diff --git a/unformated_scripts/Script_Broken Arrow.txt b/unformated_scripts/Script_Broken Arrow.txt new file mode 100644 index 0000000000000000000000000000000000000000..e68d8ed4525c09e8bd1d4bb548c7623f3d81576b --- /dev/null +++ b/unformated_scripts/Script_Broken Arrow.txt @@ -0,0 +1 @@ + BROKEN ARROW Written by Graham Yost FOURTH DRAFT March 7, 1995 FADE IN: A FIST HITS A FACE The fist is in a boxing glove. It belongs to VIC DEAKINS, 38. The face belongs to RAWLEY HALE, 28. They are in... INT. GYMNASIUM, WHITEMAN AFB - DAY Hale and Deakins are sparring in a ring. Other people are lifting weights, shooting baskets. IN THE RING Hale and Deakins circle each other. Hale is shaking cobwebs out of his head. DEAKINS You know what happened there? HALE Hell, I barely know what day it is. DEAKINS I set you up. I fake right, go left three times in a row. You expect it again, I take the right in hard. That's what boxing's all about. Make your opponent think you're gonna do one thing, then do another. Like Ali in Zaire, using the rope-a-dope on Foreman. (mimes rope-a-dope) Everyone thought Ali's arms were getting destroyed, when he was really just letting Foreman tire himself out. Eighth round, Ali starts hitting, George's got nothing left -- fight's over. HALE The fact that I can't feel the left side of my face -- that's okay, right? Deakins laughs. Hale seizes the relaxed moment and suddenly launches into Deakins with a flurry of punches. THE OTHER PEOPLE IN THE GYM Take notice -- the fight is getting real. They move to the ring. DEAKINS Several of Hale's punches land. Deakins staggers back, caught off guard. It looks like he might even go down. 2. HALE He cocks his arm back. He could finish Deakins off. But he doesn't. He drops his fist. DEAKINS Seizes the opportunity and slugs back. THE CROWD Loves it. HALE AND DEAKINS Now Deakins has the upperhand. He backs Hale around the ring. DEAKINS Don't watch my hands -- watch my shoulders. That's where the punch starts. Ready? Deakins hits Hale hard in the face, sending him back. THE SPECTATORS Are circling the ring, following the fighters, cheering. HALE AND DEAKINS DEAKINS You were looking at my hands. Let's try it again. Ready? Deakins hits Hale hard. He's got Hale on the run. DEAKINS Come on. Focus. Ready? (PUNCH) My shoulders. Ready? Deakins fakes left, puts everything into one big uppercut. It connects. HALE Lands, dazed, blood trickling out of the corner of his mouth. DEAKINS He's in silhouette, the lights above him. HALE Looks up at Deakins, catches his breath. 3. HALE AND DEAKINS Deakins offers his hand. Hale pushes it aside. Deakins ignores Hale, grabs him and helps him to his feet. Deakins climbs out of the ring between the ropes. Hale grabs the top rope and flips himself over, landing on his feet. Deakins gives Hale a look, laughs, shakes his head. INT. SHOWERS Hale lets the water rinse the blood off his face. INT. LOCKER ROOM - DAY Hale and Deakins are sitting on the bench between their lockers, getting into their flightsuits, pulling on boots. Deakins is smoking a cigarette. The smoke curls up into the light slanting down across the room from high windows. HALE'S LOCKER Is in sunlight. On the inside of his locker door are pictures of exotic planes -- the SR-71, a swept-wing fighter, an artist's rendition of the Aurora, etc. DEAKINS' LOCKER On the shady side of the room. Nothing on the inside of his locker door. The locker is spare, Zen-like in its neatness. HALE Here. HALE'S HAND Slams a twenty dollar bill down on the bench. DEAKINS I can't take that. HALE Oh, shut up. DEAKINS Really. I feel bad. How many times have we fought and how many times have you won? HALE Jerk. DEAKINS Well, if you insist. Deakins grins, folds the bill and jams it into his flightsuit. 4. DEAKINS You know why I beat you? HALE Because you've been boxing for twenty years and you're much better at it than I am? DEAKINS You don't want it enough. You had me today. I was back on my heels. But you didn't close the door. HALE We were just sparring. DEAKINS Life isn't sparring, Hale. HALE I think I saw that on a T-shirt. Deakins pulls out the twenty dollar bill; hands it back to Hale. DEAKINS Here. HALE No, that's yours. DEAKINS If you weren't giving it everything you've got, then I don't want it. HALE No, I mean -- that's yours, literally. I took it out of your wallet when you were in the shower. Deakins laughs, puts the money away. EXT. WHITEMAN AIR FORCE BASE - DUSK Planes taxiing, vehicles moving. INT. WHITEMAN MISSION BRIEFING ROOM Deakins and Hale enter to find GENERAL BOONE, 50s. DEAKINS/HALE General. 5. BOONE Gentlemen. (nods at NO SMOKING SIGN) Deak? DEAKINS Sorry. (puts out cigarette) What's the mission, General? BOONE Simulate a border penetration. Hug the ground. Scare some cows. See if anyone can spot you. HALE The usual ...? BOONE No, actually, it's a little unusual. You're carrying a couple of nukes tonight, fellas. (off their looks) Palmdale's afraid low-level gamma and x-ray diffusion might screw up the peripherals. They asked us to send a couple on a run, see if anything glows. HALE '61s? BOONE (shakes head) Big ones. '83s. HALE Ooh. Crowpleasers. INT. HANGAR A BOMB TRUCK carrying two B-83 nuclear weapons drives under the wing of a big, black plane, toward the open bomb bays. GROUND CREWMEN are hurrying about. HALE AND DEAKINS Enter and walk under the plane, nodding to the ground crew. Hale and Deakins are royalty. Deakins and Hale climb up the airplane's Crew Entry steps and disappear. INT. COCKPIT Hale and Deakins climb into a very strange cockpit. There are two pilots' seats in this plane, with duplicate controls. 6. But instead of the usual dials and gauges on the control panels, there are FOUR COMPUTER SCREENS in front of each pilot. Hale gets into the left seat; Deakins the right. They review information on their screens, flip switches. INTERCUT WITH BOMBS Being loaded into the bomb bays. When they've been clamped into place in the rotary bomb racks... DEAKINS (into helmet mike) Ready for rollout. INT./EXT. HANGAR Alarm horns sound, wheels roll on track and the huge hangar doors open revealing... THE GHOST An enormous black flying wing. INT. COCKPIT Deakins looks at maps on his computer screens. Hale looks over, sees the map of Utah. HALE You know, these exercises are fantastic. I mean, when that day comes and we finally go to war against Utah, we are really going to kick ass. CUT TO: EXT. CANYONLANDS NATIONAL PARK, UTAH - NIGHT Bright moonlight shows a campfire burning at the edge of an escarpment, the Colorado River a thousand feet below. Near the campfire is an Army surplus tent. Next to it, an easel holds a painting in progress. A PARK RANGER TRUCK Drives up, stops. The driver's door open, and out gets... A RANGER We don't see his face in the dark. He switches on a flashlight, walks over and taps on the tent. RANGER Park Ranger. I'd like to talk to somebody about this fire. 7. We hear a man and a woman -- JIM and WANDA, 60s -- wake up. JIM (O.S.) Wha--? Oh, hell. WANDA (O.S.) I'll talk to him, Jim. JIM (O.S.) Wanda, you stay put. Jim comes out of the tent, the ranger's light in his face. JIM I know -- no wood fires in the Park. It's just -- Wanda's got a cold and I wanted her to stay warm. RANGER Sir, you see any other hikers, campers anywhere around here? JIM Not this time of year. What's the fine for something like this? RANGER Your life. Jim grins. But the ranger pulls out a pistol and shoots Jim, who falls into the fire. He then puts three shots through the wall of the tent. Nothing moves. The Ranger -- call him BAKER -- pulls out a walkie-talkie, clicks on. BAKER Done. HEADLIGHTS Come on and two Humvees roll in and four men get out. Three of them -- JOHNSON, a tech-whiz; LETT, gangly, grim, and NOVACEK, a wiry guy in a baseball cap -- start setting up what looks to be a high-tech missile launcher. The fourth man is... MR. PRITCHETT A neatly groomed man, 40s, with a perpetually sour attitude. He looks like -- and is -- a lawyer. PRITCHETT (to Baker, re: Jim in FIRE) Jesus. Do you think maybe you could get him out of the fire? Unless you like that smell. 