets back up again. He is angry now. He begins raging at the other Ghost. The Ghost is shocked. SAM Teach me how you do that! I want to learn! I'm not leaving til you teach me! The Ghost, exhausted, looks up at him and smiles with appreciation. GHOST You stubborn asshole. Sam nods in agreement. CUT TO: SAM AND THE GHOST sitting in the corner of a deserted subway station. Sam is trying desperately to push a bottle cap with his finger. GHOST (continuing) What are you doing? What are you doing? You can't push it with your finger. You're dead. The Ghost demonstrates, kicking a garbage pail onto its side. Sam can't quite tell how he did it. SAM I don't get it. GHOST It's your mind, you idiot. It's all in the mind. The problem is you think you're still real, that you're standin' on the floor, that you're wearin' those clothes. Bullshit! You don't even have a body anymore. It's all up here. You wanna move things, you gotta use your mind. You gotta focus! You hear what I'm saying? SAM How do you focus? GHOST I don't know how you focus! You just focus! With surprising energy, the Ghost flicks a bottle cap and sends it shooting across the subway platform. GHOST (continuing) It's all in the anger. You gotta direct it. You gotta channel it. SAM I'm angry all the time. It doesn't do a thing. GHOST Cause you're angry all over. You gotta be angry here, in the pit of your stomach. Bring it down here. Let it explode. (he makes an explosive gesture) It's like a reactor, you know. Pow! He kicks a Coke can toward Sam. Sam tries to kick it back and misses. The Ghost laughs. Sam gets angry. He tries again and falls on his head. The Ghost laughs louder. Now Sam is really angry. We see him forcing the anger down into his stomach. He holds still for a moment and then kicks at the can with all his might. To his shock and amazement, it sails right through the Ghost's head. The Ghost smiles. SAM I did it! GHOST Way to go. CUT TO: SAM practicing. He smashes at an abandoned tennis shoe with his fist. Nothing happens. GHOST From your gut. What do I keep tellin' you? Sam's stomach bulges. He tries again. Nothing. GHOST (continuing) Give it time! What else have you got? Undaunted, Sam tries once more. This time the tennis shoe moves. The Ghost nods his head approvingly. Sam is thrilled. SAM How long have you been here? GHOST Since they pushed me. SAM Someone pushed you? GHOST Yeah, someone pushed me! SAM Who? GHOST What? You don't believe me? You think I fell? You think I jumped? Well, fuck you! (an unexpected rage starts to build) It wasn't my time! I wasn't supposed to go! I'm not supposed to be here! Venom spews from the Ghost's mouth. Suddenly he rams a cigarette machine full force with his head. The glass SHATTERS and packs of cigarettes scatter everywhere. He throws himself on top of them with terrible longing. GHOST (continuing) I'd give everything for a drag. Just one drag. He rolls and wallows in terrible frustration, tossing the cigarettes in all directions. Suddenly he looks up and sees Sam. He is unable to control his fury. GHOST (continuing) Who the hell are you? Why are you hounding me like this? Leave me alone. AN EXPRESS TRAIN is shooting through the station. The Ghost throws himself into it and in an instant he is gone. OMITTED INT. SUBWAY STATION - NIGHT Sam, all alone, walks through the station. Suddenly, he reaches out and pushes a garbage can lid. It swings back and forth. He is delighted. A beer can is sitting on a bench. He pushes it off, watching it roll across the platform with childlike glee. Looking up, Sam sees an advertisement for Market Security Bank and Trust. He stares at it with great interest. "Special Banking for Special People. We make it easy for you." Something registers in Sam's eyes. He yells and jumps straight up, hitting a subway sign with his finger. With great excitement, he runs for the stairs and rushes from the station. OMITTED INT. SEANCE ROOM - NIGHT ORTISHA JONES, a black woman with brassy red hair, is sitting at Oda Mae's seance table surrounded by several of her relatives. Clara and Louise stand behind Oda Mae helping with the ritual. Oda Mae goes into her trance. ANGLE A GROUP OF GHOSTS is milling behind Oda Mae. Sam comes barging into the room and looks at them in amazement. SAM What the hell? Oda Mae, startled, jumps up in her chair. Everyone else jumps, too. Clara and Louise look worried. ODA MAE Sam? SAM What is all this? What's goin' on? ODA MAE What'd you do, tell every spook in town about me? I got spooks from out of town here. There's stuff goin' on you wouldn't believe. I can't hardly believe it myself. Ortisha and her relatives look up, confused. SAM Oda Mae. You're doing it. This is for real. How do you like that? ODA MAE I don't. SAM Come on. Look at this. You're doing great. One of the GHOSTS standing in the background butts in. GHOST Can you hurry this up? My husband's in the waiting room. SAM I need your help, Oda Mae. There's something we need to do. ODA MAE Forget it. I'm not doin' anything. You're holdin' on to a life that don't want you no more. Give it up. SAM Give it up? I'm already dead. ODA MAE Dead, yeah, but you ain't finished dyin'. Give up the ghost. SAM And how am I supposed to do that? ODA MAE You're asking me? Ortisha looks at Oda Mae. She has no idea what's going on. ORTISHA Are you speaking to me? ODA MAE Does it look like I'm speakin' to you? (continuing; to Sam) So, are you gonna leave or not? I've got work to do. Ortisha is totally confused. Oda Mae turns back to her. ODA MAE (continuing) What's a matter? You're supposed to be concentrating. How do you expect me to do this if you're not concentrating? Okay then. You ready? Let's do it. ANGLE Oda Mae and everyone in the room gets very quiet. One of the ghosts draws close. Oda Mae's eyes roll up into her head. Then, suddenly, an extraordinary thing occurs. We see the spirit pull back and dive right into Oda Mae. Oda Mae gulps. Her nostrils flare. Her eyes bulge. ODA MAE Oh, Lord! Stop! Whatcha doin' to me? Oda Mae's body goes into bizarre convulsions as the Ghost tries to move inside her. She looks strangely stuffed and enormously uncomfortable. Sam and the others watch in astonishment as she tries to speak, but nothing comes out. Then suddenly the GHOST speaks through Oda Mae. ORLANDO (screaming) Ortisha?! Ortisha and her relatives jump up in amazement. ORTISHA (excitedly) Orlando! Is that you? ORLANDO (disoriented) Ortisha, where are you? I can't see too good. RELATIVES Here! She's here! ORTISHA In front of you! I'm right here! Orlando suddenly zeros in on Ortisha. His eyes widen. ORLANDO Mother of God, what've you done to your hair!? Ortisha smiles excitedly. ORTISHA Orlando, do you like it? It's Autumn Sunrise. Suddenly Oda Mae's body begins to shake wildly and her voice booms out, screaming with all her might. ODA MAE Get out of here, you little shit! With frightening speed, she sends the spirit catapulting out of her body. Clara and Louise jump up. Oda Mae is shaking. ODA MAE (continuing) Lord oh Lord, don't you ever do that to me! ORTISHA (confused) Orlando!? ANGLE ORLANDO He is lying on the floor, exhausted. ORLANDO What happened to me? I can barely move. GHOST You should know better than to try that. It's not worth it. It'll wipe you out for days. SAM That was incredible, Oda Mae. ODA MAE Never again. Never. ORTISHA Where's Orlando? SAM He spoke through you. It was amazing. ODA MAE No more, uh uh, no more. ORTISHA What happened to Orlando? Where'd he leave the insurance policy? SAM You're great, Oda Mae! You're a real medium. It's what you were born for. ODA MAE I want everybody out. ORTISHA Orlando? Ortisha looks around the room, befuddled. Clara and Louise aren't sure what to do. ODA MAE Now! Ortisha and her relatives scurry out fast. The ghosts, too, begin passing through the wall. Oda Mae lays her head on the table. Suddenly her whole body begins heaving. She is starting to cry. Sam is surprised. SAM Oda Mae, what's wrong? ODA MAE Out! I said out! That means you, too! Sam hesitates a moment and then respectfully follows the others through the wall. OMITTED INT. SEANCE ROOM - NIGHT Clara knocks on the seance room door and peeks in. CLARA Oda Mae, there's a man here who says he has to see you right away. ODA MAE I ain't seein' nobody. Willie pushes his way into the room. Clara isn't sure what to do. Oda Mae looks up. She does not know him. WILLIE Are you the one that can talk to the dead? ODA MAE I beg your pardon! I'm not seeing customers right now. WILLIE I said I need to know if you're the one. ODA MAE I'm the one. But not now. WILLIE This is important. I have a friend. He died recently. Some say he was mugged. I think he was murdered. Oda Mae stares at him curiously. WILLIE (continuing) I'm told you can contact people like that. Is that true? ODA MAE It's been known to happen. But it's not gonna happen now, so come back later. WILLIE I can't wait til later. He sits down across from Oda Mae and shows no signs of leaving. Oda Mae observes him quietly for a moment. ODA MAE What's your friend's name? WILLIE Good question. Why don't you tell me? Oda Mae glares at him. WILLIE (continuing) You're the psychic, right? ODA MAE This ain't no guessin' game. WILLIE Then what is it, lady? ODA MAE Lookit, I don't know what your trouble is... (getting nervous) Who are you? WILLIE You're the mindreader. I hear you've been tellin' people about me for days. What's my name? ANGLE - ODA MAE confused and uncomfortable. Sam comes wandering back into the room. His eyes bulge. SAM Willie! ODA MAE Willie!? Willie sits straight up in his chair, amazed. WILLIE How'd you know that? ODA MAE Because I'm psychic. With a sudden thrust, Oda Mae sends her foot shooting into Willie's balls. As he recoils she knocks the table into his lap and rushes for the closet. We see her barricade herself in the hidden chamber. Willie, shaking, scrambles to his feet and, before Sam can stop him, BLASTS his gun at the closet door. It is riddled with bullets. Sam screams out. Willie runs to the side door and escapes to the street. Clara and Louise come rushing in. Sam charges into the closet and sees that Oda Mae is safe behind the false door. Then he hurries to the street. OMITTED EXT. STREET - NIGHT Sam rushes to the sidewalk and looks in all directions. Willie is nowhere to be seen. He hurries back to Oda Mae. OMITTED INT. SEANCE ROOM - NIGHT The room is a disaster area, full of hysterical women. Oda Mae is being dragged from the closet, unhurt but in a state of shock. ODA MAE He tried to kill me! Why? Why? No one answers. ODA MAE (continuing) Talk to me! Her sisters start talking but she shoos them away. SAM Oda Mae, we're in trouble... ODA MAE We're in trouble? Who's we? You're already dead. SAM I can stop them. But I can't do it alone. You've gotta help me. ODA MAE Help you? It's me they're tryin' to kill. SAM You're right. And they'll be back. I'm your only chance. ODA MAE Why don't you go find a haunted house and rattle some chains. SAM I need you Oda Mae. I need you to get some fake ID's. ODA MAE Fake ID's? What for? SAM Help me now, they'll never bother you again. I promise. ODA MAE (stopping, thinking) Help you? Whataya talking about exactly? What else do I have to do? EXT. NEW YORK STREET - DAY Oda Mae, dressed to the hilt, is walking with Sam toward the main branch of Market Security Bank & Trust. She seems nervous and upset. ODA MAE This is crazy. This ain't gonna work. I don't know nothin' 'bout bankin'. SAM I'll teach you. You'll learn fast. As they reach the entrance of the bank, they pass a pair of NUNS collecting money to build a shelter for the homeless. One of them holds out a collection box. Oda Mae passes her by, carefully avoiding eye contact. INT. MARKET SECURITY BANK & TRUST - DAY Oda Mae enters Sam's bank. She seems completely out of place. Sam, walking beside her, directs her every move. SAM See where it says "New Accounts"? That's where you're going. ODA MAE (paranoid) I'm not givin' 'em any money. SAM Just do what I say. Oda Mae approaches the New Accounts desk. She seems very uptight. A woman OFFICER behind the desk looks up at her. OFFICER Can I help you? SAM Tell her you're here to fill out a signature card for a new account. ODA MAE I'm here to fill out a signature card for a new account. OFFICER And do you know your account number? SAM Yes. 926-31043. ODA MAE Yes. 926-31043. SAM Rita Miller. ODA MAE Who? OFFICER What? SAM Tell her Rita Miller. ODA MAE Rita Miller. OFFICER (eyeing her oddly) Didn't they have you sign a card when you opened the account? SAM Tell her Carl Bruner opened it for you by phone and asked you to come in today. ODA MAE Carl Bruner opened it for me. He asked me to come in today. OFFICER Ah. The Officer checks out the name and account number on her computer screen. It all seems to jive. She pulls out a card from her desk and hands it to Oda Mae. Oda Mae stares at it. SAM Just sign you name at the bottom on the first blank line. Oda Mae nods and starts to sign "Oda Mae". Sam stops her. SAM (continuing) No, no, no. Rita Miller. ODA MAE (to the officer) Can I have another one please? I signed the wrong name. Sam hits his forehead with his hand. The Officer gives her another card. Oda Mae signs it. SAM Tell her to see that it goes right up to the third floor file since you have a transaction to make. ODA MAE I need you to put that in the third floor file cause I got a transfusion to make. OFFICER A what? ODA MAE You know what I mean. (innocently) Umm, can I keep the pen? OFFICER (surprised, not sure what to say) ...uh, sure. Oda Mae, delighted, walks away smiling and gives the officer a wave. She is loving this. ODA MAE Thanks. INT. CARL'S OFFICE The clock on Carl's wall says 3:40. He seems anxious. The phone RINGS. Carl jumps. He pushes down the speaker button. CARL Hello. Carl Bruner speaking. VOICE Carl? CARL Mr. Balsitrari VOICE Balistrari? Carl, it's me, John. I've got the info on the Bradley portfolio. CARL Oh yeah, yeah. That's great. I'll pick it up later. He hangs up. His hand is shaking. INT. MARKET SECURITY BANK & TRUST - DAY Sam and Oda Mae approach a fancy part of the bank housing administrative personnel. They approach a GUARD who is standing there. SAM Tell the guard you're here to see Lyle Furgeson. ODA MAE Lyle Furgeson, please. GUARD Do you have an appointment? ODA MAE No. I'm here for the fun of it. SAM Don't say that! Tell him Rita Miller's here. ODA MAE Tell him Rita Miller's here. GUARD Just one moment, please. SAM Don't embellish. ODA MAE Yes, Sir. GUARD (turning around) Excuse me? She waves him on. SAM (whispering) Now listen, this guy Furgeson's a real jerk. ODA MAE Why are you whispering? SAM (he doesn't know) Just be quiet and listen. I've known him five years and he still thinks my name's Paul. We see the Guard leaning over Mr. Furgeson's desk. FURGESON looks up and sees Oda Mae. He shrugs his shoulders. SAM (continuing) He's a social moron. You don't have to worry about anything. Tell the guard Furgeson knows you. You spent time with him and his wife Shirley at the Brewster's Christmas party last year. The Guard comes back. GUARD What is this regarding? ODA MAE What? He doesn't remember me? We were together at the Brewster's Christmas party. With his wife Shirley. They had that lovely tree... all those presents. Why, I'll never forget all those beautiful... Sam pokes her. She yelps, surprised, and glances around. The Guard gives her an odd look. ODA MAE (continuing) Oops. Gas. She forces a smile. He smiles back and then goes over to Mr. Furgeson. SAM This'll be easy. Furgeson was so drunk at that party, he could have had a conversation with Tina Turner and he wouldn't remember. The Guard whispers in Furgeson's ear. Furgeson appears totally flummoxed. He looks up at Oda Mae, embarrassed, and waves. The Guard motions her to come back. She walks proudly over to his desk. He sticks out his hand. FURGESON Hello, hello. Of course, of course. It's been so long. ODA MAE A long time. SAM Ask how Bobby and Snooky are. ODA MAE How are Bobby and Snooky doin'? FURGESON (perplexed) Why, they're just fine, thank you. Nice of you to ask. And how is your... family? ODA MAE Couldn't be better. FURGESON Well, isn't that wonderful. SAM Tell him you've been wondering how they did on the Gibraltar securities. ODA MAE So tell me, Fergie, how did you do on the Gibraltar securities? FURGESON (surprised) The Gibraltar securities! Well, it looks like we topped out, huh? SAM "We sure did!" ODA MAE We sure did. FURGESON (impressed) That was a wonderful tip. SAM "Good old Randy". ODA MAE Good old Randy. Got a real head on his shoulders. SAM "Her" shoulders. ODA MAE "Her" shoulders. FURGESON Sure does. Well... well. So what brings you here today? SAM You're closing an account. ODA MAE I'm closing an account. FURGESON Well... wonderful. Do you have your account number? SAM 926-31043. ODA MAE 926-3143. SAM 31-0-43. She looks up into the air. Furgeson eyes her strangely. ODA MAE Make that 31-0-43... Numbers. I'm dyslexic. He punches Rita Miller's number into the computer. A figure appears on the screen. He stares at it for a few seconds and then punches it in again. FURGESON (trying to be calm) Well, Rita, you'll be withdrawing four million dollars from us today, is that correct? ODA MAE Four million dollars?! SAM Say "yes"! ODA MAE (gasping) Yes! Four million. That's right. That's right. FURGESON And how will you want that? ODA MAE Tens and twenties? FURGESON Pardon? SAM A cashier's check! Tell him a cashier's check. ODA MAE A cashier's check. FURGESON Fine. Of course, you realize we're required to get some identification from everyone. It's just procedural. You understand. ODA MAE Of course. Oda Mae reaches into her purse and pulls out a DRIVER'S LICENSE and a SOCIAL SECURITY CARD. Furgeson gets up and walks away from his desk. He seems unsteady on his feet. An OFFICER at the next desk is using a Brillo pad to clean a stain on her desk. Oda Mae smiles. ODA MAE You know, if you put that Brillo pad in the freezer, it'll last twice as long. The Officer nods appreciatively. INT. CARD FILE ROOM - DAY Furgeson lays Oda Mae's ID next to her signature card. The signatures match up. He nods his head in approval. INT. CARL'S OFFICE - DAY Carl looks up at the clock. It is 3:50. He pushes down a button on the phone. A SECRETARY answers. SECRETARY (V.O.) Yes, Mr. Bruner. CARL Get me the First Island Bank of Nassau. It's on the rolodex. INT. MARKET SECURITY BANK & TRUST - DAY Mr. Furgeson returns with Rita Miller's signature card and a cashier's check for $4,000,000. Oda Mae's hand shakes as she examines it. FURGESON I'll just need your signature right here. ODA MAE Sure. SAM Sign Rita Miller. Sam looks up and gulps. Molly has just entered the bank and is heading toward them. He jumps up nervously. SAM (continuing) I'll be back in a minute. You're on your own. Don't say anything foolish. Oda Mae signs a form closing the account. Of course the signatures match. Mr. Furgeson examines them both and smiles. He shakes Oda Mae's hand. FURGESON Now you be careful with this. It's like carrying cash, you know. ODA MAE (positively glowing) I sure do. Sam rushes over to Molly. He is not sure what to do. He notices a stack of deposit forms on the counter she is about to pass. He hurries to it and flicks the entire stack, a hundred sheets, flying up into the air. Molly, confused, thinks she is responsible and stoops to pick them up. Sam, delighted, flicks another stack. Oda Mae is talking a blue streak when Sam returns to her. ODA MAE (continuing) Then my mother took all the money from the oil wells and put it in gasoline pumps. Every gas station has 'em you know, sometimes six or more. It adds up. SAM Oda Mae, come on. We gotta get out of here. Say goodbye. ODA MAE (abruptly getting up) Well, I've got to leave. It's been a pleasure doin' business with you. Say "hi" to Shirley and Snooky for me. FURGESON Thank you, Rita. I'll be glad to. Oda Mae smiles and leaves. There is a new lilt in her walk. Suddenly Sam looks and sees Molly about to stand up. SAM Hurry up, Oda Mae. At that second, Oda Mae spots a quarter lying on the ground. She stoops down and picks it up. ODA MAE (excitedly) What a day! Molly sees her, does a double take, and starts to go after her. Unfortunately, Oda Mae steps onto an elevator before Molly can catch up. The doors close. Molly stops for a moment and then looks back across to the executive area. She sees Lionel Furgeson and hurries over to him. MOLLY Lionel? He is surprised to see her and grows instantly solicitous. FURGESON Molly. How are you? MOLLY Lionel, a woman who just left, a black lady, about my height, did you see her? FURGESON Well, yes. I just took care of her. MOLLY What did she want? Did it have anything to do with me? Did she ask about Sam? FURGESON (not understanding) Sam? No. Why? MOLLY Was her name Oda Mae Brown? FURGESON No, Rita Miller. She just closed an account. Molly stares at Furgeson. She is not sure what to think. FURGESON (continuing) Is there a problem? MOLLY (hesitating, not sure what to say) No. I guess not. Thanks. She walks away, confused. INT. CARL'S OFFICE - DAY Carl, in front of his computer, is going crazy. He keeps punching buttons on the keyboard but the same response appears over and over on the screen. "RITA MILLER, #926-31043. ACCOUNT CLOSED. BALANCE $00.00." Panicked, Carl jumps up. He moves quickly, erratically around the office and then back to the computer. He punches the keys over and over. The same answer appears on the screen. The account is closed. HALL OUTSIDE CARL'S OFFICE Carl runs through the office. He seems crazed. People look at him. LEEDEN Carl, is something wrong? CARL Is someone playing with the computers? LEEDEN What? CARL Is this a joke? One of my accounts is closed. LEEDEN Which account? What's wrong? Carl freezes. He doesn't answer. LEEDEN (continuing) You want me to call someone? CARL (changing his demeanor) No, no. Never mind. It's okay. It's all right. I can do it. EXT. MARKET SECURITY BANK & TRUST - DAY Sam and Oda Mae are walking down the street in front of the bank. Oda Mae is talking to herself. ODA MAE $4,000,000. $4,000,000. Lord Almighty. SAM Oda Mae. Take the check out of your purse. She stops. There is a nervous look on her face. ODA MAE Take it out? Why? SAM Just do it. Oda Mae, worried, removes the check but holds onto it tightly. SAM (continuing) Now endorse it. Sign Rita Miller. ODA MAE (in shock) Endorse it? Why? SAM Do what I say. ODA MAE No! SAM That's blood money, Oda. I was killed for that money. Endorse it now. ODA MAE What are you going to do with it? SAM We're giving it away. ODA MAE Away? What do you mean? To who? SAM Look to your left. Oda Mae looks at the nuns collecting money for the homeless. She recoils. ODA MAE Are you outta your mind? SAM Do what I tell you. ODA MAE No! (clutching the check) I can't. SAM Yes, you can. If you don't do it, they'll track you down. Your only protection is to get rid of it, now. ODA MAE Sweet Jesus, you're killing me, Sam. SAM I'm saving you, Oda Mae. You'll go to heaven for this. Oda Mae growls at him. With great difficulty, she approaches the nuns. The nuns look at her with curiosity and compassion. SAM Write "St. Joseph's Shelter". With great hesitation, Oda Mae begins to write. We sense that every word is a torment for her. The nuns politely avert their eyes from the check. NUN Bless you, child. Oda Mae gives her a dirty look and hands the check over. SAM I'm proud of you. ODA MAE Don't you talk to me. I don't want you comin' round no more. I mean it. Understand? SAM Come on, we're friends. ODA MAE Friends? Friends? She turns on her high heels and wobbles away. Sam calls after her. SAM I think you're wonderful, Oda Mae. She growls again. In the background we see the nuns secretly peeking at the check. One of them, wide-eyed, faints dead away. The other nun stoops down and fans her face in an attempt to revive her. INT. CARL'S OFFICE - NIGHT It is after hours. Almost everyone on the floor has gone. Carl, hunched over his computer, is typing furious commands on the keyboard. He looks haggard and worn. Sequence after sequence of coded numbers flash past on the monitor screen. Sam, sitting in a desk chair, watches, smiling. SAM Search, you bastard! You'll never find it. It's gone. (he smiles) They'll kill you for this, Carl. You and Willie. They'll wipe you off the face of the earth. In a moment of childish delight, he pushes his feet against the wall and the chair shoots across the room. Carl looks up and sees an empty chair moving. He stares at it in confusion, and then goes back to the screen. He seems desperate. Nothing is working. Panicked and frightened, Carl flicks off the machine and storms furiously around the room. Sam approaches the computer, hesitates a moment, and then pushes the power switch. The computer CLICKS back on. Carl spins around. He stares at the computer curiously for a moment and then turns it back off. Sam, enjoying this, reaches for the switch and FLICKS it back on again. Carl stares at it. CARL What the...? Carl watches as the keys seem to depress themselves and letters begin appearing on the screen. He sits down, mesmerized by what is happening. Then his face grows tense. The word "M-U-R-D-E-R-E-R" is emerging before him. Carl flies out of his chair, frantically running around to see who else is on the floor. He yells out like a madman. CARL (continuing) Who's doing that? There is no one there. He hears the computer beginning to type again and hurries back to look at the screen. One word appears. "S-A-M". Carl gasps and smashes the computer with his fist. It crashes to the floor. Electrical sparks go flying as Carl gasps for breath. Sam cannot hold himself back any longer. With a horrifying scream, he charges at Carl, jamming his fist hard into his ribs. SAM You bastard! You goddamn bastard! Carl grabs his side. CARL Ah! He hits Carl again. Carl gasps in inexplicable pain. SAM It's dinner time, Carl. Don't you have a date with Molly, you creepy son-of-a bitch? Sam keeps hitting deeper into Carl's mid-section. Carl doubles over as though he's going to throw up. CARL Jesus! Oh God! Sam is flushed with excitement. Carl kneels beside his desk. He cannot understand what is happening to him. His face goes stark white as the attack continues. Then, unexpectedly, the assault stops. Sam, exhausted, stares hatefully at his old friend cowering on the floor. Slowly and dizzily, Carl gets up. He looks fearfully around the office and then, holding his stomach, hurries from the room. INT. LOFT - THE SAME NIGHT Molly, all dressed to go out, is sitting in Sam's easy chair, asleep. Suddenly Carl arrives knocking at her door. He does not look well. Sam is with him. MOLLY Carl? Where were you? I thought we were having...? CARL I'm sorry. Things just got so crazy. I completely forgot. SAM Old Carl had a little trouble at the office. MOLLY Forgot? I was worried. Is everything okay? Are you all right? CARL I'm okay. I'm alright. Look, can I talk to you for minute? Can I come in? Molly eyes Carl with concern as he enters the loft. CARL (continuing) I need to ask you a question. SAM He needs to borrow four million dollars. CARL Molly, I know what the police said, but when you thought Sam was here, when you thought he spoke to you, what did you feel? What did he say? MOLLY Why? What happened? CARL (very tense) Molly, that psychic woman, I want to know what she told you. I want to know what she said. MOLLY Carl, stop this. It was all a hoax. I told you. It wasn't real. She's a charlatan. (she hesitates and stares at Carl) Does this have anything to do with her being at the bank today? SAM Oh shit! CARL (gulping) At the bank? Sam tenses. He holds up his hand as if wanting her to stop. MOLLY I was sure I saw her. Furgeson says she was taking out money. It turns out her name isn't even Oda Mae Brown. It's Rita Miller or something. Carl turns white. His eyes bulge. He feels sick. MOLLY (continuing) What's wrong? CARL Stomach. My stomach. Do you have anything? Pepto Bismol. MOLLY (worried) Sure. Just a second. What's going on? Concerned, she hurries from the room. Sam digs his hands into Carl's back. Carl jerks forward in intense pain and begins flailing at the air. CARL What are you doing to me. Get away! Get away! INT. KITCHEN Sam does not go away. Freaked, Carl runs into the kitchen and rushes to the stove. Quickly he turns on the gas. He looks crazed. Turning to the air, he begins whispering loudly. CARL You touch me again and I'll set her on fire. I mean it. I'll kill her. I'll blow up the whole building if I have to. Stay away! Sam jabs at the knob on the stove and begins to turn it off. Carl sees it move. Shocked and frightened, he grabs it and pulls it off, leaving only the tiny stem in place. CARL (continuing) Go on, try it again. Let me see you turn it off now. Sam, frightened, tries with all his might but he cannot twist it. Carl pulls out a cigarette lighter and gloats. CARL (continuing) Try and hurt me. I'll kill her if you hurt me. Sam rushes at Carl about to jam his full fist into his chest, but then he stops, afraid. He pulls back, shaken. Carl stands there waiting for a blow that doesn't come. He begins to gloat. CARL What's a matter? You believe me, huh? You better believe me! I want my money. I need that money and I want it tonight -- at 11:00. If that psychic lady doesn't bring it here, Molly's dead. Sam freezes. Molly enters the kitchen. She grabs her nose. MOLLY Oh my God. Is that the gas? Carl acts as if that's the reason he came into the kitchen. CARL You must have left the stove on. He fiddles with the dials and turns it off. CARL (continuing) Just glad I smelled it. MOLLY (confused) Me, too. She opens a window. CARL Molly, I'm sorry. I've got to go. Look, there's something going on. I can't talk now. Some trouble at the bank. MOLLY Trouble? What kind of trouble? Is it that woman, the psychic? CARL I don't have time to talk now. What if I come back? Around 11:00? MOLLY Carl, what's going on? Let me help you. CARL I can't. I'm sorry to do this, but it's important. I'll be back. Molly is speechless. CARL (continuing) Eleven! OMITTED INT. ODA MAE'S LIVINGROOM - NIGHT Oda Mae is watching T.V. with Clara and Louise. Suddenly she jumps, aware of Sam's presence in the room. ODA MAE Sam! Clara and Louise jump, too. CLARA Not again! ODA MAE What're you doin' here? SAM Oda Mae! We're in trouble. They want the check. They're comin' to kill you. We gotta get outta here. ODA MAE The check? What do you mean, "the check". You said they'd never find out. CLARA (afraid) What's happenin' Oda Mae? EXT. STREET A red Mustang SCREECHES to a stop on the street below. Sam and Oda Mae run to the window. Carl and Willie are looking up. INT. LIVINGROOM SAM It's them. ODA MAE They're comin' to kill me. (to Sam, crazed) What have you done? EXT. ODA MAE'S APARTMENT BUILDING - NIGHT Willie and Carl jump out of the car. They head for Oda Mae's building. INT. ODA MAE'S LIVINGROOM - NIGHT Sam steps back from the window. SAM They're heading for the door. ODA MAE (terrified) Jesus have mercy. EXT. APARTMENT BUILDING - NIGHT Willie forces open a back door. They head into the building. INT. APARTMENT HALLWAY - NIGHT Oda Mae and the others hurry into the hall. They rush down the corridor and knock loudly on a neighbor's door. A WOMAN opens it a crack. ODA MAE Emergency! Let us in! WOMAN Who you kiddin'? The Woman slams the door and locks it shut. Oda Mae looks frightened. INT. APARTMENT STAIRWAY - NIGHT Carl and Willie climb the stairs two at a time. INT. APARTMENT HALLWAY - NIGHT Oda Mae and her sisters bang on another apartment door. No one is home. Across the corridor an ELDERLY WOMAN sticks her head out to see what is going on. Before she can say anything they push their way inside. ELDERLY WOMAN What're you doin'? You can't come in here. The cat don't like visitors. She'll pee all over the couch. You wanna pay for... Oda Mae grabs the woman's mouth. CUT TO: INT. HALLWAY - FISHEYE LENS VIEW just as Willie and Carl emerge from the stairwell. They head down the hall toward Oda Mae's door. Willie pulls out a gun, and fires. The lock shoots open. They rush inside. CUT BACK TO: ODA MAE in the elderly woman's vestibule, peering through the peephole. The old woman is struggling and still trying to talk. Oda Mae's knees are wobbling. ODA MAE They're gonna find us. SAM No they won't. I'm gonna get 'em. ODA MAE Oh yeah? And how you gonna do that? SAM Whataya mean? I'm a ghost, aren't I? INT. ODA MAE'S LIVINGROOM - NIGHT Willie moves quickly through Oda Mae's apartment, his gun pointed, ready to fire. He seems furious when he realizes no one is there. WILLIE Looks like someone just left. CARL I'll check the building. ANGLE He rushes back out and down the stairs. Willie stays in the apartment. Suddenly, the doorbell RINGS. Willie rushes over and opens the door a crack. There is no one there. Confused, he backs away. The doorbell rings again. Completely mystified, he aims his gun and opens the door all the way. The hallway is empty. As Willie stands there, wondering what is happening, Sam steps inside and pushes the door closed. It slams shut. Willie nearly jumps out of his skin. WILLIE Damn! He stares at the door in total bewilderment. At that instant, a collection of picture frames flies off the breakfront and crashes into his legs. He backs away, spooked. Suddenly, the T.V. flicks ON at full volume and then the STEREO and the RADIO. Lights begin flashing on and off. Willie spins around in total dismay. Summoning all of his force, Sam slams into Willie. Willie recoils in unexplainable pain. He seems very disoriented. His gun falls to the floor. He reaches for it and Sam pushes it away. Willie jumps up, afraid. His eyes dart around the room. Sam laughs. WILLIE (continuing) Who's there? Who's doing that? ANGLE A pair of candle holders shoot off the mantle piece and nearly hit Willie in the head. He freaks. Grabbing his gun, Willie runs into the bathroom and locks the door. Suddenly the hot water faucet turns on by itself. Willie is terrified. Steam rises from the sink. Willie tries to get out, but Sam approaches him from behind and appears to dig his hands into his neck. Willie crumples to his knees. WILLIE Oh God! There is a SQUEAKING SOUND and Willie looks up. Letters are appearing in the fogged mirror. He stares in disbelief as the word "B-O-O!" emerges before him. He cries out. WILLIE (continuing) Let me outta here! Shaking uncontrollably, Willie FIRES his gun at the mirror. Glass and tiles EXPLODE. Willie is cut and bleeding. He grabs hold of the door and yanks it open. INT. HALLWAY Willie rushes to the hallway, charges for the back stairs and stumbles down the three flights to the street. Carl, running down the corridor, rushes after him. Willie drops his gun. Carl picks it up. EXT. BROOKLYN STREET -- NIGHT Willie runs from the building and careens down the sidewalk. People clear a path as he hurls past them like a madman. Carl, confused, runs after him. Sam, too, races after Willie, unwilling to let him get away. Suddenly, a man obstructs his way. Willie goes flying over him and lands face down on the cement. Before he can get up, Sam is all over him and does not let up. People stand back to watch as Willie does battle with himself. Panicked, he calls out to a bystander. WILLIE Help me! People back away. Carl watches in terror. He understands exactly what is happening. EXT. STREET - NIGHT Willie, blinded by his own hysteria, runs wildly into the street. Cars are bearing down on him from all directions. He does not get out of their way. One driver sees Willie coming and swerves to avoid him. His car skids. Another car brakes to avoid a collision and suddenly both cars crash right into him. CARL Look out! Willie's body is crushed instantly between the two vehicles as his spirit is catapulted into the air still screaming and writhing. His ghostly form reaches out to people for help as they rush past. No one stops. Willie spins around and sees a mangled body crumpled on the street. Suddenly, he recognizes that it is his own dead body lying there. He begins to scream. A bizarre and frightening CLICKING SOUND fills the air. Sam looks up. A group of strange dark figures has emerged from the shadows. With a loud, terrifying shriek, the dark forms swoop down and grab hold of Willie. Sam freezes. In an instant they are dragging Willie, kicking and screaming, down through the sewer grates into the bowels of the earth. ANGLE Sam backs against a wall in absolute horror. Carl, standing in the crowd, turns and runs. INT. OLD LADY'S APARTMENT - NIGHT Oda Mae and her sisters are huddling with the old woman in the entryway to her apartment. They all appear frightened. The door is opened a crack and they can see people gathering in the hall outside. Sam walks up to Oda Mae. She feels his presence. ODA MAE Sam? What happened? SAM He's dead, Oda Mae. ODA MAE Dead! (she utters a sigh of relief) Oh, thank God. It's over. SAM No. It's not over, Oda Mae. There's still Carl. Oda Mae freezes. She turns to Sam. ODA MAE Who's Carl? INT. TAXI CAB - NIGHT Sam and Oda Mae are in a taxi speeding downtown. SAM Tell him to hurry! ODA MAE Can't you hurry up? DRIVER Listen, lady, I'm going as fast as I can. Sam leans forward and pushes at the gas pedal. The cab shoots forward. The driver seems shocked. ODA MAE Problems? He gives her a dirty look. INT. LOFT - NIGHT There is a KNOCK at the door. Molly goes to it. Fastening the latch, she opens it a crack. MOLLY Carl, is that you? Oda Mae wedges her foot inside. ODA MAE Molly, it's Oda Mae. I know what you think of me, but your life is in danger. You have to listen to me. Sam's here, too. You gotta let us in. Molly tries to slam the door but hits Oda Mae's foot. MOLLY Get the hell out of here. I'm calling the police. ODA MAE Go ahead. We want you to call 'em. You're in trouble. Let us in. MOLLY No! ODA MAE Sam's death was no accident. He was murdered, Molly. Carl was laundering money at the bank. Sam found out. He's dangerous. He tried to kill me. He'll kill you, too. MOLLY (screaming) Why are you doing this to me? Get away from me! I know all about you. You're a fake. You're just a fake. Leave me alone! We see Sam's inside the room with Molly. He gazes at her lovingly for a moment and then calls back to Oda Mae. SAM Tell her she's wearing the blouse I spilled the Margarita on and the earrings I gave her for Christmas. ODA MAE Sam says you're wearin' the blouse he spilled the Margarita on and the earrings he gave you at Christmas. CUT BACK TO: MOLLY grabbing hold of her beads. Her hand is shaking. ODA MAE (O.S.) (continuing) See, I'm no fake. MOLLY Go away! SAM Gimme a penny quick. ODA MAE What? SAM Empty your purse. On the floor. Now. Oda Mae obeys. A pile of coins falls on the floor. SAM (continuing) Push a penny under the door. Oda Mae obeys and a penny slides into the loft. Molly sees it. Sam tips it carefully so it lands upright against the bottom of the door. Pushing gently, he moves the penny up the door until it's eye level with Molly. She watches it, amazed. Then, to her astonishment, the penny floats away from the door and hovers in the air. There is a look of wonder in Molly's eyes as it floats toward her. SAM (continuing; calling to Oda Mae) Tell her it's for luck. ODA MAE (O.S.) Sam says it's for luck. Molly stands there dumbfounded. Her face is completely white. After a moment she reaches for the penny. It falls into her hand. There are tears in her eyes. CUT TO: HALLWAY Oda Mae standing in the hallway as the door to the loft begins to open. Slowly Molly steps out onto the landing and stares at her, nervously, uncomprehendingly. She hesitates for a long moment and then invites Oda Mae in. INT. LOFT - NIGHT Molly is on the phone. Oda Mae is beside her. MOLLY Right. Yes, it's right on the corner. We're a red brick building with the entrance on the left side. Please hurry. Thank you Sergeant. We'll be waiting right here. (she hangs up) Police are on their way. Oda Mae takes her and leads her to the couch. MOLLY What do we do now? ODA MAE Just wait. There is a period of awkward silence. MOLLY Is Sam here? SAM I'm sitting beside you. ODA MAE (pointing) Right here. Molly reaches out tentatively. Sam meets her hand. She flinches for a second but does not pull back. MOLLY (fingering the air) Can you feel me, Sam? SAM With all my heart. ODA MAE With all his heart, he says. SAM I'd give anything to be alive again, just to feel you once more. ODA MAE He wishes he could touch you, just one more time. MOLLY Oh, Sam. Oda Mae looks away uncomfortably. The CAMERA HOLDS on her face. After a moment she turns around and addresses the air. ODA MAE Okay, damn it, you can use me if you want. Sam looks oddly at Oda Mae. ODA MAE (continuing) Come on. Before I change my mind. Suddenly he understands what she means. CUT TO: JUKEBOX Sam's finger presses down two keys. We see a record slide out of its slot and move toward the turntable. We know what it is going to play. ANGLE Oda Mae closes her eyes. "Unchained Melody" begins to play. Sam hesitates for a moment and then cautiously, awkwardly slides his ghostly body into her solid form. We sense Oda Mae's discomfort gradually give way as Sam emerges inside her. After a second her body turns slowly toward Molly. Oda Mae's hand reaches out and with slow, deliberate gestures, touches Molly's hand. Molly swallows hard. She closes her eyes. CUT TO: ANGLE Sam. It is as though he alone is there with Molly. His eyes are full of tears. He can barely move. His hand glides slowly down Molly's cheek. He seems to be in a state of ecstasy and pain. The experience is more than he can bear. He pulls back. MOLLY Sam! Molly reaches out, takes Sam's hand, and guides it to her soft lips. Sam can barely breathe. He seems totally absorbed in the experience, the sensation of human flesh. His eyes are absolutely still and full of light. He seems to be glowing. Gently, Molly takes Sam's arm and guides him to his feet. Effortlessly, she draws him to the center of the huge loft. With great tenderness, she puts her arms around him and before he knows what is happening, they are dancing. It is a strange, touching image, reminiscent of their first night in their new home. Sam reaches out and slowly draws his fingers down over her face, caressing her forehead, her cheeks, her lips. She stands motionless. Her face shines. She knows beyond all doubt that it is him. MOLLY I love you so much. CUT TO: ANGLE A LOUD JARRING SOUND. It takes a moment to realize that it is someone KNOCKING at the door. The light slams back into its shadowy substance and Sam comes shooting back into his ghostly form. Oda Mae is standing with Molly in the center of the room. Sam is beside them. He appears shaken and dizzy. There is a another loud POUNDING at the door. MOLLY The police! Molly heads for the door. Sam calls out. He can barely speak. SAM No! ODA MAE (to Molly) Wait! Sam tries to go instead. To his amazement and ours he is extremely weak, barely able to move. SAM What's happening to me? His ghostly functions are diminishing. There is another KNOCK and a voice rings out. CARL (O.S.) Molly, open up. It's me. MOLLY It's Carl! SAM Get out of here! The fire escape. Oda Mae grabs Molly. ODA MAE Come with me. Oda Mae and Molly run for the fire escape window. We hear Carl yelling in the hallway. CARL (O.S.) Molly. Open up. Are you there? INT. STAIRWELL - NIGHT Carl is standing on the landing. He is holding a gun. He aims it at the lock and FIRES. The door to the loft flies open. INT. LOFT - NIGHT Carl moves rapidly through the huge space. CARL Molly! It is obvious that no one's home. ANGLE Sam, with great effort, rushes at Carl and attacks him with his fists. To his great shock, he has no impact. Carl walks right through him. EXT. FIRE ESCAPE - NIGHT Molly and Oda Mae are climbing the fire escape. INT. LOFT - NIGHT Carl runs to the fire escape window. He looks out just in time to see Oda Mae go into the 7th story window. INT. NEW LOFT - NIGHT Molly and Oda Mae run through a new loft that is under construction. It is a maze of tangled wires and broken walls. The fire escape window slams shut and nearly scares them half to death. They rush blindly toward the front door. It won't open. ODA MAE Back to the fire escape. Head for the roof. Oda Mae reaches the fire escape window just as Carl appears on the other side. She screams. Carl tries shoving the window open. It won't budge. Molly sees some scaffolding leading to the skylight. There is an opening at the top. MOLLY This way! Molly quickly climbs the scaffolding and makes it to the roof. With a huge shove, Carl opens the window and rushes inside. The window slams behind him. Oda Mae rushes back toward Molly, but her foot catches on a loose cable and she falls to the ground. ODA MAE Help us, Sam! OMITTED ODA MAE A hand falls on Oda Mae's shoulder. She spins around. Carl is standing behind her. She screams as he knocks her to the floor. CARL I want the check. Just give me the check. Molly looks down from the scaffolding and begins to scream. MOLLY (screaming) God almighty, Carl! What are you doing? What have you done!? She descends quickly and runs toward Carl. CARL Don't interfere! She's a thief. It's not her money. Carl kicks Oda Mae. Molly rushes at him, attacking him violently. Carl aims his gun at her. CARL (continuing) Keep out of this, Molly! He grabs Oda Mae by the hair. CARL (continuing) Where is it? Oda Mae cries out. ODA MAE In my purse. CARL Where? ODA MAE Over there. She points across the room. Carl sees the purse and yanks Oda Mae toward it. Yanking it off the floor, he tears through it like a wild man. There is no check. He grabs Oda Mae. CARL Where is it, goddamn it? Where is it? ODA MAE I gave it away. CARL You're lying! Don't lie to me! He aims his gun at her eye and is about to FIRE when, suddenly, something shoves him to the floor. Carl screams and jumps back, tripping over Oda Mae. Sam is standing there. In total panic, Carl scrambles to get up. Horrified, he SHOOTS his gun blindly into the air. Molly and Oda Mae dive for cover. The bullets have no impact. Sam musters all his strength and shoves Carl again. White with fear, Carl grabs Molly and aims his gun at her head. CARL (continuing) I'll kill her. You touch me and I'll kill her. I mean it, Sam. Just give me the check. The gun is cocked at her temple. No one moves. Slowly the camera dollies toward Carl. CARL (continuing) Sam, please. I didn't mean for him to kill you. It's not my fault. Come on, Sam, give me the check. Give it to me and I'll leave her alone. Nothing happens. Carl looks nervous. ANGLE CARL Sam? Sam? In a wild explosive fury, Sam charges at Carl and smashes at his gun. The weapon flies out of Carl's hand. Empowered by an anger we have not seen before, Sam smashes into Carl with a violent force. Carl's body careens into walls and floorboards. Wiring snaps. Two-by-fours crack. Carl, crawling desperately to escape, sees his gun on the floor. With a wild rush, he grabs for it and shoots at the door. The lock explodes and the door flies open. Carl tries to run for it, but Sam cuts in front of him. With growing power, Sam sends Carl flying back into the apartment, colliding into a tall scaffold. Bags of plaster topple to the ground as mounds of plaster dust hurl into the air. The apartment looks like a scene from another world. Carl, in a state of total unrelieved panic, breaks away from Sam. The dust obscures his escape. Like a trapped insect, he scrambles furiously to the fire escape window. Sam cannot see him. Carl shoves at the window. It is stuck. With a supreme effort, he grabs a ripped bag of plaster and swings it at the glass. Half of its plaster spews across the room before smashing the window. Shards of glass fly in all directions. Sam turns and sees Carl. He surges after him, but knows he cannot get to him in time. Carl is halfway out the window when Sam's fist slams into an electrical box attached to a dangling BX cable. It goes flying toward the window. To his amazement, it hits the frame. A huge pane of glass dislodges and comes crashing down. Carl looks up just in time to see the pointed edge aiming for his chest. Before he can move, it pierces him between the ribs and slices into his heart. His body quivers. Carl's eyes bulge from their sockets. His body begins to spasm. He can't get up. A look of abject terror flashes through his eyes. He tries to scream. There is no sound. He tries to breathe. There is no breath. ANGLE With one last effort, Carl lurches forward. To his amazement, his body stands up and pulls away from the window. He looks down at his chest and is amazed to see that the glass is gone. There is no blood. Excited and confused, he turns around and sees Sam. For a moment, he cannot comprehend what is happening. CARL Sam? There is a strange, silent moment between them. Then, seemingly out of nowhere, a terrible CLICKING sound is heard. Frightening black forms are emerging from the darkness. Carl looks behind him and gasps. Past the figures coming toward him, he sees his own dead body. It is pinned to the window sill. Before Carl can cry out, the dark figures swoop down and envelope him. In a flash, his spirit is caught and surges with the dark forces back into the shadows. Far in some invisible distance, we can barely hear him scream. And then it is silent. It is over. ANGLE Molly is crouched in the corner, her back pressed tightly against the wall. She is staring into space. The room is filled with plaster dust. Slowly, emerging from the dust, we see Sam approaching Molly. He gazes at her with terrible longing. Suddenly, a brilliant light glows from behind the ceiling and the skylight floods the room with a golden haze. Sam turns to look at it. His eyes are full of surprise and wonder. The spirits beyond the ceiling are beckoning to him. As he looks down, he notices that his hands are growing transparent. His body is beginning to fade. A faint smile forms on his face. He leans down toward Molly, staring at her for a long, silent moment. SAM Goodbye, Moll. Molly's head lifts up. She looks around. MOLLY Sam? Is that you? SAM (stunned) Molly?! MOLLY I hear you, Sam. She starts to cry. Gradually, we notice that the dust in the air near Molly is beginning to shimmer with a subtle glow. To her astonishment, Sam's spirit is reflected in the floating particles. MOLLY (continuing) Oh God! Sam's luminous form appears before her. Molly is overwhelmed by the sight of him. The two of them gaze at one another without moving. They know it is for the last time. It is a silent exchange, charged with emotion. Slowly, the two bodies reach forward. As their lips touch, the plaster dust swirls sensuously through Sam's vaporous image and he begins to disappear. Molly pulls back from him as though from a cloud. His voice rises from the mist. SAM I can't stay anymore. Tears roll down her cheek. The brilliant light intensifies. It is beautiful, like a sunrise, saturating the room with a warm, comforting glow. Molly looks up and sees it all. Oda Mae sees it, too. ODA MAE They're waiting for you, Sam. SAM (smiling) I know. Goodbye, Oda Mae. (with deep felt gratitude) Thank you. Your mama would be proud. Oda Mae smiles warmly. Sam turns to Molly. She is gazing at the last remaining moments of him. Her eyes brim over with tears and love. SAM I love you, Molly. I've always loved you. Molly swallows hard and wipes her eyes. MOLLY Ditto. The light inside Sam intensifies. A sweet smile emerges on his lips. SAM It's so amazing, Moll... His face fills with joy. SAM (continuing) The love inside. He whispers, almost crying. SAM (continuing) You take it with you. They are his last words. His spirit dissolves within its ghostly moorings and begins to evaporate. Molly looks up silently for a moment, her face filled with love. MOLLY See ya. We see Sam's spirit rise from the room. It passes effortlessly through the ceiling and, in seconds, he is gone. The room grows dark. Molly sits quietly on the floor. There is a look of awe and wonder in her eyes. After a moment, Oda Mae reaches down to help her up. Molly looks at her lovingly and then gently takes her hand. Arm in arm, supporting one another, they walk quietly from the room. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Ghostbusters 2.txt b/unformated_scripts/Script_Ghostbusters 2.txt new file mode 100644 index 0000000000000000000000000000000000000000..c33e69b7f19d536dbd24a120820e368fb9b07602 --- /dev/null +++ b/unformated_scripts/Script_Ghostbusters 2.txt @@ -0,0 +1 @@ + Ghostbusters II by Harold Ramis and Dan Aykroyd September 29, 1988 Last revised Feburary 27, 1989EXT. MANHATTAN ISLAND - DAYA high AERIAL SHOT of the island features the Statue of Libertyprominently in the foreground then TRAVELS ACROSS the harbor, OVER theBattery and Lower Manhattan to Greenwich Village.EXT. EAST 77TH STREET - DAYA car is being hoisted up by a municipal tow truck while its owner ishaving a terrible screaming arguement with a parking enforcement officer.DANA BARRETT comes home pushing a baby buggy, struggling with two fullbags of groceries, and trying to dig her keys out of her purse. Thebuilding superintendent FRANK, sees her struggling but pretends not tonotice. DANA (exasperated) Frank, do you think you could give me a hand with these bags? FRANK I'm not a doorman, Miss Barrett. I'm a building superintendent. DANA You're also a human being, Frank. FRANK (reluctantly going to help) Okay, okay. It's not my job, but what the hell. I'll do you a favor. He takes the grocery bags from her. DANA (setting the wheel brakes on the buggy) Thank you, Frank. I'll get the hang of this eventually.She continues digging in her purse while Frank leans over the buggy andmakes funny faces at the baby, OSCAR, a very cute nine-month old boy. FRANK (to the baby) Hiya, Oscar. What do you say, slugger? FRANK (to Dana) That's a good-looking kid you got there, Ms. Barrett. DANA (finding her keys) Thank you, Frank. Oh, are you ever going to fix the radiator in my bedroom? I asked you last week. FRANK Didn't I do it?BABY BUGGYIt starts to vibrate as if shaken by an unseen hand.EXT. EAST 77TH STREET - BABY - DAYHe GURGLES with delight at the movement.EXT. EAST 77TH STREET - DANA AND FRANK - DAYNeither of them notice the movement of the carriage. DANA No, you didn't, Frank. FRANK Okay, that's no problem. DANA That's exactly what you said last week.BUGGY WHEELSThe brakes unlock themselves.DANAShe reaches for the handlebar of the buggy, but the buggy rolls forwardjust out of her reach and stops. Surprised by the movement, she reachesfor the handlebar again, but this time the buggy rolls away evenfurther. Alarmed now, Dana hurries after it, but the buggy keepsrolling down the street at ever increasing speed.SIDEWALKDana chases the buggy down the street, shouting to passing pedestriansfor help, but every time someone reaches out to stop it, the buggyswerves and continues unchecked.INTERSECTIONCars, trucks, and buses speed by in both directions as the buggy racestoward the corner.DANAShe puts her head down and sprints after the buggy like an Olympian.EXT. EAST 77TH STREET - INTERSECTION - DAYA city bus is on a collision course with the speeding baby buggy.BUGGYIt careens toward the corner.EXT. EAST 77TH STREET - BABY - DAYIts eyes are wide open with excitement.EXT. EAST 77TH STREET - INTERSECTION - DAYBus and buggy are closing fast as the buggy bounces over the curb andinto the crosswalk.BUSThe bus driver reacts in helpless horror as he sees the buggy enter theintersection at high speed.BUGGYIt comes to a dead stop right in the middle of the street. The buscontinues missing the buggy by inches.INTERSECTIONCars and trucks swerve and hit their brakes as Dana runs into theintersection and snatches up the baby. She hugs it close, deeplyrelieved, then looks at the buggy with the dawning awareness that thesupernatural has re-entered her life. CUT TO:EXT. UPPER WEST SIDE - NEW YORK CITY STREET - GHOSTBUSTERS LOGO - DAYTHEME MUSIC kicks in strongly as we see the familiar "No Ghosts" symboland PULL BACK to reveal that it's painted on the side of Ecto-1, theGhostbusters' emergency vehicle, which is speeding up Broadway on theUpper West Side. RAY STANTZ is driving and WINSTON ZEDDEMORE is ridingshotgun.EXT. WEST 77TH STREET - DAY (MOMENTS LATER)The Ectomobile pulls up in front of a carefully-restored brownstone.Stantz and Winston, wearing their official Ghostbuster uniforms, jumpout of the old ambulance, shoulder their proton packs and enter thehouse.INT. BROWNSTONE - DAY (CONTINUOUS ACTION)A WOMAN greets them and leads them through the expensively-furnishedhouse. STANTZ (all business) How many of them are there, ma'am? WOMAN Fourteen. They're in the back. I hope you can handle them. It's been like a nightmare. WINSTON How big are they?She holds her hand out indicating about four feet. WINSTON (resolute) We'll do our best, ma'am. WOMAN They're right out here.She leads them to a set of French doors that open into another room.Stantz and Winston pause to make final adjustments to their equipment. STANTZ Ready? WINSTON I'm ready. STANTZ Then let's do it.He pushes through the French doors and they step into the room.INT. BROWNSTONE - DAY (CONTINUOUS ACTION)They are immediately attacked by fourteen or fifteen screaming KIDSbetween the ages of seven and ten. KIDS (disappointed) Ghostbusters!! Boooo!!Tables are set with party favors, ice cream and birthday cake and theroom is strewn with discarded toys and games. A couple of weary parentssink onto lawn chairs as Stantz and Winston take over the party. WINSTON (trying his best) How you doin', kids? LITTLE BOY (nasty) I though we were having He-Man. STANTZ He-Man couldn't make it today. That's why we're here. BOY My dad says you're full of crap. STANTZ (stopped cold) Well, a lot of people have trouble believing in the paranormal. BOY No, he just says you're full of crap and that's why you went out of business.He kicks Stantz in the leg. Stantz grabs him by the shirtfront. STANTZ (low and menacing) I'm watching you. (to Winston) Song.Winston switches on a tiny TAPE RECORDER which starts PLAYING theGhostbusters THEME SONG. Stantz and WInston start singing STANTZ AND WINSTON 'There's something wrong in the neighborhood. Who you gonna call?' KIDS (all together) He-Man!! CUT TO:EXT. WEST 77TH STREET - DAY (LATER)Stantz and Winston wearily load their equipment into the Ectomobile. WINSTON That's it, Ray. I've had it. No more parties. I'm tired of taking abuse from over-privileged nine-year-olds. STANTZ Come on, Winston. We can't quit now. The holidays are coming up. It's our best season.They get in the carINT. ECTO-1 - DAY (CONTINUOUS ACTION)Stantz tries to start the car, but the engine won't turn over. WINSTON Give it up, Ray. You're living in the past. Ghostbusters doesn't exist anymore. In a year these kids won't even remember who we are. STANTZ (tries to start the car again) Ungrateful little Yuppie larvae. After all we did for this city. WINSTON Yeah, what did we do, Ray? The last real job we had we bubbled up a hundred foot marshmallow man and blew the top three floors off an uptown highrise. STANTZ Yeah, but what a ride. You can't make a hamburger without chopping up a cow.He turns the key again, the ENGING TURNS OVER, then starts GRINDING andCLUNKING disastrously, chewing up vital parts and dropping twisted bitsof metal onto the pavement. Finally, with a BLAST of black sootyexhaust from the tailpipe, Ecto-1 shudders and dies. Frustrated, Stantzbangs his head lightly on the steering wheel CUT TO:INT. WKRR-TV STUDIO RECEPTION AREA - DAY (LATER)A bank of monitors in the lobby show the program now running on WKRR,Channel 10 in New York. We PUSH IN ON one of the monitors as a titlecard and logo come up accompanied by some EERIE SYNTHESIZER MUSIC, andwe return to the show in progress: "World of the Psychic with Dr. PeterVenkman." There is a video dissolve to a standard talk show set andsitting there is our host PETER VENKMAN, the renowned and somewhatinfamous ex-Ghostbuster.VENKMANHe turns TO CAMERA and talks to his viewers in a suavely engaging tone,understated and intimate. VENKMAN Hi, welcome back to the 'World of the Psychic,' I'm Peter Venkman and I'm chatting with my guest, author, lecturer and of course, psychic, Milton Anglund. (to his guest) Milt, your new book is called The End of the World. Isn't that kind of like writing about gum disease. Yes, it could happen, but do you think anybody wants to read a book about it? MILTON Well, I think it's important for people to know that the world is in danger. VENKMAN Okay, so can you tell us when it's going to happen or do we have to buy the book? MILTON I predict that the world will end at the stroke of midnight on New Year's Eve. VENKMAN This year? That's cutting it a little close, isn't it? I mean, just from a sales point of view, the book just came out, right? So you're not even looking at the paperback release for maybe a year. And it's going to be at least another year after that if the thing has movie-of-the-week or mini-series potential. You would have been better off predicting 1992 or even '94 just to be safe. MILTON (irritated) This is not just some money-making scheme! I didn't just make up the date. I have a strong psychic belief that the world will end on New Year's Eve. VENKMAN (placating) Well, for your sake, I hope you're right. But I think my other guest may disagree with you. Elaine, you had another date in mind?The CAMERA REVEALS ELAINE, an attractive, aggressive New Jerseyhousewife, sitting on the other side of Venkman. ELAINE According to my sources, the world will end on February 14, in the year 2016. VENKMAN Valentine's Day. That's got to be a bummer. Where did you get that date, Elaine? ELAINE I received this information from an alien. I was at the Paramus Holiday Inn, I was having a drink in the bar when he approached me and started talking. Then he must have used some sort of ray or a mind control device because he made me follow him to his room and that's where he told me about the end of the world. VENKMAN Your alien had a room in the Holiday Inn? ELAINE It may have been a room on the spacecraft made up to look like a room in the Holiday Inn. I can't be sure, Peter. VENKMAN (humoring her) No, you can't, and I think that's the whole problem with aliens; you just can't trust them. You may get some nice ones occasionally like Starman or E.T., but most of them turn out to be some kind of lizard. Anyway, we're just about out of time. (does his wrap-up right TO the CAMERA) Next week on 'World of the Psychic,' hairless pets. (holds up a hairless cat) Until then, this is Peter Venkman saying ... (puts a finger to his temple and sends out a though to his viewers) ... Good night. CUT TO:INT. TV STUDIO - CORRIDOR - DAY (LATER)Venkman comes out of the studio squabbling with his producer, NORMAN, awell-meaning young incompetent. VENKMAN Where do you find these people? I thought we were having the telekinetic guy who bends the spoons? NORMAN A lot of the better psychics won't come on the show. They think you're too skeptical. VENKMAN Skeptical! Norman, I'm a pushover. I think professional wrestling is real.There is a small commotion down the hall as two plainclothes cops comeout of the next studio followed by a group of mayoral assistants. VENKMAN (to Norman) What's all this? NORMAN They just interviewed the mayor on 'Cityline.' VENKMAN The Mayor! He's a friend of mine.Venkman starts down the hall as the MAYOR and his principal aide, JACKHARDEMEYER, come walking out of the studio. VENKMAN (calling to the Mayor) Lenny!The Mayor sees Venkman, blanches and hurries off, pretending not to knowhim. VENKMAN (starts to follow him) Lenny! It's Pete Venkman!The plainclothesmen cut Venkman off and Hardemeyer puts a heavy handagainst Venkman's chest. HARDEMEYER (snide) Can I help you? VENKMAN (dangerous) Yeah, you can get your hand off my chest.Hardemeyer smiles and drops his hand. HARDEMEYER I'm Jack Hardemeyer. I'm the mayor's assistant. What can I do for you? VENKMAN I'm an old friend of the mayor's. I just want to say hello to him. HARDEMEYER (scornful) I know who you are, Doctor Venkman. Busting any ghosts lately? VENKMAN No, that's what I want to talk to the mayor about. We did a little job for the city a while back and we ended up getting sued, screwed and tattooed by deskworms like you. HARDEMEYER (bristling) Look, you stay away from the mayor. Next fall, barring a disaster, he's going to be elected governor of this state and the last thing we need is for him to be associated with two-bit frauds and publicity hounds like you and your friends. You read me?Hardemeyer walks off with the two cops. VENKMAN Okay, I get it. But I want you to tell Lenny that, because of you, I'm not voting for him. CUT TO:EXT. MANHATTAN MUSEUM OF ART - DAYThe broad front steps of the museum are crowded with tourists andvisitors. Dana arrives carrying a portfolio and artist's tackle box andenters the museum.INT. MUSEUM - RESTORATION STUDIO - DAY (LATER)We are FULL-FRAME ON a larger-than-life, full-figure portrait of VIGOTHE CARPATHIAN, a demented and sadistic 16th century despot with anincredibly powerful evil presence. Then we PULL BACK to reveal thestudio, which is a large open space on the top floor of the museum, litby large skylights in the ceiling. Working on the Vigo painting isJANOSZ POHA, a youngish art historian and painter, the head of thedepartment, quirky, intense and somewhat creepy. Janosz is staringlongingly across the room at Dana.DANAShe is carefully cleaning a 19th Century landscape painting, stillpreoccupied by the extraordinary near-accident with the buggy. Janoszwatches her for a moment, then comes up behind her and looks over hershoulder. JANOSZ (with an East European accent) Still working on the Turner?Dana jumps, startled by the intrusion. DANA Oh, yes, I got in a little late this morning, Janosz. JANOSZ You know, you are really doing very good work here. I think soon you may be ready to assist me in some of the more important restorations. DANA Thank you, Janosz. I've learned a lot here, but now that my baby's a little older, I was hoping to rejoin the orchestra.VIGO PAINTINGAt the mention of Dana's baby, the figure of Vigo miraculously turns hishead and looks at Dana.JANOSZ AND DANANeither of them notice the movement in the painting. JANOSZ (disappointed) We'll be very sorry to lose you. Perhaps I could take you to lunch today? DANA Actually, I'm not eating lunch today. I have an appointment. (looks at her watch) In fact, I'd better go.She starts gathering up her things. JANOSZ Every day I ask you, and every day you've got something else to do. Do I have bad breath or something? DANA (trying to brush him off) I'm sorry. Perhaps some other time. JANOSZ Okay, I'll take a raincheck on that.Janosz smiles at her as she exits, then goes back to his easel. JANOSZ (to himself) I think she likes me.He switches on an English language TAPE and starts practicing thephrases as he resumes working. CUT TO:EXT. UNIVERSITY - DAYDana Barrett crosses the quad and enters a modern building. A signidentifies it as "The Institute for Advanced Theoretical Research."INT. UNIVERSITY - DAY (A LITTLE LATER)Dana is explaining the buggy incident to EGON SPENGLER, the soberlyintellectual techno-wizard and former Ghostbuster, as he conducts anexperiment assisted by a research team of graduate students, all of whomare Japanese, Chinese, or Korean. The device he is testing is a blackbox about the size of a Sony Watchman with both digital and graphicdisplays. DANA ... and then the buggy just suddenly stopped dead in the middle of the street SPENGLER Did anyone else see this happen? DANA Hundreds of people. Believe me, I didn't imagine this. SPENGLER I'm not saying you did. In science we always look for the simplest explanation.An ASSISTANT interrupts. ASSISTANT We're ready, Dr. Spengler SPENGLER (to the Assistant) We'll start with the negative calibration.He picks up the device and prepares to test it. DANA (curious) What are you working on, Egon? SPENGLER I'm trying to determine whether human emotional states have a measurable effect on the psychomagnetheric energy field. It's a theory Ray and I were working on when we had to dissolve Ghostbusters.An assistant draws a curtain revealing a large picture window, actuallya two-way mirror, that looks into a small waiting room. Inside thewaiting room they can see but not hear a youngish couple having a heatedarguement. SPENGLER (to Dana) They think they're here for marriage counseling. We've kept them waiting for two hours and we've been gradually increasing the temperature in the room. (checking a heat sensor) It's up to 95 degrees at the moment. Now my assistant is going to enter and ask them if they'd mind waiting another half-hour.As Spengler, Dana, and the research team watch, the assistant enters thewaiting room and tells the couple about the new delay. They explodewith anger both at him and each other while Spengler monitors themthrough the glass. After recording his readings, he returns to hisAssistant. SPENGLER We'll do the happiness index next. (to Dana) I'd like to bring Ray in on your case, if it's all right with you. DANA Okay, whatever you think -- but not Venkman. SPENGLER Oh no. DANA (affectedly casual) Do you ever see him? SPENGLER Occasionally DANA How is he these days? SPENGLER Venkman? I think he was borderline for a while there. Then he crossed the border. DANA Does he ever mention me? SPENGLER No. Not that I can recall.They move to another two-way mirror through which they can see a lovelylittle girl playing with a wonderful array of toys. DANA (slightly disappointed) Well, we didn't part on very good terms and we sort of lost track of each other when I got married.The Assistant interrupts again. ASSISTANT We're ready for the affection test. SPENGLER (to the assistant) Good. Send in the puppy. DANA (continuing) I thought of calling him after my marriage ended, but --. Anyway, I appreciate you're doing this, EgonThey watch as another assistant enters the playroom with an adorableCocker Spaniel puppy and gives it to the little girl. Spengler monitorsher as she jumps for joy and hugs the little dog. DANA (handing him a card) This is my address and telephone number. Will you call me? SPENGLER Certainly. DANA Egon, I'd rather you didn't mention any of this to Peter if you don't mind. SPENGLER I won't. DANA Thank you.She shakes his hand and exits. SPENGLER (to his assistant) Now let's see how she reacts when we take away the puppy CUT TO:EXT. RAY'S OCCULT BOOK STORE - DAY (LATER)It's a small basement shop located on a quaint commercial block inGreenwich Village. The window is crowded with occult artifacts and oldbooks full of arcane metaphysical lore. The TELEPHONE RINGS. STANTZ (v.o., answering the phone) Ray's Occult.INT. RAY'S OCCULT BOOKS - CONTINUOUSThe shelves are jammed floor to ceiling with books on the paranormal.Ray sits on a barstool behind the counter wearing an old cardigansweater over a T-shirt. He has on a pair of reading glasses and chewson a battered, reeking pipe. As he talks on the phone he prepares a cupof herb tea for Spengler who is thumbing through an arcane text. STANTZ (on the phone) Yeah ... mmhmm ... What do you need? ... What have I got? I've got alchemy, astrology, apparitions, Bundu Magic Men, demon intercession, U.F.O. abductions, psychic surgery, stigmata, modern miracles, pixie sightings, golden geese, geists, ghosts, I've got it all -- what are you looking for? ... Don't have any. Try the stockyards.He hangs up. SPENGLER Who was that? STANTZ Some crank. Looking for goat hooves. Come up with anything? SPENGLER (referring to the book) This one's interesting. Berlin, 1939, a flower cart took off by itself and rolled approximately half a kilometer over level ground. Three hundred eyewitnesses. STANTZ You might want to check those Duke University mean averaging studies on controlled psychokinesis. SPENGLER (going to the stacks) Good idea.The bones hanging over the door rattle as Venkman enters the shop. VENKMAN Oh, hello, perhaps you could help me. I'm looking for an aerosol love potion I could spray on a certain Penthouse Pet that would make her unconditionally submit to an unusual personal request. STANTZ Oh, hiya, Pete. VENKMAN So, no goat hooves, huh? STANTZ (strung) I knew that voice sounded familiar. What's up? How's it going? VENKMAN Nowhere -- fast. Why don't you lock up and buy me a sub? STANTZ (slightly evasive) Uh, I can't. I'm kind of working on something.Spengler steps out of the stacks. VENKMAN Egon! SPENGLER Hello, Venkman. VENKMAN How've you been? How's teaching? I bet those science chicks really dig that big cranium of yours, huh? SPENGLER I think they're more interested in my epididymis. VENKMAN I don't even want to know where that is.Venkman steps behind the counter and takes a beer from Ray's mini-fridge. STANTZ Oh, your book came in, Venkman. Magical Paths to Fortune and Power.He hands Venkman the book. VENKMAN Great. (reading the contents) So what are you guys working on? STANTZ Oh, just checking something for an old friend. VENKMAN Who? STANTZ (at a loss) Who? Just -- someone we know. VENKMAN Oh, Ray --He grabs Stantz by both ears and pulls up. VENKMAN Who? Who? Who? STANTZ Aaah! Nobody! I can't tell you! VENKMAN Who, Ray? STANTZ (giving in) Dana! Dana Barrett!Venkman lets go of his ears and smiles. Spengler looks at Stantz andshakes his head. CUT TO:INT. DANA'S APARTMENT - DAY (LATER)The apartment is old and creatively furnished with a comfortable mix ofmodern and traditional pieces. Maria, a young Hispanic woman who doesday care for Dana, is feeding the baby in the kitchen when the DOORBELLRINGS. CUT TO:Dana enters from the bedroom and crosses to the front door. She opensit and admits Ray and Egon. DANA (hugging Ray) Hi, Ray. It's good to see you. Thanks for coming. STANTZ No problem. Always glad to help -- and hug. DANA (to Spengler) Hi, Egon.She shakes his hand and is about to close the door when Venkman appearsin the doorway. VENKMAN Hi, Dana.Dana is caught completely off guard by Venkman's surprise appearance. VENKMAN I knew you'd come crawling back to me.She regards him coolly, as always amused and amazed at hispresumptuousness. DANA Hello, Peter. VENKMAN (to Dana) You know, Dana, I'm very very hurt that you didn't call me first. I'm still into all this stuff, you know. Haven't you ever seen my show? DANA I have. That's why I didn't call you first. VENKMAN I can see that you're still very bitter about us, but in the interest of science, I'm going to give it my best shot. Let's go to work, boys.Stantz and Spengler begin a comprehensive parapsychological work-up onthe baby and the immediate physical environment.VENKMAN AND DANAVenkman starts nosing around the apartment. Dana follows him. VENKMAN So what happened to Mr. Right? I hear he ditched you and the kid and moved to Europe. DANA He didn't "ditch" me. We had some problems, he got a good offer from an orchestra in England and he took it. VENKMAN He ditched you. You should've married me, you know. DANA You never asked me, and every time I brought it up you'd get drowsy and fall asleep. VENKMAN Men are very sensitive, you know. We need to feel loved and desired, too. DANA Well, when you started introducing me as "the old ball and chain," that's when I left. VENKMAN I may have a few personal problems but one thing I am is a total professional.He leaves her and crosses to Spengler.SPENGLERHe's taking a complete set of body and head measurements of the babywith a tape measure and calipers. VENKMAN What are you going to do, Egon? Knit him a snowsuit?Spengler ignores the remark and hands Venkman a specimen jar. SPENGLER I'd like to have a stool specimen VENKMAN Yeah, you would. Is that for personal or professional reasons? VENKMAN (picking up the baby) Okay, kid. Up you go.He starts clowning with the baby, holding him over his head and pressinghis nose into the baby's belly, pretending that the baby is attackinghim. VENKMAN Help! Please somebody help me! Get him off! Quickly! He's gone completely berserk!Dana is amused and somewhat disarmed by Venkman's rapport with the baby. DANA What do you think? VENKMAN There's no doubt about it. He's got his father's looks. The kid is ugly -- extremely ugly. And smelly. (resumes playing with the baby) You stink! It's just horrible. You are the stinkiest baby I ever smelled. (to Dana) What's his name? DANA His name is Oscar. VENKMAN Oscar! You poor kid! DANA (losing patience) Peter, this is serious. I need to know if you think there's anything unusual about him. VENKMAN Unusual? (holds up the baby and scrutinizes him) I don't know. I haven't had a lot of experience with babies.He looks at the baby, pulling his feet up, trying to get the sleeperoff. DANA (taking the specimen jar) I'll do it. VENKMAN I'll supervise.INT. DANA'S APARTMENT - NURSERY - DAY (CONTINUOUS ACTION)Venkman enters and finds Stantz monitoring the room. VENKMAN (to Stantz) Well, Holmes, what do you think? STANTZ It's an interesting one, Pete. If anything was going on it's totally subdued now.Spengler enters. VENKMAN (to Spengler) What now, Brainiac? SPENGLER I think we should see if we can find anything abnormal on the street. VENKMAN Finding something abnormal on the street shouldn't be too hard. CUT TO:EXT. EAST 77TH STREET - DAY (LATER)Dana walks down the street with Venkman, retracing the path of therunaway buggy. Spengler and Stantz follow, monitoring PKE valences fromthe pavement and the buildings. VENKMAN (to Dana, nostalgic) Brings back a lot of sweet memories, doesn't it? (pointing out familiar neighborhood sights) There's our old cash machine. And the dry cleaners we used to go to. And the old video store. (he wipes away an imaginary tear) We really had some good times, didn't we? DANA We definitely had a moment or two.Dana stops at the intersection and points to the middle of the street. DANA That's where the buggy stopped. VENKMAN Okay, let's take a look.Venkman walks right out into the middle of the street, completelyoblivious to the CARS HONKING and whizzing past him and starts motioninglike a traffic cop, bringing traffic to a standstill. Then he signalsfor Dana, Stantz and Spengler to join him in the middle of the street. STANTZ (reading the PKE meter) Is this the spot? DANA A little to the left. Right there! That's where it stopped.Stantz reads the PKE meter. STANTZ Nothing. Not a trace. SPENGLER Why don't we try the Giga-meter? VENKMAN What's that? STANTZ Egon and I have been working on a gauge to measure psychomagnetheric energy in GEVs - giga electron volts. SPENGLER That's a thousand million electron volts. VENKMAN I knew that.Spengler switches on the Giga-meter, the device he was testing in thelab, and passes it over the spot on the street where the buggy stopped.The indicator goes right into the red zone and the DEVICE starts CLICKINGWILDLY. STANTZ I think we hit the honeypot, boys. There's something brewing under the street. DANA (worried, to Venkman) Peter, do you think maybe I have some genetic problem or something that makes me vulnerable to these supernatural things. VENKMAN You mean like the time you got possessed and turned into a monster terror dog? No, not a chance. Total coincidence. (to Stantz and Spengler) Am I right?Stantz and Spengler look at him skeptically, not convinced by thecoincidence theory. CUT TO:INT. MANHATTAN MUSEUM OF ART - LATE AFTERNOONThe museum has just closed for the day and the last of the visitors andemployees are leaving.INT. RESTORATION STUDIO - SAME TIMEJanosz is working late on the painting of Vigo.VIGO PAINTINGUnnoticed by Janosz, the eyes of Vigo start to glow.JANOSZHe touches his brush to the canvas and a powerful current of red,crackling energy surges through the brush and courses through his body,driving him to his knees.PAINTINGThe figure of Vigo comes to life, turns toward Janosz and gesturesdramatically at him. Then he speaks to Janosz in a commanding voice. VIGO I, Vigo, the scourge of Carpathia, the sorrow of Moldavia, command you. JANOSZ (in agony) Command me, lord. VIGO On a mountain of skulls in a castle of pain, I sat on a throne of blood. What was will be, what is will be no more. Now is the season of evil. Find me a child that I might live again.Bolts of red-hot energy shoot from the eyes of Vigo into Janosz's eyes.He screams and falls to his knees. CUT TO:EXT. COFFEE SHOP - EAST 77TH STREET - NIGHTVenkman and Stantz come out with small boxes containing coffee,sandwiches and Danish and start walking up the street. VENKMAN I love this. We're onto something really big. I can smell it, Ray. We're going to make some headlines with this one. STANTZ Hey, hey, hey, stresshound! Are you nuts? If anybody found out about this we'd be in serious trouble. The judge couldn't have been clearer - no ghostbusting. VENKMAN Relax. We're going to keep this whole thing nice and quiet, low key, no profile.EXT. EAST 77TH STREET - NIGHT (CONTINUOUS ACTION)Spengler, wearing a hardhat, is JACKHAMMERING a hole in the middle of thestreet. Safety cones and reflectors have been set up and a small area islit by strong work lights.POLICE CARIt turns onto East 77th Street, cruises slowly up to the makeshiftworksite and stops. The noise of the JACKHAMMER is so loud, Spenglerdoesn't notice the police car and the two COPS inside looking at them.Finally, he looks up, sees the police car and freezes. FIRST COP How ya doing? SPENGLER (reeking with guilt) Fine! It's cutting fine now. FIRST COP (curious) Why are you cutting? SPENGLER (looking for one of the others) Why are we cutting? Uh - boss!Venkman and Stantz arrive just in time wearing Con Ed hardhats, doing agood imitation of a Consolidated Edison repairman. FIRST COP What are you doing here? VENKMAN (belligerent) What the hell's it look like we're doing? We're bustin out asses over here 'cause some douchebag downtown ain't got nothin' better to do than make idiots like us work late on a Friday night, right? (looks to Spengler for agreement) SPENGLER (with a "right on" fist) Yo.The cops seem satisfied by the explanation. FIRST COP Okay, boys, take it easy.They drive off. Spengler breathes a great sigh of relief and startsrubbing his sore shoulders. SPENGLER You were supposed to help me with this. VENKMAN You need the exercise.Stantz resumes JACKHAMMERING, while Venkman and Spengler clear therubble from the hole. Suddenly he hits metal. They clear awaygenerations of paving material revealing an ornate iron manhole cover.The manhole cover bears a strange logo and the letters NYPRR. STANTZ (examing it) NYPRR. What the hell -- ? Help me lift this.They prey off the iron cover with crowbars, uncovering a very dark andvery deep abyss. STANTZ (shining a flashlight into the hole) Wow! It's an old airshaft. It just goes forever.Spengler leans in with the giga-meter which is reading even higher now. SPENGLER Very intense. We need a deeper reading. Somebody has to go down there.Venkman and Spengler both look at Ray. STANTZ Thanks, boys.They snap Stantz into a harness and lower him into the hole on a strongcable attached to a winch. Ray calls out orders to them as he descendsdeeper and deeper. STANTZ (O.S.) (his voice echoing in the airshaft) Keep going -- more -- more --INT. HOLE - NIGHT (CONTINUOUS ACTION)Stantz rappels off the sides of the airshaft as he continues his descentin total darkness. STANTZ (using a radio now) Lower -- lower -- (to himself) Gee, this really is deep.Suddenly, his feet kick thin air as he gets to the bottom of the airshaftand swings free in some kind of tunnel. STANTZ (shouts) Hold it! Steady!He pulls a powerful flashlight from his utility belt and shines it intothe tunnel below.INT. VAN HORNE STATION - STANTZ'S POV - NIGHTHe is suspended near the top of a beautifully preserved chamber withrounded, polished tile walls ardorned with intricate, colorfully enameledArt Nouveau mosaics. A finely inlaid sign identifies it as VAN HORNESTATION.STANTZHe pans the walls with his flashlight, admiring the excellent tilework,and speaks quietly to Venkman and Spengler over his walkie-talkie. STANTZ (reverently) This is it, boys, the end of the line. Van Horne Station. The old New York Pneumatic. It's still here.EXT. EAST 77TH STREET - HOLE - NIGHT (CONTINUOUS ACTION)Venkman has no idea what he's talking about. SPENGLER (explaining) The New York Pneumatic Railway. It was an experimental subway system. Fan-forced air-trains, built around 1870. STANTZ (over the walkie-talkie) This is about as deep as you can go under Manhattan without digging your own hole. SPENGLER (to Stantz) What's the reading?INT. VAN HORNE STATION - NIGHT (CONTINUOUS ACTION)Stantz shines his flashlight on the meter and whistles at the extremelyhigh reading. STANTZ (on the radio) Off the top of the scale. This place is really hot. Lower me to the floor.As Venkman and Spengler feed him some more cable, he pans his flashlightdown the wall of the station, then onto the floor. STANTZ (shouts) Hold it!! Stop!! Whoa!!INT. VAN HORNE STATION - STANTZ'S POV - FLOOR - NIGHTBelow him is a river of bubbling seething, glowing slime, a veritabletorrent of disgusting ooze.As he stares into the foul effluent, we become aware of the strangelyamplified and magnified sounds of great ENGINES THROBBING and pulsing inthe bowels of the city, of WATER RUSHING through pipes, STEAM HISSINGthrough ducts, the muffled RUMBLE of the SUBWAY and the ROAR of TRAFFIC,and mixed with it all, the unmistakable sounds of human conflict and pain-- VOICES SHOUTING in anger, SCREAMING in fear, GROANING in pain, a sadand eerie symphony.INT. VAN HORNE STATION - STANTZ - NIGHT STANTZ (ranting on the radio) Oh, my God! It's a seething, bubbling, psychic cess! Interlocked tubes of plasm, crackling with negative GEVs! It's glowing and moving! It's -- it's a river of slime!!STANTZHe dangles from the end of the cable, holding his feet up as high as hecan. He unhooks a device from his utility belt and pulls the trigger onit, shooting out a long telescoping fishing-pole with a scoop on the end.Reaching down, he scoops up a sample of the slime and starts retractingthe pole.SLIMESuddenly, a grotesque arm with a long skeletal fingers reaches up out ofthe slime and snatches at Stantz's dangling feet. He jerks his legs upas several more arms poke up out of the slime and reach for him. STANTZ (on the radio) Haul me up, Venkman! Now!EXT. EAST 77TH STREET - HOLE - NIGHT (CONTINUOUS ACTION)Venkman and Spengler start hauling in the cable as a Con Ed Supervisor'scar drives up, and behind it, the same police car they saw earlier. Aburly SUPERVISOR gets out and crosses toward them, followed by the twocops. SUPERVISOR (no nonsense) Okay, what's the story here?Venkman and Spengler stop pulling up the cable and Venkman tries thebelligerent worker ploy again, only this time he's wearing a Nynexhardhat. VENKMAN What, I got time for this? We got three thousand phones out in the Village and about eight million miles of cable to check. SUPERVISOR (not buying it) The phone lines are over there. (points to the curb)Venkman pops Spengler on the head. VENKMAN I told ya!Stantz can be heard ranting over Venkman's walkie-talkie. STANTZ (O.S.) (filtered) Help! Help! Pull me up! It's alive! It's eating my boots.Venkman switches off the walkie-talkie. FIRST COP You ain't with Con Ed or the phone company. We checked. Tell me another one.Venkman stares at the Cop for a long moment. VENKMAN Gas leak?INT. VAN HORNE STATION - SAME TIMEStantz is hanging there, looking down into the shaft at the slime whichis now bubbling up the shaft after him. STANTZ (shouting) Get me out of here!!Desperate now, he kicks wildly and knocks loose a section of an old,rusting conduit.INT. VAN HORNE STATION - BOTTOM OF THE SHAFTThe conduit falls on a heavy electrical transmission line, rippingthrough the cable with a SHOWER OF SPARKS.EXT. EAST 77TH STREET - HOLE - CONTINUOUS ACTIONVenkman, Spengler, the cops and the supervisor all react to a brightFLASH deep down in the hole and a SHOUT from Stantz.EXT. EAST 77TH STREET - STREET - NIGHTOne by one, all the streetlights go out; then the lights on all thebuildings along East 77th street; then the whole neighborhood blacksout, and finally the entire city is plunged into darkness. STANTZ (O.S.) Sorry.INT. DANA BARRETT'S APARTMENT - NIGHT (SAME TIME)She walks around in the dark lighting candles and placing them all overthe living room. Then she finds a transistor radio and turns it on forinformation about the blackout. She listens to a special news reportfor a moment, then has a compelling impulse to go check on the baby.She crosses to the nursery carrying a candle and quietly opens the doorand looks in. Suddenly the DOORBELL RINGS, scaring her half to death.Leaving the chain on the door, she opens it a crack and sees Janoszstanding in the hall, eerily lit by a red emergency spot at the end ofthe hallway. He looks slightly dazed and even creepier. DANA (surprised) Janosz? JANOSZ Hello, Dana. I happened to be in the neighborhood and I thought I'd stop by to see if everything's all right with you -- you know, with the blackout and everything? Are you okay? Is the baby all right?His affected concern is chilling. She is frightened but conceals itfrom him. DANA (mechanically and cautiously) We're fine, Janosz.He tires to look around her into the apartment. JANOSZ Do you need anything? You want me to come in? DANA No, everything's fine. Honestly. Thanks anyway. JANOSZ Okay, just thought I'd check. Good night, Dana. Sleep well. Don't let the bedbugs bite you. DANA Good night, Janosz.She closes the door behind him and double locks it, then stands therestaring into the candlelight, alone and afraid.INT. HALLWAY OF DANA'S BUILDING - NIGHT (CONTINUOUS ACTION)Janosz stands there in semi-darkness, then his eyes light up likeheadlights and he walks off down the hall. CUT TO:INT. COURTROOM - WITNESS STAND - NEXT DAYThe JUDGE, a rather sour-looking jurist of the old school, calls thecourt to order. JUDGE I want to make one thing very clear before we go any further. The law does not recognize the existence of ghosts, and I don't believe in them either, so I don't want to hear a lot of malarkey about goblins and spooks and demons. We're going to stick to the facts in this case and save the ghost stories for the kiddies. Understood?DEFENSE TABLEStantz leans over and whispers to Spengler. STANTZ Seems like a pretty open-minded guy, huh? SPENGLER His nickname is "The Hammer."Stantz and Spengler are seated with their attorney LOUIS TULLY, lawyer,CPA and former demonic possession victim. Louis is desperately pagingthrough a mountain of legal textbooks. LOUIS (nervous) I think you're making a big mistake here, fellas. I do mostly tax law and some probate stuff occasionally. I got my law degree at night school. STANTZ That's all right. We got arrested at night.SPECTATORS' GALLERYVenkman is talking to Dana at the wooden rail in front of the gallery. DANA I wish I could stay. I feel personally responsible for you being here. VENKMAN You are personally responsible. If I can get conjugal rights, will you visit me at Sing Sing? DANA Please don't say that. You won't go to prison. VENKMAN Don't worry about me. I'm like a cat. DANA You mean you cough up hairballs all over the rug? VENKMAN I'm El Gato. I always land on my feet. DANA (sincerely) Good luck. VENKMAN Thanks.She gives him a quick, unexpected kiss and exits. Venkman savors it fora moment then goes back to the defense table.PROSECUTION TABLEJack Hardemeyer, the mayor's principal aide, is goading the PROSECUTOR,a very sober, humorless woman in her late thirties. HARDEMEYER How are you doing, hon? Just put these guys away fast and make sure they go away for a long, long time. PROSECUTOR It shouldn't be hard with this list of charges. HARDEMEYER Good. Very good. The mayor and future governor won't forget this.He smiles conspiratorially and makes a point of passing the defense tableon his way out of the courtroom.DEFENSE TABLEThe Ghostbusters look up as Hardemeyer approaches. HARDEMEYER (gloating) Nice going, Venkman. Violating a judicial restraining order, willful destruction of public property, fraud, malicious mischief -- smooth move. See you in a couple years -- at your first parole hearing.Herdemeyer exits. Louis looks devastated. LOUIS Gee, the whole city's against us. I think I'm going to be sick.Spengler hands him a waste basket as the Prosecutor calls her firstwitness.INT. COURTROOM - WITNESS STAND - DAY (LATER)The Con Ed Supervisor is testifying. PROSECUTOR Mr. Fianella, please look at Exhibits A through F on the table over there. Do you recognize that equipment?EXHIBIT TABLELying on the table are the basic tools of the Ghostbusting trade: threeproton packs and particle throwers, a couple of ghost traps, and variousmeters and detection devices. CON ED (o.c.) That's the stuff the cops found in their truck.WITNESS STANDShe continues. PROSECUTOR Do you know what this equipment is used for? CON ED (shrugs) I don't know. Catching ghosts, I guess. PROSECUTOR (to the Judge) May I remind the court that the defendants are under a judicial restraining order that specifically forbids them from performing services as paranormal investigators and eliminators. JUDGE So noted. PROSECUTOR Now, Mr. Fianella, can you identify the substance in the jar on the table marked Exhibit F?PROSECUTORShe goes to the exhibit table and picks up a specimen jar containing theslime sample Stantz removed from the tunnel. CON ED I been working underground for Con Ed for 27 years and I never saw anything like that in my life. We checked out that tunnel the next day and we didn't find nothing. If it was down there, they must have put it there.DEFENSE TABLEVenkman and Spengler look at Stantz. STANTZ (defensively) Hey, I didn't imagine it. There must have been ten thousand gallons of it down there. SPENGLER It may be ebbing and flowing from some tidal source. LOUIS (nervously) Should I say that? SPENGLER I doubt that they'd believe us.Louis moans and goes back to his notes. WIPE TO:INT. COURTROOM - WITNESS STAND - LATERVenkman himself is on the stand and Louis is questioning him. LOUIS So like you were just trying to help out your old friend because she was scared and you didn't really mean to do anything bad and you really love the city and won't ever do anything like this again, right? PROSECUTOR Objection, your Honor. He's leading the witness. JUDGE The witness is leading him. Sustained. LOUIS Okay, let me rephrase that question. (to venkman) Didn't you once coach a basketball team for underprivileged children? VENKMAN Yes, I did. We were city champs. PROSECUTOR Objection. Irrelevant and immaterial. JUDGE Sustained. Mr. Tully, do you have anything to ask this witness that may have some bearing on this case? LOUIS (to Venkman) Do I? VENKMAN No, I think