8. EXT. THE NIGHT SKY The Ghost flies overhead, roaring. INT. COCKPIT Deakins and Hale check their screens. DEAKINS (thinks of something) Weren't you going to call Taylor today about the Aurora Project? HALE Yeah. Turns out he wants people with more fighter hours. DEAKINS What'd you say? HALE What could I say? DEAKINS Jesus. You are such a pussy. You never fight for anything. Hale is stung. Pissed, he goes on the offensive. HALE Yeah, well you know what your problem is? DEAKINS Because I said what your problem is, you're gonna--? HALE You fight too much. (Deakins look at him) Right? You said it yourself -- you should be at least Wing Commander by now. Maybe you would be if you didn't insist on telling people what they're doing wrong all the time. DEAKINS I'm usually right though, aren't I? Hale shakes his head, grins. Deakins clicks on his mike. DEAKINS Ghost 7 to McMurran. Hey, Wilkins, you old bag of dirt, your boys in Utah still awake? 9. EXT. MCMURRAN AIR FORCE BASE - UTAH Establishing shot of McMurran Air Force Base. INT. MCMURRAN CONTROL CENTER Jammed with MEN looking at radar screens and computer monitors. COLONEL WILKINS, 50s, seen it all, talks over a headset. WILKINS Ready and waiting, Mr. Deakins. And tell our favorite hotshot, he's not gonna lose us tonight. INT. COCKPIT Deakins covers his mike, turns to Hale. DEAKINS Wilkins says you won't lose them tonight. HALE Tell Colonel Wilkins I could fly this puppy up his ass without him knowing. DEAKINS (grins, shakes his head; into helmet MIKE) Hale says ... if anyone can catch him it'd be you. INT. MCMURRAN CONTROL CENTER CU RADAR SCREEN The Ghost makes a prominent blip on the screen. WILKINS Everyone get a fix! They're about to turn out the lights! INT. COCKPIT Deakins turns to Hale. DEAKINS Ready, Major? HALE On your word. DEAKINS Go to war. 10. CLOSE ON CONTROL PANEL - THREE BUTTONS The left, labeled TAKE OFF, is lighted. The other two buttons are MISSION and LANDING. Hale pushes MISSION. THE COCKPIT everything goes quiet. EXT. NIGHT SKY The plane's running lights go out. The roar of the engines quickly drops to a low rushing sound. The plane in in full stealth mode. INT. MCMURRAN CONTROL CENTER CU RADAR SCREEN The Ghost's blip disappears. WILKINS Lost 'em on active! Who's still got 'em? IR CREWMAN Got their heat signature, sir. (points to computer SCREEN) Their engines may be cold, but the air is colder. CU COMPUTER SCREEN Half of the screen shows a waveform, like a voiceprint. The other half shows a triangle moving across a map of Colorado. INT. COCKPIT Deakins studies the maps on the computer screens. DEAKINS Descend to 400 feet AGL. River valley approach. HALE Airspeed lock at point-seven Mach. Blue line descent on throttle to 400 feet AGL. Hale pulls back on the throttle. The plane descends. HALE Time to limbo down. How low can we go. 11. EXT. NIGHT SKY The Ghost drops away from us, a stark black cut-out against the moonlit Colorado landscape. The Colorado River is a winding silver ribbon five miles below. EXT. CANYONLANDS NATIONAL PARK, UTAH - NIGHT A PARK RANGER TRUCK Driving along the blacktop. The driver is not Baker. It's... TERRY CARMICHAEL Pretty, late 20s. Her radio squawks. CLYDE (V.0.) Terry? You been through the Needles entrance tonight? TERRY (grabs mike, answers) No. Why? CLYDE (V.0.) Mrs. Parker called -- TERRY Oh, God. What is it this time? UFO abduction? Ritual human sacrifice? CLYDE (V.0.) She said she saw a bunch of trucks going through the Needles entrance an hour ago and thought they looked suspicious. TERRY Yes, well, this is a woman who chopped off one of her own fingers because it'd "turned on her." CLYDE (V.0.) Thing is, she said one of the trucks was ours, and you're the only one out. TERRY (arches eyebrow) She was probably hallucinating, but I'll check it out. EXT. COLORADO RIVER VALLEY - THIRTY MILES UP RIVER We feel the Ghost before we hear it. It rushes over, close to the river, below the ridgelines on either side of the valley. 12. INT. MCMURRAN CONTROL CENTER The triangle representing the Ghost disappears from a computer screen. IR CREWMAN Lost 'em. WILKINS Stay on it. They're gonna have to come up for air sooner or later. INT. COCKPIT Deakins reads his computer screens. DEAKINS We're under the radar. Proceed to primary target. Hale hits a button, lets go of the stick -- they're on autopilot. It's a moment of peace. Hale looks out. HALE I tell people I became a pilot because I wanted to fly cool planes. It's also for this. When we're up here, I feel... closer ... I don't know. DEAKINS To God? Is that what you're going to say? That you feel closer to God up here? (SNORTS) Hell, Hale, with the payload we're carrying, we are God. Deakins notices something odd on his screen. He checks between the screen and what he can see through the windshield. DEAKINS Hale, take a look out your side. I think our terrain following is off. It's got us two klicks from the left flank ridge. Hale turns to look out the window on his side. HALE'S POV Looking out the window. There's some movement in the reflection in the glass. QUICK PULL FOCUS to see, distorted in the curve of the window, Deakins reaching inside his flight suit. 13. HALE Turns his head back toward Deakins. HALE Deak, you can't smoke in here -- But then Hale sees it's not a cigarette that Deakins is pulling out of his flight suit. It's shiny, metal. It's... A GUN And Deakins levels it right at Hale's head and his finger starts to squeeze the trigger. HALE Grabs Deakins' hand, pushing up as... DEAKINS Pulls the trigger and the gun FIRES. HALE The bullet cuts a line through the top of his helmet, punching a hole in the window by his head. DEAKINS AND HALE Deakins goes for another shot, but Hale grabs the gun and pushes up, sending bullets through the ceiling of the plane, into the walls. Deakins forces the gun down, fires. THE BULLET Tears through Hale's harness, blowing apart a shoulder strap. HALE AND DEAKINS Hale brings Deakins' gun hand hard against Hale's own helmet. Deakins yowls and the gun goes flying. Then Hale sees something. THE PLANE Is banking towards a ridge-line cliff wall. HALE Sees it, yanks on the stick. THE PLANE Banks hard away from the cliff, just missing. 