you've helped them enough already. LOUIS (to the Judge) No, I guess not. (to the Prosecutor) Your witness.The Prosecutor rises and approaches the witness stand with relish. PROSECUTOR So, Dr. Venkman, please explain to the court why it is you and your co-defendants took it upon yourselves to dig a big hole in the middle of the street. VENKMAN Seventy-seventh and First Avenue has so many holes already we didn't think anyone would notice.The gallery laughs and the Judge gavels for order. JUDGE Keep that up, mister, and I'll find you in contempt. VENKMAN Sorry, your Honor, but when somebody sets me up like that I can't resist. PROSECUTOR I'll ask you again, Dr. Venkman. Why were you digging the hole? And please remember that you're under oath. VENKMAN I had my fingers crossed when they swore me in, but I'm going to tell you the truth. There are things in this world that go way beyond human understanding, things that can't be explained and that most people don't want to know about anyway. That's where we come in. PROSECUTOR So what are you saying? That the world of the supernatural is your special province? VENKMAN No, I guess I'm just saying that shit happens and somebody has to deal with it.The spectators in the gallery cheer and the judge gavels for order. WIPE TO:INT. COURTROOM - LATERThe trial is nearing its end. The Judge calls on Louis to make hissummation. JUDGE Does the counsel for the defense wish to make any final arguements?Louis rises. LOUIS Your honor, may I approach the bench? JUDGE (impatient) Yes.Louis crosses to the judge's bench. LOUIS (to the judge) Can I have some of your water? JUDGE Get on with it, counselor! LOUIS (scared) Your honor, ladies and gentlemen of the -- (he remembers there's no jury) audience. I don't think it's fair to call my clients frauds. Okay, the blackout was a big problem for everybody. I was stuck in an elevator for about three hours and I had to go to the bathroom the whole time, but I don't blame them because once I turned into a dog and they helped me. Thank you.He goes back to the defense table and sits down. Stantz and Spenglerhang their heads. Venkman pats Louis on the back. SPENGLER (to Louis) Way to go. Concise and to the point.JUDGEHe stares at Louis, astonished at his summation. JUDGE That's it? That's all you have to say? LOUIS Did I forget something?He searches through a disorderly pile of notes. JUDGE That was unquestionably the worst presentation of a case I've ever heard in a court of law! I ought to cite you for contempt and have you disbarred. As for your clients, Peter Venkman, Raymond Stantz and Egon Spengler, on the charges of conspiracy, fraud and the willful destruction of public property, I find you guilty on all counts. I order you to pay fines in the amount of $25,000 each and I sentence you to eighteen months in the city correctional facility at Ryker's Island.STANTZHe sees the activity in the jar STANTZ Uh-oh, she's twitchin'.THE BENCHThe Judge continues JUDGE And on a more personal note, let me go on record as saying that there is no place in decent society for fakes, charlatans and tricksters like you who prey on the gullibility of innocent people. You're beneath the contempt of this court. And believe me, if my hands were not tied by the unalterable fetters of the law, a law which has become in my view far too permissive and inadequate in it's standards of punishment, I would invoke the tradition of our illustrious forebearers, reach back to a sterner, purer justice and have you burned at the stake!He hammers the bench with his gravel as the gallery erupts noisily. Thenhe feels a LOW RUMBLING TREMOR in the courtroom.SPECIMEN JARThe slime starts to pulse and swell, pushing up the lid on the jar.DEFENSE TABLEStantz anticipates big trouble. STANTZ Under the table, boys!The Ghostbusters duck under the defense table.LOUISHe stands up and looks around fearfully.INT. COURTROOM - GHOST BATTLE - DAYEverybody is silent now as the rumbling increases. All eyes turn to theexhibit table. Then suddenly all Hell breaks loose as TWO FULL-TORSOAPPARITIONS explode out of the specimen jar.JUDGEHe looks up in terror at the two huge apparitions looming above him andrecognizes them immediately. JUDGE (in horror) Oh, my God! The Scoleri Brothers!SCOLERI BROTHERSBig in life, even bigger in death, the ghostly Scoleri brothers seem tenfeet tall. They are strapped into electric chairs and on their heads aremetal electrocution caps with live, sparking electrical wires stillattached. Twenty-five hundred volts of electricity shoot through theirbodies as they start to break free of the leather restraints, trying toget at the Judge.JUDGEHolding his gavel like a pitiful weapon, he crawls over to the defensetable where Venkman, Stantz and Spengler are now crouched, assessing thespectral intruders. JUDGE (terrified) You've got to do something! VENKMAN Who are they? JUDGE They're the Scoleri Brothers. I tried them for murder. They were electrocuted up at Ossining in '48. Now they want to kill me. VENKMAN Maybe they just want to appeal.SCOLERI BROTHERSThey break loose from the electric chairs, then turn toward the defensetable and BLAST it with HIGH-VOLTAGE FINGER-LIGHTNING.PROSECUTORShe sprints for the door, pursued by one of the Scoleri brothers.GHOSTBUSTERSThey jump to safety behind the rail of the jury box, pulling the Judgewith them. VENKMAN These boys aren't playing around. JUDGE (desperately) You've got to stop them. Please! LOUIS (thinking like a lawyer) Violating a judicial restraining order could expose my clients to serious criminal penalties. As their attorney I'd have to advise them against it.SCOLERI BROTHERSThey start punching through the jury box.JUDGEHe is just about hysterical with fear. JUDGE All right! All right! I'm recinding the order. Case dismissed!! (he pounds his gavel on the floor) Now do something! STANTZ Let's go to work, boys.With that, the Ghostbusters leap over the rail of the jury box and dashacross the courtroom to the exhibit table where their proton packs werebeing displayed as evidence. They strap them on hastily as the Brotherscontinue tearing up the seats looing for the Judge. VENKMAN (slinging the pack onto his back) Geez, I forgot how heavy these things are. STANTZ (grabbing other gear) Okay, let's heat 'em up!They flip the power switches on their packs and draw their particlethrowers. STANTZ All right, throwers. Set for full neutronas on stream.They switch on their throwers and turn to face the raging phantasms.SCOLERI BROTHERSThey are just about to wipe out the Judge when a loud shout distractsthem. VENKMAN Hey! Why don't you pick on someone your own size?The towering ghosts turn in a fury and raise their arms, ready to shootlightning at their new adversaries. STANTZ (to the others) On my signal, boys. Open 'em up -- Now!They all pull their triggers and the wands EXPLODE with incrediblepowerful STREAMS OF ENERGY, doing even more damage to the courtroom. VENKMAN Spengs, take the door. Ray, let's try and work them down and into the corner.Working as a team, they gradually confine the Scoleri Brothers with thestreams, forcing them closer and closer to the traps Ray has set out onthe floor. STANTZ Watch it! I'm coming under you, Pete.They circle around the two ghosts, prodding them with the streams whileducking the lightning bolts shooting from their fingers. Finally, Raysees his chance and pops open the traps which emit inverted pyramids oflight energy. STANTZ Steady -- watch your streams -- easy now -- Venky, bring him left -- Spengy, pull him down -- trapping -- trapping -- now!He stomps on a control pedal and the Scoleri Brothers are drawn into thetraps which snap shut.INT. COURTROOM - TRAPS - DAYLEDs on the outer casing start flashing, indicating the presence of aghost inside each trap. VENKMAN (checking the trap) Occupado.INT. COURTROOM - JUDGE - DAY (AFTER GHOST BATTLE)He sticks his head up slowly from behind the debris of his bench andlooks around in total amazement.LOUISHe crawls out from under a chair. Reporters and spectators get back ontheir feet and start buzzing about the incredible manifestation.PROSECUTORShe's lying on the floor, attended to by the Bailiff and the Court Clerk. SPENGLER (to the Prosecutor) Brilliant summation.GHOSTBUSTERSThey break into big smiles as photographers start snapping pictures ofthem standing in the wrecked courtroom. VENKMAN Case closed, boys. We're back in business.The spectators cheer and applaud. CUT TO:EXT. FIREHOUSE - DAYThe old, dilapidated Ghostbusters logo comes crashing to the ground,dropped by a pair of workmen on a ladder, and the new logo is hoistedinto place over the main entrance. It's just like the original "NoGhosts" logo, but in the new one the ghost in the red circle is holdingup two fingers. Venkman enters the firehouse.INT. BEDROOM SET (TV COMMERCIAL - FULL SCREEN VIDEO) - NIGHTA man and his wife are lying in bed reading. The man is played by LouisTully and JANINE MELNITZ, the Ghostbusters' once and future receptionist,is playing his wife. They are both terrible actors. Suddenly, a ghost,actually a very bad puppet on a wire, floats through the bedroom. Janinesees it and screams. LOUIS What is it, honey? JANINE It's that darn ghost again! I don't know what to do anymore. He just won't leave us alone. I guess we'll just have to move. LOUIS Don't worry. We're not moving. He is.He picks up the phone. JANINE Who are you going to call? LOUIS (with a wink) Ghostbusters.As he starts to dial, the CAMERA PULLS BACK to reveal the Ghostbustersstanding in the bedroom. Their acting isn't much better than Louis andJanine's.GHOSTBUSTERSStantz speaks directly TO the CAMERA. STANTZ I'm Ray -- VENKMAN I'm Peter -- SPENGLER I'm Egon -- STANTZ And we're the ... ALL (together) Ghostbusters. STANTZ That's right -- Ghostbusters. We're back and we're better than ever with twice the know-how and twice the particle-power to deal with all your supernatural elimination needs.During his speech, Winston can be seen in the b.g. pretending to trap thefake ghost. STANTZ Careful, Winston. He's a mean one. (TO CAMERA) And to celebrate our grand reopening, we're giving you twice the value with our special half-price 'Welcome Back' service plan. VENKMAN Hold on, Ray! Half-price! Have you gone crazy? STANTZ I guess so, Pete, because that's not all. Tell them what else we've got, Egon.Spengler actually mouths everyone else's dialogue along with them,waiting for his cue. SPENGLER You mean the Ghostbusters hot beverage thermal mugs and free balloons for the kids?He holds up a mug and a limp, uninflated balloon. STANTZ You bet.As Stantz wraps it up, SUPERS APPEAR at the bottom of the SCREEN: FULLYBONDED - FULLY LICENSED - SE HABLA ESPANOL. STANTZ (TO CAMERA) So don't wait another minute. Make your supernatural problem our supernatural problem. Call now, because we're still -- ALL (in unison, mechanically) -- Ready to believe you. CUT TO:INT. JACK HARDEMEYER'S OFFICE - DAYHardemeyer is watching the Ghostbusters commercial on a TV in his office.He bangs his fist on his desk and angrily switches OFF the TV. CUT TO:EXT. FIREHOUSE - DAY (LATER)The garage door opens and the new improved ECTOMOBILE comes ROARING outonto the street, its ghostly SIREN MOANING and WAILING. Louis comesrunning out after it. CUT TO:INT. FIREHOUSE - DAYLouis comes back into the garage bay and stops as he smells a foul odor.He sniffs around, following the smell. LOUIS Oh, geez, smells like somebody took a really big --He freezes.INT. OFFICE AREA - LOUIS'S POVSlimer, a spud-like green ghost, is hovering over Louis's desk, scarfingdown Louis's bag lunch. Slimer looks up and sees Louis.SLIMER AND LOUISThey both scream and run off in opposite directions.SLIMERHe passes right through a wall and disappears.LOUISHe runs right into a wall, recovers and exits in a hurry. LOUIS (screaming) Help! There's a thing! CUT TO:EXT. CENTRAL PARK RESERVOIR - DAY (LATER)Runners of both sexes and all ages are huffing and puffing as they jogalong the track that circles the reservoir. One of the runners looksbehind him at the sound of APPROACHING FOOTFALLS and screams.GHOSTLY JOGGERA ghost jogger is loping along at a pretty fair pace. Other runnersstumble and run screaming into the park as he passes them. Seeminglyoblivious to the effect he's having, the ghost jogger puts two fingers tohis skeletal neck and checks his watch as if taking his pulse.EXT. CLEARING IN PARK - DAY (SAME TIME)Venkman is sitting on a park bench near the jogging track reading thenewspaper, eating a donut and drinking coffee from a Styrofoam cup.STANTZHe's sitting on a bench opposite Venkman's, casually watching the joggingtrack.GHOST JOGGERHe approaches the benches where the Ghostbusters are waiting. As theghost jogger passes the benches, Stantz and Venkman simultaneously hitconcealed control buttons. A ghost trap buried in the track throws up aglowing inverted pyramid and catches the ghost jogger in mid-stride.Stantz and Venkman close the trap and capture the ghost jogger. VENKMAN (checking his watch) You know he ran that last lap in under six minutes? STANTZ If he wasn't dead he'd be an Olympic prospect. CUT TO:EXT. JEWELRY STORE - DAYThe Ghostbusters come out carrying smoking traps, wearing cheapdime-store Santa Claus hats. STANTZ (to the client) Merry Christmas! CUT TO:EXT. FIFTH AVENUE - ORREFORS GLASS STORE - DAYThe Ectomobile is parked at the curb and a curious crowd looks on as theGhostbusters enter the store.INT. ORREFORS GLASS STORE - CONTINUOUS ACTIONAll the precious crystal is floating in the air, several feet above theglass shelves and display tables. Stantz and Venkman are talking to themanager while Winston and Spengler set up an array of electronic devicespositioned in each corner of the store.On a signal from Stantz, Spengler and Winston switch on the devices whichthrow laser-type beams around the perimeter of the store. The managerwatches in horror as all the GLASSWARE suddenly drops out of the air,SMASHES through the GLASS SHELVES and SHATTERS on the display tables.There is a long pregnant pause. STANTZ (to the manager) So will that be cash or a check? CUT TO:INT. MUSEUM - RESTORATION STUDIO - DAY (LATE AFTERNOON)Everyone else has gone home. Dana is cleaning her brushes and puttingher supplies away.VIGO PAINTING - CONTINUOUS ACTIONVigo turns his head and watches Dana as she walks past the painting.DANAShe stops, vaguely aware of the movement, and looks up curiously at thepainting. As she starts to walk on, Vigo looks at her again, but Danaturns suddenly and catches the movement. Frightened now, she hastilyleaves the studio.INT. FIREHOUSE - DAYLouis is lurking behind a pillar, peeking out at the office area. We PANDOWN TO the floor and see a foot pedal, then PAN ALONG the cord TO aghost trap sitting on Louis's desk. Hanging from strings over the deskare several pieces of Kentucky fried chicken.WALLSlimer partially emerges and furtively sniffs the air, then spots thechicken bait. He licks his lips, materializes completely and flies tothe chicken.LOUISHis eyes light up and he stomps the foot pedal. LOUIS (shouts) Gotcha!DESKThe trap pops open and shoots out a powerful cone of energy. Slimerdodges it and escapes as a big section of the ceiling comes crashing downon Louis's desk. LOUIS (seeing the damage) Uh-oh.He slinks off, defeated. CUT TO:INT. MANHATTAN MUSEUM OF ART - SECURITY DESK - DAYThe Ghostbusters commercial is playing on a portable TV on the securitydesk. Rudy, the Security Guard, is reading a National Enquirer with agiant front-page headline: GHOSTBUSTERS SAVE JUDGE. Venkman enters. VENKMAN I'm looking for Dana Barrett. SECURITY GUARD Room 304 -- Restorations. (recognizing him) Hey! Dr. Venkman -- 'World of the Psychic.' I'm a big, big fan. That used to be one of my two favorite shows. VENKMAN (flattered) Thanks. What's the other one? SECURITY GUARD 'Bass Masters.' It's a fishing show. Ever see it? VENKMAN Yeah, really great. Take it easy.He exits.INT. MUSEUM - RESTORATION STUDIO - DAY (MOMENTS LATER)Dana is working on a valuable Flemish still-life by Ver Meer. Janosz isat the other end of the room, still working on the painting of Vigo.Venkman enters and sneaks up behind Dana. VENKMAN (looking at the Ver Meer) So this is what you do, huh? DANA (glad to see him) Oh, hello, Peter. VENKMAN You're really good, you know. DANA I didn't paint it. I'm just cleaning it. It's an original Ver Meer. It's worth about ten million dollars.VIGOHe turns his head and watches Venkman and Dana.VENKMANUnaware that he's being watched, Venkman squints at the still life,holding up his thumb like he's seen artists do. VENKMAN You know you can go to Art World and get these huge sofa-size paintings for about forty-five bucks.He starts looking around at the other artwork in the studio. DANA I'm sure you didn't come here just to talk about art. VENKMAN As a matter of fact, I stopped by to tell you that I haven't forgotten your problem and that we're still on the case.They are interrupted by the sudden appearance of Janosz. JANOSZ (smiling at Venkman) Dana, aren't you going to introduce me to your friend? DANA Oh, I'm sorry. This is Peter Venkman. Peter, Janosz Poha.Venkman warily shakes his hand, trying to size him up. JANOSZ (avoiding his gaze) Pleasure to meet you. I've seen you on television. VENKMAN How are you? (looking over at the Vigo painting) What's that you're working on, Johnny?Janosz winces at the nickname but lets it go. Venkman and Dana cross tothe Vigo painting. Janosz steps protectively in front of it. JANOSZ It's a painting I'm restoring for the new Byzantine exhibition. It's a self-portrait of Prince Vigo, the Carpathian. He ruled most of Carpathia and Moldavia in the 17th Century. VENKMAN (staring at the painting) Too bad for the Moldavians. JANOSZ (defensive) He was a very powerful magician. A genius in many ways and quite a skilled painter. DANA He was also a lunatic and a genocidal madman. I hate this painting. I've felt very uncomfortable since they brought it up from storage. VENKMAN Yeah, it's not the kind of thing you'd want to hang in the rec room. You know what it needs? (picking up a brush) A fluffy little white kitten in the corner.Venkman reaches toward the painting, but Janosz grabs his hand. JANOSZ (with forced good will) We don't go around altering valuable paintings, Dr. Venkman. VENKMAN Well, I'd make an exception in this case if I were you.Dana looks disapprovingly at Venkman. VENKMAN (to Janosz) I'll let you get back to it. Nice meeting you. JANOSZ My pleasure.Venkman and Dana cross back to her workspace. VENKMAN (confidentially) I may be wrong, but I think you've got a little crush on this guy. DANA Good-bye, Peter. VENKMAN (dragging his feet) I'd like to stay, but I really don't have time to hang around here. I'll call you. (calls out to Janosz) Later, Johnny!He exits.VIGOVigo turns his head and follows Dana as she returns to her workbench.DANAShe stops, vaguely aware of the movement, and looks up curiously at thepainting. As she starts to walk on, Vigo looks at her again, but Danaturns suddenly and catches the movement. Frightened now, she hastilyleaves the studio. CUT TO:INT. FIREHOUSE - LIVING QUARTERS - CONTINUOUS ACTION - DAYVenkman and Winston enter and find Stantz and Spengler at work in the labarea. STANTZ Oh good, you're here. Spengler and I have something really amazing to show you. VENKMAN (to Spengler) It's not that thing you do with your nostrils, is it?Stantz goes to the refrigerator, opens the freezer, rummages around amongthe TV dinners and frozen pizza and pulls out a slime specimen in aTupperware container. STANTZ (to Venkman) We've been studying the stuff that we took from the subway tunnel.He pops the specimen jar in the microwave and lets it thaw for a minute. VENKMAN And now you're going to eat it? STANTZ No, I'm just restoring it to its normal state.He takes the specimen out of the microwave and pours some of it into alarge Petri dish. STANTZ Now watch this.He leans over the specimen and starts shouting at it. STANTZ (simulating anger) You worthless piece of slime!! (as the slime starts to twitch and glow) You ignorant disgusting blob!!SPECIMENIt bubbles and swells, changing color with each insult. STANTZ You foul, obnoxious muck!!STANTZHe continues venting his rage on the slime. STANTZ I've seen some real crud in my time, but you're a chemical disgrace!!The specimen doubles its size and starts spilling over the rim of thePetri dish.STANTZ AND SPENGLERThey turn to Venkman for his reaction. He's dumbfounded. VENKMAN This is what you do with your spare time? STANTZ (very excited) This is an incredible breakthrough, Venkman. A psychoreactive substance! Whatever this is, it clearly responds to human emotional states. VENKMAN 'Mood slime.' We ought to bottle this stuff and sell it. SPENGLER We've found it at every event site we've been to lately. WINSTON (poking at the slime) You mean this stuff actually feeds on 'bad vibes'? STANTZ Like a goat on garbage. STANTZ We're running tests to see if we can get an equally strong positive reaction. VENKMAN What kind of tests? STANTZ (a little embarrassed) Well, we sing to it, we talk to it, we say supportive, nurturing things -- VENKMAN You're not sleeping with this stuff, are you?Spengler reacts as if he might be. STANTZ It really responds to music. (to Spengler) Let's calm it down.Spengler picks up a guitar and he and Stantz start singing "Cumbaya" tothe slime specimen.SPECIMENIt stops bubbling and starts to shrink. WINSTON Does it have any favorites? STANTZ It likes all the sappy stuff: 'Cumbaya,' 'Everything is Beautiful,' 'It's a Small World' -- but it loves Jackie Wilson.Venkman and Winston watch intently as Spengler spoons some of thepsych-reactive slime onto an old toaster. STANTZ Watch this.Stantz turns on a CASSETTE PLAYER and Jackie Wilson's "HIGHER AND HIGHER"BLASTS from the speakers.TOASTERIt shakes, spins and actually starts moving in time with the MUSIC.VENKMANHe stares in disbelief at the dancing toaster as it shoots two pieces oftoast into the air and catches them without missing a beat. VENKMAN I don't care what you say. This could be a major Christmas gift item. WINSTON Right, and the first time someone gets mad, their toaster will eat their hand. VENKMAN So we'll put a warning on the label.Stantz turns OFF the MUSIC and the toaster stops moving. Venkman looksat the toaster and sticks his fingers in the slot. VENKMAN (to the toaster) Go ahead. I dare you.Suddenly, he yelps as if the toaster has actually bitten into his handand won't let go. The others jump in to help him, but Venkman laughs andeasily withdraws his hand. VENKMAN Just kidding. CUT TO:INT. DANA'S APARTMENT - NIGHTDana brings Oscar into the bathroom and lays him on the bassinet. She'swearing a robe over her nightgown, preparing to bathe the baby. Sheturns the taps on the old claw-footed bathtub, checks the watertemperature, then turns away and starts to undress the baby. DANA (talking sweetly to the baby) Look at you. I think we got more food on your shirt than we got in your mouth.BATHTUBThe water pouring from the faucet changes to slime and settles at thebottom of the tub. Dana reaches over and turns off the water withoutlooking into the tub. When she turns away, both taps start to spin bythemselves and the tub flexes and bulges.DANAStill unaware, she routinely reaches over and squirts some bubble bathinto the tub.BATHTUBThe rim of the tub puckers up and the sides convulse as if swallowing thebubble bath.DANAShe picks the baby up off the bassinet and turns to place him in the tub.She is just about to lower him into the water when the tub starts toclose up around the baby like a hugh mouth. Dana screams, snatches thebaby away and runs from the room clutching Oscar to her bosom as thebathtub convulses and vomits up buckets of slime. CUT TO:INT. VENKMAN'S LOFT - SAME NIGHT (LATER)The big open loft space is a chaotic clutter of mismatched furniture, oldmagazines, books, tapes, and sports equipment. Venkman is asleep on thefloor, still wearing his coat, scarf, hat and gloves, having collapsedjust short of the bedroom. The DOORBELL RINGS, he wakes up, lumbers tohis feet and answers it. He opens the door and sees Dana standing there.She is wearing only a nightgown under her coat and Oscar is naked,wrapped in a baby blanket. DANA (somewhat embarrassed to be there) I'm sorry. Were you on your way out? VENKMAN (surprised to see her) No, I just got in -- a couple hours ago. Come on in. (noting her apparel) Are we having a pajama party? DANA (upset) Peter, the bathtub tried to eat Oscar.Venkman looks at her for a long moment. VENKMAN You know, if anyone else told me that, I'd have serious doubts. But coming from you, I can't honestly say I'm surprised. DANA I must be losing my mind. At the museum today I could have sworn that terrible painting of Vigo looked right at me. VENKMAN Who could blame him? Were you wearing this nightgown? DANA (distraught) I don't know what to do anymore. VENKMAN I'll get Ray and Egon to check out the bathtub. You better stay here.He exits to the bathroom. She looks around the loft, amazed at thedisorder. Venkman comes back immediately with an old sweatshirt andtakes Oscar from her. VENKMAN Now this kid has a serious nudity problem.He spreads the sweatshirt out on the sofa, lays the baby on it and startstying it around him like a diaper. VENKMAN (to the baby) This is Joe Namath's old number, you know. You could get a lot of chicks with this. Just don't pee in it. DANA Peter, what about the bathtub? VENKMAN (grabs the phone and dials) We'll take care of that. (on the phone) Ray, Pete. Listen, get over to Dana's right away ... Her bathtub pulled a fast one -- tried to eat the kid. DANA It was full of this awful pink ooze. VENKMAN (to Ray) Sounds like another slime job ... No, they're all right. They're here now ... Right ... Let me know.He hangs up. VENKMAN They're going over there right now. You might as well make yourself at home. Let me show you around. (he crosses to the kitchen area) This is the cuisine de maison --It's an incredible mess. The sink is piled high with dirty dishes and thecounters are littered with all sorts of food trash. He grabs a big openHefty bag on the floor and starts throwing garbage into it. VENKMAN (looking at the sink) We may have to wash some of these if you get hungry -- (he looks in the fridge) -- but there's no food anyway so forget about it. I have all kinds of carry-out menus if you feel like ordering.He opens a drawer full of pizza, barbecue and Chinese food menus, thencrosses to the bathroom. VENKMAN Bathroom's right here -- let me just tidy up a few things. DANA Peter, this is very nice, but you don't have to do any of this, you know.He goes into the bathroom and we hear WATER RUNNING, the TOILET FLUSHINGand more items going into the Hefty bag. VENKMAN (O.S.) The shower works but it's a little tricky. They're both marked "Hot." It takes a little practice, but at least this one won't try and eat you.He comes out of the bathroom with the now-loaded Hefty bag over hisshoulder. VENKMAN Be careful on that sofa -- it's a butt-biter. But the bed's good and I just changed the sheets so if you get tired, feel free. In fact, I think you should definitely plan on spending the night here. DANA Really? And how would we handle the sleeping arrangements? VENKMAN For me it's best if I sleep on my side and you spoon up right behind me with your arms around me. If we go the other way I'm afraid your hair will be getting in my face all night. DANA How about you on the sofa and me in bed with the baby. VENKMAN Or we could do that. DANA Thank you. (she picks up Oscar) Poor baby. I think I should put him down now. VENKMAN I'll put him down for you. (taking the baby) You are way too short! And your belly-button sticks out! You're nothing but a burden to your poor mother!Venkman carries the baby into the bedroom leaving Dana in the livingroom, feeling more relaxed and a lot safer. CUT TO:EXT. MUSEUM - DAY (NEXT MORNING)Venkman is waiting in front of the building as ECTO-2 pulls up andStantz, Spengler and Winston get out and report on Dana's apartment. VENKMAN Did you find anything at Dana's? STANTZ Nothing. Just some mood-slime residue in and around the bathtub. But we did turn up some interesting stuff on this Vigo character you mentioned. I found the name Vigo the Carpathian in Leon Zundinger's Magicians, Martyrs and Madmen. Listen to this: SPENGLER (reads from xerox of entry) "Vigo the Carpathian, born 1505, died 1610 --" VENKMAN A hundred and five years? He really hung on, didn't he. STANTZ And he didn't die of old age either. He was poisoned, stabbed, shot, hung, stretched, disemboweled, drawn and quartered. WINSTON I guess he wasn't too popular at the end there. SPENGLER No, not exactly a man of the people. (reads) "Also known as Vigo the Cruel, Vigo the Torturer, Vigo the Despised, and Vigo the Unholy." STANTZ This guy was a bad monkey. He dabbled in all the Black Arts, and listen to this prophecy. Just before his head died, his last words were, "Death is but a door, time is but a window. I'll be back." VENKMAN That's it? "I'll be back?" SPENGLER It's a rough translation from the Moldavian.They enter the museum carrying their monitoring equipment.INT. MUSEUM - SECURITY DESK - DAY (CONTINUOUS ACTION)Rudy the guard looks up in surprise as the Ghostbusters enter. RUDY Hey, Dr. Venkman. What's going on? VENKMAN We're just going up to Restorations for a minute. RUDY Oh, I can't let you do that. Mr. Poha told me not to let you up there anymore. VENKMAN (with mock seriousness) Okay, we were trying to keep this quiet but I think you can be trusted. Tell him, Ray. STANTZ (very official) Mister, you have an Ecto-paritic, subfusionary flux in this building. RUDY We got a flux? WINSTON You got a flux and a half. STANTZ Now if you don't want to be the -- (he counts) -- fifth person ever to die in meta-shock from a planar rift, I suggest you get down behind that desk and don't move until we give you the signal "Stabilize -- All Clear."Rudy gulps and starts to hunker down behind the desk as the Ghostbustershead upstairs.INT. MUSEUM - RESTORATION STUDIO - DAY (MOMENTS LATER)Janosz is working on the Vigo painting when the Ghostbusters enter. Herushes over and stops them at the door. JANOSZ Dr. Venkman? Dana is not here. VENKMAN I know. JANOSZ Then why have you come? VENKMAN We got a major creep alert and we're just going down the list. Your name was first. STANTZ (to Spengler and Winston) Let's sweep it, boys.They deploy and start scanning the studio with their monitoring devices. VENKMAN (to Janosz) You know, I never got to ask you. Where you from, Johnny? JANOSZ (nervous) The Upper West Side. SPENGLER (consulting his PKE meter) This entire room is extremely hot, Peter. JANOSZ What exactly are you looking for, Dr. Venkman? VENKMAN We'll know when we find it. You just sit tight. This won't take long.STANTZUsing the Giga-meter, he traces a strong psychomagnetheric reading tothe painting of Vigo in the alcove at the end of the studio. Venkmancomes up behind him with Janosz right on his heels. VENKMAN This is the one that looked at Dana. JANOSZ It must be the chemical fumes in the studio. People start imagining things -- VENKMAN (interrupts) I'm going to rule out the glue-sniffing theory. If she says it looked at her, it looked at her. (to Vigo) Hey, you! Vigie! Look at me. I'm talking to you. Hey! Look at me when I'm talking to you.They watch the painting for any sign of movement.VIGOHis eyes stare lifelessly into the distance.STANTZ AND VENKMANVenkman starts shooting Polaroids of Vigo. VENKMAN (to Vigo) Beautiful, beautiful. Work with me, baby. Just have fun with it. (to Stantz) Okay, he's playing it cool. Let's finish up and get out of here. STANTZ I'll get one more reading.Venkman walks off leaving Stantz alone with the painting. Stantz scansthe painting with the Giga-meter until his eyes meet Vigo's.VIGOHis eyes seems to burn right through to the depths of Stantz's soul.STANTZHe stands there transfixed, unable to look away, as a strange and subtletransformation occurs within him. Winston comes up behind him and breaksthe spell. WINSTON (looking at the painting) Now that's one ugly dude. STANTZ (coming back to his senses) Huh? What? WINSTON You finished here? STANTZ (distracted) What? Yeah. WINSTON Are you all right? You coming down with something? STANTZ No, I'm fine. I just got light-headed for a second there. Let's go.They head for the door.JANOSZHe escorts the Ghostbusters to the door. JANOSZ So you see, everything is in order, is it not? VENKMAN Not. Don't leave town and report any change in your address to the proper authorities. We'll be back.They exit. CUT TO:EXT. MUSEUM - DAY (LATER)The Ghostbusters cross to ECTO-2. SPENGLER There's definitely something going on in that studio. The PKE levels were max-plus and the Giga-meter was showing all red. WINSTON I'd put my money on that Vigo character. VENKMAN Yeah, that's a safe bet. (to Stantz) You and Spengman see what else you can dig up on Vigo and this little weasel Poha. Those two were made for each other.INT. ECTO-2 - DAY (LATER)The Ghostbusters are driving back to the firehouse. Stantz is at thewheel. His eyes are vacant, he seems distracted and very tense. Stantzswerves suddenly and HONKS the horn angrily. STANTZ (to another driver) Idiot! (honking) Move it, you jerk!Venkman and Winston exchange surprised looks.EXT. STREET - DAY (CONTINUOUS ACTION)Stantz drives extremely fast, HONKING vindictively, weaving dangerouslythrough traffic.INT. ECTO-2 - DAY (CONTINUOUS ACTION)Winston looks at Ray, concerned. WINSTON Going a little fast, aren't we, Ray?Stantz turns on him. STANTZ (viciously) Are you telling me how to drive? WINSTON No, I just thought -- STANTZ Well don't think!He HONKS again and tromps hard on the accelerator.EXT. STREET - DAY (CONTINUOUS)Ecto-2 is now barreling down the avenue. Pedestrians leap to safety asStantz runs a red light.INT. ECTO-2 - DAY (CONTINUOUS ACTION)They hang on to the safety straps as Stantz continues his maniacal ride. WINSTON (to Stantz, really worried now) Are you crazy, man? You're going to kill somebody!Stantz looks at him and smile demonically. STANTZ No, I'm going to kill everybody!He swerves off the road.EXT. ECTO-2 - DAY (CONTINUOUS ACTION)The car heads right for a big tree.INT. ECTO-2 - DAY (CONTINUOUS ACTION)At the last possible moment, Winston cold-cocks Stantz, grabs the wheeland steps across to stomp on the brakes.EXT. ECTO-2 - DAY (CONTINUOUS ACTION)The car skids into the tree and stops. The Ghostbusters stumble outdazed and shaken, but unhurt. Stantz rubs his eyes and looks at theothers, completely at a loss. STANTZ (himself again) What happened? VENKMAN You just picked up three penalty points on your driver's license. WINSTON Are you all right? STANTZ Yeah, I guess so. It was the strangest thing. I knew what I was doing but I couldn't stop. This really terrible feeling came over me and -- I don't know -- I just felt like driving into that tree and ending it all. Whew! Sorry, boys.They inspect the damage to the car. VENKMAN (confidentially, to Spengler) Watch him, Egon. Don't even let him shave. CUT TO:INT. VENKMAN'S LOFT - DAY (LATER)There's a KNOCK at the front door, a key turns in the lock, and Venkmanenters somewhat tentatively holding a bouquet of flowers and a smallsuitcase of Dana's. VENKMAN (calls out) I'm home!He looks around the large open loft. VENKMAN (to himself) I knew it. She cleaned.He hears the SHOWER RUNNING and crosses to the bathroom. The door ishalf-open and he can see Dana in the shower (tastefully blurred) throughthe transparent vinyl curtain. He closes the bathroom door and looks atthe baby asleep on the bed, surrounded by pillows to prevent him rollingoff. Then he turns and bumps into Dana who's just coming out of thebathroom wrapped in a towel. She jumps back into the bathroom.She comes out again, this time wearing a robe. VENKMAN Are you all squeaky clean now? DANA (humoring him) Yes, I'm very clean. Did they find anything at my apartment?She squeezes past him into the bedroom and closes the door. VENKMAN (through the door) Nothing. They stayed there all night, went through your personal stuff, made a bunch of long-distance phone calls and cleaned out your refrigerator. And didn't find anything.Dana opens the bedroom door. DANA They didn't find anything? In the bathtub ... the pink ooze ... nothing? So, what do I do now? VENKMAN Now you get dressed and we go out. I got a babysitter and everything. Trust me, you need it. DANA I'm not here to date. I can't leave Oscar in a strange place with someone I don't know. VENKMAN It's Janine Melnitz, from my staff. She's one of my most valuable employees. DANA Does she know anything about babies? VENKMAN Janine Melnitz, are you kidding? (handing her the flowers) Do I have a vase? I brought some of your clothes. Wear something intriguing. I brought along some interesting possibilities. DANA Okay, but it's not a date. It's a dinner.She smiles and closes the door again. He opens the closet and startslooking for his good suit. VENKMAN Did you happen to see some shirts on the floor in here? DANA (O.S.) I put them in your hamper. I thought they were dirty. VENKMAN (shaking his head) I have a hamper? Next time ask me first, okay. I have more than two grades of laundry. There're lots of subtle levels between clean and dirty.He pulls some clothes out of the hamper and inspects them. VENKMAN These aren't so bad yet. You just hang them up for a while and they're fine. CUT TO:INT. FIREHOUSE - RECEPTION AREA - EARLY EVENINGJanine covers her computer terminal and starts turning out the lights.Then she notices that the lights are still on upstairs. She startsprimping and freshening up her makeup.INT. FIREHOUSE - LAB AREA - SAME TIMELouis is strapping on a proton pack, preparing to deal with Slimer onceand for all. He's wearing a bicyclist's rearview mirror on a headband. LOUIS (to himself) Okay, Stinky, this is it. Showdown time. You and me, pal. You think you're smarter than I am? We'll see about that. (loud) Oh, hello, Pizza Man! Oh, two larges! I only ordered one. Oh, pepperoni and pineapple. My absolute favorite. I guess I'll have to eat these both by myself.THE CEILINGSlimer pokes his head through the ceiling and scans the room hangingupside down.LOUISHe spots Slimer through the rearview mirror. LOUIS (quietly) Okay, let's boogie!He whirls around and fires a proton stream at Slimer, slicing a burning agash across the ceiling.THE STAIRSJanine comes up and ducks as a bolt of energy streaks across the room andstrikes the wall behind her. Slimer disappears. LOUIS (embarrassed and apologetic) Oh migod! I'm sorry. I didn't mean to do that. It was an accident. JANINE What are you doing up here? LOUIS I was trying to get that smelly green thing. The guys asked me to help out. I'm like the fifth Ghostbuster. JANINE Why would you want to be a Ghostbuster if you're already an accountant? LOUIS Oh, no, it's just if one of the guys calls in sick or gets hurt.Louis quickly slips off the proton pack and sets it down. JANINE Have you made any plans yet? You know tomorrow is New Year's Eve. LOUIS No, I celebrate at the beginning of my corporate tax year which is March first. That way I beat the crowds. JANINE That's very practical. I hate going out on New Year's Eve, too.There is an awkward silence between them and Janine starts to leave. JANINE Well, good night, Louis. LOUIS (on an impulse) Janine, do you feel like maybe getting something to eat on the way home? JANINE I'd like to, but I told Dr. Venkman I'd babysit. (seductively) Do you want to babysit with me? LOUIS Oh, sure, that sounds great.They exit. CUT TO:INT. VENKMAN'S LOFT - NIGHT (LATER)There is a KNOCK at the door and Venkman goes to answer it. He's dressedfor the evening and looking very dapper.INT. VENKMAN'S LOFT - ENTRANCE HALL - CONTINUOUS ACTIONVenkman opens the door and finds Stantz, Spengler and Winston standingthere wearing over-the-hip rubberized waders, firemen's slickers, andminers' helmets, carrying tons of sensing devices, meters, collectionjars and photographic equipment. They look like they're rigged out for amajor spelunking expedition. VENKMAN (ushering them in) Don't tell me, let me guess. All-you-can-eat barbecue rib night at the Sizzler? STANTZ We're going down into the sewer system to see if we can trace the source of the psycho-reactive slime flow. We thought you might want to come along. VENKMAN Darn it! I wish I'd known you were going. I'm stuck with these damn dinner reservations. SPENGLER You know, animals and lower life forms often anticipate major disasters. Given the new magnetheric readings we could see a tremendous breeding surge in the cockroach population. VENKMAN Roach breeding? Sounds better and better. (calls out) Dana? The boys are going down under the sewers tonight to look for slime. Egon thinks there might even be some kind of big roach-breeding surge. Should we forget about dinner and go with them instead?Dana steps into the living room looking very beautiful. STANTZ Wow.Dana looks curiously at their outfits. DANA Hi.They nod and wave back. VENKMAN (to Ray and Egon) I think we're going to have to pass on the sewer trip, boys. Let me know what you find out. STANTZ (on his exit) Okay, but you're missing all the fun.INT. VAN HORNE STATION - NIGHT (LATER)Stantz, Spengler and Winston come down the stairs into the station,guided by a very old map of the underground city. STANTZ This is it. Van Horne Station. Right where the old transit map said it would be.They cross to the edge of the platform and look into the river of slime. STANTZ Let's get a sounding on the depth of that flow.Stantz has a long, coiled, graduated cord with a plumb bob on the end ofit attached to his utility belt. STANTZ Stand back.He takes the cord in his hand, swings the plumb bob over his head andcasts it out into the middle of the flow. The plumb bob sinks andSpengler reads the depth. SPENGLER Six feet -- seven -- eight -- STANTZ That's it. It's on the bottom. SPENGLER Nine feet -- ten -- WINSTON Is the line sinking? SPENGLER No, the slime is rising.Stantz looks down and notices the slime rising over the edge of theplatform and around his boots. STANTZ (alarmed) Let's get out of here, boys.He starts to pull out the plumb line but it seems to be stuck.Spengler tries to help, but whatever is pulling on the cord is strongerthan all three of them. As their unseen adversary pulls them closer andcloser to the edge, Stantz works desperately to unhook the cord from hisbelt but finally just unhooks the whole belt. Spengler lets go in timebut Winston doesn't. He is jerked off his feet and into the slime flow.Stantz and Spengler look at each other, summon their courage and jump inafter him. CUT TO:INT. ARMAND RESTAURANT - NIGHT (LATER)Dana and Venkman are sitting at a table in an elegant restaurant nibblingcaviar and toasting with very expensive champagne. VENKMAN (very intimate) Here's to -- us.She sighs and drinks. VENKMAN So -- are you making any New Year's resolutions? DANA I want to stop getting involved with men who aren't good for me. VENKMAN Does that start exactly at midnight tomorrow, or could you hold off for a few days maybe? DANA For one night in your life, do you think it's possible for us to be completely real? VENKMAN All right, you want to be real? So tell me why did you dump me? DANA Oh, Peter, I didn't dump you. I just had to protect myself. You really weren't very good for me, you know. VENKMAN I'm not even good for me. DANA Why do you say things like that? You're so much better than you know. VENKMAN Thank you. If I had that kind of support on a daily basis, I could definitely shape up by the turn of the century. DANA (already feeling the effects of the champagne) So why don't you give me a jingle in the year 2000? VENKMAN Let me jingle you right now.He leans over to kiss her. DANA Maybe I should call Janine. VENKMAN Don't worry. Janine has a very special way with children.They kiss. CUT TO:INT. APARTMENT - NIGHT (SAME TIME)Janine is on the sofa doing her nails while Louis paces with the baby. JANINE (looking around) I can't believe a person could actually live like this. LOUIS (to the baby) So these dwarfs had a limited partnership in a small mining operation and then one day a beautiful princess came to live with them. JANINE It's really not a bad place. It just needs a woman's touch. LOUIS (continuing) So they bartered room and board in exchange for housekeeping services, which was a good deal for all of them because then they didn't have to withhold tax and social security, which I'm not saying is right but it's just a story, so I guess it's all right. I can finish this later if you're tired.Louis goes into the bedroom and puts the baby down. JANINE You're really good with children, Louis. I can tell. (as he returns) Why don't you come here and sit with me? LOUIS Okay.He sits stiffly beside her on the sofa. JANINE (getting close) Motherhood is a very natural instinct for me. I'd like to have a baby myself. Wouldn't you? LOUIS (gulps) Tonight?EXT. STREET - MANHOLE COVER - NIGHT (SAME TIME)A manhole cover is dislodged and pushed up from below. It slides away,and Winston crawls out of the manhole followed by Stantz and Spengler.They are exhausted and covered with slime. WINSTON (uncharacteristically angry) Nice going, Ray! What were you trying to do -- drown me? STANTZ (unusually mean) Look, Zeddemore, it wasn't my fault you were too stupid to drop that line. WINSTON (shoves him) You better watch your mouth, man, or I'll punch your lights out. STANTZ Oh yeah? Anytime, anytime. Just go ahead and try it.Spengler steps between them with unprecedented aggression. SPENGLER If you two are looking for a fight, you got one. (putting up his fists) Who wants it first? Come on, Ray. Try me, sucker. STANTZ (squaring off) Butt out, you pencil-necked geek. I've had it with you.They grab each other and start to tussle. Suddenly Spengler comes to hissenses and pulls them apart. SPENGLER (forcefully) Strip! Right now! Get out of those clothes!He starts yanking off his slicker and waders. Bewildered, Stantz andWinston start doing the same. Spengler helps pull off their clothes andthrows them into the open manhole. Now wearing only long underwear, theyseem to return to normal. WINSTON What are we doing? Ray, I was ready to kill you. STANTZ Don't you see? It's the slime. That stuff is like pure, concentrated evil.Stantz looks around and sees that they are standing right in front of themuseum. SPENGLER And it's all flowing right to this spot. CUT TO:INT. ARMAND RESTAURANT ENTRANCE - NIGHT (CONTINUOUS ACTION)The MAITRE D' looks up in surprise as Stantz, Spengler and Winston enterthe restaurant wearing only long underwear. MAITRE D' (intercepting them) Can I help you?Stantz looks around and spots Venkman. STANTZ That's all right, I see him.They blow right by the Maitre d' who jumps back in horror as they pass.VENKMANHe's just about to pour more champagne when he sees Ray, Egon and Winstoncoming toward him through the restaurant. STANTZ (very excited) You should've been there, Venkman. Absolutely incredible! VENKMAN Yeah, sorry I missed it. (noting their attire) I guess you guys didn't know about the dress code here. It's really kind of a coat and tie place. STANTZ It's all over the city, Pete -- well, under it actually. WINSTON Rivers of the stuff! SPENGLER And it's all flowing toward the museum.He gestures excitedly and a big gob of slime flies across the room andlands on a well-dressed diner. STANTZ (calls out) Sorry! DANA Maybe we should discuss this somewhere else.Venkman notes the look of alarm on Dana's face and pulls his colleaguesaside. VENKMAN (confidentially) Boys, listen. You're scaring the straights. Let's save this until tomorrow, okay? SPENGLER (to Venkman) This won't wait until tomorrow, Venkman. It's hot and it's ready to pop.MAITRE D'He hurries through the restaurant with two city COPS right behind him andmakes straight for Venkman's table. MAITRE D' Arrest these men. COP (recognizing them) Hey! It's the Ghostbusters. You're out of uniform, gentlemenStantz suddenly realizes how ridiculous they look. STANTZ (self-conscious) Uh -- well -- we had a little accident, but forget that. We have to see the mayor as soon as possible. COP Look, Doc, why don't you just go home. You'll get a good night's sleep and then you can give the mayor a call in the morning. Come on.He takes Stantz by the arm but Stantz resists. STANTZ We're not going anywhere with you. I told you we have to see the mayor now. COP (grabbing Stantz) I'm warning you. You can come along peaceably or -- VENKMAN (grabs the Cop) Hey, don't be an idiot. This is serious. COP (angry) Look, pal, keep this up and you're going with them. VENKMAN Oh, yeah? COP (has had enough) Yeah, let's go. You're all under arrest.The Cop catches Venkman in an armlock and starts walking him out of therestaurant. VENKMAN (to Dana) Finish your dessert -- it's already paid for. I'll call you.They all exit, causing a major commotion among the other diners.EXT. ARMAND'S RESTAURANT - NIGHT (CONTINUOUS ACTION)The police car is parked right behind Ecto-2. Spengler stops at thepolice car and confronts the cops. SPENGLER Look, we're not drunk and we're not crazy. This is a matter of vital importance.Venkman steps in and looks at the policemen's nametags. COP What are you doing? VENKMAN I just want to get your names right for when the mayor asks us why we didn't let him know about this sooner.The Cops look at each other, uncertain about what to do. COP (relenting) Okay, Doc. You want to see the mayor, you got it. Follow us.They head for their respective vehicles. CUT TO:INT. VENKMAN'S LOFT - NIGHT (SAME TIME)Louis and Janine are on the sofa making out when Dana enters. They jumpup and start smoothing their clothes. LOUIS (embarrassed) Oh, hello, Dana. we were just -- we were -- DANA I know what you were doing, Louis. It's all right. JANINE How was your date? DANA Typical. Peter was arrested. Has he called? LOUIS No, nobody called.Dana frowns. DANA Is everything all right with Oscar? JANINE Oh, he's fine. He's such a good baby. He was a little fussy at first, but we gave him a Freach bread pizza and he went right to sleep. DANA (relieved) Oh, good. I'll just check on him.She crosses to the bedroom.INT. VENKMAN'S BEDROOM - NIGHT (CONTINUOUS ACTION)Dana looks at Oscar sleeping peacefully on the bed. She starts to changeclothes.INT. VENKMAN'S LIVING ROOM - NIGHT (SAME TIME)Louis and Janine aren't sure what to do. LOUIS Should we go? JANINE I don't think we should leave her alone. LOUIS You're right. We should stay.He grabs Janine and they start making out again. CUT TO:INT. MUSEUM RESTORATION STUDIO - NIGHT (SAME TIME)Janosz stands before the painting of Vigo. Vigo comes to life andrepeats the litany of his power. VIGO I, Vigo, the scourge of Carpathia -- JANOSZ (heard all this before) Yes, the scourge -- VIGO -- the sorrow of Moldavia -- JANOSZ -- the sorrow -- VIGO I command you. JANOSZ (checking his watch) I await the word of Vigo. VIGO The season of evil begins with the birth of the new year. Bring me the child that I might live again. JANOSZ (abjectly humble) Lord Vigo, the mother, Dana, is fine and strong. I was wondering -- well, would it be possible -- if I bring the baby, could I have the woman? VIGO So be it. On this the day of darkness, she will be ours, wife to you and mother to me. CUT TO:EXT. CARL SCHURZ PARK - NIGHT (LATER)Preceded by a police car, Ecto-2 enters the small park on the East Riverat 88th Street and disappears into an underground entrance. The CAMERAPANS UP to reveal Gracie Mansion, the residence of the Mayor of New YorkCity.INT. GRACIE MANSION - MOMENTS LATERThe Ghostbusters, now wearing police raincoats over their longjohns areushered through the house by a butler to a set of double oak doors. Thebutler knocks lightly, then opens the door to reveal the MAYOR sitting infront of the fireplace in his well-appointed private study, flanked byJack Hardemeyer, both in tuxedoes. The Ghostbusters enter.INT. STUDY - CONTINUOUS ACTIONThe Mayor is impatient and a little angry at having been pulled out ofhis formal reception. He frowns at their bizarre attire. MAYOR All right -- the Ghostbusters. I'll tell you right now; I've got two hundred of the heaviest campaign contributors in the city out there eating bad roast chicken waiting for me to give the speech of my life. You've got two minutes. Make it good. STANTZ You get enough negative energy flowing in a dense environment like Manhattan, it starts to build up, and if we don't do something fast this whole place will blow like a frog on a hotplate. WINSTON Tell him about the toaster. VENKMAN I don't think he's ready for the toaster. MAYOR (shaking his head) Being miserable and treating other people like dirt is every New Yorker's God-given right. What am I supposed to do -- go on television and tell eight million people they have to be nice to each other? I'm sorry, none of this makes any sense to me, and if anything does happen we've got plenty of paid professionals to deal with it. Your two minutes are up. Good night, gentlemen.The mayor exits, leaving the Ghostbusters to Hardemeyer. HARDEMEYER (smirking) That's quite a story. VENKMAN Yeah, I think the Times might be interested, don't you? The Post might have a lot of fun with it, too.Hardemeyer's eyes go cold and calculating. HARDEMEYER Before you go running to the newspapers with this, would you consider telling this slime thing to some people downtown? VENKMAN Now you're talking. CUT TO:INT. PARKVIEW HOSPITAL - PSYCHIATRIC WARD - NIGHT (LATER)An attendant opens a locked door with a wire mesh window and theGhostbusters, in straitjackets, are led into the psych ward as Hardemeyerconfers with the chief PSYCHIATRIST. WINSTON (protesting) I'm telling you, we're not crazy. He is!HARDEMEYERHe laughs off the remark. HARDEMEYER (to the Psychiatrist) The mayor wants them kept under strict observation for a few days. We think they're seriously disturbed and potentially dangerous. PSYCHIATRIST We'll do whatever's necessary.Hardemeyer shakes his hand and exits as the door slams shut on theGhostbusters.INT. VENKMAN'S LOFT - NIGHT (SAME TIME)Louis and Janine are watching an old rerun on TV, eating popcorn, whileDana is stretched out on the other sofa. DANA (wishing they'd leave) You know you really don't have to stay. Peter should be back soon. LOUIS Oh no, we don't mind.She hears a little CRY from the nursery and sits up. DANA Excuse me. I think Oscar is up.She crosses to the bedroom.INT. VENKMAN'S BEDROOM - NIGHT (CONTINUOUS ACTION)Dana enters and immediately notices that the crib is empty and the windowis open. DANA (screams) Louis!Frantic now, Dana rushes to the window and looks out, as Louis and Janinecome running in.EXT. WINDOW LEDGE - DANA'S POV - NIGHT (ECLIPSE)The baby is standing out on the ledge at the corner of the building,fifty feet above the street, staring off into the distance as if he'swaiting for something.EXT. WINDOW LEDGE - NIGHT (ECLIPSE) (CONTINUOUS ACTION)Dana climbs out onto the ledge and starts inching slowly toward the baby.Then she stops as a miraculous apparition materializes.LOUIS AND JANINEThey lean out the window, gaping at the apparition.EXT. VENKMAN'S LEDGE - APPARITIONA sweet, kindly-looking English nanny appears, pushing a pram, strollingon thin air parallel to the ledge high above the ground. Her face looksremarkably like Janosz Poha's. The nanny extends her hand to the BABYwho GURGLES sweetly as he reaches out to take it.DANAShe watches in helpless horror. DANA (screams) No!!GHOST NANNYShe picks up the baby and lays it gently in the pram, then turns andsmiles at Dana. The smile turns to a hideous grin, then the nannyshrieks at Dana and takes off like a shot with the baby.DANAShe watches the creature fly off with Oscar, then climbs back throughthe window assisted by Louis and Janine. DANA (resolutely) Louis, you have to find Peter and tell him what happened. LOUIS (confused and worried) Where're you going? DANA To get my baby back. CUT TO:EXT. MUSEUM - NIGHT (A LITTLE LATER)A taxi pulls up, Dana jumps out and rushes into the museum. The momentthe door closes behind her, there is a loud THUNDERCLAP, the groundtrembles and a massive amount of slime erupts from around the base ofthe museum and starts covering the walls, sealing her inside thebuilding. CUT TO:INT. PARKVIEW PSYCHIATRIC - PADDED ROOM - NIGHT (SAME TIME)Venkman, Stantz, Spengler and Winston are in a padded cell. They arehandcuffed and the cuffs are chained to thick leather belts around theirwaists. Venkman stands there banging his head into the padded wallwhile the others try to explain the situation to a skepticalPsychiatrist. STANTZ We think the spirit of Vigo the Carpathian is alive in a painting at the Manhattan Museum. PSYCHIATRIST I see. And are there any other paintings in the museum with bad spirits in them? SPENGLER (impatient) You're wasting valuable time! We have reason to believe that Vigo is drawing strength from a psychomagnetheric slime flow that's been collecting under the city. PSYCHIATRIST Yes, tell me about the slime. WINSTON It's potent stuff. We made a toaster dance with it, then a bathtub tried to eat his friend's baby.The psychiatrist looks at Venkman. VENKMAN Don't look at me. I think they're nuts. CUT TO:INT. MUSEUM RESTORATION STUDIO - NIGHT (SAME TIME)Moonlight streams through the skylight above, bathing the studio ineerie white light. Oscar is lying safely on a table in front of thepainting of Vigo. Dana enters cautiously and sees the baby. Seeing noone else about, she quickly sneaks down to the table and picks up thebaby, hugging hin tight, greatly relieved to find him unharmed andintact. JANOSZ (O.S.) I knew you would come.Startled, Dana turns at the sound of his voice as Janosz steps out frombehind the Vigo painting. DANA (defiantly) What do you want with my baby? JANOSZ No harm will come to the child. You might even say it's a privilege. He will be the vessel for the spirit of Vigo. And you -- well, you will be the mother of the ruler of the world. Doesn't that sound nice? DANA If this is what the world will be like, I don't want to live in it. JANOSZ (confidentially, indicating Vigo) I don't believe we have the luxury of choice. DANA Everybody has a choice. JANOSZ Not in this case, my dear. Take a look. That's not Gainsborough's Blue Boy up there. He's Vigo! DANA I don't care who he is. He's not taking my baby.Dana walks quickly to the door but suddenly Oscar flies out of her arms,floats across the room and lands lightly back in the cradle.DANAShe turns and looks at Vigo, for the first time feeling his power. JANOSZ You will see. It's all for the best. CUT TO:EXT. PARKVIEW HOSPITAL - DAY (NEXT MORNING)It's the last day of the year and the sun is shining brightly. CUT TO:INT. PARKVIEW PSYCHIATRIC WARD - DAY (SAME TIME)The Ghostbusters are sitting in the dayroom, a dingy lounge for patientsin the locked ward. There is a television set, a Ping-Pong table and afew tables and chairs. Stantz is looking at the sky through the heavywire mesh covering the windows. STANTZ This is it. boys. It's starting. Shit-storm 2000.Venkman is doing occupational therapy, weaving on a little hand-loom. VENKMAN It better not start yet. I'm trying to finish my potholder before lunch. WINSTON You think all those predictions about the world coming to an end in the 1990s are true?A PATIENT at the next table joins the discussion. PATIENT (with certainty) 1997. My dog told me. VENKMAN What kind of dog? PATIENT Labrador. VENKMAN (shakes his head) Habitual liars. They can't help it. It's in the breed. CUT TO:INT. PARKVIEW HOSPITAL - EXAMINING ROOM - DAY (SAME TIME)Louis is pleading with his cousin, SHERMAN TULLY, a doctor on the staffat Parkview. He looks and sounds just like Louis. LOUIS Come on, Sherm. You're my cousin. Do this for me. I'm begging you. SHERMAN I can't do it, Louis. It isn't ethical. I could lose my license. LOUIS Why can't you just have them released? You're a doctor. SHERMAN I'm a dermatologist. I can't write orders on the psych ward. LOUIS Sherman, I've done lots of favors for you. SHERMAN Like what? LOUIS I got you out of those bad tax shelters. SHERMAN You were the one who got me in. LOUIS I fixed you up with Diane Troxler and she put out, didn't she? SHERMAN Yeah, I had to give her free dermabrasion for a year. Forget it, Louis. I could get in a lot of trouble. LOUIS I'm telling you, we're all going to be in big trouble if we don't do something fast. That ghost guy came and took my friend's baby and we got to get it back. It's just a scared little baby, Sherm. SHERMAN Then you should go to the police. I don't believe in any of that stuff.Sherman looks out the window.EXT. SKY - SHERMAN'S POVThe sky begins to go dark as the sun is magically eclipsed.INT. EXAMINING ROOM - CONTINUOUS ACTION - DAYThe room goes dark. Louis switches on a lamp which casts an eerie lighton his face. LOUIS (spooky) Do you believe it now, Sherm? CUT TO:EXT. HUDSON RIVER PIER - NIGHT (ECLIPSE)A drainpipe starts dripping slime into the river near the Cunard Linedocks. CUT TO:EXT. PUBLIC FOUNTAIN (59TH AND FIFTH) - NIGHT (ECLIPSE)With the Plaza Hotel in the background, the fountain starts to spoutpsycho-reactive slime.HOTEL ENTRANCEA well-heeled MAN and WOMAN step out of a limousine and walk up the stepstoward the revolving door. She looks up at the sky and frowns. WOMAN (shrewish) I told you we should have stayed in Palm Beach. The weather here gets stranger every year. MAN Yes, dear.She doesn't notice it, but a small amount of slime falls on the back ofher luxurious, full-length, white mink coat. The doorman nodscourteously and extends a hand to help her up the stairs.WOMANShe yelps in pain. WOMAN (to the doorman) Something just bit me!The doorman looks curiously at her, then recoils in shock as her coatcomes alive. MINK HEADS pop out of the thick fur, SNARLING, BARKING andYAPPING, their sharp, little teeth biting the air. Reacting quickly, thedoorman yanks the coat off the woman's back, throws it to the ground andstarts stomping on it as the Woman and her husband look on in horror.The coat scuttles down the steps and runs off down the street. CUT TO:INT. MIDTOWN CENTRAL POLICE PRECINCT - NIGHT (ECLIPSE)The squad room is busy as DETECTIVES try to answer the flood of callsregarding the wave of supernatural events sweeping the city. DETECTIVE ONE (on the phone) Look, lady, of course there are dead people there. It's a cemetery ... (his face falls) They were asking you for directions? DETECTIVE TWO (on another phone) Was this a big dinosaur or a little dinosaur? ... Oh, just the skeleton, huh? Well, where is it now? DETECTIVE THREE (on the phone) Wait a second -- the park bench was chasing you? You mean, someone was chasing you in the park ... No, the bench itself was chasing you. I see --A weary SERGEANT answers a RINGING PHONE. SERGEANT Manhattan Central, Flaherty speaking ... Yeah ... yeah? ... What? Who is this? ... Wait a second.He puts the caller on "Hold" and turns the LIEUTENANT. SERGEANT Lieutenant, I think you better talk to this guy. LIEUTENANT (on another call) What is it? I'm talkin' here! SERGEANT It's some dock supervisor down at Pier 34 on the Hudson. The guy's going nuts. LIEUTENANT What's the problem? SERGEANT (takes a deep breath) He says the Titanic just arrived.INT. PORT AUTHORITY OFFICE - NIGHT (ECLIPSE)The dock supervisor stands there with the phone in his hand, an assistantbeside him, both staring out the window at the ocean liner tied up at thepier.EXT. PIER 34 - THEIR POV - NIGHT (ECLIPSE)The name "R.M.S. Titanic" is clearly visible on the side of the hugeship. The gangplank is down and dozens of drowned passengers, soppingwet and festooned with seaweed, are disembarking while drowned portersoff-load their waterlogged baggage. CUT TO:EXT. PARKVIEW HOSPITAL - NIGHT (MOMENTS LATER)(ECLIPSE)Ecto-2 is parked outside as Louis and Sherman come out of the hospitalwith the Ghostbusters, now wearing their standard uniforms. STANTZ Good work, Louis. How did you get us out? LOUIS Oh, I pulled a few strings. I wouldn't want to say any more than that.Louis winks conspiratorially at Sherman. LOUIS This is my cousin Sherman. Sherm, say hello to the Ghostbusters. (sotto voce to Stantz) I promised him a ride in the car if he got you out. SHERMAN (to the Ghostbusters) Hi, it's really great to meet you guys. I know this sounds weird but once I had a dream that my grandfather was standing at the foot of my bed, but I knew it was impossible because he died and he started to tell me that --While he's talking, the Ghostbusters jump in the Ectomobile and driveoff, leaving him and Louis standing at the curb. LOUIS Hey! Wait! Okay, I'll meet you there. SHERMAN I thought you were like the fifth Ghostbuster. LOUIS I let them handle all the little stuff. I just come in on the big ones. CUT TO:-----------------------------------------------------------------------(original version of the above scene - 11/27/88)(TRANSCRIBER'S NOTES: These two versions of this scene were put in mycopy of the script, so I have included both of them here) LOUIS Actually, they still think you're crazy, but I convinced them you're not dangerous. VENKMAN (determined) Yeah, well guess again.EXT. BELLEVUE HOSPITAL - NIGHT (ECLIPSE)(MOMENTS LATER)Ecto-2 is parked outside and the Ghostbusters are hastily donning theirstandard uniforms. LOUIS I brought everything you asked for and I gassed up the car with Super Unleaded. It cost twenty cents more than Regular Unleaded but you get much better performance and in an old car like this that'll end up saving you money in the long run. I put it on my credit card, so you can either reimburse me or I can take it out of petty cash --While he's talking, the Ghostbusters jump in the Ecto-2 and driveoff without him. LOUIS Hey! Wait! Okay, I'll meet you there. CUT TO:-----------------------------------------------------------------------EXT. MUSEUM - NIGHT (ECLIPSE)(LATER)ECTO-2 pulls to the curb across the street from the museum. Hundreds ofspectators are already there gawking at the building as the Ghostbustersjump out and gape at the sight that greets them.EXT. MUSEUM THEIR POV - BUILDINGThe building is now totally covered in a shell of psycho-reactive slime.CITY WORKMEN and FIREMEN are trying to cut their way in with blowtorches,jackhammers, power tools and the "jaws of life," but they can't even makea dent.GHOSTBUSTERSThey size up the situation as they don their proton packs. STANTZ It looks like a giant Jello mold. VENKMAN I hate Jello.They stride manfully across the street and approach the main entrance tothe museum. STANTZ (to the Fire Captain) Okay, give it a rest, Captain. We'll take it from here. FIRE CAPTAIN (skeptical) Be my guest. We been cutting here for three hours. What the hell's going on? You know the Titanic arrived this morning? VENKMAN Well, better late than never.The workmen and firemen put down their tools and fall back as theGhostbusters draw their particle throwers. SPENGLER (monitoring valences) Full neutronas, maser assist.They adjust their settings and prepare to fire. STANTZ Throw 'em!They trigger their throwers and spray the front doors of the buildingwith bolts of proton energy, but it has no effect on the hardened slime. VENKMAN (to the firemen) Okay, who knows "Cumbaya?"A few of the firemen and workmen tentatively raise their hands. Venkmangrabs them and lines them up at the entrance of the museum. VENKMAN All right. Nice and sweet -- (starts singing) Cumbaya, milord, cumbaya --Stantz, Spengler, Winston and the firemen sing along, reluctantly holdinghands and swaying to the music. ALL (singing) Cumbaya, milord, cumbaya, Cumbaya, milord, cumbaya, Oh, Lord, cumbaya.Stantz inspects the wall of slime with his infra-goggles and finds thatthey have only managed to open a hole the size of a dime. STANTZ Forget it. The Vienna Boys Choir couldn't get through this stuff. VENKMAN Good effort. Now what? Should we say supportive, nurturing things to it, Ray? SPENGLER It won't work. There's no way we could generate enough positive energy to crack that shell. STANTZ I can't believe things have gotten so bad in this city that there's no way back. Sure, it's crowded, it's dirty, it's noisy. And there are too many people who'd just as soon step on your face as look at you. But there've got to be a few sparks of sweet humanity left in this burned-out burg. We just have to mobilize it. SPENGLER We need something that everyone can get behind, a symbol --His eyes fall on ECTO-2's New York State license plate which features aline drawing of the Statue of Liberty. STANTZ (he sees it, too) Something that appeals to the best in each and every one of us -- SPENGLER Something good -- VENKMAN And pure -- WINSTON And decent.EXT. THE STREET - NIGHT (SAME TIME)There is a commotion among the crowd as the Mayor's limousine arriveswith a police escort. Jack Hardemeyer steps out followed by the Mayorhimself and they cross to the museum entrance.Hardemeyer, his ASSISTANT and several police BODYGUARDS confront theGhostbusters. HARDEMEYER Look, I've had it with you. Get your stuff together, get back in that clown car and get out of here. This is a city matter and everything's under control. VENKMAN Oh, you think so? Well, I've got news for you. You've got Dracula's brother-in-law in there and he's got my girlfriend and her kid. Around about midnight tonight, when you're partying uptown, this guy's going to come to life and start doing amateur head transplants. And that's just round one. MAYOR Are you telling me there're people trapped in there? HARDEMEYER (to his assistant) This is dynamite. Call A.P., U.P.I., and C.N.N. and get them down here right away. When the police bring this kid out I want them to hand it right to the mayor and I want it all on camera. STANTZ Mr. Mayor, if we don't do something by midnight, you're going to go down in history as the man who let New York get sucked down into the tenth level of hell.The Mayor stops to consider the situation. MAYOR (to the Fire Captain) Can you get into that museum? FIRE CAPTAIN If I had a nuclear warhead, maybe.The Mayor turns to Venkman. MAYOR You know why all these things are happening? VENKMAN We tried to tell you last night, but Mr. Hard-On over here packed us off to the loony bin.Hardemeyer flips out. HARDEMEYER This is preposterous! You can't seriously believe all this mumbo-jumbo! It's the Twentieth Century, for crying out loud! (viciously, to Venkman) Look, mister, I don't know what this stuff is or how you got it all over the museum, but you better get it off and I mean right now!He pounds the wall of slime with his fist, and they all watch inamazement as his fist goes through the wall and he is sucked bodilythrough the slime curtain. Only his shoes can be seen, embedded in theslime. MAYOR (to Venkman) Okay, just tell me what you need. CUT TO:EXT. LIBERTY ISLAND (NEW YORK HARBOR) - NIGHTWith the city skyline in the b.g., the Ghostbusters prepare theirequipment. Each of them dons a makeshift backpack consisting of tanks,hoses, nozzles and an abundance of gauges, valves and regulators.Venkman looks up at the Statue of Liberty looming above them. VENKMAN Kind of makes you wonder, doesn't it? WINSTON Wonder what? VENKMAN If she's naked under that toga. She's French, you know. SPENGLER There's nothing under that toga but 300 tons of iron and steel.Stantz is looking worried. STANTZ I hope we have enough stuff to do the job. VENKMAN Only one way to find out. (to Stantz) Ready, Teddy?They enter the statue. CUT TO:INT. STATUE OF LIBERTY - MOMENTS LATERThe Ghostbusters are working from the iron staircase that spiralsstraight up 100 feet inside the hollow super-structure of the statue.Spengler and Winston are busy assembling hundreds of wires connected tovarious relays on the interior surface of the statue. Venkman and Stantzare mounting large auditorium loudspeakers near the top of the staircase.They finish the installation, then Stantz dons one of the new backpacksand gives the order. STANTZ Okay, boys. Let's frost it.They begin hosing the inside of the statue with the psycho-reactiveslime. CUT TO:INT. FIREHOUSE - NIGHT (SAME TIME)Janine watches as Louis, wearing a Ghostbuster uniform, slings a heavyproton pack onto his back. JANINE I'm not sure this is such a good idea? Do they know you're doing this? LOUIS Oh, yeah, sure -- no. But there's really not much to do here and they might need some back-up at the museum. JANINE You're very brave, Louis. Good luck.She kisses Louis and he gets extremely self-conscious. LOUIS Uh -- oh -- well, I better hurry.He rushes out.EXT STREET OUTSIDE FIREHOUSE - NIGHT (LITTLE LATER)Louis stands on the street corner waiting for a bus. Finally, a buspulls up, Louis climbs aboard and finds Slimer behind the wheel. CUT TO:INT. STATUE OF LIBERTY - OBSERVATION DECK - MOMENTS LATERVenkman, Stantz, Spengler and Winston are standing in the observationwindows in the crown of the statue. It looks like they're on the bridgeof an ocean liner, then the CAMERA PULLS BACK to reveal the head of thestatue.STANTZHe plugs the main cable lead into a transformer. STANTZ It's all yours, Pete. (checks his watch) There's not much time left.Venkman plugs the speaker cable into a Walkman and gives a downbeat. VENKMAN (giving the downbeat) Okay, one, two, three, four --He hits "Play" on the Walkman and "HIGHER AND HIGHER" BOOMS from the hugeSPEAKERS, amplified by the statue's vast hollow interior.INT. OBSERVATION DECK - NIGHT (CONTINUOUS ACTION)The head of the statue lurches suddenly, but the Ghostbusters cling tothe rail and manage to keep their feet. STANTZ She's moving! WINSTON I've lived in New York all my life and I never visited the Statue of Liberty. Now I finally get here and we're taking her out for a walk. SPENGLER (reading the Giga-meter) We've got full power.Stantz picks up a Nintendo control paddle from a home video game andstarts pushing the buttons. VENKMAN (into a microphone) Okay, Libby. Let's get it in gear.They feel a strong vibration and the statue starts to move. CUT TO:EXT. SOUTH STREET SEAPORT - NIGHTNew Years Eve celebrants line the riverfront, pointing and gawking at anincredible sight.EXT. EAST RIVER - THEIR POV - NIGHT (CONTINUOUS ACTION)The statue is moving up the river almost completely submerged, only herhead from the nose up is visible above the surface.INT. OBSERVATION DECK - NIGHT (CONTINUOUS ACTION)Winston looks out apprehensively. WINSTON How deep does it get? That water's cold and I can't swim. VENKMAN It's okay. I have my Senior Lifesaving card. SPENGLER With a water temperature of forty degrees we'd survive approximately fifteen minutes.Stantz studies a maritime navigational chart. STANTZ I'll keep to the middle of the channel. We're okay to 59th Street, then we'll go ashore and take First Avenue to 79th. VENKMAN Are you kidding? We'll hit all that bridge traffic at 59th. I'm going to take 72nd straight up to Fifth. Trust me, I used to drive a cab. CUT TO:EXT. RIVERFRONT - NIGHT (SAME TIME)Spectators cheer wildly, inspired by the sight of the Statue. CUT TO:INT. MUSEUM RESTORATION STUDIO - NIGHT (SAME TIME)Janosz is sitting next to Dana, still wheedling her with promises andself-serving logic. JANOSZ Time is running out, Dana. Soon it will be midnight and the city will be mine -- and Vigo's. Well, mainly Vigo's. But we have a spectacular opportunity to make the best of our relationship. DANA We don't have a relationship. JANOSZ I know. Marry me, Dana, and together we will raise Vigo as our son. There are many perks that come with being the mother of a living god. I'm sure he will supply for us a magnificent apartment. And perhaps a car and free parking. DANA I hate and despise you and everything you stand for with all my heart and soul. I could never forgive what you've done to me and my child. JANOSZ Many marriages begin with a certain amount of distance, but after a while I believe we could learn to love each other. Think about it. DANA I'd rather not. CUT TO:EXT. TIMES SQUARE - NIGHT (SAME TIME)People are jammed together shoulder to shoulder filling Times Square,watching the big Seiko clock count down the last ten minutes to midnight.Suddenly, they look down Broadway and see a magnificent sight.EXT. BROADWAY - NIGHT (CONTINUOUS ACTION)The Statue of Liberty is walking up Broadway approaching 42nd Street,with "Higher and Higher" BOOMING from the SPEAKERS inside. A great cheergoes up, and the crowd goes wild with joy, dancing and singing along withthe MUSIC.INT. STATUE OF LIBERTY OBSERVATION DECK - NIGHT (CONTINUOUS)Spengler reads the Giga-meter. SPENGLER It's working. The positive GeV's are climbing. VENKMAN (patting the Statue) They love you, Lib. Keep it up. CUT TO:EXT. FIFTH AVENUE - NIGHT (LATER)The avenue has been closed to traffic and barricades placed, blocking allthe side streets. A squadron of police motorcycles comes speeding aroundthe corner at 72nd Street and proceeds up Fifth Avenue in the directionof the museum. Then MUSIC is heard BOOMING in the distance, the groundshakes and the Statue of Liberty comes walking around the corner ontoFifth Avenue followed by a wildly cheering throng. CUT TO:INT. OBSERVATION DECK - NIGHT (CONTINUOUS ACTION)The Ghostbusters can see the museum ahead. VENKMAN So far so good. SPENGLER (worried) I'm worried. The vibrations could shake her to pieces. We should have padded her feet. STANTZ I don't think they make Nikes in her size. VENKMAN We're almost there, Lib. (to Stantz) Step on it.EXT. STREET - NIGHT (CONTINUOUS ACTION)The Statue's huge foot comes down and squashes a car.INT. OBSERVATION DECK - NIGHT (CONTINUOUS ACTION)The Ghostbusters look down at the flattened car. STANTZ (shouts out the window) My Fault! VENKMAN (shouts) She's new in town. CUT TO:INT. MUSEUM - RESTORATION STUDIO - SAME TIMEJanosz is painting the last of the mystical symbols on the baby's chest. CUT TO:EXT. TIMES SQUARE - NIGHT (SAME TIME)The people still in the square start counting off the last ten seconds tomidnight and the New Year. CROWD (chanting) Ten .. nine ... eight ... seven ... CUT TO:INT. MUSEUM - PAINTING - NIGHTA strange light spreads over the painting. As the light moves onto hisface, Vigo spreads his arms wide and his upper body starts to emerge fromthe canvas. VIGO Soon my life begins. Then woe to the weak, all power to me, the world is mine.INT. MUSEUM - JANOSZ - NIGHTThe baby's body begins to glow as Vigo reaches out for it. Then suddenlya dark shadow falls across the skylight. Janosz looks up.INT. MUSEUM - JANOSZ'S POV - SKYLIGHT - NIGHTThe Statue of Liberty is looming over the skylight looking down on Janoszwith an expression of righteous anger on it's face.EXT. MUSEUM - NIGHT (CONTINUOUS ACTION)Kneeling beside the museum, the statue draws back it's mighty right armand smashes the skylight with its torch.INT. RESTORATION STUDIO - NIGHT (CONTINUOUS ACTION)Janosz retreats from the shower of broken glass as the Ghostbusters comesliding down ropes into the studio and confront Janosz with their newweapons. Quick as a flash, Dana seizes the moment, dashes across thestudio and snatches the baby from Vigo's outstretched arms. VENKMAN (to Janosz) Happy New Year.INT. MUSEUM - VIGO PAINTING - NIGHT (CONTINUOUS ACTION)Vigo bellows in rage.INT. MUSEUM - STUDIO - NIGHT (CONTINUOUS ACTION)Janosz steps in front of the painting. SPENGLER Hi there. Feel free to try something stupid.Janosz sneers, trusting the invincibility of Vigo. JANOSZ You pitiful, miserable creatures! You dare to challenge the power of darkness? Don't you realize what you are dealing with? He's Vigo! You are like the buzzing of flies to him. VENKMAN (sighs) Oh, Johnny. Did you back the wrong horse.With that, the Ghostbusters fire their slime-blowers and hose Janosz fromhead to toe, blowing him into the corner. Then they turn to Vigo.VIGOHe is now almost completely out of the painting, but still held from theknees down. He spits and rages at the Ghostbusters, trying to unleashhis magic powers.THE GHOSTBUSTERSThey stand fast, secure in the knowledge that Vigo's power has beenneutralized by the good will of the people. STANTZ Vigi, Vigi, Vigi -- you have been a bad little monkey. VENKMAN The whole city's together on this one. We took a vote. Everybody's down on you, you know. WINSTON (arming his slime-blower) Say goodnight now.Suddenly Vigo grabs Stantz by the neck and holds him up as a shield. SPENGLER Don't shoot! You'll hit Ray! STANTZ (strangling) Do it! Just do it!Winston fires and hoses both Vigo and Ray.VIGOHe bellows and drops Ray, then falls back into the painting.INT. MUSEUM - PAINTING - NIGHTThe paint turns liquid, melts off the canvas and runs onto the floorrevealing another painting underneath it.INT. MUSEUM - GHOSTBUSTERS - NIGHT (AFTER BATTLE)Venkman, Spengler and Winston rush over to Ray and kneel beside him. Heis completely covered with slime and motionless. SPENGLER (examining him) He's breathing.Winston wipes the slime off Ray's face and Ray opens his eyes. WINSTON Ray -- Ray -- How do you feel, man? STANTZ (smiles lovingly) Groovy. I've never felt better in my life. VENKMAN Oh, no. We've got to live with this?They pull him to his feet. STANTZ I love you guys. You're the best friends I've ever had.He hugs them each in turn, leaving them slimed as well. Venkman recoilsin disgust. VENKMAN Hey, I just had this suit cleaned. (indicating Janosz) Take care of the wiggler, will you.Venkman crosses to Dana who is snuggling the baby. She hugs Venkman. VENKMAN What is this -- a love in? (notes the symbols painted on the baby's body) Hey, sailor. I think the tattoos are a little much, don't you?He picks up the baby. DANA (to Venkman) I think he likes you. I think I do too. VENKMAN Finally came to your senses, huh?They hug and kiss.SPENGLER, WINSTON AND STANTZThey help Janosz to his feet. He's dazed but unhurt. JANOSZ (restored to normalcy) What happened? STANTZ (calmly) Sir, you had a violent, prolonged, transformative psychic episode. But it's over now. Want a coffee? JANOSZ (extremely nice) That's very kind of you. SPENGLER (to Stantz) He's fine, Ray. Physically intact, psychomagnetherically neutral. JANOSZ Is that good? WINSTON It's where you want to be.As they exit they stop to examine the painting that was concealed byVigo's self-portrait. SPENGLER Late Renaissance, I think. Caravaggio or Brunelleschi. WINSTON (staring at it) There's something very familiar about this painting.INT. MUSEUM - NEW PAINTING - NIGHTIt's a beautiful painting in the high-Renaissance style depicting fourarchangels hovering protectively over a cherubic baby. One holds a harp,one, an olive branch, the third, a book, and the last, a sword. Mostremarkably, their faces bear an uncanny resemblance to Venkman, Stantz,Spengler and Winston. CUT TO:EXT. STREET - NIGHT (SAME TIME)A city bus pulls up near the museum and Louis steps off. He waves histhanks to Slimer who is behind the wheel. LOUIS (to Slimer) Okay, so Monday night we'll get something to eat and maybe go bowling? Can you bowl with those little arms?SLIMER GRUNTS and SLOBBERS a reply, flexing his scrawny biceps. LOUIS Okay, I have to go save Dana. I'll see you later. CUT TO:EXT. MUSEUM - NIGHT (LITTLE LATER)The Ghostbusters are greeted by wild cheering and applause as they comeout the main entrance with Dana and the baby. Everybody starts singing"Auld Lang Syne." Louis picks his way through the celebrating crowd andfinds the Ghostbusters. LOUIS Am I too late? STANTZ No, you're right on time.Stantz pops the cork on a bottle of champagne and hands it to him.EXT. MUSEUM ENTRANCE - NIGHT (SAME TIME)Hardemeyer staggers out of the museum covered in slime. He looks at thecelebrating crowd and his eyes fill with tears. HARDEMEYER (weepy) Happy New Year, everybody!He joins in on "Auld Lang Syne." CUT TO:EXT. CENTRAL PARK - NIGHT (LATER)The Statue of Liberty is sprawled inert on her back in the park behindthe museum, her toga up over her knees. The Mayor looks nearly suicidal.The Ghostbusters stand beside him commiserating. VENKMAN She's all right. She's just sleeping it off. MAYOR (stricken) We just had it restored. VENKMAN This probably isn't a good time to bring this up, but the last time we did a job for the city you stiffed us. STANTZ (handing the Mayor an invoice) This is a bill for tonight's job.The Mayor looks at it and gasps at the amount. MAYOR What! This is way too much. (hands the bill back to Venkman) We won't pay.Venkman looks at the Statue. VENKMAN (to Stantz) I think she looks pretty good here, don't you? STANTZ Yeah, and a lot easier to get to than that island.Realizing he has no alternative, the Mayor sighs and takes the bill back. MAYOR All right, all right. If you can wait until Monday I'll issue you a check. SPENGLER Sorry. No checks. Company policy. CUT TO:EXT. LIBERTY ISLAND - DAY (WEEKS LATER)The sun is shining brightly and Liberty is back on her pedestal where shebelongs. The Mayor and a host of officials are commemorating her return.The Ghostbusters, Dana, Janine and Louis are there as honored guests. VENKMAN (looking up at the statue) Pretty impressive, huh? SPENGLER (musing) It's probably the first thing my grandparents saw when they came to this country. VENKMAN From where -- Neptune? SPENGLER They came from Ostrov in Eastern Poland. VENKMAN Ostrov? I've been there. Good party town. STANTZ (in a similarly reflective mood) My great-grandparents were Swiss. I still have the pictures they took of the statue from the boat when they arrived. VENKMAN Oh, right, you told me that. They came to America seeking other kinds of cheese, as I recall. How about you, Winston? WINSTON My people weren't taking any pictures from those slave ships, man. And there wasn't any Statue in Charleston Harbor to welcome them, either. What are you, Dana? VENKMAN Miss Blue Blood? Her family's been here since the year 12. DANA That's not true. It was 1620. VENKMAN Same difference. STANTZ What's your story, Pete? VENKMAN Me? I'm a little of everything. Some Irish, some German, some French, Dutch -- the women in my family slept around. And that's what made this country great. DANA That's a terrible thing to say. VENKMAN So what? It's a free country. (looking up at the Statue) Thanks, Lib.They all look up at the Statue.EXT. STATUE OF LIBERTY - HEAD OF STATUE - DAYSlimer flies out one of the observation windows, THEME MUSIC KICKS IN andthe CAMERA PULLS UP and AWAY FROM the island TO a HIGH SHOT of theStatue, lower Manhattan and the shining sea beyond. FADE OUT. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Ginger Snaps.txt b/unformated_scripts/Script_Ginger Snaps.txt new file mode 100644 index 0000000000000000000000000000000000000000..8ba9e801b9515d6a10269d462b47e6d321b3e284 --- /dev/null +++ b/unformated_scripts/Script_Ginger Snaps.txt @@ -0,0 +1 @@ + GINGER SNAPS Written by Karen Walton July 15th, 1996 FADE IN EXT. FITZGERALD HOME -- NIGHT The house is dark. The moon is almost full. A dog barks. A melancholy voice, worn for its age, narrates: BRIGITTE (V/o) Ever try bein' different? An, I don't mean jus' thinkin' about it, either. Ginger an' me - I mean I... The house numbers read 669. The 9 slips: the number now reads 666. BRIGITTE (CON'T/V/O) Ginger an' I? Went for different. Big time. There's a light on in a basement window. We creep up to it, crushing the tulip. borders on the way. The window is propped open with a sneaker: it looks like somebody's foot is caught in it. Music plays inside- INT. GIRLS' BASEMENT BEDROOM - NIGHT Gyrating in her underwear to bad-girl grunge, BRIGITTE FITZGERALD (15) straddles GINGER FITZGERALD (also 15 and in underwear) on one of the twin single beds. Both girls have cigarettes lolling on their lower lips. Both girls have pierced eyebrows, pierced noses and streaked hair. Brigitte has blue nail polish on. Ginger has breasts. GINGER Brigitte. Quit dickin' around. Jus' do it. Brigitte reluctantly stops her thrashing and douses a cotton ball in rubbing alcohol. Without looking up from her TANK GIRL comic, Ginger hauls her own shirt up to expose her navel. Brigitte swabs Ginger's navel with the wet cotton ball. Her eyes drift to Ginger's chest, then back to what she's doing. 2 BRIGITTE (V/O) Ginger's ten months older than me. we're seriously tight. Share everything. Everything. Around them, many candles burn. There's a dead bolt on the door. An attached full bath. The floors are thick with paranormal books. The walls are covered in images of UFO's and horror flicks. A framed photo of Kurt Cobain with Courtney Love has a place of honor. There's an old Polaroid of the girls at five in Halloween costumes; Lill Red Riding Hood and the Big Bad Wolf. Ginger is the wolf. Brigitte produces an enormous darning needle. It glints. she levels it at Ginger's navel, her hand shaking. BR IG ITTE Ready? GINGER (without looking up) Uh-huh. BRIGITTE .I can't. Ginger gives Brigitte a look over the top of her comic. Brigitte takes a deep breath, and lines the needle up again. Brigitte swallows hard and applies pressure. The needle pierces Ginger's skin. Her stomach muscles flinch. GINGER OUCH! BRIGITTE You said it wouldn't hurt! GINGER Jus' hurry up! The needle has stopped moving half-way through the skin. BRIGITTE Uh-oh . Brigitte wiggles the needle. Blood wells up around it. BRIGITTE Um. I think it's stuck. Oh man. There's blood... Ginger lowers her comic. she takes one look at the needle half-.in, half-out of her belly button - and cracks up. 3 BRIGITTE snot funny, Ginger! Laughing her head off, Ginger gives the needle a good tug from her end. The skin tugs with it, resisting. BRIGITTE Ali, gawd, gross. Ginger yanks the needle, hard. This time it moves. GINGER I got it, I got it. Ginger grits her teeth. The needle begins a slow progress. GINGER It's goin', it's goin'- gimme the ring Brigitte grabs at a tiny silver ring on the bed spread but knocks it to the floor. Brigitte scrambles after it. Ginger yanks the needle. GINGER Bee?! C'mon! Brigitte finds the ring and hands it to Ginger. Ginger sets the ring on the end of the needle, looping it not-so-neatly through. BRIGITTE Oh, groo-oo-o-ss! The bloody needle pops clear. Ginger grinds on the ring to close it. Ginger wipes her bloody hands on the bed. Brigitte is taking deep, gulping breaths. GINGER Bee? Feeb. Y'okay? BRIGITTE Yeah. I think so. GINGER (TEASING) Yeah, I think not. BRIGITTE If you din't say it hurt, I'd a been fine! Ginger beams at her new piercing. 4 GINGER Pretty cool, unh? The flesh around the navel is hot pink and bruising. Brigitte grins too. BRIGITTE very cool. GINGER Now I'll do you. Brigitte bravely hangs onto to her smile. BRIGITTE (V/O) We do everything together. But, at fifteen? A chick can change. Ya know? [3A! You got no idea. EXT. THE FTTZGERALD BACKYARD - DAY It's a beautiful autumn day in suburbia. Birds sing. The terrier next door (NORMAN) barks and barks. A pierced navel is stretched taught, filling with blood. Ginger's limp body is bent backward over a low fence. Blood is flowing from where she's been speared through her chest: Ginger's impaled on a white picket. BRIGITTE (V/O) Don't get me wrong. It's not like we were all happy or nothin' to begin with. Brigitte takes a long, ponderous drag on her cigarette as - unmoved - she takes in Ginger's mortal wound. Brigitte eyes the identical homes and gardens that stretch on to the horizon. BRIGITTE (V/O) The suburb of Bailey Downs? Basically a well lit black hole. The Kingdom of cul du sac. That's French for Dead End. Brigitte flicks her smoke into a pile of neatly raked leaves. It smolders then goes out. She scowls. 5 BRIGITTE (V/O) You had a gram of personality out here? Life bit the big one. A truck with COUNTY REGREENING PROGRAM on its side pulls up a few houses over. Brigitte watches a shirtless sun-bronzed Adonis - SAM -- climb out of the cab. BRIGITTE (V/O) Of course I'm generalizing. A tarty teenage girl - TRINA - bounds up to Sam and gives him a big wet one. BRIGITTE (V/0) No I'm not. GINGER The fuck, Bee. Take a picture already. Brigitte raises a 35mm still camera to her eye and frames her sister's corpse in the viewfinder. ROLL HEAD CREDIT SEQUENCE: snap! A slide of Ginger - dead on a white picket fence - smashes on. The HEAD CREDITS are superimposed on each of the slide images: snap! Ginger sliced up with an electric knife in the kitchen, Snap! Ginger drowned in a bubble bath, Snap! Ginger hanged by nylons in the laundry room, Snap! Ginger mangled under the front tires of a mini van. PICTURE TITLE: GINGER SNAPS. INT. BAILEY HIGH ART ROOM - DAY The Fitzgerald sisters stand over a slide projector in art class, just finishing the slide show from the credit sequence. An empty frame of blinding white light snaps onto the collapsible screen at the front of the room. The homely ART TEACHER looks very concerned as she hits the lights. The other STUDENTS •-- all about fifteen, middle-class and raging conformists -- sit in stunned silence. As Brigitte and Ginger return to their side-by-side seats, 6 BRIGITTE (V/O) We were always considered freaks. For as long as I can remember, there was Us. And there was Them. Like from kindergarten. ART TEACHER Very -um. Class? Comments? The students trade constipated looks. ART TEACHER Brigitte. What does it mean for you? Brigitte shrugs and squirms. GINGER Means there's more to life than -- well, li.fe. The Fitzgeralds look expectantly at row after row of blank faces. Brigitte shakes her head. BRIGITTE (V/O) Attempts at communication wore futile. JASON McCARDY- a good-looking high school Casanova - looks Ginger over appraisingly. Ginger ignores him. BRIGITTE (V/O) Some of Them did seem to wanna reach Ginger? Brigitte glances from Ginger's breasts to her own flat chest. Brigitte takes a deep breath. BRIGITTE (V/O) But nobody wanned to reach me. The bell goes. BRIGITTE (V/O) (a tad defensive) Like I cared. 