14. EXT. CANYONLANDS Baker gives a sign. Johnson, standing beside the missile launcher-like device, hits a button. Instead of a missile, a brilliant light shoots out. INT. COCKPIT ARMAMENTS CONTROL BUTTONS Buttons include ONE, TWO, LOCK, LEFT, RIGHT, OPEN, CLOSE, ARM and RELEASE. Deakins presses ONE and TWO, then RIGHT. HALE No! He pulls at Deakins' arms. CU COMPUTER SCREENS Graphics of bomb racks rotate, the B-83 nukes -- labeled and glowing red -- move into the bottom spot. The word RELEASE appears on the screen. Next to it, the word UNARMED flashes. HALE AND DEAKINS Deakins hits Hale with the back of his hand, knocking him back. Hale grabs Deakins' helmet, yanks it off his head and smashes Deakins back with it. Hale keys the armament buttons. CU COMPUTER SCREENS The nukes rotate out of the release position. RELEASE and UNARMED disappear. HALE AND DEAKINS Deakins grabs a fire extinguisher, swings it, getting Hale in the face. Hale is almost knocked out, blood running from his nose. EXT. PARK - NEEDLES AREA Terry is standing by her truck, talking on the radio. TERRY Clyde, tell Mrs. Parker that there's nothing weird going on. No truck, no UFOs, and, except for the odd human head on a stick, no sign of Satan. She feels it before she hears it or sees it. 15. THE GHOST Rushes over Terry, no more than fifty feet above the ground. The jet-wash rocks the truck, almost knocks Terry down. TERRY Holy shit. INT. COCKPIT Hale groggy, hears a loud click. He looks down to see... DEAKINS' HAND AUTO to MANUAL. Deakins grabs Hale's EJECTION HANDLE. HALE AND DEAKINS Hale tries to push the handle down as Deakins pulls it up as... EXT. THE GHOST Heads into the beacon light. INT. COCKPIT Hale and Deakins look at each other as the plane enters the light and the light, in SLOW MOTION, washes across their faces. DEAKINS Suddenly lets go of Hale's hand, then hits Hale hard under the chin with the fire extinguisher. HALE His head snaps back as Deakins pulls. HALE'S EJECTION SEAT HANDLE Pop, hiss like a huge vacuum-sealed can is being opened. EXT. ABOVE GHOST The ejection hatch blows and is ripped away by the wind. HALE'S POV As he rockets up out of the cockpit. HALE When the chute opens, he almost spills out because of the severed shoulder harness. He grabs the straps, holds on. 16. EXT. ON THE GROUND Terry, on the radio with Clyde. TERRY Somebody ejected! INT. COCKPIT Debris -- coffee cups, flight bags, anything not nailed down -- is whipping around the inside of the cabin. Deakins reaches through the maelstrom, then reaches to the ARMAMENT BUTTONS and punches them. INT. BOMB BAYS The the clamps snap back and the two B-83s drop toward the earth. INT. COCKPIT Deakins looks around, then gets an idea. He hits the LANDING mission mode button and the cockpit lights up. INT. MCMURRAN CONTROL CENTER The Ghost starts popping up on everyone's screens. There's a chorus of "I got em!" and "They're ba-a-a-ck!" Wilkins looks at a screen, puzzled. WILKINS They're not due for another halfhour. INT. GHOST COCKPIT Deakins yells into his helmet mike as he gets ready to eject. DEAKINS (into helmet mike) This is Deakins! Hale lost it! I have to punch out! Deakins pulls his second handle. BLAM! WHOOSH! He's gone. He hear and feel the plane dropping, screaming toward the earth. INT. MCMURRAN CONTROL CENTER CU RADAR SCREEN The Ghost's blip suddenly disappears from the screen. A chorus of "What the hell?" and "Jesus." WILKINS That's not good. 17. EXT. MCMURRAN RUNWAY Alarm horns blare. FIVE MEN are running to a waiting Blackhawk helicopter. Waving the men on is Wilkins. The last man up is... LIEUTENANT COLONEL SAM RHODES 40s, short grey hair: he could snap your neck with a look. Wilkins pats Rhodes on the shoulder and Rhodes jumps into... THE HELICOPTER And it lifts up and flies off. EXT. CANYONLANDS Hale lies, unconscious, his parachute whipping in the wind. INT./EXT. SEARCH AND RESCUE HELICOPTER/DESERT The helicopter glides over wind-whipped sand, searchlights on. Rhodes sits with MCKELLAR, the pilot. Lieutenants KELLY, REED and THOMAS are in the back. IN THE SAND Something glints in the searchlights but the helicopter moves on. RHODES Hold it. Come back. The lights sweep back, find... THE TIP OF BLACK WING Sticking out of the sand. CUT TO: EXT. PENTAGON - NIGHT Establishing shot. INT. PENTAGON - SITUATION ROOM AKA "The War Room." Phones, faxes, computers, TV monitors, backlit maps and coffee. Present are GENERALS (including Air Force General CREELEY), the CHAIRMAN OF THE JOINT CHIEFS OF STAFF (CHAIRMAN) and ASSISTANTS, all in uniform. They turn as... BAIRD Enters. Baird, 60s, is the White House Chief of Staff. His assistant stays in the b.g. as Baird walks in. 18. BAIRD So, do I wake the President? CHAIRMAN Where is he -- Las Vegas? BAIRD (NODS) Computer convention. Some information superhighway crap. CHAIRMAN Let him sleep for now. (hands Baird a piece of paper) We're going out with this. Rick's team prepared it. The chairman nods toward RICK. Baird reads, mumbling. BAIRD "United States Air Force ... regrets to announce ... C-130 heavy-lift cargo plane ... down over the Utah desert ... status of crew not determined at this time ... yadda yadda ... Nice bullshit, Rick. Baird hands it to Rick, who starts for the door. GILES (O.S.) That's a mistake. The room quiets. All eyes on... GILES Baird's intensely competent assistant. BAIRD Giles ...? GILES Aviation Week has been following this plane's development for years. They have stringers who spend their vacations sitting in lawnchairs all night long by the Whiteman perimeter fence just in case one of these things takes off. The boys in those lawnchairs know one took off tonight. They're going to know when it doesn't come back. (MORE) 19. GILES (cont'd) And when we put out a press release saying a C-130 went down in Utah, they're going to put two and two together. Aviation week will run a story, everyone'll know what really happened and we're going to look real stupid. (BEAT) We might as well tell the truth. BAIRD (mock shock) The truth? How the hell did you get this job? A few chuckles in the room. Baird looks at the Chairman -- well? The Chairman thinks for a second, nods. Baird turns to Rick. BAIRD Rewrite it. What Giles just said. Rick grits his teeth and hurries out. Baird looks at Giles. BAIRD I want you in Utah. Now. Giles nods, heads out. Baird grabs his arm. BAIRD You scare me sometimes. GILES Hell, sir. Sometimes I scare myself. And out Giles goes. EXT. GHOST CRASH SITE Rhodes and his men are on the ground. Wind is whipping the sand. Rhodes is walking under part of the wing that is exposed. He's yelling into a headset microphone. RHODES (into mike) Cockpit's empty! We're checking the payload! INT. MCMURRAN CONTROL CENTER Wilkins talks to Rhodes over the radio. WILKINS Watch your needles! 