7 INT. BAILEY HIGH HALLS - DAY TEENS clog the halls. Judging by the herd, Bailey High is not big on individual identity, or at least its outward expression. Ginger and Brigitte slip down the crowded corridors, sticking out like sore thumbs. Ginger holds her forehead. GINGER Gawd, People! They hurt my brain! BRIGITTE They didn't even get it. GINGER They're retards. BRIGITTE They're cretins. GINGER They're bone-heads. BRIGITTE 't'hey' re somnambulists. GINGER They're leems. BRIGITTE They're the goddamn walkin'-/ The girls stop before their locker. A folded up piece of loose leaf has been crushed into it, its end sticking out. BR I G ITTE (UNIMPRESSED) Another one? Ginger opens the locker. She unfolds the paper. There's a big fat joint inside, and a note that says: GINGER, CALL 555- 4636. Ginger pockets the joint, crumples the paper into a ball and tosses it at a near-by trash can. She misses. The girls head down the hall.. BRIGITTE Somebody leaves you all. these jays an, yer not even curious to call? 8 Ginger offers her a sucker and has one herself. GINGER No pe . A FAT JANITOR scoops up the wad of loose leaf with great resentment and jams it into the trash. Brigitte and Ginger pass a NECKING COUPLE practically dry- humping, GIRLS applying make-up to one another, and BOYS snapping each other with their sports cups. Jason and his fellow jock-pals TIM, FRANK, and JEREMY are scoping babes. Ginger bends to tie her boot lace and a collective groan swells from the guys. JASON See? She's weird, but hot. TIM Anybody poled Fitzy yet? Brigitte gives them a disgusted look. TIM Not that one. The cute one. Brigitte's face falls. Ginger gives them a Death Stare. The boys try flirty smiles. GINGER (to Brigitte) Sad. Must be hard to think with yer brains slappin' around yer thighs like that all day. Brigitte laughs. Ginger pulls her on, past a sign: GYMNASIUM. BRIGITTE (V/O) We didn't do guys. Guys were too gross. Everyone at Bailey High was just too incredibly gross. Ginger applies her boot to a swinging door and they enter, 9 INT. GIRLS' CHANGING ROOM - DAY The Fitzgeralds stop dead. They take in a menagerie of 90210- wanna-be GIRLS changing for gym class. The background chat is all sex and mascara. There is only one free spot: next to Trina and her TRINA CLONES. The Trinas slide into a-size-too-small shorts while parading hefty chests. The Trina acts like she owns the goddamn planet. BRIGITTE (V/O) The only thing worse than most teenage boys are most teenage girls. Trinas are the limit. Ginger digs at her lower abdomen painfully. GINGER I feel sick. BRIGITTE Me too. GINGER No, J. mean really. Gingler opens a locker and tears off her clothes. Other girls glance at her navel piercing with disgust.. Brigitte is very self-conscious: she steps almost inside the locker, hiding behind the door while she changes into the revolting school gym outfit. She eyes the buxom bubble heads with contempt, as BRI.GITTE (V/O) There was really only one Trina, but they were all the same. Trina finds the Fitzgeralds' open locker door a nuisance. She pushes it out of her way, hard enough to whack Brigitte in the head on the other side. TRINA (FAKELY) Ooops. Sorry. Ginger gives Trina a very dirty look. Brigitte tries to rub her sore head while clutching her uniform to cover her chest. Trina and her posse cackle as they prance out, their butt cheeks waggling. The sisters continue changing. 1 0 GINGER (to Brigitte) Y' okay's BRIGITTE I HATE her. Like to feed her ground glass with tacks for desert. Then make her puke it back up and swallow it again until she's like shredded to a bazillion pieces from the inside out... Ginger grips her sides painfully and bends double. BRIGITTE, what's the matter? GINGER I got gas...Maybe I'll try an, cut one right in her face out there. They slap hands, laughing. They look down at their gym outfits, which are SO unflattering. Brigitte and Ginger exchange identical looks of agony. EXT. BAILEY HIGH SPORTS FIELD - DAY The twenty or so participants in this all-girl gym class stand ready at centre field in lacrosse padding and helmets. Brigitte and Ginger stand apart from the others, sharing a smoke. Brigitte looks scared. Ginger looks ill. BRIGITTE (V/O) After two weeks a' high school., ya come to the conclusion it's all about agony. Take Phys. Ed, sus' practise takin' pain. The gym teacher. M7.,. SYKES - an aging former-traffic cop - hucks the players sticks with nets on one end. Sykes is given to screaming. SYKES Field lacrosse is no pussy-assed tea party, ya get IN there, get a LOCK on your target and PUSH IT! I want SWEAT I want ACTION! The Trinas giggle at Sykes. Ginger bends forward, holding her sides. 1 1 MZ.SYKES Shake a leg, Fitzgeralds. An, butt out, you gotta death wish!? GINGER Feel really sick, Mz. Sykes. MZ. SYRES Cigarettes'll do that for you! Move! Ginger flicks the smoke at Sykes' turned back. It falls short, of course. The sisters trudge to their places on the field. Ginger is on the offensive line. Brigitte is in goal. BRIGITTE (V/O) Phys. Ed. is not optional at Bailey High. Sykes blows the whistle. A fast-moving, hard-hitting lacrosse scrimmage begins. IN RAPID-FIRE MONTAGE: Ginger gets caught in the crunch of sticks and bodies, pushed, kicked, and punished by the Trinas, who are having 'fun'. IN RAPID-FIRE MONTAGE: Brigitte visibly cowers as a tangle of marauding, ball-whacking bodies descend on her. She takes a number of direct hits from the hard rubber ball. on a powerful press for a goal, Trina slams into Brigitte so hard Brigitte flies right out of the net area. And skids face-first .into a mangled dog's body. The whistle blows and play stops. Ginger lopes over, breathless, gripping her sore stomach. BRIGITTE (V/O) I been waiting for this. There'd been a lot of dead dogs around lately, but this was my personal first. Brigitte slowly climbs out of the mucky canine remains to her knees. She's covered in doggie guts and maggots. TRINA Oh, HOW GRO-O-O-O-OSS!! GINGER SNAPS - WALTON/July 15, 1996 1 2 The class edges toward them, but maintains a horrified distance. Even Sykes struggles with a gag reflex on seeing Brigitte' s mess. Brigitte fingers the dog's remains with a look of fascination. BRIGITTE (V/O) 'Kay, here's the weird thing about me. I dig dead stuff. Live things make me sick, they're all warm and snotty and shitty and pissy. And live things jus' suffer, which I can't take. But a dead thing? S'kinda beautiful, 'cause a dead thing's really I dunno -like, free. SYKES Don't TOUCH it, Fitzgerald! What's WRONG with you two?! Get up and hit the SHOWERS! TRINAS IN CHORUS The cult? Drains the blood out and drinks it, ya know! /1 heard they have sex with them first ! /Gawd stop, you'll make me PUKE! BRIGITTE (V/0) Everyone was all like, Oh it's a teen cult, or aah, it's some looney, the Beast a' Bailey Downs. What crap. SYKES All RIGHT, ladies, settle! This is no joke! You have information about the dog deaths you do WHAT! CLASS IN CHORUS (by rote) Tell a teacher, Principal Fardor, or the police. BRIGITTE Teen cult my ass. Look Ginge', something went for its throat - it's not cut, it's chewed... Brigitte looks up in time to see Ginger's eyes roll back in her head. Ginger faints. The class inhales as one. 1 3 BRIGITTE Ginger? Sykes and the class stampede up. Sykes pushes Brigitte out of the way. BRIGITTE (V/0) Ginger's no pussy. She doesn't faint. I might faint. Like, if this pooch were only HALF-dead, I could faint. Brigitte stumbles over the dog carcass. She hugs herself. INT. NURSE' S OFFICE -- DAY Brigitte sits in her bloodied uniform, chewing her nails. NURSE FERRY - a Mrs. Doubtfi.re-type who chirps more than speaks - is examining Ginger. FERRY The fainting' s worrisome you don't diet do you dear? GINGER No. FERRY Hm. Anemia's very common at your age. Eat more red meat, try an iron vitamin supplement. If it happens again, straight to a proper doctor, all righty? Brigitte looks relieved. FERRY Now as for 'the headache, cramps, lower back pain .I'm guessing your period is due. GINGER I haven't got a, um, period. FERRY Never? Flow old are you? GINGER Fifteen. our mother says we're late bloomers. 1 4 FERRY Well judging by your troubles, I'd say you can expect to blossom any time now! Brigitte pulls a face. Ferry produces numerous samples of feminine hygiene products and heaps them onto Ginger. FERRY Are you familiar with all these? Ginger shrugs. FERRY Now what suits one girl might not be comfortable for another. The proper form of protection is a personal choice, and may have a lot to do with your menstrual flow, which naturally changes during the time you'll have your little miracle of nature. It could start thick and syrupy, move to a straight-forward basic bright red bleeding and then perhaps a deep brownish to blackish slime, signaling the end of the flow. Twenty-eight days later or there abouts, it'll start all over again and continue every month until menopause, in about thirty years' time. Nurse Ferry produces a pocket calendar with a tampon or pad advertisement for every month. FERRY (CON'T) Here's a little calendar to keep track, count from the day it starts twenty-eight days. That'll be your next time. You have any questions, come see me again. (to Brigitte) You too sweetheart, be your turn shortly, I expect. Brigitte Looks horrified. 1 5 EXT. A SUBURBAN STREET/TRAVELING - DAY BRIGITTE (V/O) Here's a dirty word. Inevitability. That fate fully intended us to be typical in any way, sooner or later, was so insulting. Ginger and Brigitte trudge homeward looking completely depressed. Brigitte flips through the feminine hygiene calendar. Ginger watches the pavement beneath her feet. BRIGITTE (reading a panty- liner ad) "Some days it's all you need."-? What does that mean? GINGER So you pulled a Quincy on that dog, unh? BRIGITTE Hunh? Ginger grabs the calendar and sticks it in her pocket. GINGER Quincy, that guy with the stiffs on cable. Alls I remember is you goin', "Teen cult my ass". BRIGITTE Oh. Right. Well, I dunno. Brigitte shrugs. She gives Ginger a funny look. GINGER Why are you looking at me like that? Do I look - different? BRIGITTE No. GINGER Can you tell I'm going to-? BRIGITTE No. .Really. Ginger squints at her, unconvinced. GINGER SNAPS- WALTON/July 22, 1996 1 6 GINGER Wham. Total adultness. How can I have a miracle of nature an, not be old enough to drive! fiurih? The fuck. Ginger kicks a kiddie toy hard into a yard. Brigitte doesn't have an answer to this. EXT. FITZGERALD BUNGALOW - DAY Their house looks like a set in a home show. The girls take it in from the front drive with expressions of complete weariness. Next door, Norman the terrier barks at them. GINGER Hey. If I start simpin' around tampon dispensers and moanin' over cramps, or even think about buying somethin' that says Baby Powder Fresh? You'll. shoot me, right? BR TG.'i"I'L of course. They exchange grins. GINGER Out by sixteen BRIGITTE .or dead in this scene. Ginger raises her hand and Brigitte smacks it hard. As they mount the drive, Ginger picks up a stone and hucks it at Norman, who's still barking. She misses. BRIGITTE (V/O) If we failed to get a life by Ginger's sixteenth birthday? we were s'posed to gas ourselves in the garage. For smart girls, we could be pretty dumb. we prob'ly never woulda done it, but we seemed to need a deadline. INT. FITZGERALD DINING ROOM - NIGHT The Fitzgerald family are having their evening meal. Their parents, HENRY (see Men's Section, Seers catalogue) and 1 7 PAMELA (see Martha Stewart's Idea of Living), are liberal, middle class folks in their early forties. Ginger looks bored. Brigitte eats like a pig. HENRY How was school today? GINGER Fine. BRIGITTE (V/U) The nicest thing I could say about Henry and Pamela was also the meanest thing I could say. PAMELA Didn't you have a presentation? How'd it go? GINGER Fine. Pamela and Henry exchange irritatingly patient smiles. BRIGITTE (V/O) They were easily satisfied. A rogue's gallery on the wall depicts Henry and Pamela's transformation over the years from angry young Ban The Bomb- types into middle-class mundane. PAMELA Made an appointment for you girls at my gynecologist. Next Thursday. Henry studies his plate. Ginger almost imperceptibly shakes her head at Brigitte. Brigitte nods, understanding. GINGER why. PAMELA You know why. GINGER we're not going to a gynecologist. PAMELA What did I say about that tone of voice? .You are going to the gynecologist. 1 8 GINGER Dad!? She's completely paranoid! HENRY I'd rather stay out of this. GINGER She's gonna have some fat jerk get his jollies poking his fingers up our ./ HENRY (INTERRUPTING) I'm actually eating here. PAMELA Henry, neither one of them has had a period yet. HENRY Ah. Yes. You've said. Repeatedly. As Pamela says the next line, Ginger mou t:hs it- word for word 1.a Brigitte. PAMELA It's very odd that two perfectly healthy fifteen year olds are not menstruating. Right? Briggitte apes Henry's next line back to Ginger. HENRY Mmmm. steak's really yummy tonight. This a new sauce? The sisters giggle. Pamela is losing her cool. PAMELA I started at eleven. The problem must be on your side, Henry. HENRY Pamela? This is not my fault. No one's at fault here. PAMELA when did your sister start? 1 9 HENRY I've told you, I really have no idea. Oddly enough, we never discussed it. why don't you call her and ask her yourself? PAMELA I can't call her out of the blue and ask a thing like that. Besides, it's dinner time. They'll be eating. HENRY A--ha! PAMELA Well I've been checking panties for four years now GINGER & BRIGITTE/HENRY Mo-othe-er!!! /For chrissakes. GINGER (CON'T) You look at our underwear? Fuck! HENRY Hey, hey - I don't want to hear that word in my house. You will do as your mother says and I will change the subject. Anybody going to tell me what happened to my fence? From under the table, Henry produces the bloodied, sawed-off picket stained bloody from Ginger's impaling. Brigitte holds her full mouth open so Ginger can see its masticated contents. Ginger cracks up laughing. Henry and Pamela sigh. INT. GIRLS' BEDROOM - NIGHT Norman the terrier barks OFF-SCREEN - constantl Brigitte grimaces at the cartoon-style diagrams of How To Insert A Tampon. She carefully unwraps one and sets it in a glass of water. She times its expansion on her watch. BRIGITTE Why din't you jus' tell her you're going to get it? 20 Ginger is dissecting the gift joint from their locker. she sniffs its contents. GINGER Can't take her 'attention'. She grosses me out. Can't believe she's our mother. Brigitte puts a fresh tampon up her nose and lifts a Polaroid camera at arms' length from her face. BRIGITTE Yeah, but now we have to see this doctor. You can jus' say you got it, but I'm screwed. FLASH! The Polaroid spits out the front. Brigitte sticks another tampon in her free nostril, and one in each ear as, GINGER Did I get you out of Home Ec? Did I get you out of ballet classes? So I'll get you out of this, right? BR IG ITTE You better, gawd the idea FLASH! Brigitte takes a Polaroid of herself with a tampon sticking out of every visible orifice. Ginger slides the grass into a pre-rolled fresh casing and sticks it in her mouth. GINGER I said I will, I will. This jay's fine. Let us smoke, sister. Ginger cranks the stereo and throws on a coat. She double- takes Brigitte' s tampon face. GINGER WHAT are you doing? BRIGITTE (sticking tampons under her upper lip) Look - a walrus. GINGER Hardee-har. Har. 21 Ginger steps up on the bed and swings the ground-level window open. EXT A NEIGHBOR'S YARD - NIGHT Norman the terrier's incessant barking goes on in the distance. The moon is full tonight. A plastic child's playhouse sits in their next door neighbors' back yard. A cloud of blue smoke emanates from its doors and windows. There is an occasional FLASH! from within, and the whir of the Polaroid's motor. INT. PLAYHOUSE - NIGHT In the moonlight, the joint's cherry burns hell-fire red. A couple of Polaroid buddy-shots sit at their feet. Brigitte tokes and passes the jay to Ginger.. BRIGITTE How'l1 you know when you finally get it any ways? GINGER Prob'ly feel like peein' your pants. BRIGITTE Disgusting. GINGER Well I'm not too excited. BRIGITTE, (checking her watch) We're missing Unsolved Mysteries. GINGER Wish I was an unsolved mystery. Brigitte reflects on this heavy thought, nodding - stoned. GINGER Hey. You smell somethin' gross? GINGER SNAPS - WALTON/July 15, 1996 22 EXT. NEIGHBOR'S YARD - NIGHT The girls sniff around the playhouse. Ginger steps on something that makes an evil squeeshy sound. She skids and ends up on her ass. GINGER This is so not my day. Brigitte helps her to her feet. Ginger shakes what she slipped on off her shoe. It's a long, ropy intestine. She drags her shoe to get the blood and goo of it. GINGER Nice. Dog shit. BRIGITTE (thrilled to recognize the smell) That isn't shit... it's death. A line of blood and gore trails across the grass to a back lane. Brigitte follows it. Ginger looks around for something on the ground. GINGER Great. Lost the jay. Great. EXT. SERVICE LANE - NIGHT Ginger joins Brigitte, who's squatted before another dog's body. This one's a fresh kill. BRIGITTE Ack, it's still warm, gross. Brigitte takes its picture FLASH! with the Polaroid, which is strung around her neck. GINGER Why every dog but the mutt next door to us? BRIGITTE Hey, we could take it home. Try like, an autopsy. Like, crack the case! GINGER Nah. Let's put ' im in there so he won't. Lraumatize the kiddies. 23 Ginger indicates a construction dumpster on the end of the lane. Disappointed, Bee rolls down her sleeves to cover her hands. Ginger does the same and they shovel the body onto their arms. They trot the dog over to the dumpster. Brigitte sulks. GINGER What. BRIGITTE We never do what I wanna do. GINGER Oh, c' mon. Would stink up the whole room! They hoist the dog up and dump it in the dumpster. It's hind end sticks out. Brigitte climbs into the dumpster, dragging it all the way in. Dusting herself off, Ginger notices some blood on her thigh. GINGER Nice. Ginger wipes at the blood with her hand. More appears. She lifts up the hem of her skirt. Her face falls. She looks around. She slips her fingers up to her crotch. Her hand comes out bloody. GINGER Bee. I JUST got the curse. Brigitte stops rooting garbage over the dog. BRIGITTE Serious? Ginger wiggles her wet fingers at her. GINGER We gotta go home. BRIGITTE Eeew, 'kay. Brigitte catches her kilt on a nail sticking out of a plank in the trash. Something is crunching through the leaves toward them. Ginger peers out into the darkness. 24 GINGER Hurry upt BRIGITTE I'm stuck3 A few homes down, a garage's motion-sensitive security lamp trips on. Ginger squints, blinded. GINGER Bee?: Brigitte contorts to deal with the nail. Brigitte tears her hem free and jumps down. The light snaps off. GINGER (indicating the opposite direction) Let's go this way. Brigitte dips a hand back into the dumpster for the plank with the nail. Off Ginger's look, Brigitte shrugs. They start walking down the lane. The greenery behind them starts swelling again. The leaves crunch, faster. Brigitte and Ginger look at one another, and walk faster. The lane empties behind a deserted strip mall. EXT. STRIP MALL LOT - NIGHT Whatever is behind them knocks an empty trash can over. Brigitte grabs Ginger's arm, scared. BRIGITTE This is stupid. We're getting farther from home. Ginger is pissed off now. she turns to confront their stalker. GINGER (to the darkness) All right you ass-/ She's cut cold by a roaring blur of speeding fur and teeth and claws: SOMETHING takes Ginger down hard. We cannot see it as a whole, we can't make out what it is. It's big, heavy, and raging. Immense jaws snap vicious teeth, going for Ginger's jugular. Brigitte drops her plank. 25 GINGER & BRIGITTE BRIGITTE/GINGER!!! Brigitte grabs and kicks at the creature. Ginger raises her arms and covers her head, screeching and kicking. The thing grabs Ginger by the scruff and shakes the living daylights out of her. GINGER BEEEEEI HELP MEEE! BEEEEE!!!1! Brigitte snatches up the plank with the nails. Brigitte brings it down hard on the thing, screaming. She smacks it once, twice. The plank pops a shot off the camera: FLASH! A horrible set of jaws and one golden eye are caught for a split second in the light. The third hit evokes a yelp and the thing backs off, snarling.. Brigitte quakes with the board raised, ready. The thing skitters before her as she screams. Ginger scrambles to her foot and grabs Bee with bloodied hands. GINGER Go-go-go-go-go-go!!!! Brigitte drops the plank and they run like hell.. for a main thorough-way ahead. It pursues them. EXT. THE THOROUGH-WAY - NIGHT The late-night traffic is light but consistent. The thing is still, coming. At a dead run Brigitte and Ginger sail between moving cars. The thing burns behind them. The girls are barely missed by an approaching truck. There is a long blast of a horn. Then a sickening thud. Brakes squeal incto a stop as a horrible dragging/ scrain fills the night air. The girls crash to the sidewalk, spilling over top of one another. They glance over their shoulders, even as they disappear into a new residential stretch. The COUNTY REGREENING PROGRAM truck sits at a right angle in the road, it's front end smashed. 26 Sam slowly opens the cab door. He staggers to the bloody grill, clearly shaken. He looks under the truck, and follows a wet trail of gore back behind it to the mangled furry mass about twenty feet back. He takes it in, stunned. Then Sam vomits. INT. GIRLS BEDROOM - NIGHT Brigitte scrambles through the window and helps Ginger through after her. They're bloody, sweaty and tearful. They slump shaking, side by side on Ginger's bed, catching their breath. Brigitte notices the rivulets of blood trickling down Ginger's arms. Ginger's shirt is soaking with growing red stains. BRIGITTE Ginger, shit! Ginger looks at herself. Ginger starts to cry. GINGER The fuck was that, Bee? INT. ATTACHED BATHROOM - NIGHT Brigitte flings open the vanity and collects various first aid items: gauze, tape, band-aids, iodine. She snags a washcloth and wets it at the tap. BRIGITTE (V/O) I couldn't remember Ginger crying, ever. Brigitte flies out to, INT. GIRLS BEDROOM - NIGHT where Ginger is painfully pealing off her shirt, shaking and sobbing. Brigitte offers Ginger the wet cloth, but Ginger's helpless. 27 BRIGITTE Ginger, sshhh, don't, 'kay. Don't cry. Carefully, Brigitte begins to dab at Ginger's arms with it, wiping off the blood. Ginger flinches. The damage is gradually revealed: massive claw marks, deep scratches, and puncture wounds - BITE MARKS. Brigitte's eyes fill with tears. BRIGITTE Okay, this is really bad. You need a doctor, Ginge', I can't stop all the -/ GINGER No! Not tellin' anybody! Bee?! Nobody. Get in shit for bein' out, smokin' up - don't tell. BRIGITTE What if you get, sick? What if these bites get infected? GINGER Bce! BRIGITTE Fine! I won't tell! Brigitte starts tearing off strips of gauze and taping it on thick. Oblivious, Ginger fumbles for a smoke. She can't get the lighter to work. GINGER Wanted to kill me! I could tell. BRIGITTE (giving into tears) I know, I know. I was so scared, I thought you were -/ GINGER Me too. Don't say it. I know. Brigitte lights her smoke for her. Ginger takes a drag and passes it back to Brigitte. GINGER Fuck. You okay? Brigitte resumes her first aid. 28 BR IG ITTE Yeah, I'm okay. GINGER Why!?? Why me? BRIGITTE It was crazy, it was like rabid or somethin' -- Shit, look at the size of these bites! GINGER I'm okay, I'm okay, I'm okay. Right? It's okay. Brigitte doesn't look convinced. Brigitte snaps the port of an internal vacuum system open and reaches into the tube. She withdraws a sample-size of Jack Daniels. BRIGITTE Drink this. Ginger glugs some down, and passes the last mouthful left to Brigit.t.e. Brigitte waves it. away, -,o Ginger finishes it al.l. BRIGITTE I seen this thing, on bears? Said bears'd come after like, chicks on the rag. 'Cause of the smell. GINGER Wasn't my fault! BRIGITTE I didn't say that.../ GINGER Wasn't a f uckin' bear either. Whatever it was, it wasn't a bear! BRIGITTE I know, I'm not / GINGER Do I stink? Can you smell it? BR IG ITTE No! Geez, I was jus', whatever. A heavy silence falls between them. Brigitte keeps working. 29 GINGER Doesn't feel anythin' like peeing your pants, by the way. BRIGITTE It doesn't? GINGER It's gross though. It's really gross. I better, ya know, deal with that... BRIGITTE Yeah, sure. Ginger's only half-bandaged up. she staggers to the bathroom and shuts the door. Brigitte eyes the Polaroid camera: a picture sits ready to be dispensed. She pulls it free. We do not see the photo. Brigitte's eyes bug out as she examines it. The toilet flushes in the bathroom and Brigitte pushes the photo under the pillow on her bed. Shaking her head. BRIGITTE (V/0) It was blurry. It was really outta focus, so. Ya couldn't TELL it was really anything. Ginger emerges pulling uncomfortably at her crotch. she climbs painfully onto her bed, and collapses. GINGER That booze - straight to my head, man. BRIGITTE You really okay? Ginger-es eyes are already fluttering shut. GINGER You saved me. Love you. Bee. Brigitte leans in, listening to Ginger breathe. BRIGITTE Me too, Ginge'. GINGER SNAPS- WALTON/July 15. 1996 30 INT. GIRLS' BEDROOM - LATER THAT NIGHT Brigitte sits straight up in bed, sweating, with eyes wide. BRIGITTE (V/O) I woke up later, I thought the thing was in our room. Brigitte peers at Ginger: she's snoring. Brigitte pulls out the Polaroid and fires up her lighter to see by. This time we see it too. A streak of fur, fangs and a golden glinting eye. BRIGITTE (CON'T-V/0) Then I remembered Sam the tree planter killed it with his truck, an' we were okay. .But really, Ginger -? well. Wasn't. EXT. BAILEY HIGH GROUNDS - DAY It's noon hour. The grounds are full. of teens. Brigitte is eating as she ticks off the fourth day in Ginger's feminine hygiene calendar. Brigit:Le counts 28 days from the first check mark. Her pen hovers over the date: Halloween, arid the next full moon. The first day was a full moon. Brigitte slowly circles them both. Ginger wears long sleeves to hide her bandages, and shades. She's looking BOYS up and down as they pass. Ginger's stomach is growling. An untouched sandwich sits on her lap. BRIGITTE Gonna eat that? Ginger shakes her head as she picks at her bandages. Brigitte helps herself. BRIGITTE Mmm! Sad, but Pamela's egg salad is her best thing. Like that she can do. (no response) Like, when she puts the baby onions in? (no response) And she gobs on it and adds those hard little pieces of BOOGER Ginger pulls at her own crotch. 31 BRIGITTE Hell-o 1? GINGER Sorry. Pads suck, so ya know. BRIGITTE Should eat something. GINGER Thanks Pamela, I'm aware. Off Brigitte's insulted look, GINGER T dunno, I'm all blaaahh, I got this, like I can taste what I want, but nothin's it. Ya know? Brigitte stops in mid-chew. BRIGITTE A craving? GINCER Yeah. I crave. Ya know? Brigitte chews very slowly as she stares at Ginger. Ginger squints at Jason and his pals across the yard. GINGER McCardy's a stoner right? BRIGITTE Yeah -? GINGER C'mon, I wanna feel better. BRIGITTE You joke. Ginger heads off toward the boys - without waiting. Brigitte is in mid-,mouthful, and has to scramble to catch up. EXT. BAILEY HIGH GROUNDS/SCHOOL STEPS - DAY Jason and his pals' butcho conversation sputters as Ginger strides up like a cat in heat. Brigitte stumbles up behind her, keeping her distance. GINGER SNAPS - WALTON/July 15, 1998 32 JASON Uh - hi. GINGER Hey. So. Nice day, blah blah blah. Got any smoke? JASON What? GINGER Smoke. Grass, weed, dope, green, bud, Nancy. JASON Sh-sure. GINGER Wanna share? EXT. SCHOOL PARKING LOT - DAY Brigitte hesitates before a rusted-out old boogie van, it's rear door open and waiting. Blue smoke billows out. of the interior. Brigitte looks confused. BRIGITTE (V/O) I was all like, so who are you, an' what have you done with my sister, right? Brigitte climbs in. INT. VAN - DAY Ginger, Jason, Tim, Frank and Jeremy sit toking a gagger. The guys are giddy with lust. Brigitte is huddled in a corner, attempting invisibility. Jason hands Ginger the joint, making sure their fingers touch. JASON Hey. I thought your slide show in art was cool. OTHER GUYS Oh yeah/Unh-huh/Very cool. GINGER Yeah? 33 Jason and Ginger exchange a coy smile that makes Brigitte toke really hard on her pass. Brigitte passes the dube to Tim, who winks at her. Brigitte sneers and looks at her watch. She makes a pained face at Ginger, but is ignored. GINGER This home-grown? JASON Yeah. This guy we know? Learned hydrophonics in the pen, man. BRIGITTE HydroPONics. JASON Yeah, whatever. Brigitte gapes at Ginger, who does not respond. Brigitte hides beneath her hair and presses even further into a corner. She starts quietly ripping up the corner of the old shag rug. There is a codified knock on the vain door. Brigitte jumps. JASON speak of the devil. Enter! The back doors open and Sam (the tree planter) stands in silhouette, backlit by the day. His battered county truck waits behind him. He has a pit bull with him - MORELY. BOYS Sam the Man! Hey Morely! Sam and Morely hop in and close the doors. Brigitte is frozen at the sight of Sam up so close. TIM Whoa dude. What happened to your truck? SAM Shit. Had an accident on the 403. It was weird it../ Morely stomps into Brigitte's lap, sniffing her crotch. 34 SAM (to Brigitte) Sorry about him, he's an ass hole. Morely! My girlfriend's, she won't leave him at home alone any more. Ya know, dog killers. Morely, no! Sit! Brigitte's mouth is hanging open. Morely slobbers all over her hands. BRIGITTE (V/O) I know, I look like an asshole. Ginger's perma-smug smile fades as she makes eye contact with Morely. Morel growls at her. Sam is about to resume his accident story when, JASON Watcha got for us? Sam produces several baggies of grass. Morely's hackles rise. Brigitte looks from the dog to Ginger, Ginger squirms. SAM New harvest, see whatcha think. (to Morely) What's your problem? Never seen a pretty girl before? Ginger sneers at Morely and Morely bares his teeth. JASON/TIM/FRANK (digging out cash) Thanks, man. Morely bursts out barking and charges at Ginger. Mayhem as the guys try to contain the dog in the small space. Jason uses the opportunity to shield Ginger for a free body press. Brigitte gets banged and shoved. Ginger kicks and screams at the dog, her boot connects squarely with his snout. Morely keels back, and Sam snaps him up. SAM Sorry, he's not really like this. I'm really sorry. GINGER Jus' get'im out! 35 SAM I'm really - well, see you guys. And in another flash of daylight, Sam and Morely are gone. Brigitte looks longingly at the closed door. The stone has set in, and everyone but Brigitte giggles as they settle. Brigitte takes in the Lesser Mortals like they're lepers. JASON You okay? GINGER Yeah. Just hate dogs. They give one another this corny smile. Brigitte bugs her eyes at Ginger. Ginger rises reluctantly. GINGER Well. Thanks for the smoke. JASON Maybe we could --/ Ginger places a finger to her lips, then makes a finger gun and shoots him. GINGER I'll letcha know. Ginger grins ear-to-ear, elbowing Brigitte. Ginger kicks the van doors open and saunters out. Brigitte :Follows, trying not to laugh. INT. SCHOOL CAN - DAY Brigitte stands stoned out of her bean in the girls' washroom. She imitates Ginger's cavalier farewell from the last scene. BRIGITTE I'll letcha, I'll jus' let-choo know. Bud. .So Ginger. Wanna tell me about you and like, the planet yer currently visiting? No answer. Brigitte squints at the tampon dispenser next to her. She tries to work it without putting money in. She smacks her dry lips. Brigitte bends over the sink and drinks from the tap. GINGER SNAPS- WALTON/July 15, 1996 36 GINGER (O/S) Bee-? Brigitte doesn't hear her over the roar of the tap in her face. It shuts off automatically over her gaping mouth. Brigitte puts her finger up the spout and almost gets it stuck. GINGER Bee! BRIGITTE (STARTLED) Yeah! GINGER Com'ere-! Brigitte shuffles to the wrong door, opens it and finds it empty. She giggles and moves to the next one. BRIGITTE That smoke fucked me _up._ up. Brigitte finds Ginger with her shirt and all, the bandages peeled off. she is dabbing at herself with wads of toilet paper. The scratches and bites are oozing a clear gelatinous goo, under which a fine film of dark hairs have sprouted. Brigitte steps into the stall agape. The door hits her on the way in. INT. BATHROOM STALL - DAY Ginger and Brigitte stand nose to nose in the stall. Brigitte has not fully closed the door. Ginger is just as stoned as Brigitte. BRIGITTE Geez that's not right. GINGER 1 didn't think. BRIGITTE What's the sticky stuff? GINGER I dunno. GINGER SNAPS - WALTON/July 15, 1996 37 Brigitte carefully rubs a finger over the fuzzy hair in the wounds. BRIGITTE Oooh. Tickly. GINGER I got it on my tits too, look. BRIGITTE Weird. Does it hurt? GINGER No, it's itchy. I can't have a hairy chest Bee, that's fucked. BRIGITTE Yeah, like forget that tattoo you wanned. GINGER This sucks. BRIGITTE Quito badly. The idiocy of the looks of awe on the other's face makes them both crack up. GINGER (LAUGHING) This isn't funny. BR I G ITTE (laughing hard) I know, but okay. what I think? (she counts on her FINGERS) Attacked. On a full moon. Now, yer hairy. GINGER (SNORTING) I'm not Harry, I'm Ginger. BRIGITTE (snorting too) Stop, I'm serious. Think about it. Ginger stops laughing long enough to let the suggestion settle. 38 GINGER That's so stupid! They both burst into gales again. There is a sound outside the stall, as INT. BATHROOM PROPER - DAY The Trinas prance in to powder their noses. The Trina grabs the first stall door -- Brigitte and Ginger's. Brigitte and Ginger stand frozen like the proverbial deer in headlights. Trina does not see Ginger's transformation. But Ginger Is just doing her top up. TRINA Eeeew! Trina backs away, her hands to her mouth. TRINA Gawd: They're lesbos! CLONES Feeeewww!! Brigitte smacks her forehead. Ginger steps out and leers at Trina, licking her lips in a grotesque mock-lust. The Trinas shrink back against the farthest wall. GINGER Yeah, who's next? I'm still sticky! Brigitte's jaw drops. Ginger turns to leave and the Trinas, start to relax. Ginger whips around again: GINGER (barking like a dog) Rrr-uf, ruf, rr-of-rufrf TRINAS (SHRIEK) Ginger gives the Trinas a good dead-eyed stave, and walks out. Brigitte stumbles out after her. 39 INT. BIOLOGY LAB - DAY Today's assignment is hacking up little pig feti. BRIGITTE (O/S) 'Course Trina din't waste any time. Trina stares Brigitte down as she folds up a note and passes it to a classmate. It is read and passed on by every kid in the room during this scene. Brigitte holds her scalpel over the over their piggy - hesitating. Ginger's attention is riveted on the little carcass. BRIGITTE They're all looking at us. GINGER So? Ginger looks up at Jason, who is reading the note. Jason smiles at Ginger and destroys the note. Trina seethes. Ginger grabs the knife from Brigitte. she makes a deep incision in the pig's belly. BRIGITTE So! You're growing fur an, acting like a nut, is so! Ginger spies two girls giggling at her. Using both hands Ginger cracks the carcass. wide open like a clam. Ginger digs in, gouging out the pig's parts with her bare hands. Ginger breaks into a sweat, her breathing gets heavy. Brigitte cautiously looks around at their classmates. she moves to shield Ginger from prying eyes. BRIGITTE Um. Ginger-? GINGER hold on, I'm goi.n' for the brain. Ginger has begun scraping away at the pig's cranium with her finger nails. A sickening creak, snap, and the brain is exposed. Ginger - unconsciously - licks her fingers as she admires its frontal lobe. 40 Brigitte fights a ralph. BRIGITTE Can't believe you did that! GINGER Hunh? What? Before Brigitte can answer, Ginger lifts the brain out on her finger tips, gently pushes Brigitte out of her way and... Whap! The brain lands squarely on Trina's head. Trina screams. GINGER Ha-ha! Bull's eye! BIO TEACHER Ginger Fitzgerald! Hall, NOW! GINGER What, it slipped! As Ginger stomps out with the teacher. Brigitte and Trina gape at one another. INT. GYNECOLOGIST'S EXAMINING ROOM - DAY BRIGITTE (V/O) That week, Ginger was all over the map. She was the goddamn schizo poster girl. She forgot the gyno guy. I couldn't believe she forgot. She promised. Brigitte is dying a thousand deaths on the examining table with her feet in stirrups. The GYNECOLOGIST is examining her. A NURSE stands next to him, smiling benignly as she passes him the contraption used to take a pap smear. Brigitte is almost in tears. CUT TO: Same moment in the examination procedure, but now Ginger is in the stirrups. And the doctor is shocked at his findings. GYNO What the -? 41 INT. EXAMINATION ROOM - MOMENTS LATER Brigitte gives Ginger a pout as they both shift uncomfortably in their seats. The doctor is gulping cups of water from the water cooler, his hand shaking. He talks to Pamela like the girls aren't even there. GYNO I've never seen anything like it. She's not built like a normal girl. I've sent samples to the lab. But this is very, VERY unusual. Brigitte pokes Ginger in the ribs. Ginger doesn't like this, and pushes Brigitte so hard she almost falls off her chair. PAMELA Girls, please. INT GIRLS' BEDROOM - NIGHT The window is open. Norman the terrier yams. Ginger is in a tank shirt which reveals her hair growth is spreading. Brigitte is sitting at. the desk with a pile of monster books. GINGER What're you, nuts? I got a skin thing, whatever. BRIGITTE If you just gotta skin thing why does it get worse everytime yer being a bitch? Why's the gyno say you're a monster inside? GINGER He din't say that! BR I G ITTE Just listen to these symptoms! GINGER I'm takin' a shower. 42 Ginger slams the bathroom door shut. Brigitte consults her books, and the feminine hygiene calendar 10 days are ticked off. Norman the terrier barks on. BRIGITTE (V/0) (READING) "The key to his survival is a constant diet of fresh warm- blooded victims. His appetite is insatiable, and grows with each kill. But his appetite is also the key to his own demise, INT. GIRLS' ATTACHED BATH - MEANWHILE/NIGHT Ginger is in the shower. she runs shaking hands over her body. Ginger hears Norman's barking as super-amplified. Its persistence is making her mental. BRIGITTE (V/0 - CON'T) ".. .for eventually the blood- lust over-takes human reason, overtakes oven the instinct for self-preservation, and he will risk all for the excitement of the euphoric high of his murders." Ginger shaves the delicate area around her ankles. She cuts herself and freaks. Ginger snaps the Lady Bic in half and throws the pieces hard against the shower wall. GINGER Fuck fuck fuck FUCK There are two other broken razors in the stall, stuffed with hairs. Blood mixes with the water and swirls around her toes. INT. GIRLS' BEDROOM - NIGHT The doq is still barkin .outside. Brigitte closes her book. BRIGITTE (V/0) But see all the books and movies an' shit said it had to be a full moon, that it'd be all at once. An, ya know, not one word about chick werewolves on the rag. Typical. 43 Ginger flings open the door, tears to the window, hauls herself out and is gone. Brigitte is after her in a heart beat. EXT. YARD NEXT DOOR - NIGHT Ginger is over the fence with ease. Norman barks more, harder. EXT. FITZGERALD YARD - MEANWHILE/NIGHT Brigitte can't vault the fence. She clambers up a shared tree at the fence line to see. Ginger tries to grab the dog but he dances around her, barking like crazy. She grabs his snout with her bare hands and he bites her hard. GINGER Sonnovabitch! Now livid, Ginger takes up a dead tree branch. Up in the tree, Brigitte hides her face in her hands. Ginger (:racks the stick over the dog's head. The yelping stops but Ginger keeps hitting. Blood splatters over her face. And Ginger tastes it. Ginger drops her stick. She drags the body into the hedge next to the fence. Brigitte lowers her hands from her eyes. Ginger is directly below her, concealed from the house by the shrubs. Ginger falls to her knees before the corpse. She lifts a rattling hand to touch him. She lowers her face to the bloody mess. She's sweating, vibrating, physically resisting an irresistible drive. Ginger's tongue slips between her lips. And Ginger licks Morely's body. BRIGITTE Oh. No. G-ginger -! Ginger begins to eat the dead dog. The feed. quickly becomes a ravenous frenzy. Above her, Brigitte leans over the branch she's barely balancing on, hyperventilating. Vomit sails down from Brigitte's perch. GINGER SNAPS- WALTON/July 15, 1996 44 The porch light comes on behind Ginger. BR IG ITTE Shit. Brigitte scrambles down the tree and yanks Ginger off the dog. Ginger's face is smeared in blood. Ginger's stunned, and reels dizzily. They crouch, waiting. Their NEIGHBOR opens the screen door, shaking a box of dog biscuits. NEIGHBOR Dore-maan! Tweat-time! Hunh. The neighbor steps into the yard. Approaches the hedge. Stops right before them - they can see a pair of slippers twitching in the grass. Then they disappear, the porch light switches off, the screen door shuts. INT. GIRLS' BEDROOM - LATER SAME NIGHT Brigitte sits staring into space. Ginger is showering in the attached bath. GINGER (O/S) (SINGING) Ho-ow much is that daw-gy in the window... Arf-Arf! BRIGITTE (V/O) Ever been too sick to be sick? Like the bottom of your stomach is wrapped over the top of your head? There is a knock at the door. Brigitte checks the dead bolt is on. BR IGITTE Yeah?! PAMELA (O/S) Who's showering so late? BRIGITTE Ginger! PAMELA(O/S) Why? 45 BRIGITTE she's dirty?! Brigitte throws up her hands: what an idiotic conversation. PAMELA (01S) Dirty!? How'd she get/ BR IG ITTE I'm tryin' to study, here! PAMELA (01S) oh, all right then. Brigitte slumps against the door. The showers stops. Ginger appears in a towel, pink and clean and freshly furry in places. She's in a really good mood. She takes one look at Brigitte's face of doom and tries to be serious. GINGER I couldn't help it. Really. Guess you were right. Ginger finds and lights a smoke. GINGER You know what's really weird? BRIGITTE Weirder than KILLING A DOG AND EATING IT???!! GINGER I liked it. I liked it a lot. I feel all fucki.n' goofy now. Like, I dunno. Like .happy? Brigitte shakes her head over and over. GINGER I feel like I just got off the Planet Smasher ride at WarWorid, okay? It rules! Ginger leaps to the stereo and blasts on some tunes. She flails around the room wildly. Ginger grabs Brigitte by the arms and makes her dance too. Ginger spins and spins Brigitte, who fights it but laughs. 46 BRIGITTE (V/O) So she'd killed Norman. 1 never seen anyone bliss out like that. I wanted to be so blissed, jus' once. There is repeated pounding on their door. Brigitte still entangled in Ginger, hits the music off. PAMELA (O/S) Little late for that, girls. GINGER/BRIGITTE (Bite me:)/Sorry; They stand in each other's arms listening to Pamela mount the stairs OFF SCREEN. Ginger shoves Brigitte backward onto her bed. Ginger piles on top of her, playfully pinning her down. GINGER I want more. Brigitte squirms fitfully. BR IG ITTE No, it's too gross! You'll get caught. GINGER Not if you help. Bee. I'm starving. Brigitte looks into her sister's beaming face. GINGER Jus' keep watch. Look, I'm gonna be somethin' totally else. Tell me you don't so dig it. Tell me you don't wanna see what happens. Brigitte groans. BRIGITTE (V/O) Straight up? Crazy's contagious. Trust me. 47 EXT. VARIOUS STREETS & YARDS - VARIOUS NIGHTS Bailey Downs sleeps soundly as the hunt begins. The moon is a sliver of its former self. Ginger cocks her head at the sound of a dog barking. She lifts her nose into the wind and sniffs. Ginger is prowls like a wild cat through yards and service lanes, as A study in much less stealth, Brigitte stumbles, trips and slips after Ginger. Splits her sweats climbing fences. Loses a shoe over garage roofs, gets caught in automated lawn sprinklers, falls into hidden cellar window troughs, as A series of dogs perk their ears and snarl from their dog houses, chains, and porch perches... Low whistles and smoochy sounds lure the dogs into bushes, behind cars, around fences. Strings of dogs' chains strain tight, then slacken... Ginger - wild-eyed, bloody-mouthed, and euphoric - tosses collars at Brigitte. Brigitte misses most of the tosses. She picks up the collars and fingers these souvenirs with disgust. INSERT: EXT. A BACK YARD - DAWN A LITTLE KID decked out for hockey practice waddles into his yard with a full dog food dish. His feet squish along his pet's entrails. He finds his dog's body and drops the dish with a clatter on the cement patio. KID M-m-mMOMI? CUT BACK TO: Days get ticked off on the feminine hygiene calendar... BRIGITTE (Vb0) We became the Beast of Bailey Downs. We got good.. The moon vanishes, then reappears in as a First Quarter, as Brigitte's getting the hang of things, she practices expert surveillance from car roofs, throws stones to trip motion- sensitive lamps, starts moving like a super spy, taking crime-scene style Polaroids of their victims, as 48 Ginger's kills get quicker, she gets wilder, more daring, more ruthless, and... Brigitte gets cooler, confident, collected. She's mapping out attack routes and leading the frothing Ginger to the big scores, like dog kennels... BRIGITTE (V/O) The more we did, the crazier she got... EXT. BAILEY HIGH SPORTS FIELD - NIGHT Under a swelling moon Brigitte and Ginger tear around in the dark, screaming and laughing and rough-housing. JUMP TO: INT GIRLS' BEDROOM - NIGHT Brigitte shoves a fist-full of collars under their mattresses. JUMP BACK TO: On the field, Ginger climbs up on the goal post and walks carefully across the narrow beam. JUMP TO: BRIGITTE (V/O) The crazier she got, the more she needed me. I liked that part. In their room, Brigitte helps Ginger shave her back. Ginger trims her elongating nails. Brigitte plucks hairs from Ginger's palms. Ginger brushes her teeth and a piece of tooth comes off - she has a little fang. JUMP TO: on the field both Brigitte and Ginger hang upside down from the goal post by their knees. Brigitte is wearing a dog collar as a necklace. They are laughing their heads off and trying to pull each other's shirts down to expose each other's breasts. GINGERSNAPS - WALTON/July 15, 1996 49 INT. GIRLS' BEDROOM - DAWN Ginger holds her mattress up while Brigitte stuffs handfuls of the collars underneath. They collapse, exhausted. Ginger crawls on her hands and knees to the toilet in the INT. ATTACHED BATH - DAWN Ginger drinks out of the toilet like a dog. INT. GIRLS' BEDROOM - MEANWHILE/DAWN Ginger burps loudly and crawls back to join her sister, who offers her a cigarette. BR IG ITTE Pig. GINGER You love it. Brigitte examines the feminine hygiene calendar. In it, a cartoon of a female egg is personified with a heels and sunglasses, strutting across the date. BRTGITTE trey, look yer ovulating. Ginger rubs her belly. GINGER I'm still hungry, Bee. BRIGITTE How can you - you've done every dog we can GINGER It's not enough. I want somethin'... I need more. EXT. BAILEY HIGH - DAY All the kids lounging on the grounds double-take the Fitzgerald girls' entrance this morning. Ginger is babe-alicious in a hot tiny tee, boots, shades and very short shorts. She projects unbearably untouchable. Brigitte flanks her without the wardrobe, but the attitude is there. GINGER SNAPS -WALTON Jason gapes as Ginger heads toward him with an unlit smoke between her pointy teeth. She leaves an inch between his chest and her breasts. GINGER Got a light, Jace'? Jason and his pals all fumble for lighters and five little flames appear before her smoke. She lights her smoke on Jason's, and exhaling looks him up and down. The boys flames go out, all at once. GINGER My sister would like one also. obediently, they all light up for Brigitte. Brigitte falters before the attention. At Ginger's nod, Brigitte lights up too. TRINA (O1S) Slut. Ginger turns to see Trina and the Clones sizing her up. GINGER Excuse me? Ginger seems to tower over the Trinas today. Trina can't match the menace. Ginger exhales smoke in Trinals face and climbs the steps into the school. Brigitte double-takes Ginger's back. Ginger's spine is protruding sharply through her shirt. Trina leers at Brigitte. TRINA Better watch your back, Fitzenstein. Brigitte snorts and follows Ginger in. BRIGITTE (under her breath) Like I'm scared. INT ENGLISH CLASS - DAY Ginger chews her nails like a dog does when cleaning them. Brigitte and the rest of the class watch an RCMP OFFICER holding a reward poster at the front of the room. 51 OFFICER we need your cooperation. If you know anything about the so- called Beast of Bailey Downs, call in. You can be anonymous. BRIGITTE (V/O) Ha! As if they weren't already. OFFICER (CON'T) But your pets aren't safe until the perpetrator is caught. Ginger sighs loudly and Brigitte prods her. EXT. BAILEY HIGH SPORTING FIELD - DAY The girls' gym class is prepping for lacrosse again. The Trinas square off across the half-way mark from Ginger. Mz. Sykes blows her whistle. The scrimmage begins. Trina whips the Indian rubber ball right into Ginger's face. Ginger drops her stick and launches herself at Trina. Play stops with the whistle, but Ginger and Trina are just going at it. Ginger's winning. Trina bites Ginger's sore arm and Ginger rakes her nails over Trina's neck.. Ginger draws blood. Mz. Sykes breaks it up by dragging Ginger off Trina. Sykes tends to Triria, who bawls. Ginger wipes her bloody hand over her mouth. BRIGITTE Ginger! Ginger's rolling the taste of Trina's blood around in her mouth. GINGER Mmnun . BRIGITTE You can't do that, That's human blood! .Feel anything? Brigitte and Ginger stare at one another. Ginger first shakes her head., but then nods. Ginger looks around and whispers GINGER SNAPS- WALTON/July 15, 1996 52 GINGER It's sick but - I'm all like horny. Brigitte makes a sour face. SYKES Fitzgerald, bench! GINGER What, she started it! Brigitte watches Ginger march to the sidelines, throwing off her gear as she goes. SYKES Pick that stuff up! Ginger gives Sykes the finger without looking back. Brigitte groans. INT. BAILEY HIGH HALLS - DAY Brigitte waits outside a door marked GUIDANCE. Trina struggles by with the help of her clones. Trina sports a big ugly bandage on her neck, knees and an arm in a sling. She shoots Brigitte a Death Stare. TRINA Yer bitch sister's dead, freak. BRIGITTE (under her breath) Fuck off. Jason lopes up. He indicates the guidance office door. JASON Ginger in there again? Brigitte ignores him. JASON Cool. Um. Look, Belinda... BRIGITTE Brigitte. JASON Right, right. T'd really like to take yer sister out. Think you could ask her for me? 53 Brigitte' s face clouds. JASON Hey. I could fix you up too. I guess. Brigitte seethes. JASON Fuck. Never mind, I'll ask her myself. (under his breath) Freak. Jason takes a post on the opposite Brigitte to wait. Brigitte glares at him. INT. GUIDANCE OFFICE - DAY The grossly over-weight guidance councilor, MR. WAYNE, is perched on the edge of his fake wood desk, holding their death slides (from the credit sequence) up to the fluorescent light. His arm pits are stained with sweat. Ginger slumps in a chair before him. There is a fish bowl full of condoms on his desk. Ginger picks one out, unwrapping it, examining it as he talks. MR. WAYNE Look, you keep getting sent here. We might as well be friendly. GINGER I don't do friendly, Mr. Wayne. MR. WAYNE Hey. I know where you're coming from. I was a kid once too. GINGER Really? So was I. Weird. Ginger fakes an eye-lash batting smile. She winds the condom over her erect fingers. MR. WAYNE Okay, you aren't a kid. You're a young adult. With some issues. Let's explore them. GINGER SNAPS - WALTON/July 15, 1996 54 Ginger rubs the condom's lubricant between her two free fingers, intrigued by the texture. MR. WAYNE Hey. I'm reaching out here. Your plays for attention are a cry for help, aren't they? GINGER Uh, no. MR. WAYNE Is it a problem at home? With your parents? GINGER They think I'm cute. Mr. Wayne sighs. MR. WAYNE Maybe I ought to split you and your sister up. GTNGER Aw, c'mon Mr. Wa-ayne. Divide aii' conquer? That's so old. MR. WAYNE Hey. You're antisocial, antagonistic, and now violent. The point of high school is you learn to develop a place for yourselves in society.../ GINGER 'Long as you like it. MR. WAYNE As long as you're at this school young lady, I better like it. Ginger gives him a cold, dead stare. MR. WAYNE consider this your final warning. I see you outta line again, and we're talking expulsion. And don't look at me like that, missy. 55 INT. BAILEY HIGH HALLS - DAY Ginger slams the Guidance office door on her way out. GINGER Fuckin' guidance my ass. She pounds her fist into a locker and makes a dent. Brigitte cringes. Ginger admires the damage. JASON Holy... Ginger notices Jason and visibly brightens. GINGER Hey. JASON Hey. whatcha doin' now? GINGER Nothin' special. JASON Wanna go for a ride? GINGER Sure. C'mon Bee. Jason and Brigitte's faces darken simultaneously. BRIGITTE Ginger, we should get home. GINGER No we shouldn't. Brigitte drags Ginger aside. Ginger notes Brigitte's hand squeezing her arm with a dangerous look. BRIGITTE Twenty minutes ago you coulda killed somebody. Is this really a good time to start dating? I don't think so. Ginger shakes Brigitte's hand off. GINGER Well, I do. 56 BRIGITTE Why? GINGER Why?! Look, grow up a little an' maybe you'll get it BRIGITTE What. GINGER Forget it, I'm goin'. I'll draw ya a picture later, 'kay? Ginger takes Jason's hand and pulls him off to the exit. Jason gives Brigitte SUCH a smug look over his shoulder. Brigitte stands alone in the hall, gaping after them. EXT BAILEY HIGH - LATE DAY BRIGITTE (V/O) When Henry renovated the basement, to build our room? I was like ten an, in the way an, shit. Well, he rammed iue with this beam, right in my stomach. Accidentally. Brigitte wanders over the emptying school. lot. She looks small and alone. She looks disoriented. BRIGITTE (CON'T-V/0) But all the air came outta my lungs at once an, I kept tryin' to breathe but I couldn't. I forgot all about that. Till like right now. Brigitte consults the hygiene calendar. Ginger's ending the third week of checked-off days. A special note on today's date asks DO YOU HAVE PMS? EXT. HILL CREST -- DUSK Jason's van is parked on a rise that offers an impressive overview of Bailey Downs. Crickets sing. The moon is rising. 57 INT. THE VAN - DUSK Ginger and Jason sit in the front seat of his van. They're making out. Ginger is enjoying herself. Ginger bites his lip. Ginger draws blood. JASON Ouch! whoa. Can't believe you never had a boyfriend... Ginger licks his blood from her own lips and freezes dead cold. Jason dives back at her for more. Ginger looks both aroused and unnerved by her arousal. Ginger's stomach growls. Ginger pushes Jason off of her. GINGER I have to go. It's getting late. JASON It's only six o'clock. Jason presses himself on her again. Ginger shoves him off, hard. GINGER 1-have-to-go. JASON Oh. Now you get all moody on me? GINGER Hey_ You got no idea. EXT. HILLCREST - DUSK Ginger slams the van door and rushes away from the van. JASON (O/S) Chicks, yer all the same! Ginger stops in her tracks. She shakes her head and continues away. JASON (O/S) Cock tease! EXT. BAILEY STREET - DUSK Brigitte shuffles along the curb, the picture of dejection. She slows to watch Sam loading some enormous tree branches into the back of his truck, packing up for the night: lie has 58 been cutting back an enormous tree in someone's front yard. when Sam glances her way, Brigitte picks up her pace without looking back. EXT. PARK AREA - NIGHT Trina wears a radio headset that pounds post-disco dance mix as she jogs. Morely dashes in and out of the surrounding greenery. He dashes in once more, and does not reappear. Trina looks back expectantly. She runs in place, waiting for him. She heads back, looking for him. Ginger pops out of the brush before Trina. Gingers face smeared with blood from Mo.rely. Ginger grins insanely. Ginger wiggles Morely's collar. Trina clicks off her head set. GINGER Hi! INT FITZGERALD BUNGALOW - NIGHT Brigitte descends the stairs to her room. Music blasts from the basement. PAMELA (O/S) Brigitte? Tell your sister to turn that stereo down! INT. GIRLS' BEDROOM -- NIGHT Brigitte lets herself in. The music is now deafening. Trina is bound in a chair at the end of her bed, screaming her head off. Her screams are buried by the music. Brigitte slams and locks the door behind her. GINGER (yelling over noise) Stop screaming or I'll rip your permed head right off you neck. An' ya know what? I can do that. Now open wide Ginger force-feeds Trina something on a spoon. Trina screams with her mouth full, trying to spit it back out. Ginger offers Trina a glass of milk. GINGER Chaser? No? GINGER SNAPS-WALTON/July 15, 1996 59 Blood trickles out of the corners of Trinas mouth as she chews while bawling. Ginger sets the glass of milk on the desk. BRIGITTE Ginger WHAT are you doing-! Ginger grins and shows Bee a bowl of crushed glass and tacks. GINGER Jus' like you said, Bee! S' perfect! Brigitte grabs the bowl away: glass shards and tacks rain around them. BRIGITTE Are you crazy?! GINGER Hey! I'm Join' this for you! As the sisters argue, Trina rocks the chair back and forth, trying to free herself. BR I G ITTE Oh no, no way... No! GINGER Yer still burnt over Jason! BR I G ITTE No, Ginger, I'm burnt 'cause you don't see like jail in yer future! You don't get how hugely fucked this is! DO you? Trina lurches back hard and rocks forward. Trina struggles to get her toes to meet the floor. She lurches back for more momentum. GINGER You sayin' I'm stupid?! BRIGITTE I'm sayin' she? Will tell on you! This is someone who will tell! Trina throws herself forward again and her toes connect firmly with the floor - just as her temple connects with a sickening CRACK on the sharp corner of the desk. The milk glass dumps on top of her. 60 Brigitte and Ginger look at her. Trina hangs there in the chair at this strange angle for a moment, dripping milk. Then Trina and the chair keel to the floor. Trina is still. Brigitte turns the music off and creeps up to Trina. Blood trickles out of Trina's ear and swirls into the milky glass mess at her mouth. Her open eyes stare at nothing. She's dead. GINGER Ha-ha. Ginger grabs her own right arm (most damaged by the original attack) and shudders with pain. GINGER Ow. Ow. Owchee-wow-ow. Brigitte takes Trina in from head to toe. Brigitte checks Trina for a pulse. Brigitte snaps her hand back as though it were burned. A tremor wracks Brigitte's body and she convulses. Brigitte runs to the bathroom. OFF SCREEN, Brigitte throws up. Meanwhile Ginger raises her afflicted hand. The hand is nowsomething clearly on the way to being a wolfen paw. The nails are black, curling claws. Oblivious, Brigitte climbs back into bed and covers her face with a pillow. BRIGITTE My life is basically over. GINGER Bee. ..BEE! Awestruck, they both watch as Ginger extends and retracts her: new set of claws. There is a knock at the door. The girls look at one another in mute horror. Ginger addresses the door. GINGER What! PAMELA (O/S) Are you two fighting?! GINGER -- No! GINGER SNAPS -WALTON/July 15. 1996 61 PAMELA (O/S) come on then. Dinner's ready. Brigitte and Ginger hop up and down in a brief freak fit. GINGER (O/S) Coming! TNT FITZGERALD DINING ROOM - NIGHT Ginger has her new paw curled up in an over-sized sweat jacket sleeve. Brigitte stares at the stew before them with grave distaste. Pamela has a number of used tissues around her - she's been crying. HENRY The gynecologist called. Pamela grasps Ginger's gnarly arm and squeezes it through her sleeve. Brigitte and Ginger look at Pamela's hand. PAMELA There's something wrong, Ginger. He wants to do an ultra-sound! HENRY Pamela, don't scare her. How could the cells not be human cells? we'll send you to somebody else. PAMELA I'm sure your father's right. I'm just upset... How are you feeling, do you feel. all right? GINGER Um. sure. Fine. PAMELA (lowering her voice) No unusual discharge or anything like that? Henry, Brigitte and Ginger groan. PAMELA I worry, all right? I've made another appointment with a new doctor. Early next month was the earliest he could see you. okay? 62 GINGER okay. They all begin eating in silence. Except Brigitte who gags as Henry squirts ketchup all over his stew. EXT. NEIGHBOR'S YARD - NIGHT Trina's body is wrapped in a bedspread and stuffed in a kid's wagon. Brigitte is keeping a look out looking pale and sickened. Grass and dirt spray out of the playhouse. Ginger is digging up the ground inside doggie style. She emerges, shaking the turf out of her new paw. They struggle to get Trina inside, but she's already too stiff to bend up. GINGER Told you. BRIGITTE Rigor mortis. Knew we shoulda skipped dinner. GINGER Can we do it my way now? Brigitte hesitates, her anxieties rising. BR IG ITTE So is this it? You doin' people now? GINGER She won't fit unless I BR IG ITTE You know what I mean. Just say. GINGER I din't kill her! BRIGITTE But were you gonna? There is a long pause. Ginger tries to laugh it off with, GINGER No. I'm not doing people. No. Brigitte takes a deep breath, nodding. She acts belief. 63 BRIGITTE 'Kay. .Hurry up. Ginger drags a section of the body into the playhouse with her. Disgusting gnashing and tearing, bones snapping and other sounds of devouring are heard from within. Brigitte keeps watch. Tears appear in her eyes. The body is dragged another foot into the playhouse. Ginger is eating Trina to make her fit in the grave. BRIGITTE (V/O) Trina was dead. Trina was dinner. This was BAD.An'I kept wonderin' what Sam was doin' right then. I couldn't help it, he jus' kept poppin' into my head, like. CUT TO BLACK. INT A FAMILY-SIZE FREEZER - DAWN Brigitte lifts the lid of a large freezer. OUR POV IS FROM INSIDE THE FREEZER. Its light illuminates the brown paper parcels Ginger sets inside, next to the frozen waffles and veggies. The parcels are labeled T-bone, T-thigh, T-breast. BRIGITTE (V/0) What Ginger couldn't finish we froze, 'cause the less we left for whoever would find Trina, the better. Watch a lot of crime TV, so. Brigitte's sizing Ginger up behind her back. Ginger finishes loading the freezer. Brigitte drops the lid. CUT TO BLACK. INT GIRLS' BEDROOM -- LATER THAT NIGHT The room is dark. Ginger is asleep. Brigitte is in bed with her back turned to Ginger's bed. Brigitte has a penlight on a collection of open monster books. She is examining a sketch of a plant with yellow flowers. 64 BRIGITTE (V/O) (READING) "The Beast was usually finally eliminated with a bullet, the cost of breaking the curse the human life that bore it.,, oh man. "However many believed wolfs bane (see Diagram, right) had the power not only to protect the innocent, but calmed those afflicted to a restored sense of reason and self- control." GINGER (O/S) What:cha Join' ? Brigitte nearly jumps into orbit, slamming her book shut as Ginger appears over her shoulder. GINGER Hm. Big Book of Monsters, hunh. Thought they were useless. BR IG ITTE They are. Couldn't sleep. So. Rrigitte gives Ginger a nervous smile. Ginger smiles back. Her fangs show. INT. GIRLS' BEDROOM - NEXT MORNING Their alarm clock goes off reading 8:00 AM. Ginger's paw comes down hard on it, cracking the plastic casing. Brigitte is already up. She sweeps up the glass mess from the night before. Ginger rolls out of bed, steps over Brigitte and stumbles to the bathroom. Ginger steps on tacks and doesn't even react. GINGER Man, I'm not getting enough sleep. Ginger closes the bathroom door. Brigitte leaps to the door, looping one end of a noosed extension cord around the handle. The other end is tied to the door handle of the bedroom door. Brigitte checks to ensure the latter is bolted shut. 65 OFF-SCREEN, the toilet flushes. OFF-SCREEN, Ginger tries to open the door. She can't. GINGER(O/S) The fuck -? Beef Brigitte watches the vibrating length of cord hold the door firmly in place. Ginger bangs hard on the door. GINGER BEE!? BRIGITTE Ginger, don't be pissed... GINGER Open the fuckin' door you feeb. BRIGITTE No! Ginger pounds on the door with great violence. BR I( 'TF. Want Pamela dc h, e? The pounding Sto2s. BRIGITTE We have to stop it Ginge'. If we can. I`ll be back before dark. Brigitte tears the page with the plant out of her book and leaves by the window. BRIGITTE (V/O) Told Pammy Ginger wasn't feeling well. Just to get her checkin' regular on. her, keep the pressure on Ginger to be cool. EXT COUNTY GREENHOUSES - DAY Brigitte steps off a county bus at the drive. There's a police car parked next to the Sam's truck. She looks back to the bus, but the doors swing shut and it pulls away. Brigitte smoothes her hair, takes a deep breath, and over- acts innocent as she walks up. 66 INT COUNTY GREENHOUSE - DAY Brigitte can hear male voices as she minces down the leafy aisles. COP (O/S) It's in your best interests to be cooperative. SAM (O/S) My lawyer's co-operative, I just know my rights. I don't know where she is, I'm very concerned. That's it, unless you got a warrant. She ends up backing into a COP behind some palms. BRIGITTE Shhh-it! I mean, sorry. SAM (to cop) You can see I got customers, so if that's all. COP Okay. Sure. For now. The cop gives Sam a final Dirty Harry squint and leaves. Sam collects himself with difficulty. So does Brigitte. SAM if you skipped school lookin' to score, I don't keep nothin' here at work, sweetheart. BRIGITTE I din't. I mean I skipped, but-/ SAM Hey. From Mccardy's van, right? You know my girlfriend? Trina Sinclair? BRIGITTE Rinda. SAM You seen her today? GINGER SNAPS- WAI.TON/July 15, 1996 67 BRIGITTE Not today... SAM Fuck. She's missing. BRIGITTE Oh. S-sorry. SAM Yeah, well. Cops think I know where she is. I don't. Sam looks Brigitte right in the eye. Brigitte is caught up in him for a second. SAM Sorry, what do you care right? What do you need. BRIGITTE Um. Lookin' for this. She holds out the torn page. Sam takes it. SAM Aconitum lycoctonum? Sorry. Brigitte yanks her own hair hard. Sam smiles. SAM Tryin' to kill somebody? (off her look) Well, you know it's poisonous, right? Wolfs bane? Deadly. Be like stocking hemlock an, shit. BRIGITTE No, I thought it did something else. Doesn't matter. SAM Anyways they're perennials - only flowers in spring. Brigitte turns to leave, hot with frustration, huinilliation. Sam watches her stamp toward the door. SAM Hey. Ranunculaceae come in about a hundred species. I've gotta cousin, monkshood. Not so toxic. If you're interested. 66 Brigitte stops and considers him. SAM Don't know if it'd help. INT GREENHOUSE -- MOMENTS LATER They sit together amidst beautiful plants and flowers. Sam. picks a tiny purple flower from a bed of young plants and hands it to Brigitte. SAM S'called monkshood 'cause people used to think it kept 'em pure from dirty thoughts. Seriously. BRIGITTE (EARNESTLY) Make my life easier. Sam laughs. Surprised by this, Brigitte smiles and hides under her hair. BRIGITTE (V/O) This is awful. but the whole time I was with him there? I din't even think how I'd just put pieces of his girlfriend in the deep freeze, like, at all. INT. GIRLS' BEDROOM - DAY Ginger pulls with all. her might to get the door open a few inches. The door knobs on both doors are straining. Something starts to crack. With ferocious effort, Ginger contorts herself through two inches of space. The cracking is coming from Ginger as she squeezes her body bizarre-ly out of joint, as a contortionist might. Once through, she snaps and clicks her distended bones back in place. She gasps for breath. Her face is distorted with murderous fury. There is a knock on the bedroom door. PAMELA (O/S) Ginger, feeling any better? Ginger climbs noiselessly out of the window. 69 PAMELA (O/s) Ginger? You sleeping?...God, I hate this lock, I know it's- privacy but what if you were in trouble in there for god's sake? INT. BAILEY HIGH HALL - DAY Brigitte stands at her on locker, tying a rubber band around stalks of the monkshood. There is a goofy half-smile on her face, and she's humming. BRIGITTE (V/O) The book said dry it out before using it. I figured I'd keep Ginger locked up - feeding her Trina - till it was ready. she hangs the monkshood upside down in the locker. The buzzer goes as she slams the door shut. EXT. SERVICE LANE - DAY Ginger stalks past the neighbor's yard with the playhouse where Trina is buried. EXT. PLAYHOUSE YARD - DAY A new puppy romps. He sniffs around the edge of the playhouse. He smells something. He starts to whine and dig. INT. BAILEY HIGH - DAY Ginger stomps the deserted halls, with their class schedule in hand. Classes are in session. A fat silhouette appears-at the end of the corridor. WAYNE Fitzgerald. Tardy! My office NOW! Ginger faces him with a dreadful expression. 70 INT. CLASSROOM - DAY Brigitte slumps in her seat doodling. The RCMP officer is back, speaking to the class. The poster this time has a class photo of Trina. OFFICER If any of you have seen Trina please let us know. She went for a run this morning and has not returned or contacted her family or friends... INT. GUIDANCE OFFICE - DAY Ginger stands imposingly over Mr. Wayne in his chair. WAYNE Sit down, Ginger. GINGER I can't stay. WAYNF: I said, sit. GINGER An' I said ./ WAYNE (cutting her off) You are expelled. This is not your personal playground, this is a school. GINGER Oh dear. INT. GUIDANCE OFFICE -- A FEW MINUTES LATER/DAY Ginger's good hand lifts the telephone receiver on Mr. Wayne's desk. With her wolfen paw she dials. In the background we see blood splattered over the walls. 71 GINGER (O/S) (imitating Pamela) Hello, main office? This is Mrs. Fitzgerald. would you page my daughter Brigitte please? I'm waiting to meet her in the guidance office. Thank you so much. INT. CLASSROOM - DAY Brigitte catches herself writing Sam's name on her binder. She scribbles it out, looking very guilty. PA SYSTEM (O/S) Would Brigitte Fitzgerald please report to guidance. Brigitte Fitzgerald. Brigitte freezes. The cop, the teacher, the whole class look at her. Brigitte scoops up her stuff. EXT. GUIDANCE OFFICE -- DAY Brigitte reaches the door and finds it locked. The door opens a crack and Ginger's transformed arm grabs Brig.iLLe, hauling her inside. The door slams shut and locks. INT. GUIDANCE OFFICE - DAY GINGER Don't ever fuck with me like that again. BRIGITTE You .got out. Brigitte gapes at all the blood. Ginger is very agitated. GINGER He asked for it. Was gonna expel me. So. Backing away, Brigitte trips over Mr. Wayne's foot sticking out from under the desk. GINGER What do we do, Bee? What do we do? 72 Brigitte sinks into a chair looking completely traumatized. Ginger hops about - charged by the kill. GINGER C'mon we need a fuckin' plan here! The school bell goes off. Brigitte snaps out of her daze, reaches up and hits the light switch off. They now sit in virtual darkness. BRIGITTE Last bell. wait till everyone goes. We'll stuff him someplace. Clean this up. I guess. The sound of the full halls around them seems very loud now. GINGER Bee, gotta a smoke? Brigitte hands her a smoke. GINGER Sorry about this. BRIGITTE Whatever. GINGER Don't be mad, ' kay? BRIGITTE I'm not mad. INT. BAILEY HIGH HALLS - LATER The school is deserted. The lock pops on the Guidance door and Brigitte and Ginger peer out. Nobody. BRIGITTE Stay here. Lock the door. I'll knock once. Ginger nods. Brigitte slips out and creeps down the corridor. Ginger shuts the door. Then Ginger whips it open again. BR IG ITTE Shut the door, Ginger! 73 GINGER Bee? BRIGITTE WHATI GINGER Thanks. Brigitte blinks at her, then continues to skulk away. The office door shuts and the lock locking reverbs after her. INT. ANOTHER HALLWAY - LATE DAY Brigitte walks fast, looking for a place for the body. She looks inside full garbage cans and sizes them up. Too small. She looks up at a loose ceiling panel. She jumps a few times trying to reach it. Too high. She gets an idea. Brigitte jogs past the sign directing us to gym. INT. GUIDANCE HALL - MEANWHILE A JANITOR pushes his cart toward the guidance office. He stops at another door, produces keys, and lets himself in. He returns with a trash can and empties into his bin. He replaces the can, closes the door and locks it. INT. GUIDANCE OFFICE - MEANWHILE Ginger, gnaws on Mr. Wayne's arm but really isn't enjoying it. She stops in mid-chew and listens. The janitor's footsteps approach: his cart wheels squeak INT. GUIDANCE HALL - DAY The janitor wheels up to the guidance office. He slides this key in the lock. INT. GUIDANCE OFFICE - DAY Ginger grips the door knob as best she can with her one good hand, her feet braced against the wall on either side. 74 On the other side, the janitor tugs, and tugs again. Ginger's getting madder the more he persists. The janitor gives the door one last wrench and it flies open. INT. GUIDANCE HALL - DAY Brigitte wheels a large cloth cart full of basket balls around a corner. The janitor crawls toward her, his hands lifted to her for help, blood spurting from his slashed throat. He tries to cry out, but only makes a gurgling whistle, the air in his Qi s passing through blood. Ginger walks behind him as he crawls. Ginger applies her boot to his ass and makes him slip face first in his own gore. Ginger giggles. Ginger looks up and sees Brigitte gaping in utter revulsion at her. For a split second, Ginger stops cold. Ginger seems to falter before her sister's horror. Then, without breaking their locked gaze, without even seeming conscious she's doing it - Ginger steps on the man's fingers and breaks them with a series of snaps. Brigitte tries to pry her eyes away, but can't. Still staring at Brigitte, Ginger extends her claws. Ginger shakes her head, as if to say I can't help it.. .Ginger pounces on the man. Brigitte turns her face to the wall. The lanitor makes a final horrible noise. The halls fall silent. MONTAGE: INT. SCHOOL - LATE DAY TO NIGHT as Brigitte stuffs Mr. Wayne into the gym basket and covers him with balls, Ginger runs madly up and down the halls screeching and whooping, slamming her monster arm into the lockers bashing them in. as Brigitte pushes the janitor's body into a ground level air VENT Ginger breaks the fire extinguisher out of it's case and unleashes foam into the halls. GINGER SNAPS -WALTON/July 15, 1996 75 Brigitte mops up the janitor's blood with his own cart stuff. The Guidance office is already clean. Ginger lifts the fire extinguisher over her head. She starts running with it toward through the frosted glass window of the main office with a triumphant war whoop. Brigitte steps between Ginger and her target. GINGER Move! BRIGITTE STOP IT! Just stop. Enough, Ginger. Please. Please. Ginger throws the canister any way, forcing Brigitte to dive out of the way. SMASH! Glass rains down over. Brigitte. Brigitte lifts her head in time to see Ginger burn down the hall looking for more mischief. Brigitte curls into a fetal position, burying her face in her lap and rocks herself. Brigitte sobs. OFF-SCREEN we hear Ginger cont.inuing her ram a e else where in the school. Brigitte wanders up to the janitor's cart, looking like a plane crash survivor - dazed and wretched. Brigitte picks up a bottle of cleaning fluid. She sniffs it. She closes her eyes and tips it back. She washes it around in her mouth and lifts her chin to swallow. She spews it into the air, the taste making her heave instinctively. she dry heaves a couple of times. She throws the bottle at the wall. INT. SCHOOL - NIGHT Exhausted, Brigitte trails Ginger who is tired too, and heading for the exit. They stop dead at the doors. EXT. SCHOOL STEPS - NIGHT A truck's headlights pin them in full view. Ginger rolls her sleeve down over her paw. Brigitte swoons as if she might black out on the spot. The truck's engine cuts and the doors slowly open. JASON Well, well well.. GINGER SNAPS -WALTON/Jufy 15, 1996 76 Jason and his pals climb out of the van. They hold beer bottles: they have come here to drink. JASON The fair sisters Fitzgerald. GINGER Hey. How's it goin'? JASON You tell me. Tim cracks the door and takes a look inside. TIM Holy shit - they trashed the place! The guys gawk: they are very impressed. BOYS Who--oooaa. Fuck, unbelievable! JASON Ginger, I had no idea. GINGER What can I say. I had an urgo. JASON Cool. But. This is ya know, uh, a bit of a problem. What's gonna happen when they start lookin' for the ah, people responsible? Brigitte glares at Ginger. GINGER You won't tell. JASON Oh I might. GINGER No you won't. BRIGITTE Ginger -? GINGER Shut up. Shut up. (to Jason) How ' bout a deal. 77 JASON Have to be sweet. GINGER You keep our lil' secret and I do you. All a' you. Brigitte slumps against the wall. JASON TIM JASON Jason gets the eager nod from his gang. JASON Okay, let's go. GINGER Not now - I'm a mess. We're (making this up as she goes) having a Halloween party at. our place, Friday night. We'll do it then. JASON Yeah, right Saturday. You'll ditch. GINGER I won't ditch. But you guys say a word about this to any one, - and there's no action. So it's up to you. You stay quiet, you score. You don't - phhtt - nice knowin' ya. JASON Deal. He extends his hand to shake on it. Linger shakes it awkwardly with her good hand. Brigitte thumps her head against the wall. INT. GIRLS' BEDROOM - NIGHT Ginger leans on the bathroom door, which is shut. 78 GINGER C'mon Bee... INT. GIRLS' BATHROOM - NIGHT Brigitte is sitting on the closed seat of the toilet trying to pull her hair out. BRIGITTE Shut up, leave me alone! GINGER (O/S) It's not that big a deal. BRIGITTE (O/S) How can you say that! Two people are dead because of you. Us. GINGER They pissed me off. Brigitte opens the bathroom door. BRIGITTE Oh. Then they we asking for it? What about Jason an' them? Gonna kill 'em all when yer done, Ginger? 'Cause you have to take yer clothes OFF for that shit, they wanna SEE yer BODY for that shit, you gonna let like five guys live to tell how they fucked the Beast a' Bailey Downs? That could annoy you too! Ginger prods a claw into Brigitte's chest, pinning her in place. GINGER Think yer sooo smart? I think yer sooo jealous. BRIGITTE Yeah, I'm jealous yer turning into a nympho. I'm so jealous yer killing people who did never did nothing to you. Yeah Ginger. Sure. GINGER Oh, wow. 79 Brigitte takes a deep breath, swallows hard. BR IG ITTE I don't wanna do this any more. Ginger's claw pricks Brigitte's skin. Brigitte cringes. Blood appears around the claw. GINGER What. BRIGITTE I'm sorry, but...! Brigitte writhes in pain as Ginger's claw slices in deeper. BRIGITTE Ginger?! This is me. Ginger retracts the claw, and Brigitte grabs the wound. GINGER SO? Ginger hurls Brigitte against the wall. Ginger throws herself on top of Brigitte. Ginger raises her killing claw to Bri g.iLt.e' s neck. GINGER Who needs you? Brigitte is helpless and looks terrified. Ginger's face is contorted with intensity, with madness. Ginger's drooling. A drip of gob drops onto Brigitte's face. BRIGITTE (very small, PLAINTIVE) Ginger... Ginger lifts Brigitte by the shirt-front and searches her eyes. Ginger drops Brigitte to the floor and grabs her coat. Brigitte grabs Ginger's leg. BRIGITTE Don't, please! Brigitte struggles to hang on, to rise from the floor; Ginger's really hurt her. BRIGITTE Maybe we can stop it! Lemme try! Ginger kicks free. 80 GINGER An' spoil my fun? I'll skin you alive first. Brigitte struggles to a point between Ginger and the window. BR IG ITTE You're fucked without me. They'll catch you. Wake up! GINGER No, you wake up! Nobody'll live to catch me. Yer a two-faced lil' chicken shit? Your problem, Brigitte. I don't need ya. I don't WANTCHA! So stay away from me or I'll kill you I swear I'll have you for breakfast. Brigitte backs out of Ginger's way. Ginger steps up i.o the window and climbs through. Brigitte rubs her throat, trying hard to keep breathing. Brigitte dashes to her own bed and drags an Adidas gym bag from under it. Brigitte starts grabbing clothes off the floor and jamming them into the bag. BRIGITTE (V/O) I was like, okay. Fuck you too. She'd be sorry. And I'd be like, I dunno - somewheres' totally else goin' not my problem. Right. EXT SERVICE LANE - NIGHT Brigitte trudges up to the bus stop next to the fence of the playhouse yard with her full Adidas bag. Light streams from inside the yard, multi-coloured, strobing. It looks like a UFO has landed on the other side of the fence. She peers through the slats. She sees the playhouse, lit up like a Christmas tree. She sees gloved hands and police uniforms. Then sliding past, the long - almost endless - shape on a stretcher being drawn out of the playhouse: they've found Trina's body. The bus appears, approaching from way down the road. 81 Brigitte looks from it to the crime scene. The crime scene photographer's FLASH! pops in Brigitte's face - blinding her for a second. Brigitte rubs her eyes. She shakes her head hard. The bus is indicating, slowing to pull over. Brigitte opens her eyes. The bus is almost here. Brigitte grips her Adidas bag. BRIGITTE (V/O) But you can't break up with blood. You can't divorce yer sister. You jus' can't. The bus passes, obscuring Brigitte from view as its body fills frame. when its tail lights pass, Brigitte is far down the street, running like a champion in the direction she came from. INT. GIRLS' BEDROOM - NIGHT Brigitte carefully unlocks the bedroom door and slowly opens it. The room is dark and just as she left it. Ginger's hed has not been slept in, and she is no where to be seen. BRIGITTE (V/O) I'd get the monkshood from my locker at school the next morning. Brigitte creeps to the bathroom and snaps the light on. Empty. BRIGITTE (V/O) I'd find Ginger, I'd find out if the stuff even worked. Brigitte locks the window shut. She locks the bedroom door and pushes a bureau of drawers in front of it. BRIGITTE (V/O) I could deal with whatever, as long as I tried. If it was the last thing she ever saw me do, it was gonna be me goin' fer somethin' by myself. The real Ginger woulda dug that large. Brigitte turns on the bedside lamp and fishes a baseball bat out of the closet. 82 BRIGITTE (V/O) I would try to save my sister when the sun came up. You know, if the sun came up. Brigitte climbs into bed, snuggling the bat in with her. She lights a smoke. She finds the feminine hygiene calendar on the bedside table next to the photo of the girls as kids at Halloween, taken many years before. The calendar tells us it is about to be Friday. Friday is the full moon. Friday is Halloween. INT GIRLS' ROOM - DAWN The lamp is still on. The ash tray is full of butts. Brigitte stirs in her sleep. Ginger stands at the end of Brigitte's bed, staring at her. Brigitte snaps to, gripping the bat. Ginger snorts, and climbs into her own bed. Brigitte swings her gaze to the window. It is still shut and locked. The bureau is still in front of the door. Brigitte holds her hat tightly and watches her sister's back in the next bed, terrified. EXT. BAILEY HIGH - DAY Brigitte jogs up to the school. The yard is full of students. Teachers are marshaling them into lines and seating them on the grass. Brigitte plows through. Ginger rides past, piggy-backed by Jason. Ginger completely ignores Brigitte. Brigitte looks very worried. FEMALE STUDENTS Ginger Fitzgerald is such a slut./No kidding./The bitch. VARIOUS STUDENTS You hear about Trina Sinclair?/Dug her up in somebody's back yard!/oh that's so sad!/ Poor Trina, Ga-awd! As Brigitte gets closer to the building, she finds police cars and cops at the main entrance. 83 BRIGITTE Shit. PRINCIPAL FARDOR is speaking with the RCMP constable who has been visiting classes. Fardor holds a hanky over his face. FARDOR That stench near the staff offices, what is that you think? Brigitte hedges up the steps toward the door. OFFICER I couldn't say, sir. Now is there anyone you suggest we talk to? Anyone with something against the school? Brigitte slips past the two men. FARDOR For god's sake look around you. I got 350 angry young people bored blind.Helluva day for my goddamn cleaning staff to be late ... . IIEY! Brigitte stops at the threshold. FARDOR The hell you goin'? BR IG ITTE I left something in my locker. FARDOR Find your homeroom and wait. School's outta bounds until we call you in. Get! Brigitte backs down the steps, looking like she just took a good slap. She turns to confront the mass confusion around her. Brigitte spots Ginger dancing on the roof of a car in the lot now, surrounded by boys. Brigitte spots Sam's truck near-by. EXT. BAILEY HIGH PARKING LOT - DAY Sam is sit in his truck, slumped over the wheel. He holds an almost-gone bottle of rye. Brigitte runs up. 84 Sam is crying. He doesn't see Brigitte arrive at his window, so she turns to tip-toe away. Sam looks up. His eyes tell us he's stoned. SAM Hey. Wolfs bane. Wanna drink? Brigitte stops and turns to face him. Sam dries his face on his sleeve and pops his passenger door. Brigitte looks around and slides in. Ginger is watching Brigitte out of the corner of her eye. INT. SAM'S TRUCK - DAY SAM I showed up to see Trina? But she's I'm goin' strange in the head. Brigitte doesn't know what to say, so she offers his a smoke. He takes it. SAM Why? Why would ya do a thing like that? Brigitte examine his. face for an implication. There isn't one. SAM What's unny is I dumped her that night. Feel bad about it now. Truth is, she was a pain in the ass. I sound like a jerk, right. BR IGITTE No. SAM Really? Yeah well, while she was - disappearin', I'm off have a time at the Highway Home with my buddy Georgio. Drinkin', dealin' - an, now she's Sam is over-come again. Brigitte raises a hand to touch him, chickens out, and then scores on the second attempt. He rolls right into her arms. 85 For a brief moment, Brigitte has her nose in his hair, her cheek on his shoulder, her hands on his back. He's crying, and she fights her own tears. SAM Sorry, this is strange. I don't even ...Last time I saw her she was so mad at me. An' we did have some times, we did. Makes me sick what her last thought a' me musta been though. Their eyes meet, their faces are inches apart. Brigitte kisses him, very softly and very quickly and then pulls out. Sam looks shocked. Brigitte looks more shocked. EXT. BAILEY HIGH PARKING LOT - MEANWHILE/DAY Ginger stops dancing a second. She is staring at Brigitte and Sam in his truck. Her face darkens. INT. SAM'S TRUCK - DAY BRIGITTE I'm really, um. Sam leans in and kisses her right back. Better. Longer. SAM Shit. Sorry. Kinda freaked. You know? I shouldn't, well. BRIGITTE Yeah. Yeah. SAM But that was really nice. BRIGITTE Oh. 'Kay. Good. They sit staring straight ahead a moment. A cop ahead double- takes them, and reaches into his car for the radio mic. SAM You wanna lil' dube or somethin'? Listenin' to me go on like a loser-What's yet- name? GINGER SNAPS - WALTON/July 22, 1996 86 BRIGITTE Brigitte. Fitzgerald. No, that's okay. I need more monkshood... SAM Yes! Dirty thoughts! oh. I been drinkin'. Should not drive. Right, Brr-igitte? Brigitte drags her hands over her face with extreme anxiety. BRIGITTE Oh, right. OK. Ur. SAM Ginger's yer sister right? Sam grimaces as Brigitte nods. BRIGITTE Why? SAM Oh, rumors - say she's doin' all these guys at some party. Goias' around she's a big time ho', that kinder thing. Hey. Don't worry about it. Nobody mentioned you. Ginger's most maniacal laugh drifts over to them. Brigitte sees her dancing sexily on the roof of a car with a whole crowd of leering boys. EXT. BAILEY HIGH PARKING LOT - DAY CROWD C'mon Ginger! Take it off! GINGER You wish! CROWD Hey Ginger? Watcha doin' later? Can we come to yer bash?! Ginger stops dancing. Anger floods her face. GINGER You know about that? GINGER SNAPS -WALTON/July 15. 1996 67 BOYS Sure, everybody knows! Can I bring my cousin? INT. SAM'S TRUCK - DAY Sam grabs Brigitte',.s a r as Brigitte grasps the door handle, 1 71m SA M I like you Brigitte F. BR IG ITTE What -? SAM Like to see ya again. Can I come to yer party too? BRIGITTE sh-sure. Sorry. I gotta - Ginger, so. Brigitte slips out of the truck as they stare at one another with that look you get when you're scared because you just kissed someone you really, really like. EXT. BAILEY HIGH PARKING LOT - DAY Two more squad cars are gliding up the street toward the school. .Brigitte makes her way toward Ginger. BRIGITTE (V/O) fie was jus' drunk, I'm thinkin'. I mean he prob'ly din't mean it. Whatever. Beyond Sam's truck, behind Brigitte, the two new cruisers lurch to a stop. Cops approach Sam's vehicle with extreme caution. Brigitte arrives at the car with Ginger as, GINGER All a' you guys?! My house! Tonight! (very sinister) I wanna party with everybody. we'll do it till you drop. 68 CROWD ALL RIGHT, GINGER:::! WHO00- HOO! The crowd applauds. Brigitte stares at Ginger like she's watching a cruise missile coming in. Ginger notices Brigitte watching her. Ginger pretends she doesn't see her. BRIGITTE (V/O) Ginger was gonna kill every one of l em. A commotion behind them causes everyone to turn. Sam is being dragged from his truck by the cops. He is flung face-first onto the hood and hand-cuffed. COP Sam McDonald? You're under arrest for the murder of Trina Sinclair. Brigitte physically fights with herself not to yell out. She runs a few steps toward Sam. Brigitte looks back at Ginger, who drills her with an evil warning glare. The cops shove Sam into the back of a cruiser. They roar off. Brigitte stands alone, apart from the crowd. The cruisers' flashing lights disappear down the street. Brigitte turns to face Ginger, mustering her own first menacing look. Ginger accepts a cigarette offered by one of her boys. BRIGITTE (V/O) They closed the school that day. So I never got to my locker. So I never got the monkshood. I thought, this is it. I fucked up. EXT. FITZGERALD BUNGALOW - LATE DAY The full moon is just making an appearance. Brigitte stands in the front room window, which is decorated with a Happy Halloween paper sign and plastic bats. Brigitte's watching Henry put Styrofoam tombstones in the front yard. INT. FTTZGERALD DINING ROOM - LATE DAY 89 The Fitzgerald family is eating. Brigitte pokes at her food. Ginger eats like a fiend, with sunglasses on. Her monster arm has been wrapped in gauze from tip to elbow. PAMELA Now just remember, no boys in you bedroom during this party. Your room is off limits. Ginger are you sure that arm's not sprained, or worse? GINGER Bruise. Lacrosse. PAMELA Mm Henry when'd you get this new meat from Tinny's? Quite nice. Brigitte and Ginger exchange a look. HENRY I haven't been to Tinny's. PAMELA Then where's all the packs marked "t" come from -? Brigitte spits out her food. BRIGITTE I be excused? INT. FITZGERALD MINIVAN - MAGIC HOUR Brigitte is using the vehicle's portable phone as she eyes the silhouettes of the family -still at the dining table - in the window above her. She stares at her watch during the following, 911 OPERATOR (O/S) 911, do you need fire, ambulance or police, please. BRIGITTE (speaking very QUICKLY) Sam McDonald is not the Beast of Bailey Downs. He was at the Highway Home Motel when Trina Sinclair was killed. Sam didn't do it. 90 Brigitte whips the phone shut, hanging up. She breathes out long and slow. BRIGITTE (V/O) In case this was the last thing I'd do. I wanned Sam out of it. Sam shouldn't suffer. INT. FITZGERALD DINING ROOM - LATER Brigitte hovers in the door way. Henry is reading the paper. HENRY That Sinclair girl was found at the Bernstein's, can you believe it? PAMELA What, last night? I didn't hear a thing! Never going to have these done in time. Henry help. Pamela is feverishly creating little straw witches and such party decorations. She has a se]ecl.i.on of dried flowers, wheat etc on the table before her. PAMELA Brigitte, honey we're thrilled you two are making friends. But next time you two do something like this give Mummy a little more notice, will you? Hate having to scramble. Brigitte slides into her regular chair and props her hands on her wrists in an attitude of complete distraction. HENRY What's your sister up to? Brigitte looks at Henry as he works on a little witch. PAMELA She said she had a lot of work to do on her costume. Should we dress up, you think? Henry grimaces. He sifts through the dried plants before them. Brigitte double-takes the pile. PAME-LA oh, Henry. You're no fun at all. 91 Brigitte sits bolt up right in her seat. BRIGITTE What is this stuff? PAMELA Just weeds, old cuttings from the yard. BRIGITTE No, THIS stuff. Brigitte plucks out a handful of dried plant with tiny purple flowers. PAMELA Oh, I had that around the dahlias. Man at the greenhouse said it'd keep the cats out. Seemed to do the job. It's got a funny name - nun's robe, priest hat, something BRIGITTE Monkshood. PAMELA That's right. Do we have a budding botanist in the family?! HENRY Pun intended. Pamela giggles as does Henry. Brigitte grabs a fistful of monkshood and races for the door. PAMELA Hey, we need that! Brigitte! But Brigitte is gone. PAMELA That was my accent colour! INT. BASEMENT PROPER - DUSK The half-finished basement has a rec room which Pamela has decked out in an infantile version of ghoulish for the party. Punch sits ready next to case-lot pop and Tupperware brimming with snacks. GINGER SNAPS - WALTON/July 15. 1996 92 Brigitte walks through to the door with a sign, OFF LIMITS. Brigitte unlocks the door and slips the monkshood up her shirt. INT. BEDROOM - DUSK Candles are burning all over. Ginger's bed is turned down, ready. Brigitte walks in on Jason climbing through the open window. JASON Hey. Must be the place, right? Brigitte sneers at him. He holds a half-gone bottle of schnapps, a dress shirt and his Good Jeans on. The toilet flushes in the john. Brigitte knocks on the door. GINGER WHAT1 BRIGITTE McCardy's here. The bathroom door unlocks but. remains closed. GINGER Git in here an, gimme a hand. Brigitte casts an uncertain look at Jason. JASON C'mon ladies, there's six other guys sitting in the shrub waiting. Brigitte's face darkens. She slips into the bathroom and shuts the door. BRIGITTE (V/O) Do you think some people deserve to die? INT. GIRLS BATHROOM - NIGHT Brigitte does not tryo to hide her fear of being in a confined space with Ginger. There are razors and whiskers all over the floor. shaving cream every where. Ginger is red- faced, sweating and hostile. 93 GINGER Don't say a fuckin' word. Ginger lowers the towel she's wearing enough to show the bump on her butt is now a twitching tail. Brigitte gasps. GINGER Take this gauze and tie it flat. BRIGITTE Ginger, you can't GINGER DO IT! Brigitte takes the roll of gauze. She grabs the tail between her fingers and coils it up with utter disgust. Brigitte's hands tremble. EXT. GIRLS BEDROOM - MEANWHILE/NIGHT Jason sits on the edge of Ginger's bed and bounces up and down a bit. Between his legs we glimpse a dog tag hanging between the mattresses. TNT GIRLS BATHROOM - NIGHT Brigitte tapes the gauze in place. Ginger throws a robe on and grabs the door. GINGER Now get outta my life. Brigitte grits her teeth. BRIGITTE I gotta get ready for the party. GINGER Then wait here till I'm done. BRIGITTE What, through all fifty a' them? GINGER Oh, don't tempt me. Ginger takes a deep breath before she opens the bathroom door. Her breath is ragged. She smoothes her hair and chews her lip. She's nervous. Ginger opens the door and closes it behind her. GINGER SNAPS- WALTON/July 22, 1996 94 Brigitte hears, JASON (O/S) It's really dark in here. GINGER (01S) I'm shy. Lay down. Brigitte puts the toilet seat down and sits on it. Brigitte lights a smoke. Brigitte withdraws the monkshood from under her shirt and has a good scratch where it was itching her. OFF-SCREEN are the sounds of slurp kisses and Jason's moans. A fly unzips. Clothes fall with soft plunks to the floor. Bed springs creak. Plastic condom wrappers crinkle and then the SNAP-WHAP of one being fitted on pretty roughly. Somewhere above them the door bell starts ringing. From a vanity cupboard she pulls a Zombie face-painting kit and sets it next to the monkshood. EXT. FITZGERALD BUNGALOW -- NIGHT Cars are streaming down the street in both directions. Groups of COSTUMED TEENAGE BOYS flock down the walks, over lawns, and que up to get into the Fitzgerald party. On their front porch, Pamela and Henry meet and greet the young men, awed by their numbers. HENRY (to Pamela) Notice any girls? Pamela shrugs. INT. GIRLS' BATHROOM - MEANWHILE/NIGHT Brigitte - now in ZOMBIE-face - rubs the monkshood between her fingers, crumbling it into a neat pile on the counter. OFF-SCREEN from the bedroom, the sounds of Ginger having rough sex continue. Brigitte peels a centimeter of paper off the end of an unlit smoke and wiggles the cigarette, creating a second pile of tobacco. She reaches into the radiator vent and withdraws a package of rolling papers. EXT. FITZGERALD BUNGALOW'S REAR - MEANWHILE;/NIGHT GINGER SNAPS - WALTON/July 15. 