20. EXT. GHOST CRASH SITE Rhodes walks up to his men who are in the process of opening the bomb bay doors manually. The doors are open a foot. Rhodes signals his men to stop. Rhodes steps up, shines a light into the bomb bays. INSIDE BOMB BAYS Rhodes' light plays over the bomb racks -- empty. RHODES (into headset mike) Colonel? (takes breath) We've got ourselves a Broken Arrow. INT.PENTAGON - SITUATION ROOM Stunned silence. They've just gotten the news. Baird doesn't know what it means. BAIRD Broken Arrow? CHAIRMAN That's what we call it when we lose a nuclear weapon. BAIRD Oh, Jesus. (thinks, shakes head) I don't know what's scarier -- losing nuclear weapons or the fact that it happens so often that you people have a term for it. INT. MCMURRAN CONTROL CENTER Wilkins is on the radio with Rhodes. WILKINS Find the nukes, Sam. But be careful. I know they say those eggs can't be cracked, but if your geigers pick up more rads than you'd get off a toaster, I want you out of there. Wilkins to the CORPORAL. WILKINS Get the teams in. I want Colonel Rhodes and his men backed up. 21. INT. PENTAGON SITUATION ROOM CU COMPUTER SCREEN Various views of a B-83 nuclear weapon. Creeley is briefing Baird on the nukes. BAIRD They dropped from a plane but they didn't go off...? CREELEY They have to be armed to detonate. BAIRD Then they're destroyed? CREELEY (shakes head) They're designed to survive crashes intact. They can lie in a pool of burning jet fuel for five hours without any problem. BAIRD How did this happen? CREELEY In his last transmission, Colonel Deakins said Major Hale lost control. He probably hit weapons release by accident. Believe me, when a plane's auguring in, you start pushing every button you can. Baird stands, looks at a picture of a Ghost shakes his head. BAIRD Hell, we should take the cost of the plane out of major Hale's salary. Although I guess at two billion dollars a pop, that could take a while. EXT. CANYONLANDS - DAWN Hale is still unconscious, lying beside his parachute. There's the crunch of footsteps and a FIGURE looms over Hale. The figure reaches down to touch Hale's shoulder and... HALE Spins, grabs the shirt of the figure and cocks his arm about to punch. He hesitates when he sees it's... 22. TERRY She seizes Hale's hesitation and punches him hard. HALE AND TERRY Hale is stunned. Terry starts to get up, reaching for her gun. Hale strikes out with a leg, getting Terry in the gut, sending her back. She hits the ground, still struggling for her gun. Hale gets up, runs, sprinting off over the rocky terrain. HIS POV Jarring, racing over rock and then... HALE Pulls up fast, almost not fast enough. HALE'S POV He's stopped right at the edge of a fifty foot drop. TERRY (O.S.) That would be the wrong way. TERRY Is walking slowly, calmy, up behind Hale, pistol out. TERRY Turn around. HALE (TURNING) Look, I -- TERRY (not interested) Gimme your hands. Hale sticks his hands behind him. Terry handcuffs them. HALE I'm going to tell you something I can't tell you. Terry puts away her gun, spins Hale around and starts marching him off. HALE There were nuclear weapons on that plane. The guy I was flying with is trying to steal them. Terry reacts to that, but keeps Hale moving. 23. HALE I have to stop him, and I need your help. TERRY (STOPS) Look, pal, all I know is, I saw you come down, I come in to help you and you grab me, kick me and run away. HALE I only ran because you punched me. TERRY What, we're ten years old now? "You started it. No you started it." HALE He has men on the ground. I -- TERRY Save it. My dog's waiting for his breakfast. Terry starts to push Hale along again and... HALE Jumps up and through the handcuffs. TERRY Reaches for her revolver, but... HALE Grabs it from her, puts it to-her head, but not before... TERRY Whips a knife from her belt and puts it under Hale's chin. HALE AND TERRY Don't move. A beat while they catch their breath. HALE This isn't a stand-off, okay? I've got a gun. TERRY Yeah, well, I never keep my gun loaded. Terry taps her belt. 24. CLOSE ON HER BELT A line of bullets. HALE AND TERRY Terry holds out her hand. Hale lets the revolver swing down on his finger. Just as Terry takes it... HALE Moves fast, grabs Terry's knife hand, then kicks her legs out from under her. Hale lands on top of her, still holding her knife hand, putting the knife to her throat. HALE I'm telling you the truth. TERRY This is a good way to convince me. HALE I could kill you now. Right? Terry nods, bewildered and more than a little scared. Hale lets go of Terry's hand holding the knife. HALE I need your help. Terry looks at Hale for a long moment. She's still holding the knife. She exhales, then sticks the knife in the dirt. INT./EXT. HELICOPTER The helicopter flies low. Rhodes looks at a device on his lap. ON THE DEVICE'S SCREEN Green, like a radar screen. It's blank, and then two dots appear on the outer edge of the screen. RHODES Got 'em! EXT. CANYONLANDS Terry unlocks Hale's handcuffs. TERRY I've got a radio in the truck. We can call McMurran and get the Marines in here. 25. HALE (shakes head) Deakins'll be monitoring any radio transmissions out of here. (off her look) That's what I'd do. TERRY Who is this guy? HALE (a flash of the horrible betrayal he FEELS) Someone I would've trusted with my life. (BEAT) You've gotta get to a phone. TERRY Me? What are you going to do? (no answer, she REALIZES) Wait. You're gonna go after this guy? Isn't he going to have a lot guns and shit? I don't want to sound insulting or anything, but ... you're just a pilot. HALE I don't have any choice. The nukes are my responsibility. Besides... (pulls something from POCKET) I do have one thing going for me. TERRY What's that? Hale sticks... A TWENTY DOLLAR BILL Under a rock. HALE The last thing in the world he expects is for me to come after him. Hale walks off into the light of the rising sun. Terry looks at the $20 bill. EXT. CREVICE SITE The helicopter is parked at the edge of a deep crevice. 26. DOWN IN THE CREVICE Rhodes comes down the last few feet of rope to the bottom of the crevice. Kelly, Thomas and Reed are waiting, shining lights on a B-83 lying in the dirt, all in one piece. RHODES (into mike) We've got one intact. (to his men) Let's go find the other one. Rhodes starts off along the bottom of the crevice. EXT. TOP OF THE CREVICE - BY THE HELICOPTER McKellar is sitting in the pilot's seat, eating a candy bar. He turns at the unexpected sound of a truck-driving up. A HUMVEE climbs up the slope toward the helicopter. MCKELLAR Grabs his rifle, hops out of the helicopter. NOVACEK AND LETT Are in the Humvee. Novacek sticks his head out. NOVACEK Hey, you guys need any help? MCKELLAR It's an Air Force training exercise, sir. I'm going to have to ask you to leave. NOVACEK Hey, no problem. We just -- LETT Whips out a silenced rifle and shoots. MCKELLAR Barely has time to raise his rifle before he's hit. He drops. ANOTHER HUMVEE Drives up fast. BAKER, JOHNSON AND PRITCHETT Get out. Johnson wears radio headgear. Pritchett is furious. 27. NOVACEK Picks up McKellar's half-eaten candy bar, takes a bite. BAKER (to Novacek) Any sign of Deakins? Novacek, mouth full, shakes his head. PRITCHETT He better be dead. DEAKINS (O.S.) Sorry to disappoint you, Mr. Pritchett. They all look over to see... DEAKINS Walk out of the shadows, smoking a cigarette. While soldierly with his men, Deakins is courteous and polite with Pritchett. PRITCHETT You said nothing would go wrong! DEAKINS Well, point of fact, nothing has. PRITCHETT You didn't drop the nukes where you were supposed to! DEAKINS Ah, but we always planned on the search and rescue team finding the weapons for us, and they have. Mr. Pritchett, I really have thought of everything. Johnson walks up, pointing to his radio headgear. JOHNSON Newsflash. Two gunships just left from McMurran and they're headed this way. PRITCHETT You thought of that? DEAKINS That'll take care of itself. PRITCHETT What about the other pilot? We saw him eject. 