1996 95 One BOY in a skeleton costume creeps along the shrubs toward the Fitzgerald sisters' bedroom window. He stumbles over a demon, a Frankenstein and a mummy. They curse one another. INT. GIRLS' BEDROOM - NIGHT OFF-SCREEN, from the rec room part noise grows as things get under way outside. Ginger waves good-bye to Jason as she undoes Frank's shirt buttons. The bathroom door is now inching open a crack. INT. GIRLS' BATHROOM - NIGHT On the counter at the sink, all evidence of Brigitte's project with the monkshood are gone. Brigitte peers out the cracked door and then looks away, fighting an urge to watch in spite of being grossed out. The sounds of sex drift in from the bedroom. She catches sight of herself in the mirror. As a ZOMBIE. She tugs her shirt tight over her breasts. Nothing to see. She smoothes her shirt with her hands, then moves her palms down over her waist, her hips. Over her crotch. Brigitte's fingers skip under her skirt. Brigitte's face tells us she's searching for something under there. She's trying this out. But nothing's happening. She frowns. She draws her hands out of her skirt and quickly washes her hands in the sink. She checks her watch and sighs. INT. GIRLS BEDROOM - NIGHT Brigitte creeps out of the bathroom on all fours. Above her, Ginger's feet and some guy's writhe on the bed. Brigitte reaches up to the bedroom door knob. She opens it and crawls out. INT. FITZGERALD BASEMENT PROPER - NIGHT The rec room is packed with over-grown ghouls. Pamela is trying to play it cool from her perch behind the punch bowl, as she marvels at the costumes and all these kids she's never even. met before. 96 Henry has a group of boys cornered with a college football story. Brigitte leans against the wall watching the party and looking at her watch. BRIGITTE (V/O) In English I heard about this chick who used a man's name to get her books read. She went by George but she was really Mary Ann? Goes, "It's never too late to be what you might have been." I was jus' there thinkin', is that true? Was it too late to be an unsolved Mystery? Alls I had to do was walk away... MALE VOICE (O/S) Brigitte F.! Brigitte looks up to see a cheap plastic Frankenstein mask looking down at her. Its owner flips it up: it's Sam. Brigitte's eyes snap wide open in shock. SAM They let me go. No evidence: someone called in this tip. BRIGITTE (V/O) So I decided to stay. BRIGITTE Hey, you gotta get outta here -/ Ginger emerges from the bedroom like a reigning diva, and the room stops dead. Brigitte drops her glass of punch. Ginger has come out as herself, as an almost full-blown werewolf. She wears a Lill Red Riding Hood cape jobbie and a plastic mask. She's the best looking monster you ever laid eyes on. Down her belly she has six perfect nipples showing and everything. The room bursts into a_cheerinq round of applause. GUS.' WITH 'AX IN THE HEAD' That make-up is amazing! 97 GUY WITH 'EYE MISSING' Ginger, it looks totally real! HENRY (to Pamela) Told you. She's a arts-type, for chrissakes, look at that. PAMELA She's very good, isn't she? SAM (to Brigitte) Wow, yer sister's gone to town. BRIGITTE Yeah, she's gone all right. Hey. can you do me a favor? SAM Sure. BRIGITTE Can you give somethin' to Ginger for me? Jus' - we're Navin' a fight, but I got this thing for her. SAM Yeah, what. Brigitte shows him what appears to be a joint. Sam takes it. BR IG ITTE Don't tell her I gave it to you. Jus' act like it's from you. She won't take it if it's from me. SAM Oh, okay. BR IG ITTE An, don't like, go any wheres with her. Okay? Jus' come right back, 'kay? SAM Gonna miss me Bee F.? Brigitte smiles, embarrassed and freaking at the exact same time. SAM Be right back. GINGER SNAPS- WALTON/July 15. 1996 98 Across the densely crowded room, Sam whispers in Ginger's ear. Ginger smiles and nods and palms something he passes her. Ginger glances at Brigitte, who tries to pretend she's not watching. when Brigitte checks again, Ginger is leading Sam by the hand toward her bedroom. Sam looks over his shoulder and lifts a finger - one second - back at Brigitte. The bedroom door shuts behind them. Brigitte leaps toward the bedroom. Someone catches her arm and holds her back. PAMELA one minute young lady, I could use a little help here. BR I G ITTE Let go of me, I have to get Ginger! PAMELA I have to get two more veggie trays down those stairs. I think your sister' 11 be fine for two minutes. Pamela is already marching Brigitte up the stairs. Brigitte strains to get back. Looking between her mother and her closed bedroom door, desperately. INT. FITZGERALD BASEMENT PROPER - MINUTES LATER Pamela snags Brigitte again as Brigitte dumps the veggie tray and tries to get to the bedroom. PAMELA All these boys came to see you two, least you can do is stop hiding in your room. Honestly, you act like someone'd forced this party down your throat. Now go be nice. Pamela stands between Brigitte and the bedroom door, her arms folded. BRIGITTE Mother. You don't understand. PAMELA Yes--I do. I was shy too at your age. Mingle. 99 Brigitte backs away with such a dirty look on her face. She turns to confront the eager painted faces around her - all desperate for some female attention. Brigitte has I want to scream written all over her face. INT. GIRLS BEDROOM - MEANWHILE/NIGHT Sam pushes Ginger away from him. Ginger has Brigitte's gift joint smoldering between her finger tips. Ginger is pretty out of it, she totters. SAM okay, cut it out now. GINGER This dope's fucked. Makin' me blaarrggh. C'mon. I'll do ya. SAM No thanks. Told yer sister I'd be right back. GINGER What's up your ass?! SAM Don't get mean, s'nothin' personal. I happen to think Brigitte's pretty cool. and -/ GINGER Leave my baby sister alone. Do me, don't hurt her. SAM I won't hurt her. Now be a good girl and finish up your joint. GINGER oh. Well fuck you. Ginger takes a big toke as she paces between Sam and the door. Suddenly she's coughing uncontrollably, rubbing her eyes, wailing in pain. GINGER Burning! What is this?! Sam makes a move toward her and Ginger blindly lashes out at him. Ginger hurls Sam into the bed. Sam's flight path knocks the mattress askew: dozens and dozens of dog collars pour out over him. Sam fingers one in particular. 100 SAM Morely -?! INT. BASEMENT PROPER - NIGHT Brigitte sits on the stairs to the main floor cornered by a guy dressed as a cow. BRIGITTE (V/O) Something was definitely fucked. Brigitte eyes Pamela, who is slowly being distracted by horny young men who will now dance with anybody, even Pamela. COW GUY Do you think this is a faggy costume for a guy? You can just say. I dunno I been gettin' funny looks. What, like we aren't advanced enough that a guy can show up completely in the spirit of the thing with an udder, an' not get treated like a freakin' fruit? Brigitte looks at her watch. Pamela is dragged off into the throng by a band of juveniles singing Do The Hustle. Brigitte makes her move at last. COW GUY snob. Brigitte makes a badly-faked would-be casual bee-line for their bedroom door. Brigitte wiggles the knob. It's locked. TNT GIRLS' BEDROOM - NIGHT Brigitte (still a zombie) unlocks the door and peers in. The light is on in the bathroom, the door is ajar. The shower is running. There are a few candles burning in corners. otherwise the room is dark. Brigitte steps inside, closing the door on the party behind her. She grabs a flashlight and turns it on. The walls are splattered with blood. There is gore on the floor. Brigitte plucks the monkshead joint from a pool of bloody goo - it is soaked. Useless. GINGER SNAPS- WALTON/July 22, 1996 101 On the bed, Sam lays with his shirt off and his fly open. His face is mutilated. He's missing an eye. Brigitte creeps toward him. Sam groans. Brigitte leaps back. she tries to speak, but her voice isn't working. Her face transforms from horror to fury. Then she heads to bathroom door. TNT. ATTACHED BATH - NIGHT BRIGITTE You bitch! Brigitte discovers Ginger sitting in the tub floor under the running shower, weeping. Her eyes are swollen. Ginger is now covered in coarse hair. The water around her is full of blood. There is a kitchen knife next to her. Ginger's stoned numb on the monkshood dose. She's groggy and weak. BR IG ITTE oh fuck ! Ginger is squeezing her now full tail at its base, where the blood is oozing between her f..inger.s. Ginger has tried - and tailed - to euL her tail off. BRIGITTE Oh no. Oh no. Fuck, fuck! Ginger doesn't move. Ginger looks so pathetic, it's heart- breaking. Brigitte snatches the knife away and shuts off the water. GINGER Nobody'll want me now any ways. Sc. Brigitte takes in the cut, the rest of the monstrosity her sister has become. GINGER I don't wanna do this any more. Brigitte yanks Ginger out of the tub and grabs a towel, frantic. BRIGITTE Press this on the cut! Ginger! Move, c'mon! GINGER SNAPS- WALTON/July 22, 1996 1 02 Ginger does as she's told. Brigitte digs out gauze and tape packages. They're both almost empty - they've used it all up. Brigitte throws them on the floor. GINGER I missed you Bee. I'm sorry. Brigitte searches Ginger's face. BRIGITTE Ginge'? That you in there? Ginger cracks an uncertain, pained smile. Brigitte does too, an exact replica, in fact. GINGER Ya feeb. Brigitte gently turns Ginger around to try and deal with her tail. Ginger is woozy and weak from blood loss. BRIGITTE okay. I can't clean this one up. We have to go. Like Go, go. Can you do it? GINGER I'm so woozy. Brigitte glances out into the bedroom. BRIGITTE Um. Ever bite something you din't kill? GINGER No. (misinterpreting the question - hopeful) Wanna be one with me? BRIGITTE Ah. No. Sam? Isn't dead. GINGER Oooh nooo. BRIGITTE Don't worry. Keep pressing. T'll be right back. INT GIRLS' BEDROOM - NIGH'T' 1 03 Sam is fingering his wounds, half-conscious, drooling bile and blood. Brigitte (still a zombie) looms up behind him with her baseball bat. She fishes in his pants' pocket and withdraws a set of keys. BRIGITTE Hey. Sorry. I really did think you were. Like. Not bad. So you know, whatever. Any ways. I'm really sorry - I have to. Sam moans as his good eye rolls up at her. Brigitte blinks away tears and looks away, collecting herself. Brigitte raises the bat over her head and swings it down as INT. FITZGERALD BASEMENT PROPER - MINUTES LATER The party is rocking along. Pamela knocks on their door. PAMELA Girls? You in there? You're not being very sociable... There's no answer. She tries the knob, and is surprised to find it unlocked. She opens the door. She turns on the lights. Pamela takes in the bloody muck everywhere. The room is deserted. No Sam. No sisters Fitzgerald. Just gore. Pamela swoons and drops like a deadweight to the floor. Henry rushes up, looking in over his wife's body. The boys in costume crowd in behind him. HENRY Pamela, honey, it's just a prank, you know how they... (he fingers some GORE) Holy mother of - it's warm. Where are my kids?!! GUY WITH AX IN THE HEAD Ginger went in here with Sam McDonald a while back. HENRY Sam McDonald? 104 GUY WITH EYE MISSING Yeah, you know. The guy they thought was the Beast, but they let 'im go. Henry steps into the room. He spots a bloody trail up to the open ground-level window. EXT FITZGERALD HOME - NIGHT Tires squeal in the street and the county regreening truck lurches out of its parking spot. INT. TRUCK - NIGHT Brigitte (still a zombie) throws the truck into gear with an amateur's hand. Her Adidas bag and her jar of two dollar bills is on the seat next to her. Ginger is just seen through the grate between the cab and the dark back of the truck. BRIGITTE (V/O) Plans, plans arc good. 'Course I hardly had one. Adrenaline though, adrenaline is pretty speedy shit. BRIGITTE Ginger?! Don't eat the body okay? I got this idea, an' we'll need Sam. Brigitte floors it and the truck blasts down their cul du sac to the main road. EXT. STREETS/TRAVELING - NIGHT The truck speeds down the street a tad erratical ly. Sirens rise around it. INT. THE TRUCK - NIGHT Brigitte slows, looking left, right and in the side mirrors trying to see where the sirens are coming from. BRIGITTE Fuck, fuck fuck, FUCK. 105 Then suddenly, four cop cars blast past them in the opposite direction. Heading back to the Fitzgerald house. BRIGITTE Ha! All rightie then. Brigitte drives on. What she cannot see behind her in the grate are the glimpses of Ginger in the flickering lights of the passing street lamps. Her final spurt of transformation is taking place: FLASH! Her face is filling in with fur. FLASH! Her eyes glow golden, yellow, wolfen. FLASH! Her face pulls into a wet snout. FLASH! A long pink tongue lolls out between glistening white fangs. EXT. THE HILLCREST - NIGHT The truck rolls to the crest of the hill over Bailey Downs - the sight of the bush party. The moon is immense up here. You could almost touch it. INT. THE TRUCK - NIGHT Brigitte eases the truck to the edge of the hill. The lights of the homes below them creep into view. BRIGITTE okay, Ginger? They'll think that Sam took us from our room, right? 'Cause of his record an, the arrest, right? We're gonna make this look like he did, any ways. He got us, maybe killed us, took our bodies to do some unspeakable thingy. But then? Sam killed himself. You follow? Ginger doesn't answer. 106 BRIGITTE So boom, diversion. Meanwhile you an, me hit the highway. we can hitch, get you cleaned up. By the time the find out we weren't in Sam's clutches at all, we could be any wheres. Yeah? Whatcha think? Ginger doesn't answer. BRIGITTE It'll work. (I hope.) Brigitte puts the brake on but does not cut the engine. EXT. THE TRUCK/HILLCREST - NIGHT Brigitte climbs out of the cab. She moves to the back doors of the truck, and opens them. In the inky darkness inside, she hears heavy panting. BRIGITTE Ginger? C'mon, we got move. Shove Sam down here. Brigitte climbs up into the truck, reaching for something on its floor. Brigitte f itids Sam's prone feet. An animal/Ginger launches out at her, knocking her back, out, clear of the truck. Ginger isn't Ginger any more - what we can glimpse in the darkness is an attack by a creature much like the one that bit Ginger. And it's attacking Brigitte. Brigitte flails, kicks and punches at it. She breaks free and clambers at the tool rack on the inside panel of the truck. She grabs a shovel as the creature comes snarling up at her. BRIGITTE Stop. I mean it. It lunges at her again and Brigitte clocks it. It slides, dazed, off the back of the truck to the ground. JUMP TO: Brigitte drags Sam's body into the front seat. She sets her Adidas bag on the gas pedal. She releases the brake. The truck rolls forward. off the top of the hill. Brigitte watches as it crashes down, down, rolling and twisting into the suburb below. It lands in a heap and bursts into flames. 107 BRIGITTE Nice one. Brigitte returns to where It/Ginger was last seen on the ground. The shovel and blanket are there. A bloody pool trails off into the woods. Brigitte hefts the shovel warily, shoulders the blanket, and follows the wetness shining in the moonlight. INT. TREES/HILLCREST - NIGHT BRIGITTE Fuck Ginger. Leave a fuckin' trail much? Could leave everybody a fuckin' map... Tense seconds pass as she searches through the scrub and trees, shovel ready. we can hear panting and growling. BRIGITTE I won't hurt you if you don't hurt me. 'Kay? Ginge'? 'Kay? Brigitte spots something ahead and lowers the shovel as she approaches it. It/Ginger cowers in the brush, collapsed. Her head and tail are bleeding. Brigitte drops to her knees nest to her sister, frantic with grief. BRIGITTE Oh no. Ginger. I didn't mean TO It/Ginger is gasping, fading. Her eyes start rolling back in her head. Brigitte's hand is shaking as it reaches out but can't touch her. Ginger licks Brigitte's fingers, slowly. Brigitte buries her face in Ginger's ruff, moaning. BRIGITTE You can't, you can't, we're out. You can't, don't don't do this to me. Not now. Look, look it's all taken care of. we're Unsolved Mysteries! EXT. A HIGHWAY - PRE-DAWN The sunrise has the sky this bloody red. 108 Brigitte drags Ginger a few feet past a sign next to the road: THANK YOU FOR VISITING BAILEY DOWNS! BRIGITTE (V/O) We made it out. There was this road? An' the space between here and where ever. I did it. Brigitte opens the blanket. Ginger has returned to human form. Because Ginger is dead. EXT. A HIGHWAY - EARLY MORNING In a small grove of trees, Brigitte pushes the last pile of dirt over Ginger's shallow grave. Brigitte wipes her caked hands off in the dewy grass. Beneath the dirt and dried blood, she finds puncture wounds. BITES. Brigitte looks TO CAMERA. She rolls her eyes wearily. Brigitte stands and heads to the side of the road. A semi appears on the horizon, coming her way. Brigitte lifts her thumb. The semi's turn indicator comes on as it slows and veers to arrive before her. ROLL TAIL CREDITS as: Excerpts from an episode of the television program UNSOLVED MYSTERIES roll. It tells the story of the mysterious disappearance of two teenage girls - sisters - who disappeared under strange circumstances in the normally quiet suburb of Bailey Downs. Brigitte and Ginger LOOK-A-LIKES re-enact the summarized events of their flight from justice. The cops figured out their faked deaths, of course.. Henry and Pamela have reportedly denied comment. It is seen from the community's perspective as two delusional young women gone totally wrong, a grotesque tragedy of youth wasted by mental illness. No one can explain though the non-human blood trails leaving the scene of their last crime... At the segment's close and the credits roll. out, we see the traditional high school photos of Brigitte and Ginger. 1 09 VOICE OF UNSOLVED MYSTERIES Brigitte and Ginger Fitzgerald are considered armed and dangerous. If you see these two young women, or have any information on their whereabouts, please contact Crimestoppers, or your local detachment of the RCMP. The eerie show theme song washes over us as we FADE TO BLACK. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Girl with the Dragon Tattoo, The.txt b/unformated_scripts/Script_Girl with the Dragon Tattoo, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..2e9001e8b2483360fc798d812a0c3d240dbe7533 --- /dev/null +++ b/unformated_scripts/Script_Girl with the Dragon Tattoo, The.txt @@ -0,0 +1 @@ + THE GIRL WITH THE DRAGON TATTOO Written by Steven Zaillian1 EXT. SWEDEN - DAY 1 A Christmas card vista is spoiled by a black line of railroad tracks stitched onto the snowy landscape like a scar pointing north to icy desolation. A phone rings -2 EXT. CABIN - ESTABLISHING A22 INT. CABIN - LAKE SILJAN - DAY 2 An elderly man who lives alone in this rustic cabin - a retired policeman - regards the phone, both expecting and dreading the call. He picks up the receiver. MORELL What kind is it? VANGER O/S I don't know. White. MORELL And the frame? VANGER O/S Dark. MORELL Postmark? VANGER O/S Same as last time. MORELL No note. VANGER O/S No.3 INT. VANGER'S STUDY - SAME TIME 3 Henrik Vanger - at 82, even older than Morell - listens to the silence from his end of the line in a wood-paneled room as baronial as the policeman's was spartan. VANGER I can't take it anymore. MORELL O/S I know. I'm sorry, Henrik. There's nothing more to say. Vanger sets the receiver down and regards a dried white flower in a 6" x 11" frame resting on the brown paper it was wrapped and mailed in. It's somehow ominous, like the dark storm clouds that now burst outside - 2. 2. 4 INT. COURTHOUSE - STOCKHOLM - DAY 4 Mikael Blomkvist - 40's - regards the gauntlet of reporters he'll have to pass to get out of the building. As he strides toward them, microphones and cameras swing in his direction. Without stopping - BLOMKVIST What is this, the media event of the year? REPORTER 1 Don't try to play it down, Mikael, it won't work. BLOMKVIST Don't try to play it up, that won't either.4A EXT. COURTHOUSE - STOCKHOLM - DAY - CONTINUOUS 4A Feeling a bit like he's fleeing the scene of a crime, which in a way he is, Blomkvist steps outside opening his umbrella. A couple of the reporters come out after him - REPORTER 2 Will you appeal? BLOMKVIST I'll appeal to you, Viggo: Find a real story to cover. He hurries off in the rain. NEWSCASTER V/O Financial journalist Mikael Blomkvist was found guilty today on 16 counts of aggravated libel against financier Hans-Erik Wennerstrom.5 INT. CAFE - STOCKHOLM - DAY 5 At a table with a pre-made sandwich and cup of coffee, and a long court judgement, Blomkvist watches himself fleeing the reporters on the cafe's TV. He's the only one there who watches it - no one else is interested - which only makes it worse. 3. 3. TV NEWSCASTER In an article published earlier this year, Blomkvist claimed Wennerstrom - founder and president of The Wennerstrom Group - used State funds intended for industrial development in Poland for an arms deal with the right-wing Ustashe in Croatia. The report cuts to a shot of Wennerstrom outside the courthouse in an Armani suit, surrounded by his legal team, confidently addressing the reporters - WENNERSTROM ON TV I have nothing against Mr. Blomkvist. He's a good journalist who I don't believe is guided by malice. But what he wrote was inaccurate, and inaccuracies can't go unanswered. He - all journalists - have to accept like the rest of us, actions have consequences. Done with his sandwich, Blomkvist goes to the counter. BLOMKVIST Marlboro Red ... and a lighter.6 EXT. CAFE - MOMENTS LATER - DAY 6 He comes out tamping the pack. Extracts a cigarette. Tosses the pack in a sidewalk trash bin. Flicks at the lighter but can't get it to fire in the wind and rain. Hunches his body around it, coaxes it to life. TV NEWSCASTER V/O Blomkvist was ordered to pay 600 thousand SKE in damages and all court costs, which could be significantly more. He takes a long drag that dizzies him. A wonderful feeling. He regards the trash bin. Fishes around it, finds the pack, puts it in his coat pocket.7 EXT. MILLENNIUM OFFICES, STOCKHOLM - DAY - ESTABLISHING 78 INT. MILLENNIUM'S OFFICES - DAY 8 He comes through past Christmas decorations and a mostly- young staff. They try not to regard him as a dead-man- walking, but aren't entirely successful. He enters the editor's office. 4. 4. ERIKA Where you been?Erika Berger is about Blomkvist's age, and - like theIKEA furniture - sends a mixed message: a feminist in amini-skirt. BLOMKVIST Walking. Thinking. ERIKA Smoking? BLOMKVIST Just one.He sits, exhausted and depressed, in a cheap Poang chair. ERIKA TV4 called. I told them no statement until we've read the judgment in its entirety. BLOMKVIST I have. Who else? ERIKA Everyone who's ever wanted to see you humiliated. BLOMKVIST You've been on the phone all day then. ERIKA I'm as much to blame for this as you. BLOMKVIST You are? You wrote it? ERIKA I read it. I ran it. BLOMKVIST Not the same. ERIKA Our credibility isn't dead, Mikael. BLOMKVIST Mine is.They regard each other in another silence. Then - 5. 5. BLOMKVIST I'm tired. I feel like climbing under a duvet and sleeping for a week. ERIKA Alone? He thinks about it ... shakes his head `no.' ERIKA I already called Greger and told him I wouldn't be home tonight.9 EXT. STOCKHOLM - SAME TIME - DAY 9 A motorcycle dives down a driveway that burrows under a three-story building.10 INT. ARMANSKY'S OFFICE - MILTON SECURITY - DAY 10 Dragan Armansky, 40's, who looks more like a boss of a New Jersey crime family than CEO of a high-tech security firm, sits behind his desk, waiting with an older client. ARMANSKY It's possible we could wait forever. FRODE You called her, I thought. You spoke to her. ARMANSKY I'm afraid that doesn't mean much. FRODE I don't understand. ARMANSKY No one here likes her. So it's better if she works at home. FRODE But you told her I wanted to meet her. ARMANSKY But I've told her many more times I prefer her not to meet clients.11 INT. MILTON SECURITY - SAME TIME - DAY 11 The figure from the motorcycle crosses the lobby. From behind we can't see him/her well, but can see wary looks from others emerging from and getting into the elevator. 6. 6. FRODE V/O But you like her. ARMANSKY V/O Very much. She's one of the best investigators I have. As you saw from her report -12 INT. ARMANSKY'S OFFICE - SAME TIME - CONTINUED 12 The report on Armansky's desk is 200 pages long. INSERT: Printed on its cover: Mikael Blomkvist, a case number and, smaller, its author, Lisbeth Salander. FRODE But. ARMANSKY I'm concerned you won't like her. She's different. FRODE In what way. ARMANSKY In every way.13 INT. MILTON SECURITY - STOCKHOLM - SAME TIME - DAY 13 The black-clad figure - from behind again - strides past coworkers who look away.14 INT. ARMANSKY'S OFFICE - SAME TIME - CONTINUED 14 SECRETARY/INTERCOM Ms. Salander's here. Armansky breathes a defeated sigh, taps the intercom button twice to say `okay, let her in.' Lisbeth Salander walks in: A small, pale, anorexic- looking waif in her early 20's. Short black-dyed hair - pierced eyelid - tattoo of a wasp on her neck; probably several more under her black leather jacket - black t- shirt, black jeans, black Caterpillar boots. Frode is only middlingly successful in concealing his initial reaction to her. This isn't punk fashion. This is someone saying, Stay the fuck away from me. ARMANSKY Lisbeth, Mr. Dirch Frode. FRODE How do you do? 7. 7. She doesn't shake Frode's hand, but does address him: SALANDER Something wrong with the report? FRODE No. It seems quite thorough. There's a wealth of data here. But I'm also interested to know what's not in it. SALANDER There's nothing not in it. FRODE Your opinion of him isn't. SALANDER I'm not paid to give my opinion. FRODE So you don't have one?Salander sends Armansky a weary look. His look backbegs her not to say anything unpleasant. Eventually - SALANDER He's clean. In my opinion. FRODE He's - excuse me? SALANDER He's honest. He's who he presents himself to be. In his business, that's an asset. FRODE There's less in his asset column after his conviction today. SALANDER That's true. He made a fool of himself with that. If it happened that way.Frode looks at Armansky. What's that supposed to mean? SALANDER If he made up the story, that's out of character. So is giving up without a fight. People don't do things that are out of character. FRODE Are you saying he was set up? 8. 8. SALANDER That wasn't part of my assignment.And, apparently, she has no opinion on it either. FRODE You're quite right he made a fool of himself professionally. How big of a fool did he make of himself financially? SALANDER The judgement will just about empty his savings.This seems to please Frode more than anything else thathas been said, and Salander sees it. SALANDER May I go? FRODE Your report is light in another area. His personal life. Anything you chose not to include? SALANDER Nothing that warranted inclusion. FRODE I'm not sure if that means yes or no. ARMANSKY I think what Ms. Salander means, and I agree, is that everyone has a right to a certain amount of privacy, even when they're being investigated. FRODE Not in this case. I have to know if there's anything about him I might find unsavory - even if she doesn't.Armansky's look to her at once apologizes for Frode, andencourages her to speak. She finally relents but puts nomore spin on it than any other piece of raw data - SALANDER He's had a long sexual relationship with his co-editor. It wrecked his marriage, but not hers. Her husband accepts it. Sometimes she sleeps at Blomkvist's, sometimes at home.Frode thinks about that, perhaps imagining how muchsimpler his own life would be with such an arrangement. 9. 9. FRODE You were right not to include that. SALANDER I know. FRODE Anything else? SALANDER No. FRODE Please think before you say no. SALANDER I did. FRODE I don't want to be surprised by something later. Salander offers nothing more. FRODE So. Nothing else. In the personal department. You're sure. SALANDER (pause) He likes sandwiches.A15 EXT. BLOMKVIST'S APARTMENT - ESTABLISHING A1515 INT. BLOMKVIST'S APARTMENT - NIGHT 15 Blomkvist isn't sentimental, but does have a few framed snapshots: his daughter, his sister, and one with Erika - in their 20's - in which he's wearing a black leather jacket. She wakes up alone in his bed. Pads to the darkened living room to find him typing on his laptop, a half- eaten sandwich and glass of water next to it. ERIKA Usually when I wake up in a cold bed, it's at home. BLOMKVIST Sorry. ERIKA What are you doing? 10. 10. BLOMKVIST Writing the press release. ERIKA Saying - BLOMKVIST You're taking over as publisher. You're sorry for any nuisance Wennerstrom was caused. I can't be reached for comment. ERIKA You're giving up. BLOMKVIST Just taking a few steps aside. For you. ERIKA This makes me sick.16 OMIT: INT. BOOKSTORE - STOCKHOLM - DAY 1617 INT. MCDONALD'S - STOCKHOLM - DAY 17 Salander sits alone at a table waiting for someone with a coffee and a gift haphazardly wrapped with a Christmas bow, the price tag still on it, a paperback book - My 60 Memorable Games, by Bobby Fischer. She notices the price tag is still on it. Peels it off. Dials a call on her cell. Hangs up when it goes to voice mail.A18 EXT. PALMGREN'S APARTMENT - ESTABLISHING A1818 INT. PALMGREN'S APARTMENT - STOCKHOLM - DAY 18 She knocks on a door. Hears classical music playing softly inside, but no one answers. She tries the door. It's unlocked. The gift in hand, she pushes it open. She comes into an apartment which looks like it could belong to a professor. Sees a chess piece on the floor. Then a trail of them that lead her to an overturned chess table and, next to it, a body. The gash on the old man's head could have been caused by a fall into the corner of the table, or from a blow to it. She quickly tries to determine if he's breathing. Calls for an ambulance.19 INT. BLOMKVIST'S APARTMENT - STOCKHOLM - EVENING 19 It's doubtful there's a stranger Christmas gathering going on anywhere in the world. Standing around with eggnog are: 11. 11. Blomkvist; his teenage daughter Pernilla; his sisterAnnika and her Italian husband; Erika and her weirdlyunderstanding artist husband Greger, whose arm is aroundher waist; a few other friends (and perhaps lovers). GREGER You needed a better attorney. You needed your sister. BLOMKVIST She offered. ANNIKA He declined. BLOMKVIST As she hoped. ANNIKA Never a good idea mixing family and business. BLOMKVIST And I still would have lost. GREGOR Did you have ... anything on him. BLOMKVIST I had a lot. It just wasn't any good. ERIKA It wasn't even about Mikael. It was Wennerstrom sending a message to the press as a whole - and the FSA: Don't ask questions.Blomkvist's daughter seems concerned for him. BLOMKVIST I'm fine, Nilla. You don't have to worry about me. PERNILLA Mom's worried. BLOMKVIST About me? PERNILLA About all that money. 12. 12. 20 INT. SODER HOSPITAL - STOCKHOLM - NIGHT 20 Outside the ICU, Salander sits on the floor like a dog who won't leave the spot its master told it to wait. For the first time since we've met her, she looks vulnerable. The doors swing open. A doctor steps out. Salander gets up to hear his report - DOCTOR You're Mr. Palmgren's daughter? SALANDER His ward. He doesn't have a daughter. The doctor isn't sure then if he should talk to her. SALANDER Please.21 INT. ICU - SODER HOSPITAL - LATER - NIGHT 21 Not allowed to go inside, she peers through glass at Palmgren, who is unaware of her, or the nurse attending him, or even himself. A spiderweb of tubes emerge from his neck and wrists; oxygen tubes from his nostrils. DOCTOR V/O He's had severe cerebral hemorrhaging. Either from the fall itself, or a stroke that led to the fall. His blood pressure is still high. I'm hopeful he'll regain consciousness, but that's not assured. And it's possible, if he does, there will be neurological damage.22 OMIT: INT. METRO - MOVING - STOCKHOLM - NIGHT 2223 INT. BLOMKVIST'S APARTMENT - STOCKHOLM - NIGHT 23 They're around the dinner table now, passing platters around. Blomkvist notices his daughter's head is bowed in silent prayer. BLOMKVIST Nilla? What are you doing? PERNILLA Nothing. BLOMKVIST (pause) You're not serious. 13. 13. Dragon Tattoo Final 9/1/11 SZ PERNILLA I don't want to talk about it since I know you won't approve. BLOMKVIST Of - (she doesn't say) Nilla. PERNILLA Light of Life. BLOMKVIST Light of - what? (she doesn't repeat it) What is that? PERNILLA You think it's all senseless but it isn't. It's more natural to believe in something than not to.She begins eating. Blomkvist stares at her, feeling alittle sick. A cell phone rings. No one can tell - asyou never can - whose it is, and so all pull them out.It's Blomkvist's. BLOMKVIST Excuse me.Looking back at his daughter with some concern, he stepsaway to take the call. BLOMKVIST Hello. FRODE O/S Mr. Blomkvist? BLOMKVIST Yes. FRODE O/S Forgive me for intruding on your Christmas. My name is Dirch Frode. I'm an attorney. I represent Henrik Vanger. Perhaps you've heard of (him) - BLOMKVIST Of course. FRODE O/S He'd like to speak to you about a private matter. 14. 14. BLOMKVIST You know, you're calling at an awkward time. FRODE O/S I'm sorry. I'm about to sit down to Christmas dinner myself. BLOMKVIST That's not what I mean. FRODE O/S You're referring to your recent legal trouble. That has provided Mr. Vanger with some entertainment. BLOMKVIST Excuse me? FRODE O/S He doesn't care for Wennerstrom either. Frode, in his polite, deliberate way, is reeling Blomkvist in like a perch. BLOMKVIST Have him call me. FRODE O/S He'd like to meet in person if that's okay. Up north. Hedestad. BLOMKVIST No. Sorry. FRODE O/S He's much too old to make a trip to Stockholm, Mr. Blomkvist. Please. If you'd be so kind as to consider. Blomkvist isn't sure what to do, or say. FRODE O/S Hedestad is lovely in winter. Like a Christmas card.23A INT. METRO - MOVING - STOCKHOLM - MORNING 23A Salander rides a crowded underground train, but feels even more cut off from the people around her than usual; completely alone. 15. 15. 24 EXT. NORRLAND COAST - DAY 24 A passenger train, barely visible in a severe snowstorm, makes its way north. This is no Christmas card.24A INT. SJ TRAIN - MOVING - DAY 24A Blomkvist stares out at the bleak, northern landscape.25 EXT. TRAIN STATION - HEDESTAD - DAY 25 Blomkivist disembarks to find Frode - who he can only assume is Frode - beyond a veil of snow, waving to him from outside a Mercedes. Unlike Blomkvist, he's dressed for this God-awful weather in a fur-collared topcoat.26 INT/EXT. MERCEDES / HEDESTAD - DAY 26 Frode's Mercedes comes across a long bridge linking the old industrial town to a rocky island. FRODE First time in Hedestad? BLOMKVIST And last, I'm sure. FRODE It's lovely in the spring. BLOMKVIST You said it was lovely in winter. FRODE This is unseasonable. BLOMKVIST I'll be on the 4:30 train back to Stockholm. FRODE Unless we get snowed in ... I'm joking. You'll be home tonight, if that's what you wish.27 INT/EXT. MERCEDES - HEDEBY ISLAND - DAY 27 The car comes up a long, bare-tree-lined drive, leading to a stately manor. As Frode and Blomkvist climb out, a distant gunshot echoes, but neither Frode nor the old man who appears at the front door of the manor pays it any attention; just someone hunting. VANGER Welcome. Come inside. It's warm. 16. 16. 28 INT. VANGER MANOR - DAY 28 It is warm inside. There are fires in the fireplaces. And Vanger himself is warm in nature, yet speaks quickly as they come through the house - VANGER Thank you for coming way out here. Anna, take Mr. Blomkvist's insufficient coat. Would you like to freshen up? We'll be having dinner later. For now, hot tea is waiting. Unless you'd like a drink instead. What would you like? FRODE Mr. Blomkvist would like to be on the 4:30 train back to Stockholm. VANGER What? BLOMKVIST I can't stay for dinner. Vanger looks thoroughly disappointed. Or hurt. VANGER Oh. I guess I'd better be quick then. Thank you, Dirch. Mikael, this way.29 INT. VANGER'S STUDY - DAY 29 Tea service and pastries on a coffee table separate Blomkvist from Vanger, whose elderly frame is in danger of being swallowed up by a wing-back chair. VANGER What do you know about me? BLOMKVIST That you used to run one of the biggest industrial firms in the country. VANGER Used to. That's correct. There are framed black and white photographs on a wall - factories and trains figuring into all of them. 17. 17. VANGER My grandfather forged the tracks the 4:30 train will take you home on - and most of the other pre-state-owned rail lines. We stitched this country together. We made the steel and milled the lumber that built modern Sweden. (pause) You know what our most profitable product now is? (Blomkvist doesn't) Fertilizer. Blomkvist imagines he's meant to offer a wistful shrug. VANGER I'm not obsessed with the declining health of the company, but I am with the settling of accounts - and the clock is ticking. I need your help. BLOMKVIST Doing. VANGER Officially, assisting me with my memoirs. But what you'd really be doing is solving a mystery. And you'd do that by doing what you do so well - this recent legal mishap of yours notwithstanding. You'd be investigating thieves, misers, bullies, and malcontents - the most detestable collection of people you'll ever meet ... my family.A30 EXT. SALANDER'S APARTMENT - ESTABLISHING A3030 INT. SALANDER'S APARTMENT - DAY 30 She exhumes an unwashed bowl from a sinkful of dirty dishes, fills it with tap water without rinsing it, dumps a packet of ramen noodles in, puts it in a microwave. She takes a Coke can from an anemically-stocked fridge to a desk in her so-called living room, a clutter of full ashtrays, fast food wrappers, empty soda cans, paperwork, unwashed laundry. The only things of any value here are her MacBook and several external hard drives. NOTE: Changes below are INSERTS only: 18. 18. She types Dirch Frode in the search window. Clicks on the top result which takes her to Frode's bio on Vanger Industries' site with its distinctive V.I. logo. His official company photo accompanies his profile: Uppsala University Law School ... Assistant Counsel, Vanger Industries, 1965-1972 ... Head Counsel, 1972- present. She types in another search - Hans-Erik Wennerstrom. Clicks on his Wikipedia page, which shows a photo of him alongside his bio. She skims it - President of the investment firm, Wennerstrom-gruppen ... personal wealth of 12 billion dollars (80 billion kronor) ... 82-foot yacht, villa on the island of Varmdo ... She does a third search, types: Wennerstrom+Vanger Industries - and hits the `cached' option - There are only a couple of results that include both terms. She goes to one of them, a body of text of some old page with the cached terms highlighted in yellow and blue, and reads - ... Hans-Erik Wennerstrom, CPA, Vanger Industries Accounting Dept., 1971-1972 ... Hmmm.31 EXT. HEDEBY ISLAND - DAY - 1960 31 The children of the "thieves, misers, bullies and incompetents" play on a beach. A shutter blinks freezing a 12-year-old girl in foreground in black and white - VANGER V/O This is Harriet. The granddaughter of my brother Richard.32 INT. VANGER'S STUDY - DAY 32 The same photograph of Harriet in a photo album Vanger shows Blomkvist. VANGER Richard, who I may as well start with to get it out of the way, was a Nazi of the first order - joining the Nationalist Socialist Freedom League when he was 17. 19. 19. A page in the album turns to reveal a photo of a youngman in a uniform with a Nazi pin. VANGER Isn't it interesting how fascists always steal the word freedom. (Blomkvist checks his watch) The 4:30. Yes. Okay. Anyway, Richard died a martyr to the Nazi cause in 1940 - missed all the real excitement - but not the opportunity to regularly beat his wife Margareta and their son, Gottfried.We see photos of Gottfried, a handsome young man. VANGER Now, Gottfried - Harriet's father - was what people used to call a Good- Time-Charlie. BLOMKVIST They're still called that. VANGER Are they? Okay.INSERT: Close on a photo of Gottfried. VANGER He was a charmer, a ladies man, a drunk. In other words, a born salesman - which is what he did for the company - traveling around, taking clients out to dinner and so on. BLOMKVIST Someone has to do it. VANGER That's right. Anyway, he died in 1965. Drowned. Drunk. Here on the island.A studio photo: Gottfried with his wife and two children. VANGER His wife Isabella - who was pretty much useless before as a parent - became even more so after his death - which is when I began looking after their children - Martin - who runs Vanger Industries now that I'm retired - and Harriet. 20. 20. A photo of a much younger Vanger and 15-year-old Harriet. VANGER She was bright and curious, a winning combination in any person. BLOMKVIST And beautiful. Vanger nods as he regards the photo ... BLOMKVIST Something happened to her? Vanger nods again; is silent for several moments ... VANGER Someone in the family murdered Harriet and for the last forty years has been trying to drive me insane.33 OMIT: INT. SALANDER'S APARTMENT - STOCKHOLM - DAY 3334 EXT. TRAIN STATION - HEDESTAD - DUSK 34 The 4:30 train leaves the station without Blomkvist.35 INT. VANGER'S STUDY - DUSK 35 Anna gathers the cups and leaves with the tea tray. VANGER It was September 21st, 1966. A Saturday. Harriet was 16.36 EXT. VANGER ESTATE - DAY - 1966 36 Three generations of Vangers dot the grounds. VANGER V/O My brothers - along with their wives, children and grandchildren - had gathered here for our loathsome annual board meeting and dinner. It was also the day the Yacht Club held its Autumn parade.37 EXT. HEDESTAD - DAY - 1966 37 And we see the parade, and, among the spectators lining the town's main street, Harriet with other teenage girls. 21. 21. VANGER V/O Harriet and a couple of school friends had gone into town to watch it. She returned a little after two o'clock.38 INT. VANGER'S PARLOR - DAY - 1966 38 A clock in the room reads, 2:10. Vanger and a few family members sip afternoon cocktails. Harriet appears. VANGER V/O She came to the parlor. She asked if she could talk to me. I honestly don't remember what I was doing that I thought was more important, but I told her to give me a few minutes. She leaves. He returns to the others in the room. VANGER V/O But in a few minutes, before I could go upstairs to talk to her, something else occurred.39 EXT. HEDEBY ISLAND - DAY - 1966 39 A car and a fuel truck, both going too fast, collide on the bridge. The truck rolls onto its side crushing the car and spewing gasoline. VANGER V/O The accident had nothing to do with Harriet - and everything.40 INT. VANGER'S FAMILY ROOM - DAY - 1966 40 Vanger and the others react to the noise of the crash. Out the large window they can see the bridge and many of those on the grounds trotting down to get a closer look. VANGER V/O It was chaos as everyone dropped what they were doing.41 EXT. THE BRIDGE - DAY - 1966 41 People and vehicles converge on both sides of the bridge. VANGER V/O Police, an ambulance, fire brigade, reporter, photographer and onlookers quickly arrived from town, as those of us on the island - the family - hurried to the bridge from our side. 22. 22. The truck driver has managed to climb out of his cab, but the other motorist is trapped. VANGER V/O The driver of the car - a Mr. Aronsson - was pinned and severely injured. All we could do was try to pry him out with our hands - since metal tools could spark. A local newspaper photographer and another man, snap pictures as Vanger and others try without success to pry the injured driver from his car. As the chaos ensues - VANGER V/O About twenty minutes after the crash, Harriet was in the kitchen. Anna herself saw her.42 INT. KITCHEN - VANGER MANOR - DAY - 1966 42 Anna glances to Harriet as she comes in, then back out the window to the bridge. Harriet passes a clock that reads 2:35, steps outside, walks toward the woods ...43 EXT. THE BRIDGE - DUSK - 1966 43 As the sun sets, Vanger and the others on the bridge make progress extracting the driver from the car. A young man coming from the town side takes off his jacket to help. VANGER V/O We finally got poor Aronsson out of his car and off to the hospital, and those of us on our side drifted back to the house.44 INT. VANGER MANOR - NIGHT - 1966 44 The family has assembled at a long dining table. VANGER V/O The sun was down, the excitement over, we sat down to dinner. That's when I noticed Harriet wasn't there. Vanger considers an empty chair as everyone else, including the young man from the bridge, his jacket draped on his chair, passes platters of food around. VANGER V/O And she wasn't there the next morning. Or the next. Or the next forty years.44A OMIT: INT. VANGER MANOR - NIGHT 44A 23. 23. 45 INT. VANGER'S MANOR - DUSK - PRESENT DAY 45 Vanger has the same look of concern on his face now as he leads Blomkvist up some stairs. VANGER What was she going to tell me? Why didn't I make time for her? Why didn't I listen? BLOMKVIST She couldn't have run away? VANGER Not without being seen.45A EXT. THE BRIDGE - NIGHT - 1966 45A The crews continue their work under lights. VANGER Firemen stayed on the bridge all night pumping out the gasoline. And no one swam across, or took a row boat. All of them were still tied up on this side Sunday. Believe me, we checked.45B INT. VANGER MANOR - DUSK - PRESENT DAY 45B BLOMKVIST She couldn't have fallen and drowned? VANGER The currents aren't strong here. Anything that falls into the water turns up nearby. Like her father. His body didn't drift more than ten meters when he drowned the year before. Vanger's pauses at a landing to steady himself and his labored breathing. VANGER No. Someone killed her, Mr. Blomkvist. Someone on the island that day. Someone close enough to know what she used to give me each year on my birthday. He unlocks the door of the attic and pushes it open to reveal a cluster of nine dusty framed dried flowers on a wall. 24. 