28. DEAKINS You don't have to worry about Major Hale. He's probably hiding behind a rock somewhere, praying I don't find him. JOHNSON Someone else might find him. (off Deakins' look) A Ranger called her base, said she saw a pilot come down and was gonna go look for him. Deakins thinks it over, turns to Novacek. DEAKINS Get ready. You'll go when the clean-up's done. Novacek nods, goes to the helicopter. Ext. Canyonlands - 4wd trail Hale and Terry are hurrying along a 4WD trail toward Terry's truck. Terry taken a look at Hale's ripped and torn flightsuit. TERRY Is that the new uniform? HALE Yeah. Less constricting. TERRY The dayshift guy left some work clothes in the truck. You can have them if you want. Hale nods. His feet crunch on something. TERRY Don't walk there. HALE Don't walk where? TERRY On that black stuff. That's cryptogamic soil. It's very fragile. One footprint takes centuries to repair. HALE That's a new one. Endangered dirt. Terry gives Hale a look. 29. EXT. BOTTOM OF THE CREVICE Rhodes, Reed, Thomas and Kelly move along the shadowy crevice. INT. HELICOPTER Novacek flips switches in the helicopter, getting ready to start up. Deakins reaches in, flips off a switch marked COM LINK. EXT. BOTTOM OF CREVICE Rhodes hears the connection go dead. He taps his headset. RHODES Hello? McMurran? Come in. Suddenly, there's a soft popping sound and Reed drops. RHODES Reed? What the --? Rhodes looks down, sees blood on Reed. Before he can say another word, there's a fusillade of soft popping sounds as silenced bullets ricochet off the rock around them. Thomas goes down. INT. MCMURRAN CONTROL CENTER Silence from the speakers. WILKINS Sam? Sam, are you there? Sam? EXT. TOP OF CREVICE Lett aims a sniper's rifle down into the crevice. He flips a switch and a red laser beam stabs out from the scope. EXT. BOTTOM OF CREVICE Rhodes and Kelly are pressed against the crevice wall. THE RED LASER BEAN Dances along the wall, heading for them. RHODES Raises his pistol and shoots at the source of the laser. EXT. ATOP THE CREVICE Lett pitches back, dead. 30. PRITCHETT AND DEAKINS Pritchett looks at Deakins -- another part of the plan? Deakins is unperturbed. He's holding an overnight bag. He unzips it. EXT. BOTTOM OF THE CREVICE Rhodes whispers to Kelly. RHODES We'll open up the access panels, put in a couple grenades. The nukes won't go nuclear, but they will go dirty. I won't lie and say we'll be all right. We won't. But if we're gonna go, might as well take those bastards with us. Rhodes scrambles off. KELLY Just one thing, sir. RHODES (TURNS) What? KELLY This. Kelly opens fire with his rifle. Rhodes is thrown back, dead. Kelly yells up top. KELLY Done! Kelly grabs the rope, climbs fast. EXT. ATOP THE CREVICE Mr. Pritchett looks at Deakins, surprised. Deakins -- putting on new clothes -- just grins. Deakins takes... THE TWENTY DOLLAR BILL From his flightsuit and puts it into his shirt pocket. KELLY Climbs into view. INT. MCMURRAN CONTROL CENTER Kelly's voice comes in over the speaker. 31. KELLY (V.0.) (TERRIFIED) Colonel Wilkins? You there? WILKINS Who is this? KELLY (V.0.) It's Lieutenant Kelly, sir. WILKINS What happened, Kelly? EXT. ATOP CREVICE Kelly talks over the helicopter's radio mike. Deakins is behind him, shaving with an electric shaver. KELLY Colonel Rhodes is dead, sir! They're all dead! WILKINS (V. 0.) What happened? Deakins puts the shaver to the radio mike. There's a wash of 40 static. Deakins pulls the shaver away, nods to Kelly. KELLY It's the nuke, sir! It's open! Wide open! Oh, God, what am I going to do?! Deakins puts the shaver to the mike again -- more static. He reaches into the helicopter and flips off the COM LINK switch, then backs away, shaving. He nods to Novacek, who fires up the helicopter. INT. MCMURRAN CONTROL CENTER Wilkins slumps in his chair. WILKINS Call back the teams and get me the Room. We're gonna need NEST in here. EXT. CREVICE SITE Novacek lifts off in the helicopter and flies away. Deakins turns to Kelly and applauds his performance. DEAKINS Brought a tear to my eye. 32. KELLY I'd just like to thank the members of the Academy. PRITCHETT (to Deakins) I hope you've got another surprise up your sleeve. If I'm not mistaken, there are two attack helicopters headed this way. JOHNSON Not any longer. They look at him; he taps his radio headgear. JOHNSON They've just been recalled. DEAKINS You see, Mr. Pritchett, they think they've got an exposed core. They'll want to get a satellite to take a look, but it'll take ninety minutes minimum to shift the orbit. Until then? Well, people get a little weird when it comes to radiation. No one'll have the balls to come near here unless it's NEST -- the Nuclear Emergency Search Teams --and it'll take the nearest team at least two hours to get out here, and we only need an hour to reach our connection with the transport squad. (GRINS) Not that I'm not delighted with your presence, but you really don't need to be here. INT./EXT. TERRY'S TRUCK - 4WD TRAIL Hale and Terry are riding in Terry's truck. Terry drives. Hale is wearing work clothes. After some silence... HALE What's your dog's name? TERRY Bear. I was going to call him Death, so I could say things like, "I walk with Death," and "Death chewed my boots," but I chickened out. You? HALE No dog. 33. TERRY Do you have a name, or is that classified? Before Hale can answer... THE SEARCH AND RESCUE HELICOPTER Rises up in front of them, Novacek piloting. Novacek thumbs a button and machine guns on the sides open up. TERRY AND HALE Terry jumps on the brakes. She and Hale bail out as... THE TRUCK is riddled with bullets and explodes. TERRY AND HALE Sprint up the trail. HALE We've gotta hide! TERRY Follow me! Terry leads Hale up a short slope. Hale scrambles over the top and is stunned. Terry runs out onto an open expanse -- no cover. HALE Hide where? IN THE HELICOPTER Novacek grins, shoots. HALE Looks at the helicopter as the bullets whistle in. When he turns back, Terry's gone. HALE What the --? TERRY (O.S) Come on! Hale runs in the direction of her voice. NOVACEK'S POV Aiming at Hale's back. But then Hale suddenly drops from view. 34. HALE Arms flailing, drops fifteen feet, to deep sand. TERRY This way. Terry runs. Hale follows. HALE How do you --? TERRY (looks back, still RUNNING) I'm a Ranger. I've been over these trails a million times. Not looking, Terry runs straight into a wall, smacks her head and drops like a rock. IN THE HELICOPTER Novacek can't see his prey. He gets an idea and reaches back. TERRY AND HALE Terry is trying to get her eyes to focus. TERRY Please don't tell anyone I did that. IN THE HELICOPTER Novacek has a box of grenades beside him. He pulls the pin on a grenade and drops it. TERRY AND HALE Hale is helping Terry to her feet as BOOM -- the first grenade goes off. They run. THE HELICOPTER Chases them, strafing them. BOOM! -- a grenade goes off in front of them. They run back. They're cornered. Hale looks around, looks up. HALE Can you climb up? TERRY Yeah ...? HALE Give me your gun. 35. TOP OF CLIFF Terry climbs up into view of... NOVACEK Who sees her. TERRY Pull herself up, stands, hands up. THE HELICOPTER Novacek swivels the helicopter around. TERRY This has nothing to do with me. NOVACEK Tell me where he is! HALE Is down in the fissure, pointing the revolver straight up at the helicopter hovering right overhead, figuring out where to shoot. HALE Blackhawk ... Moved pilot seat back a foot ... Puts him right about ... here. Hale hesitates -- he's never shot at someone before -- then takes a breath and starts shooting. IN THE HELICOPTER The bullets fly up from below. One hits Novacek. He slumps, pushing the joystick to one side. THE HELICOPTER Starts to lean over sideways. HALE Is surprised -- it worked!' TERRY Watches in horror as... THE HELICOPTER'S MAIN ROTOR BLADES Angle toward her, slicing the air as the helicopter tips over. 36. TERRY Dives and rolls over the edge of the cliff as... THE ROTOR BLADES Hit the rock, sparking, grinding, right over Terry's head. The blades stop dead. But the torque of the motor brings... THE TAIL OF THE HELICOPTER Up and over, in a high arc. TERRY Looks up. THE TAIL --SECTION Is swinging over fast and the tail rotor is coming right for her. HALE AND TERRY Hale runs up, grabs Terry, pulls her to her feet as... THE TAIL SECTION Swings down, rotor spinning. It digs into the dirt and sand a split-second after... HALE AND TERRY Run clear. EXT. ATOP CREVICE Deakins and Pritchett watch a fireball from the exploding helicopter rise up in the distance. PRITCHETT We don't have to worry about the other pilot? Deakins shakes his head. PRITCHETT Then how come the helicopter crashed? DEAKINS (a flicker of worry) Pilot error. Deakins turns and walks away, over to... 37. BAKER AND KELLY Who have taken the three-foot, pointed, front section off each nuke. They are loading them into the back of one Humvee. Pritchett walks up behind Deakins, still nagging. PRITCHETT Tell me again how I don't need to be here. DEAKINS Mr. Pritchett, I understand your concerns. You and your associates gave me a lot of money to mount this operation. But they're getting ten times that back if we succeed. PRITCHETT If we succeed? DEAKINS All I can do is my part. We've got the weapons, we're ... (checks watch) ... seventeen minutes ahead of schedule and everything will be in place within two hours. But I can't guarantee that the assholes in Washington won't do something stupid like not pay. PRITCHETT What if they don't? DEAKINS Then the next census for this region is going to show a very sudden drop in population. INT. MCMURRAN CONTROL ROOM Giles enters and is brought over to Wilkins. GILES Colonel Wilkins? I'm Giles Prentice. (they shake hands) My word from your search and rescue team? WILKINS No. 38. GILES I'm sorry. Picked up any radiation? Wilkins shakes his head. GILES That's kind of strange -- if there's an exposed core out there. WILKINS Point? GILES Probably nothing. I asked for a transcript of the last cockpit transmission...? Wilkins nods to a CORPORAL who hands some papers to Giles. Giles reads them quickly. WILKINS I don't know what you expect to find. CU TRANSCRIPTS We see COLONEL DEAKINS: "This is Deakins! Hale lost it! Oh, God! I have to punch out!" GILES You know these guys? The pilots? WILKINS Just on the radio. Never met 'em. Why? GILES (looks up) What if this wasn't pilot error? INT. PENTAGON SITUATION ROOM Baird has put Giles on speaker phone. The people in the Situation Room exchange looks. BAIRD No rhetorical questions, Giles. Spit it out. 39. CROSSCUT WITH GILES IN MCMURRAN CONTROL ROOM GILES In the last transmission from the plane, Colonel Deakins said Major Hale lost it and made the plane crash. We all assumed that meant pilot error. But what if Deakins meant Hale made the plane crash. Murmurs of "That's insane" "No way" fill the room. BAIRD Why would he do that? GILES Two nuclear weapons would be worth a hell of a lot of money. CHAIRMAN To whom? Son, there are easier ways for someone to buy nuclear weapons. You go to one of the old Soviet republics, you can get one for the price of a BMW. GILES I meant they'd be worth a lot of money to us. How much would we pay to get them back? To make sure they weren't used in this country? A flurry of looks around the room. BAIRD Hold on, hold on. (to Creeley) These nukes have codes or something that prevent people from using them. CREELEY Of course. BAIRD No one has these codes -- outside of the President and you guys. CREELEY Access to the codes requires the highest security -- BAIRD I mean, not even the pilots have these codes, right? 40. Creeley starts to stammer. Baird slumps. The chairman turns. CHAIRMAN (to an assistant) Where's that NEST team now? ASSISTANT They just took off. EXT. NEST HELICOPTER - IN FLIGHT A sleek, very serious-looking helicopter. INT. NEST HELICOPTER SIX very serious-looking SOLDIERS are in black radiation suits, listening to COLONEL HUNT, 45, over headsets. HUNT Listen up, sportsfans. Word is, this particular broken arrow has broken open. Our ETA Utah is ninety-six minutes. I want everyone to take that time to triple-check the seams and seals on their E-suits. Let's go! INT. MCMURRAN CONTROL ROOM Giles looks at Wilkins. GILES You think I'm nuts. You don't think NEST or the satellite will find anything weird. WILKINS That's right. (BEAT) But it wouldn't hurt to get some gunships fueled just in case. Wilkins reaches for a phone. Giles smiles. EXT. HELICOPTER EXPLOSION SITE The helicopter wreck burns. Hale looks over the terrain. HALE How do they get out of here? TERRY Get out? I don't think that helicopter's going anywhere. 41. HALE Deak'd have a back-up. He'd be prepared. TERRY If they've got trucks they could take the four-wheel-drive trail we were on. HALE He wouldn't want to go towards town. TERRY He could go to the river. Hale looks at Terry -- that's exactly what Deakins would do. EXT. 4WD TRAIL The two Humvees roll along the narrow, twisting trail. IN THE SECOND HUMVEE Kelly drives, Deakins beside him, Johnson and Pritchett in back. DEAKINS You a fan of boxing, Mr. Pritchett? PRITCHETT I think it's barbaric. DEAKINS Me, too! I love it! Two men trying to do as much damage to the other as he can. As basic as you can get, don't you think? PRITCHETT I think it should be banned. DEAKINS So do I! God, wouldn't that make it more exciting? Having to go into dark alleys and basements to see a fight? I bet we see eye-to- eye on a lot of things, Mr. Pritchett. Deakins grins; Mr. Pritchett steams. EXT. CANYONLANDS Hale and Terry stand on an outcropping overlooking the 4WD trail. 42. THEIR POV The two Humvees make their way along the trail. HALE See the one in front? It just has a driver? They wanted to keep the weight down. It has the nukes. Hale takes Terry's gun from her. TERRY You gonna shoot out the tires? HALE Humvees can reseal and inflate with the flick of a switch. That's why Deak chose 'em. Terry looks at Hale -- then what is he going to do? HALE I'm gonna steal it. (checks gun) You get to a phone and call McMurran. TERRY The nearest phone is a two-hour walk. HALE Then you better start walking. TERRY Look, I know my way around here. You're gonna need me. HALE (very serious) I appreciate what you've done so far. But now it gets hairy. Go to the phone. He scrambles off over the rock. THE HUMVEES Come around a corner. The trail hugs the face of a ten-foot- high cliff. Suddenly, from off the cliff... HALE AND TERRY Jump down onto the roof of the lead Humvee. Hale looks at Terry, angry. But before he can say anything... 43. IN THE HUMVEE Baker swerves, trying to throw them off. He pulls out a pistol, shoots up through the ceiling. HALE AND TERRY Bullets punch up. Hale pulls out the gun. It falls from his hand. Terry grabs it as a sharp swerve sends... HALE Flying. He lands hard behind the Humvee. IN THE SECOND HUMVEE Deakins points at Hale, getting to his feet. DEAKINS Run him down. HALE Sprints after the leading Humvee. Deakins' Humvee closes fast. TERRY Looks back, sees Hale's predicament. TERRY Here! She slides the pistol along the truck roof. HALE Grabs the gun out of the air as... BAKER Slams on the brakes. TERRY Comes flying off the top, landing on the hood, barely holding on. HALE Is going to be crushed between the Humvees. He jumps up, turning, as the bumpers come together. He lands on the tailgate facing backwards and fires into Deakins' windshield. DEAKINS AND KELLY Kelly ducks below the dash and slams on the brakes but Deakins doesn't flinch. The bullets bounce off the glass --bulletproof. 44. IN THE LEAD HUMVEE Baker sticks his gun out the window and aims at Terry and starts to pull the trigger when he stops, feeling a gun against the back of his head. HALE Is behind him. Hale gets into the passenger seat. HALE Gimme the gun and get out. BAKER (SMIRKING) I don't know. I think we got ourselves a little stand-off. HALE No, we don't. Hale shoots Baker in the thigh. Baker howls. TERRY Reaches forward and grabs Baker's gun as... HALE Kicks Baker out of the Humvee. BAKER Bad timing for him. He tumbles out, right in front of... DEAKINS' HUMVEE And is run over. HALE Holds the steering wheel, yells to Terry. HALE You drive! TERRY Climbs into the Humvee, takes the wheel from Hale. She jams Baker's gun into her belt. HALE I'd yell at you for coming after me, but you did just save my life. 45. There's a look between them, then Hale climbs into the back. He finds what he is looking for -- a jerry can of gasoline and an emergency tool box. IN THE SECOND HUMVEE DEAKINS What're you doing, Hale? IN HALE AND TERRY'S HUMVEE Hale keeps his back to the other Humves. He pulls gaffer's tape off a roll, tears it with his teeth, grabs... A FLARE Out of the tool kit. IN THE SECOND HUMVEE KELLY Maybe he'll set off a nuke. That'd show us. BETWEEN THE HUMVEES Hale tosses the jerry can of gasoline out the back of the Humvee. THE JERRY CAN OF GASOLINE Flies through the air. There's a burning flare taped to the side of the plastic can. ECU TIP OF FLARE As the plastic of the can bubbles and melts and... IN THE SECOND HUMVEE DEAKINS Stop! But it's too late and... THE JERRY CAN Explodes. THE SECOND HUMVEE Skids to a stop, showered with burning gasoline. Deakins and his men bail out. Kelly, Johnson and Pritchett run for cover. DEAKINS Coolly grabs a fire extinguisher and starts spraying. 46. IN HALE AND TERRYS HUMVEE Hale climbs up into the front seat. Terry looks at him, genuinely impressed. HALE We need somewhere to hide. TERRY (THINKS) I know a place. EXT. 4WD TRAIL Deakins keeps spraying the burning Humvee with foam. EXT. MINE ENTRANCE Terry and Hale have taken the Humvee to the parking area in front of an abandoned mine. The winch on the Humvee strains. The cable is attached to the handles on the padlocked metal doors. The doors are slowly pulling out, groaning. TERRY It was a copper mine, barely squeaking along for years. They shut it-down a few months ago when they hit an underground river. The hinges on the metal doors buckle and snap and the doors rip loose. Hale shuts down the winch, unhooks it from the doors. He motions for Terry to drive it in. INT. MINESHAFT ENTRANCE Terry drives the Humvee into the mineshaft entrance. Hale uses a flashlight to look around. He finds a switch a flips it. A gas generator comes to life. Another click and lights come on. Now they can see the rest of the entry area, including a wire- mesh-enclosed elevator. As Terry looks around, Hale grabs the Humvee radio, tries to tune in other frequencies, gives up. HALE They hardwired in their frequency. We can't call out. TERRY What are we gonna do? Hale goes to the back of the Humvee, pulls down the tailgate. HALE I'm gonna take away Deakins' reason for being here. Hale grabs a screwdriver from the tool kit and pries open a panel on the side of one of the B-83s. 47. INSIDE PANEL There's an LCD DISPLAY, a NUMERIC KEYPAD and a CLOCK showing the current time. The keys are oversized and brightly colored. TERRY Fisher-Price makes nuclear weapons? HALE They're designed to be used by guys wearing gloves in Alaska. He reaches in, hits a key and the LCD display lights up. HALE These nukes have security codes. If you enter the wrong code three times, the nuke goes dead -- all the circuitry shorts out and shuts down. Kind of like the security systems with car radios. TERRY And people say the public doesn't benefit from defense spending. HALE (GRINS) Hand me the radio. Terry goes for the radio mike. Hale sees something. A PLASTIC NAME TAG Sticking out from under one of the nukes. HALE Pulls it out, looks at it. ECU NAMETAG It's from "St. Judes Hospital, Radiology Department." HALE AND TERRY Hale turns to Terry as she pulls over the radio mike. HALE Where's St. Judes Hospital? INT. 4WD TRAIL -- DEAKINS' HUMVEE The fire is out. The radio crackles. HALE (V.0.) Deak -- you there? 48. Deakins and Kelly look at each other. HALE (V.O.) Ding, ding, ding, Deak. We're starting a new round. You took the first couple, but I've got you on the ropes now, you son of bitch. Deakins gets in the passenger side, grabs the radio mike. DEAKINS Hey, there. What was that last part? There was some static. (clicks off mike; to JOHNSON) Find them. (to Pritchett and KELLY) Let's go! Johnson pulls out a radiation detector scanner like the one Rhodes used. Kelly and Pritchett get back in the vehicle. CROSSCUT BETWEEN HALE AND DEAKINS Kelly drives Deakins' Humvee along the trail as they talk. HALE I know you're stalling while you try to find the nukes with your scanner, but you're gonna be too late. Hear that? Hale holds the radio mike up to the keypad as he enters numbers. HALE I'm entering the wrong code, you bastard. A couple more times and these are gonna be useless to you. DEAKINS You really got me there. I sure didn't think of that. Hale slows down -- something's wrong -- Deakins doesn't cars. DEAKINS All that time we spent in the cockpit together and you think I'm stupid? I got some new boards and circuits from a friend at Pantex. But nice try. Hale curses to himself. Terry looks at him. He shakes his head they're in trouble. 