24. VANGER These were from her. And, on another wall, forty similarly-framed flowers - VANGER These, from her killer. Blomkvist regards the forty ... BLOMKVIST Who knows about these? VANGER Me, the police, the murderer ... and now you.46 EXT. STOCKHOLM - DUSK 46 It's raining as an elegantly-dressed woman slows before a luxurious apartment building. Salander approaches from the other direction. Passing, she notes the four number tones the woman keys in the code lock. The door buzzes open and the woman disappears inside. Salander doubles back and keys the same four number tones in the Milton Security lock.47 INT. APARTMENT BUILDING - STOCKHOLM - CONTINUOUS 47 Opulent foyer. Security camera. Antique elevator cage whose cables pull the woman upstairs. Salander comes to an unlocked service door and takes stairs to a basement machine room. Examines tangles of phone lines, meters, Wi-Fi routers. Photographs them with a digital camera. She climbs the stairs back up to the foyer. The front door buzzes, and a man in a suit on the sidewalk pushes it open, sees her, holds it wide enough for her to pass. The man is a driver/bodyguard. He continues to hold the door for his employer who now emerges from the back of an idling car and crosses to it in the rain ... Wennerstrom.48 EXT. VANGER'S MANOR - NIGHT 48 The rain here is icier and more punishing. VANGER V/O When the police investigation petered out, I kept at it - 25. 25. 49 INT. VANGER MANOR - NIGHT 49 They're eating dinner now in the dining room. VANGER - studying their reports and interviews, all the information there was, and it's a lot. I've spent half my life examining the events of a single day. And for all that, he's no closer to the truth. BLOMKVIST I understand your frustration. But what you're asking me to do is a waste of money. VANGER We haven't discussed your fee. BLOMKVIST We don't need to. I can't find something you haven't been able to in forty years. VANGER You don't know that. You have a very keen investigative mind. Blomkvist wonders why he ever agreed to come here as Vanger refills his wine glass. VANGER Here's what I propose: You come stay on the island. I have a nice little cottage by the water you can use. You study the material I give you. You find something I've missed - or you don't. BLOMKVIST You want me to set aside my life and career for something that's a complete waste of time. VANGER Think of it as a well deserved vacation. A way of avoiding all the people you want to avoid right now. (nothing from Blomkvist) As for compensation, I'll pay you twice your salary for as many months as it takes. I'll quadruple it if you solve the mystery. 26. 26. BLOMKVIST Mr. (Vanger) - VANGER I'm not done. I'll throw in one more thing - even though you're a terrible negotiator. It's what you want more than anything else and it can't be bought at any price. I'll give it to you ... Hans-Erik Wennerstrom. He pushes toward Blomkvist a plate: the carcass of the fresh-killed and cooked duck they've been eating. It and the mention of Wennerstrom's name clouds, at least for a moment, Blomkvist's memory of the train he missed. VANGER He began his career working for me. And I've followed it with interest, shall we say, ever since. You were right about him. You just couldn't prove it.A50 EXT. PLAGUE'S APARTMENT - ESTABLISHING A5050 INT. PLAGUE'S APARTMENT - STOCKHOLM - NIGHT 50 Salander climbs a flight of stairs in a building that couldn't be more different than Wennerstrom's. Knocks on a door, waits, listens to some dead-bolts unlocking. It opens, but remains impassable by a figure weighing over 300 pounds. He offers her no greeting. Fades back into the shadows of his dark apartment. PLAGUE Would you like to sit? I could possibly clear a place if necessary. It's hard to imagine how he or anyone might accomplish that. The place is like a junkyard. Even the unmade bed is covered with stuff. SALANDER Did you make it? PLAGUE Have you something for me? She takes some cash from a pocket, hands it to him. He counts it and is unimpressed with its total. PLAGUE I'm on welfare; I don't administer it. This isn't enough. 27. 27. SALANDER I had to pay three months back rent and eat a little bit. It's all I have right now. PLAGUE I find that so poignant. So much so that he does nothing more than look at her. She reaches to take the money back, but he pockets it and moves across the dark room to a work table where high-end computers fight for space with debris. Finds and gives her a small homemade electronic box, which she turns over in her hands. While it's clear both these people are deficient in behavior that governs polite society, it's hard to tell which lacks it more. PLAGUE No `thank you?'51 INT. MILLENNIUM OFFICE - EARLY MORNING 51 Erika, first to arrive this morning, or so she thinks, comes through the empty offices with a Wayne's Coffee to- go cup - but Blomkvist is already there, packing supplies from his desk, books from his shelf. A second suitcase, presumably full of clothes, sits on the floor. ERIKA V/O You can't be serious -51A INT/EXT. MILLENNIUM'S OFFICES - EARLY MORNING - LATER 51A He zips the suitcase with the supplies in it closed and gathers the rest. ERIKA We're in our worst crisis ever and you're writing a memoir? BLOMKVIST You fired me; I need something to do. ERIKA You fired you; I need you here, not the North Pole. You know what this is going to look like. BLOMKVIST Like I've been gutted. Like I'm running away. I am. They cross through the building, he with his cases, she with her coffee cup. 28. 28. BLOMKVIST Wennerstrom wants to see me waving a white flag, not a red one. And the more it looks like there's a problem between you and me, the more it'll satisfy him. ERIKA There is a problem between us. He won't be satisfied until he shuts us down, and you're leaving me to fight him alone. He kisses her but gets back no more than he would from a statue - and steps outside. BLOMKVIST It's four hours by train. It's not the North Pole.52 EXT. TRAIN STATION - HEDESTAD - DAY 52 The depot thermometer reads 0. Blomkvist disembarks with two suitcases. This time, Frode isn't there to meet him. He struggles with his luggage through the snow to a taxi stand.53 INT. TAXI - MOVING - DAY 53 As a taxi passes a gas station by the bridge, Blomkvist regards the Middle Eastern driver's eyes which regard him in the rear view mirror. BLOMKVIST Think this snow's going to let up anytime soon? HUSSEIN This is the North Pole.54 EXT. COTTAGE - HEDEBY ISLAND - DAY 54 The taxi deposits Blomkvist outside a cottage. From here he can see Vanger's manor and couple other houses. The taxi drives off and disappears into the snow.55 INT. COTTAGE - DAY 55 Two rooms. Fireplace. Pile of wood. A realtor would call it cozy. In truth it's just tiny and freezing cold. Blomkvist unpacks. Puts clothes in a wardrobe, sets out books, note pads, pens, CD's, a CD player, his laptop and a small printer. 29. 29. He flips open his cell phone to make a call. Gets no reception bars. Hears a faint, plaintive cry and traces it to a window, beyond which, on the sill outside, stands a cat peering in. He opens the door, and the cat heads straight for the kitchenette. Then looks at him. BLOMKVIST What. Milk? He opens the old fridge. No milk. Nothing.56 EXT. COTTAGE - DAY 56 He comes out into falling snow holding his cell phone out in front of him like a dowser divining ground water. Moves around trying to get a signal. Can't.57 INT. MARKET - HEDESTAD - DUSK 57 He purchases milk, butter, a loaf of sliced bread, some packaged lunch meats and a few cans of cat food.58 EXT. HEDESTAD - DUSK 58 He walks along the street through wind-whipping snow, cradling the grocery bag, cell out in front of him again. Any of the locals could tell him he could do this forever - there are no cell towers anywhere around here.59 EXT. HEDESTAD - DUSK 59 Grocery bag at his feet, he dials a call with fingers he can no longer feel on the gas station pay phone by the end of the bridge. It goes to Erika's voice mail. BLOMKVIST It's me. I'm here. It's fucking cold and I'm on a pay phone. If you tried to call, the reception sucks, and if you tried to email, there's none of that either, so - so - I'm here - and - I can't even speak it's so fucking cold. He hangs up, open the same pack of cigarettes from before. Eighteen in there. Struggles to get one lit in the wind and snow, hurries off toward the bridge.60 INT. COTTAGE - NIGHT 60 As the cat laps at milk on a plate, Blomkvist tries to get a fire going using pages ripped from a book. It's a struggle he's going to lose; he's no Boy Scout. 30. 30. 61 EXT. WENNERSTROM'S BUILDING - NIGHT 61 Salander appears and keys in the four lock tones.62 INT. WENNERSTROM'S BUILDING - NIGHT 62 In the machine room again, she pulls one cable away from the others and wires to it to Plague's electronic box.63 EXT. HEDESTAD - DAWN 63 The bell in the church tower clangs -64 INT. COTTAGE - DAWN 64 But it's a knock that draws Blomkvist awake. Having forgotten where he is, he regards the cat sleeping with him, then the room, and groans. He pads to the door in the freezing cold. Opens it to find a rugged older man on his doorstep with a handcart loaded with file boxes. NILSSON I'm Gunner. The caretaker.65 INT. COTTAGE - LATER - DAWN 65 As Gunner expertly builds a fire in the fireplace for him, Blomkvist works at unpacking the boxes - documents, fat police reports, notebooks, folders, photo albums. NILSSON You're an author. BLOMKVIST I'm writing a biography of Mr. Vanger, yes. Nilsson nods, but isn't sure he believes it. Maybe he took a look inside the boxes before he brought them down. NILSSON I saw you on television. BLOMKVIST That's unfortunate. NILSSON Bit of trouble, I guess. Blomkvist nods and hopes that's enough to put an end to the subject. It isn't. NILSSON No jail time, though. That's good. Cost you a lot of money though, yeah? 31. 31. Blomkvist shares his annoyance with the cat. Nilsson dusts himself off, satisfied with the fire he's made. NILSSON There.66 EXT. VANGER ESTATE - DAY 66 Vanger has ventured outside to show Blomkvist around the estate. Smoke from chimneys rise into bitter cold grey skies, weather for which Blomkvist, unlike the old man, is inadequately dressed. VANGER The island is owned by my family. Your closest neighbor is my brother Harald, another Nazi if you can believe. Two in the family. He's detestable to put it nicely, but you'll probably never see him. He's a recluse. BLOMKVIST He was there that day? VANGER Indeed he was. Vanger's look to Blomkvist adds, `so consider him a suspect.' He indicates another house on the grounds - VANGER That's his daughter Cecilia's house. They don't speak. BLOMKVIST Does anyone speak to anyone on this island? VANGER Actually, Isabella - Harriet's mother - who lives there - (points) - she speaks to Harald - which is one of reasons I don't speak to her. (points) Cecilia's brother Birger lives there. BLOMKVIST Who doesn't he speak to? VANGER You, probably. Not that you'd want him to. He can be as unpleasant as Harald. 32. 32. BLOMKVIST I'm quickly losing track who's who. VANGER Oh, how you'll wish were it always so. Soon you'll know us all only too well - with my apologies. (points) Out there is my nephew Martin's house; Harriet's brother.It's a modern house - lots of glass - out on the point. BLOMKVIST Who speaks to him? VANGER I speak to him. He runs the company now, as I think I told you.They hear a distant rifle crack and echo. It startlesBlomkvist a bit, but not Vanger. VANGER Someone shooting their dinner. Gunner probably. The caretaker. BLOMKVIST I just met him. VANGER He was 19 when Harriet disappeared.Old enough, Blomkvist gathers, to be considered asuspect. Vanger points off - VANGER He lives over there.Shivering in the cold, Blomkvist turns. BLOMKVIST And you live here. VANGER Sorry? BLOMKVIST Your house.For a moment, Vanger isn't sure what Blomkvist means.Then he is, and is pleased by it. 33. 33. VANGER Yes, you're right. The man who hires the detective should always be kept on the suspects list.66A OMIT - INT. COTTAGE - DAY 66A67 INT. PALMGREN'S APARTMENT - DAY 67 A nurse takes a tray away, leaving Salander alone with Palmgren, separated by the chess table they won't playing a game on. She wipes his mouth with her sleeve. SALANDER I got a call from social welfare. I've been assigned a new guardian. It's unlikely he understands what she has said. It's unlikely he even knows she's there.68 INT. COTTAGE - NIGHT 68 Tacked to a wall, a map of the island on which Blomkvist has written the names of the living Vanger family members and staff in the approximate locations of their houses. Next to it - 3x5 cards and photos - a Vanger family tree - which doubles as a suspects list. On some of the cards is the word, `deceased.' He makes a sandwich. Refills a coffee cup. Begins reading the police reports. The first is a photocopy of a note when the call from Vanger came in: "Officer Morell informed by telephone of situation, 10:19 p.m."69 EXT. HEDEBY ISLAND - NIGHT - 1966 69 Gustaf Morell stands at the bow of a patrol boat slowly motoring past the bridge where the fire brigade works to pump the gasoline from the overturned truck. INTERCUT: Blomkvist reads, "Morell on site, Hedeby Island, 11:42 p.m."70 INT. VANGER MANOR - NIGHT - 1966 70 Morell, feeling like he's entered an Agatha Christie locked room mystery, regards the extended Vanger clan sitting in the living room looking suitably worried. MORELL I'd like to see the girl's room. VANGER It's down the hall. 34. 34. MORELL I thought this was your house. VANGER It is. She lives with me. MORELL Are her parents alive? VANGER Her mother is. Vanger points Isabella out. Slender, overdressed and smoking a Sobranie, she immediately strikes Morell as a woman as venomous as she is beautiful. VANGER This way. Morell follows Vanger down a hall - INTERCUT: Blomkvist reads, "Approx. 12:05, inspected missing girl's bedroom. Found - "71 INT. HARRIET'S ROOM - VANGER MANOR - DAWN - 1966 71 A purse on the desk in Harriet's room. Morell carefully removes the contents: Comb, pocket mirror, handkerchief, wallet containing a few kronor, her ID, and her address book. He leafs through this. DET. MORELL I want to speak to everyone here. That'll take all night so you might want someone to put some coffee on. YOUNGER VANGER What about the search? MORELL First thing in the morning. YOUNGER VANGER No. We should do it now. She could be hurt out there. Vanger is either a good actor or has nothing to hide. VANGER Please. I beg you. INTERCUT: Blomkvist reads, "authorized our patrol boat and two volunteer craft to begin 12:20 a.m. - G. Morell." 35. 35. 71A EXT. HEDEBY ISLAND - NIGHT - 1966 71A The police patrol boat and two Peterssons motor around the island, spotlighting the shore and rocky cliffs.71B INT. VANGER MANOR - NIGHT - 1966 71B The weird tableaux of characters, awaiting their interviews with Morell. At the moment, he's across the room with Harald Vanger, taking notes, drinking coffee. INTERCUT: Blomkvist reads, "Patrol 014 and Orienteering Club volunteers assembled, 6:40 a.m."72 OMIT: INT. VANGER MANOR - NIGHT - 1966 7273 OMIT: EXT. HEDEBY ISLAND - NIGHT - 1966 7374 EXT. HEDEBY ISLAND - DAWN - 1966 74 Search parties crisscross the island, wade through ditches, check old barns, shine flashlights up chimneys. Woodsmen with blood hounds comb through woods. MORELL V/O We searched for days ...75 EXT/INT. TRAIN - MOVING - LAKE SILJAN - PRESENT DAY 75 A train bisects the landscape. Blomkvist looks out. MORELL V/O Eventually, much to his dismay - and mine - I had to talk to Henrik about calling it off -76 EXT. HEDEBY ISLAND - DUSK - 1966 76 As the search continues, Morell, looking like he hasn't slept - which he hasn't - peers down a rocky cliff to the water. Somehow he knows they're never going to find her. MORELL V/O The fact that I never found a body didn't surprise me. You can't dig up an entire island.A77 OMIT: EXT. CABIN - LAKE SILJAN - ESTABLISHING A7777 INT. CABIN - LAKE SILJAN - DAY 77 The same face - forty years older - the man who spoke to Vanger on the phone about the dried flowers - now speaks with Blomkvist as he scrapes out the bowl of his pipe. 36. 36. MORELL But I also couldn't find a motive. Was it spontaneous? Was it planned? Did she know something someone wished she didn't? Was it about business? BLOMKVIST Business? She was sixteen. MORELL And very bright. Henrik told me he could easily imagine her running the business someday, which would mean someone else wouldn't. BLOMKVIST She was with some friends that day. At a parade. You must have talked to them. MORELL She told them she wasn't feeling well. She left early. But they also said she kept secrets from them, too. The main thing I learned talking to them for hours is that teenage girls are complicated. BLOMKVIST I have one. MORELL So you know. (Blomkvist does indeed) Did you bring the last gift Henrik received? BLOMKVIST It's at the National Forensic Lab. MORELL I can tell you what their report will say now: It's a flower common to Europe. All of them are. No prints. No DNA.He lights the pipe. Blomkvist watches the tobacco glow. BLOMKVIST I wanted to ask you about this.He produces an old address book from his jacket pocket.Of course, Morell has seen it before, and handles itdelicately. The decades have dried out its pages. 37. 37. Dragon Tattoo Final 9/1/11 SZ MORELL She received this from Henrik the Christmas before. I studied it more times than I can say. I know every page of it. BLOMKVIST It's the last page I'm curious about. MORELL As was I. BLOMKVIST The only names not alphabetized.Morell nods that he knows that only too well as he turnsto that last page. On it, in neat handwriting:Magda 32016 Sara 32109 R.J. 30114 R.L. 32027 Mari 32018 MORELL They're local Hedestad phone numbers. The first belonged to a woman named Margot, whose mother was Magda, who claimed she didn't know Harriet. The fourth, R.L., belonged to Rosemarie Larsson, an elderly woman who died a few years before. The other three were unconnected in any way that I could find.He hands the address book back. It, and everything elseabout the case, clearly trouble him still. BLOMKVIST I've reminded you of things you'd rather forget. I'm sorry. MORELL I can't forget it. It's my Rebecka Case.Blomkvist isn't sure what that means. MORELL Every policeman has at least one unsolved case. Back then it was old Torstensson. Year after year he kept returning to one - taking out the files - uselessly studying them. As young men, we had to laugh. BLOMKVIST Was this also a missing girl case? 38. 38. MORELL No, that's not why I mention it. The Rebecka Case is something that happened before Harriet was born. I'm talking about the soul of a policeman. Poor Torstensson could never solve it, and could never let it go. And neither can poor Morell with his Harriet case.78 EXT. STOCKHOLM - DAY 78 An unexciting social welfare building.79 INT. BJURMAN'S OFFICE - DAY 79 As a man behind a desk reviews a thick file, Salander reviews him: About 50; spends money on suits, thinking that might disguise his public servant status; no wedding ring; typical creep, as far as she's concerned. BJURMAN How's Mr. Palmgren doing? I was told he had a stroke of some kind. (nothing from Salander) Terrible. It is, but she can tell he couldn't care less. He leafs through her file - BJURMAN What exactly do you do at this security company? SALANDER Make coffee and sort mail. BJURMAN But not full-time. Not even part- time consistently. They somehow got along without coffee or mail in July and August? Nothing from her. BJURMAN How much do you earn there? SALANDER Enough. BJURMAN How much is your rent? 39. 39. Dragon Tattoo Final 9/1/11 SZ SALANDER I pay my rent. BJURMAN When's the last time you were late? SALANDER Never. BJURMAN Do you think that ring in your eyelid makes you attractive?Salander, who's had to suffer insufferable officials allher life, doesn't dignify the question with an answer. BJURMAN Here's the problem. There a discrepancy between the obligation of Mr. Palmgren's guardianship and the management of your finances. SALANDER It isn't a discrepancy or a problem. It was clear to him I could manage my own finances. BJURMAN But that's not clear to me. SALANDER I'm not a child. BJURMAN No. You're not. (looks at her too long) But you were. And between then and now - (indicating the files) - two years in the locked ward at St. Stephens, for violent aggression - failure to adapt to four foster homes and seven schools - arrested twice for intoxication, twice for narcotics use, and most recently for assault: a bottle smashed into a man's face. You may have conned Mr. Palmgren into thinking you've improved, but looking at this - (the file) - not to mention how you're looking at me now - I can see you haven't. So the Good-Old-Mr-Palmgren-Days are over. Starting now, you'll be given a monthly allowance. You'll provide me with receipts for your expenses. (MORE) 40. 40. BJURMAN (CONT'D) If the numbers don't balance, I'll have to assume the difference is going to drugs. SALANDER I've been on my own since I was twelve. BJURMAN No. You've been a persistent burden to the State since you were twelve. She won't look at him any more - not that there's anything even remotely interesting to see if she did. BJURMAN (CONT'D) Ms. Salander? Please look at me. Because this is important. She does ... in a way that says, I'd like to kill you. BJURMAN This behavior you're displaying right now is elaborately documented here - (in the file) - so it would come as a shock to no one if I chose an alternative to the lenient arrangement I just outlined. Is that what you're saying with your silence? You'd prefer institutionalization?79A INT. BJURMAN'S OFFICE BUILDING - DAY 79A Salander steps into the elevator, hits the down button. As the doors close -80 EXT. HEDEBY ISLAND - EVENING 80 Martin's house didn't look so far away, but the road Blomkvist has to climb to reach it, and the fact he, like all writers, is out of shape, taxes him. A car driven by an attractive woman in her 30's pulls alongside him. LIV Mikael? (he manages a nod) We're going to the same place. Hop in.81 EXT. MARTIN'S HOUSE - EVENING 81 Martin, wearing an apron, opens the door to find both his dinner guests on the porch. 41. 41. LIV I found him at death's door halfway up the hill. BLOMKVIST I'm afraid I'm a bit out of shape. MARTIN No, it's a climb for anyone. I should've warned you. Come on in. Blomkvist puts a bottle of aquavit in Martin's hand.82 INT. MARTIN'S HOUSE - NIGHT 82 The place is far cry from Vanger's manor. It's modern. Martin, Liv and Blomkvist work on the dinner Martin has prepared. Soft jazz music issues from somewhere. LIV I used to work in the company's petrochemical division in Goteborg. When it was sold, I went with it. MARTIN A dark day. LIV I live in Hong Kong now, but come back to Stockholm for family events, and when I do, I drive up to spend a couple days with Martin. MARTIN She comes for the moose steak. BLOMKVIST Is that what this is? They all glance away to a sound: A soft, strange, wailing wind. Martin drains the last of a bottle of wine in Blomkvist's glass and gets up. MARTIN Something's open. You like this one, or would you like to try something else? BLOMKVIST That one's good. Martin heads off to the kitchen. Blomkvist and Liv, left with each other, seem unsure what to talk about. LIV I saw you on Sky News a while ago. 42. 42. BLOMKVIST That was a dark day. LIV Sorry to remind you of it. BLOMKVIST It's okay. There are worse things than libel - though I can't immediately think of one in my business. LIV You're writing a book now, Martin said. BLOMKVIST Henrik's biography. LIV I love Henrik. He's fascinating. Martin, too. Together they're the Old Sweden and the New. BLOMKVIST They are. LIV You know about Harriet, right?Blomkvist doesn't say. The sound of the wind stops. LIV You don't? BLOMKVIST I do.Martin emerges from the cellar with a bottle of wine inhand and returns with it to the dining room. LIV O/S The family doesn't like to talk about it, but it can't just be swept under the rug. MARTIN What can't. LIV Harriet.Martin doesn't comment. Just nods. Silence. Then - 43. 43. Dragon Tattoo Final 9/1/11 SZ BLOMKVIST Maybe we could talk about that later. MARTIN We can talk about it now. (Blomkvist glances to Liv) Liv knows everything about my crazy family. Which is why she'll never marry me. LIV That's one reason.She holds up her left hand. A wedding ring is on it.The couple seems very comfortable with each other, notunlike Blomkvist and Erika. MARTIN Don't put that in your book. Anything else is fine. Harriet certainly. Everything changed after that. Not just the family, but the company. BLOMKVIST How so. MARTIN We're not Nordea or Ericsson, but we're still the largest family-owned company in the country. At the height, we had 40,000 employees. We have about half that now, and that downward slide - anyone can tell you - began after my sister's death. It broke Henrik's entrepreneurial spirit, and his heart.And Martin's, too, clearly. Blomkvist dares to ask, asinnocently as possible - BLOMKVIST You were here that day? MARTIN Everyone was here, though I didn't get in until after the accident on the bridge. The 4:30 train. BLOMKVIST I know it well. 44. 44. MARTIN It was a terrible day. And the days after - searching and not finding her - were even worse. Liv sets her hand atop her boyfriend's. MARTIN This event, Mikael, has to be a big part of your book. Blomkvist promises him with a nod that it will.83 INT. STOCKHOLM METRO - DAY 83 As Salander moves with a crowd toward the doors of a subway car, someone behind her roughly yanks the strap of her messenger bag from her shoulder - She gives chase, pushes past people, catches up with the junkie, grapples with him. He slugs her. She goes down, but doesn't give up. Catches up with him on the escalator, throws him back down it. The bag slams onto the metal stairs, too, but at least she has it now. She doesn't run. She waits at the top and watches the junkie drag himself up and think about trying again. He wisely decides to let it go, hops to the down-escalator and disappears into the underground station.84 INT/EXT. COTTAGE - DAY 84 Blomkvist sifts through a box containing some of Harriet's personal belongings: school papers, textbooks, a Bible, the address book, her wallet and ID ... A knock on the door. He puts the box in a closet on top of others, kicks it closed, opens the front door to find a not unattractive woman in her 50's on his porch. CECILIA Hi. I thought I'd come over and say hello. I'm Cecilia.85 INT. COTTAGE - DAY 85 Cecilia regards Blomkvist's Vanger family tree on the wall. Wherever he only has an old photo, there's a Post- It next to it that reads: Recent Photo? INSERT of Cecilia's photo, taken when she was a teenager, and a Post-It with her name on it. CECILIA We're all uncomfortable with the idea of a chronicle of our family. 45. 45. BLOMKVIST It's not about the family. It's about Henrik and the company. CECILIA Like I said. BLOMKVIST It's not my intention to present a malicious portrait of anyone. CECILIA Unlike the one that landed you in court. BLOMKVIST Unlike that one. Correct. CECILIA So, what you're saying is, you're not really here to look into what happened to Harriet.Silence. Then - BLOMKVIST I can't ignore such a dramatic event, but no, that's not by any means my focus. CECILIA So all those boxes Gunner carted down here - which are where? - in the closet now? - weren't Henrik's private investigation. (Blomkvist can't think fast enough to respond) I wonder sometimes who's crazier - my Nazi father or my obsessed uncle.INSERT of the photo of Young Harald in his Nazi uniformon the wall. BLOMKVIST Since we're talking about it, since you brought it up, what was Harriet like? CECILIA I'm sure Henrik has told you. BLOMKVIST He was my age then, and so couldn't know what was really going on with a teenager any more than I can with my own daughter. You were her age. 46. 46. CECILIA Actually, my sister Anita was closer to her in age.INSERT of the photo on the wall of Anita, taken when shewas about 17 years old. CECILIA She knew Harriet better than anyone - certainly better than I did. You should talk to her. BLOMKVIST I'd love to, where is she. CECILIA If I had to guess - London. BLOMKVIST You don't know where your own sister lives? CECILIA I haven't seen her in years. We never really got along. BLOMKVIST I'm getting used to that comment. CECILIA That's the way it is when you're always after the same boys. BLOMKVIST People generally get over that sort of thing at a certain point. CECILIA Oh, I'm long over it, and won't ever have to worry about it again. She hates this place even more than I do. She left, moved to London and that was it. You couldn't pay her to send a Christmas card, much less visit. BLOMKVIST I'll try to track her down for you. CECILIA Don't bother. BLOMKVIST For myself then.He smiles. She studies him. Maybe he's not so bad. 47. 47. CECILIA If you do, and try talking to her about us, don't be surprised if she tells you to fuck off.86 INT. MACJESUS - DAY 86 A tech tries to get beyond the dreaded blinking "?" on the laptop's cracked screen. TECH You backed up? SALANDER Hard drives at home, yeah. TECH That's good. This one's dead.87 EXT. MACJESUS - DAY 87 Salander against the store window, cell phone to her ear. SECRETARY V/O I'm sorry, he's booked all day. SALANDER It'll take five minutes. It's important. SECRETARY V/O Hold, please. Salander waits. Watches people stare at her like they always do. The secretary comes back on. SECRETARY V/O Seven o'clock.88 INT. OFFICE BUILDING - STOCKHOLM - NIGHT 88 Salander comes past a janitor waxing a long, otherwise empty corridor. At the far end, she opens her new guardian's office door.89 INT. BJURMAN'S OFFICE - NIGHT 89 As Bjurman reviews a McJesus invoice, Salander waits. The thick atmosphere reminds her of all the others she has sat in with school principals, shrinks and cops. BJURMAN Have you ever had an STD? (nothing from her) When's the last time you were tested for HIV? (MORE) 48. 48. Dragon Tattoo Final 9/1/11 SZ BJURMAN (CONT'D) (nothing) How many partners have you had in the last month? (nothing) How many were men?That last one seems to amuse him; none amuse her. BJURMAN I'm required to ask you these things. It's a matter of health. SALANDER Write down anything you want.Bjurman sighs. Sets the form aside and looks at theMcJesus invoice again. BJURMAN Why do you need such an expensive computer? SALANDER For work. BJURMAN Making coffee and sorting mail. SALANDER I shouldn't even have to ask. I should have control of my money like before. BJURMAN And you will. Once you show me you can be sociable and get along with people. Can you do that? (nothing from her) Shall we start with me? (pause) Shall we start now?As he comes around the desk, she eyes a sharp letteropener sticking out above some pens in a coffee mug achild has painted with the word, `daddy.' BJURMAN If you're nice to me, I'll be nice to you. That's how normal people are.He stands in front of her, his crotch at her eye level. BJURMAN You've done this before. You know what to do. (MORE) 49. 49. BJURMAN (CONT'D) (she doesn't do anything) Do you want this computer or not? He takes her hand and places it on the crotch of his trousers. BJURMAN You feel that? That's gaberdine. Unzip them. (she does) And ... (she tugs at his underwear) And ... (she doesn't move; he smiles) I like the reticence. I prefer a whore who pretends she isn't. It's almost convincing. He grabs her hair and roughly pulls her head toward him.90 INT. BJURMAN'S OFFICE - LATER - NIGHT 90 Salander eats some toothpaste in Bjurman's private bathroom. When she returns to the office, she finds him calmly writing a check. BJURMAN Here you go. As promised. He holds it out to her, but when she reaches for it, pulls it back a little. BJURMAN I know you're not thinking about telling anyone about our date. Enjoy your computer games. She takes the check and leaves.91 INT. SALANDER'S APARTMENT - LATER - NIGHT 91 She sits cross-legged in the dark. Thinking. Or plotting. The dragon tattoo visible on her bare back.92 INT. AIRLINE - IN FLIGHT - DAY 92 Blomkvist, who doesn't care for flying, pours two mini- bottles of vodka into a plastic cup.93 EXT. LONDON - DAY 93 He sprays Binaca in his mouth. Then, careful to look both ways, crosses the street to an investment bank. 50. 50. 94 INT. OFFICE - INVESTMENT BANK - DAY 94 Blomkvist approaches a desk. The brass name plate on it reads, Anita Vanger. BLOMKVIST Excuse me. I'm sure I should have made an appointment. ANITA It's fine. Please. Have a seat. The accent is all British. She's been here much longer than her home country. No trace of Swedish anymore. He offers his hand - BLOMKVIST I'm Mikael. ANITA Mikael. How do you do. As he sits, she regards him a little more carefully ... ANITA You're looking for investment counseling, Mikael? BLOMKVIST I would if had any money to invest. ANITA Excuse me? BLOMKVIST I'm writing a biography of your uncle Henrik. That's why I'm here. She stares at him. He waits for the response Cecilia predicted, but it doesn't come.95 EXT. CAFE - LONDON - DAY 95 They sit together at a little table on the sidewalk. ANITA How is Henrik? BLOMKVIST Good. Engaging. I like him. She does, too. 51. 51. Dragon Tattoo Final 9/1/11 SZ ANITAI haven't seen him in over 30 years.Or my sister. Or anyone else in myfamily. BLOMKVISTMost of what I'm writing aboutpredates that, so your recollectionsare valid. ANITAI wouldn't know where to start, ifthat was a question. BLOMKVISTI can narrow it. I've gotten up tothe 1960s. To the event that alteredeverything in Henrik's life. ANITAHarriet. (he nods)Everything I knew about that I toldto - whatever his name was - thatpoliceman - when it happened. BLOMKVISTMorell. ANITAMy recollections then were a lotbetter than they are now. BLOMKVISTI'm not speaking of the crime itself.I'm trying to get a clearer sense ofwhat Harriet was like. Particularly,toward the end. ANITAShe was messed up. Like all usVanger kids. Crazy mother. Drunkenfather. At least hers wasn't a Nazilike mine. BLOMKVISTWas he abusive? ANITAMine? BLOMKVISTHers. 52. 52. ANITA I never saw it myself, but you could tell something was going on. One day she'd be withdrawn. The next she'd be putting on makeup and wearing the tightest sweater she had to school. The next she'd be studying a Bible like a nun - no Vanger was ever religious - can you imagine? Obviously, she was very unhappy. BLOMKVIST She never confided in you what about, specifically? ANITA There was no specifically. It was everything. It was being part of that family. Henrik's the only decent person in it. BLOMKVIST What do you think happened to her? ANITA Everyone knows what. BLOMKVIST But you have no ... thoughts about why, or who. ANITA All I know is I always felt sorry for her. Even more than for myself. I got out of there when I was 18 and never went back. She would have done the same but didn't make it to 18.96 EXT. STOCKHOLM - DAY 96 Salander, on a park bench, debates with herself if she wants to make the call on the cell in her hand. She scrolls to "NB" and hits send. It connects. SALANDER Mr. Bjurman, please. It's Lisbeth Salander. (the call is put through) ... I'm fine. I'm sorry I missed our appointment. I had a lot of work ... no, nothing to be concerned about ... I need another advance on my allowance. Can I come to your office tonight? ... I don't need a pen, what's the address? 53. 53. 97 EXT/INT. HEDEBY ISLAND - TAXI - MOVING - DUSK 97 The taxi that first brought him here to the island, crosses the bridge. Again, Blomkvist regards the Middle Eastern driver, who regards him in the rearview mirror.98 EXT. BJURMAN'S APARTMENT BUILDING - NIGHT 98 Outside the building's entrance with a backpack slung over her shoulder, Salander presses an apartment button. As she waits, she notes there's no security camera. BJURMAN O/S Yes? SALANDER It's me. The door buzzes. She pushes it open.99 INT. BJURMAN'S APARTMENT BUILDING - NIGHT 99 She moves along a hallway with both purpose and dread. Knocks on his door ... It opens, revealing him in a robe. BJURMAN Come on in.100 INT. BJURMAN'S APARTMENT - CONTINUOUS 100 She takes in the layout quickly: living room, dining area, kitchen, short hallway to a closed door. BJURMAN Like it? SALANDER It's nice. BJURMAN It's home. (pause) So, what do you need money for this time? Grand Theft Auto 5? SALANDER Food. He smiles. Steps toward her. Lifts her chin. BJURMAN How are you? Been thinking about last time? Decided you wanted to see me again? 54. 54. SALANDER I just want my money. BJURMAN Well, let's see if I can help you out with that. He walks to the hallway. She doesn't. He holds out his hand. She finally joins him. As they step into the bedroom, he roughly pushes her toward the bed. SALANDER Wait. She puts her backpack and leather jacket on a chair. Sits on the edge of the bed. He stands over her. She knows what she's supposed to do, but seems unable to. BJURMAN Is there a problem? SALANDER I just want to know, am I going to have to do this every time I need money to eat? BJURMAN It's so cute when you do that surly thing. Take my hand She reaches out to it and before she can react, there's a handcuff around the wrist. He quickly cuffs the other to his own wrist. This is bad. She tries to get out. He gets her in a strangle hold and chokes her into unconsciousness.100A INT. BJURMAN'S APARTMENT - LATER - NIGHT 100A She comes to, on her stomach, sees her wrists cuffed to the headboard posts, her ankles secured to the foot posts with silk ties, and scissors slicing her jeans off. She starts to scream and he stuffs her mouth with her underwear. BJURMAN Please. I have neighbors. He lights a couple candles. Switches on some New Age music. BJURMAN What we're going to do now is teach you the value of money. He watches her struggle. But she's not going anywhere. He tears open a condom package with his teeth. 55. 55. BJURMAN I forget - did I ask you before if you liked anal sex? He crams a pillow under her stomach and climbs on top of her. She keeps fighting but there's not much she can do handcuffed. Eventually, she retreats to another place inside herself. She's had to go here before in her life; it's the only place to go in such situations.101 INT. COTTAGE - NIGHT 101 The cat turns its head to a sound Blomkvist can't hear. He has Harriet's box of belongings out again and looks at photos of her school friends in her wallet. Then picks up the Bible. Handwritten on the inside cover is Harriet Vanger. He opens it at random. Hebrews: HARRIET V/O Faith is the assurance of things hoped for, the evidence of things not seen. Through faith we understand that the world was created by the word of God - and that what is seen was not made of things that are visible ... He sets it down. Rubs his eyes. Everything - his daughter, his life, this cabin, the word of God - is depressing.101A INT. BJURMAN'S APARTMENT - DAWN 101A Dawn light outside the living room window. Bjurman, at his dining table with a glass of orange juice, writing out a check. In the bedroom, Salander slips on her leather jacket, shoulders her backpack, hobbles out to the living room. BJURMAN I'll drive you home. SALANDER I can get home on my own. BJURMAN Are you sure? It's bizarre: his manner seems to be one of genuine concern. She nods. He hands her the check. Then opens the door for her like a perfect gentleman. BJURMAN So, next Saturday, here? 56. 56. She nods. Leaves. The door closes.102 EXT. STOCKHOLM - DAWN 102 A lone figure hobbles through the empty streets.103 INT. SALANDER'S APARTMENT - DAWN 103 She sets a check down. On the memo line he's neatly written, "for food." She takes a bottle of water from the fridge and drinks.104 INT. SALANDER'S APARTMENT - DAWN 104 Shower water hits the dragon tattoo on her shoulder blade and runs down past several others. By the time the water reaches the drain it has turned red.105 EXT. HEDEBY ISLAND - DAY 105 Coming through trees with a bag of groceries, Blomkvist sees a BMW parked outside his cottage.106 EXT. COTTAGE - MOMENTS LATER - DAY 106 Blomkvist taps on the car's fogged-up driver's window. A hand inside wipes at it, revealing Erika. She lowers it a crack. ERIKA Is it any warmer inside? BLOMKVIST No.107 INT. COTTAGE - DAY 107 As he tries to get some logs in the fireplace going, using more pages torn from one of his books, Erika wraps herself in a blanket. The cat, who has no trouble with the cold, naps on the paperwork on the desk. BLOMKVIST What have I missed besides you? ERIKA The steady exodus of two-thirds of our advertisers. BLOMKVIST Seriously? ERIKA Is that hard to believe? Sitting up here in Lappland with your cat? 57. 57. BLOMKVIST I'm not. I'm working. ERIKA I can see. What she can see is the Vanger research covering the walls and table surfaces, and that the threads of the family tree lead to a photograph of Vanger at the top. BLOMKVIST Would you like to meet him? ERIKA Maybe in about an hour. If you're interested. He is.108 INT. VANGER MANOR - EVENING 108 Vanger and Martin all but ignore Blomkvist as they chat with Erika over dinner. They seem charmed by her. VANGER I apologize if you're having financial problems at the magazine in Mikael's absence. ERIKA We'll work through them. VANGER Are you sure? Erika looks at Blomkvist, but he hasn't talked to them about this. MARTIN How long do you think you can hang on? Six months or so? ERIKA That sounds about right. VANGER (cheerfully) You know, I used to be in the newspaper business. We owned six dailies back in the 50's. MARTIN We still own one. The Courier, here in town. 58. 58. VANGER I let my nephew Birger run it since he can't run anything else.Erika nods politely. MARTIN So what do you say to taking on a partner? ERIKA We've never considered it before. We value our independence. MARTIN Your independence is dependant on advertisers - if we're being honest. However much you think that is, you'd retain. We don't care about content.Blomkvist suddenly feels like someone coming late to aparty. BLOMKVIST Excuse me. Did I miss something? VANGER We're talking about an investment in the magazine. BLOMKVIST I gather. Why would you want to do that? MARTIN Not for the return, that's for sure. VANGER (to Erika) I feel bad that I've take Mikael away from you at the worst possible time. This is the right thing to do. The moral thing. That's one reason. ERIKA And. VANGER The enemies of my friends are my enemies. I hate Wennerstrom as much as you hate what he's done to you.Silence. VANGER So what do you say? 59. 59. Erika half-shrugs to say she'll consider it. VANGER Is that a maybe? She nods. VANGER Wonderful! More wine, Anna. Blomkvist looks at Erika, but she glances away to Vanger. VANGER I think Mikael is adapting well to rustic life, by the way. ERIKA Have you seen him try to make a fire? VANGER Put the logs on end, like this. He makes a teepee shape with his hands, like praying.109 INT. COTTAGE - LATER - NIGHT 109 Erika lights a teepee of logs in the fireplace. BLOMKVIST How long have you been discussing this with them? ERIKA I haven't been. They asked me to come up yesterday. BLOMKVIST Why didn't you tell me? ERIKA Why would I. You live in the woods. BLOMKVIST So I deserve to be treated like an idiot? ERIKA I wanted to hear what they had to say. You would've said no before they could. BLOMKVIST I'm saying it now. It's not a good idea. 60. 60. ERIKA You heard me tell them we could hang on for six months. I was lying. Without their money we'll be out of business in three. BLOMKVIST You don't know this family. They're crazy. ERIKA We're not marrying into it. BLOMKVIST We are if we do this. It's exactly what we're doing. ERIKA You want to say no? Let's say no. Instead of 50 percent of something, let's own 100 percent of nothing. The logs crackle as flames climb them. She gets up, comes past him, unbuttoning her shirt as she disappears into the bedroom. He stares at the fire. ERIKA O/S Mikael? BLOMKVIST What. ERIKA O/S I'm leaving this God-forsaken island in the morning. BLOMKVIST So? ERIKA So are you coming to bed or not.110 INT. TATTOO PARLOR - DAY 110 Salander regards a selection of forearm tattoos: barbed wire, Celtic bands, strings of leaves and flowers. TATTOO ARTIST You thinking one arm or both? SALANDER Wrists and ankles. But none of these. Just a plain band, like handcuffs. 61. 61. TATTOO ARTIST It's sensitive there. Particularly the ankles. It's gonna hurt. That doesn't bother her in the least. She rolls up her sleeves and watches him ready the tattoo gun. SALANDER How much do one of those cost? TELEVISION IMAGE: A bland financial announcer reading the news. The graphic to the side of him is the distinctive V.I. logo of Vanger Industries. ANNOUNCER Petrochemical manufacturer Vanger Industries has acquired a controlling interest in Millennium magazine which according to analysts has been in financial trouble since last December when its cofounder Mikael Blomkvist was found guilty of libel against Hans-Erik Wennerstrom -111 INT. MILLENNIUM'S OFFICES - DAY 111 A news crew has crammed itself inside Erika's office, where a reporter interviews her - ERIKA We made a serious mistake last year, and we regret it. But we're moving forward, and this is the first step. REPORTER 2 You wouldn't say the first step was your sacking of Mr. Blomkvist? ERIKA That's inaccurate. Read the original press release, Viggo. I didn't fire him. He's on sabbatical. REPORTER 2 Where. ERIKA I'm not sure, to be honest with you.112 INT/EXT. COTTAGE - DAY 112 He's at his desk, the cat in his lap, reviewing the album of photos taken on the day Harriet disappeared. 62. 62. They're arranged chronologically, and Vanger has noted the approximate time of day of each. The first several were taken on the manor grounds, by family members of each other. The next couple taken in town of the parade. Then dozens taken on and around the bridge of the dramatic accident. He hears the sound and glances out to see a television news van driving toward Vanger's manor -113 EXT. VANGER MANOR - DAY 113 A crew is set up in the yard by the water, interviewing Henrik and Martin. Under his suit jacket Henrik wears a cheerful yellow shirt. Birger unhappily looks on. MARTIN Millennium is an excellent magazine. We also think it's undervalued right now, which is good business for us. REPORTER 3 Is any magazine really undervalued today. How many will be around tomorrow? VANGER There's another reason. I don't like bullies. REPORTER 3 Are you referring to Mr. Wennerstrom? VANGER I'm referring to anyone who tries to sue their enemies into submission. If Mr. Wennerstrom would like to try it again, he'll find himself fighting a company that can afford to fight back. REPORTER 3 You're enjoying this. VANGER Already it's the most fun I've had in years.114 INT. HARDWARE STORE - STOCKHOLM - DAY 114 As a clerk rings up the items Salander is buying - bright yellow duct tape and a plastic protective mask - she watches a shot on a TV here of Wennerstrom being interviewed outside his offices - 63. 63. WENNERSTROM ON TV I've always admired Henrik Vanger. He's a titan - and a gentleman. But he's also quite old now - which may explain how he could be taken in by a convicted liar. The report segues to another story. The clerk hands Salander her receipt.115 INT. SALANDER'S APARTMENT - LATER 115 Her hardware store purchases, along with some fresh DVD- R's, a couple of plastic bottles of ink, and McDonald's Kids Meal wrappers, sit by her laptop. She's not typing on its keyboard, but characters are appearing nonetheless as someone somewhere else, writes an email: The From box reads: h wennerstrom The To box reads: l jansson