49. DEAKINS You know, Hale, I thought of asking you to join me on this. You wanna know why I didn't? HALE Because I would've said no? DEAKINS I would've just killed you if you said no. I was more afraid you'd say yes. Because I knew I couldn't count on you. You can pretend you've got guts, but when and if it comes down to it, you're gonna run off crying like a little girl. HALE You better hope that's true, Doak. Because I've got the nukes, and there's nothing to stop me from entering the right code, if you know what I mean. DEAKINS (flash of worry) You wouldn't do that. HALE Nah. You're right. I wouldn't have the guts. END SPLIT-SCREEN. Hale drops the mike; looks at the elevator. HALE How deep is this mine? TERRY I don't know. A couple thousand feet. HALE That's deep enough. Hale opens the elevator gate. TERRY For what? HALE A nuclear explosion. Terry's jaw drops. 50. EXT. 4WD TRAIL/ INT. DEAKINS' HUMVEE Kelly drives the blackened Humvee as fast as he can. Johnson looks at his scanner, grins. JOHNSON Got it! They're -- DEAKINS In the mine. (off their looks) I could tell he was inside something. There was an echo. INT. MINE ENTRANCE Hale hurries to the back of the Humvee. TERRY We can still hide them! HALE He's got a scanner. He'd find them. TERRY You're talking about setting off a nuclear weapon! HALE They set them off underground in Nevada all through the fifties and sixties. There's no risk. TERRY Tell it to the two-headed cows. Hale grabs the straps around one of the nukes, pulls. He can barely move the thing. He turns to Terry. TERRY No! I am not helping you set off a nuclear weapon. HALE We won't be down there when it goes off. This isn't a suicide mission. TERRY No! 51. HALE (IMPATIENT) All right. Fine. Though I think you should know, before I ejected, I heard Deakins say the nukes were going to be used to wipe out the last few remaining handicapped gay whales. Terry looks at him -- you asshole. Hale looks at her, very serious. HALE I need your help. Terry thinks, shakes her head, steps up and grabs the nuke. EXT. 4WD TRAIL The Humvee takes the turn-off to the mine entrance. INT. MINESHAFT ELEVATOR - DESCENDING Hale and Terry are going down with the nukes. HALE When we get to the bottom we'll have to get away from this shaft. It'll limit the amount of radiation released into-the atmosphere. EXT. MINE ENTRANCE Deakins's Humvee comes into the clearing. The Humvee stops and Deakins and Kelly jump out, followed by Pritchett and Johnson. EXT. MINE - BOTTOM OF ELEVATOR SHAFT The elevator comes down. Hale slides open the gate. He and Terry drag the nukes out. TERRY We'll each drag one down a tunnel? HALE No. I'm only going to set off one. We'll leave the other one here. It'll be buried under a billion tons of rock. They are startled when the elevator starts going up behind them HALE We better hurry. (nods down tunnel) Let's try down there. 52. They start hauling the nuke down the tunnel. INT. MINE ENTRANCE Deakins, Pritchett, Kelly and Johnson wait by the elevator. PRITCHETT I can't wait to see how this fits into your plan. Deakins' charm peels away for an instant and he fixes Pritchett with a stare. Pritchett shrinks back. INT. PENTAGON SITUATION ROOM Baird, the Chairman and the others are watching large TV monitors. Creeley walks them through what they're looking at. ON THE MONITORS A wide-view, bird's-eye, thermal image of rocky terrain. CREELEY This is the KH-12 satellite's infrared view of the area. An exposed nuclear core would be relatively hot -- it'd show as a circle of bright white. As you can see, there's nothing. The only heat signatures we found were these. The image changes. There are four blotches, glowing a dull red. BAIRD What's --? CREELEY We think it's Colonel Rhodes and his men. Their bodies. A look between Baird and the Chairman. The Chairman reaches for a phone. INT. MCMURRAN CONTROL CENTER Wilkins is on the phone. Giles looks at him. WILKINS I understand, sir. GILES (WHISPERS) Was I right? Wilkins nods. Giles grins smugly for about half a second, then realizes what it really means. 53. GILES Oh, shit. WILKINS (into phone) I've got ten ships ready to go ... We should be hearing from NEST any minute now. EXT. NEST HELICOPTER IN FLIGHT Flying over Canyonlands. INT. MINESHAFT ELEVATOR - DESCENDING Deakins, Kelly and Johnson are in the elevator. Kelly holds a small metal briefcase. INT. END OF MINE TUNNEL Hale and Terry have stopped at the end of a tunnel. Hale has opened the guts of the nuke. He's pulling out a chip. TERRY How do you know how to do this? HALE Pilots who fly with nuclear weapons have standing orders to ... (quoting from the MANUAL) ... "retrieve if possible, disable if necessary and destroy if we must," and destroy I must. He stands, looks around. He sees... EYEBOLTS Screwed into the cross beaus on the ceiling. HALE I'm gonna need your belt and one of your socks. INT. BOTTOM OF ELEVATOR SHAFT The elevator descends into view. Deakins, Kelly and Johnson get out. They see the other nuke lying there. KELLY Send it up? DEAKINS (shakes head) Let's take care of Hale first. Spread out. 54. INT. END OF MINE TUNNEL In one hand Hale holds Terry's sock, filled with sand. His other hand grips the eyebolt. Terry is giving Hale a log up, straining under the weight. TERRY Take your time. Really. Hale has pushed the open end of the sock through the eyebolt. He tightens a belt around the open end of the sock. HALE Okay. Terry lets Hale down. Hale picks up a big rock and loops the free end of the belt around it. Then he picks up a smaller rock. CLOSE ON NUCLEAR WEAPON One chip has been pulled out of a circuit board. Hale very gingerly lays the small rock on top of the chip. HALE We make a small hole in the sock, and when enough sand drains out -- and we're hopefully in New Mexico -- the sock is pulled through the eyebolt, the rock drops... (re: smaller rock) ... hitting the rock on this chip, closing the firing circuit and that's it. Hale finishes putting the small rock in position. He stands. TERRY How much time are we going to have? HALE I don't know precisely. This isn't a Swiss sock. Ten minutes, maybe -- Hale is cut off by... BULLETS Flying in, ricocheting off the rock walls, fired by... JOHNSON Thirty yards down the tunnel. 55. HALE AND TERRY Dive to the ground. They pull pistols, start shooting. THE SOCK One of Johnson's bullets cuts through it. HALE Feels sand hitting his face, looks up. HIS POV Sand is draining out of the sock very fast. HALE AND TERRY Reaches up to grab the big rock, but Johnson sends a spray of bullets in. Terry grabs Hale. TERRY Come on! HALE The sock -- More bullets. Terry pulls Hale. They run down a side passage. Hale and Terry fire back at Johnson as they run out of sight. JOHNSON Shoots after them, then runs up to the weapon. He reaches for the rock, stops -- maybe that'll set it off. THE SOCK The last sand pours out; the sock is sucked through the eye-bolt. THE ROCK Drops fast toward the nuke. A HAND Grabs it, stopping it just in time. The hand belongs to... DEAKINS He looks at Johnson in disgust, exhales, and tosses the rock. He pulls out a walkie-talkie, clicks on, talks into it. 56. DEAKINS We're at the end of tunnel three. (clicks off; to JOHNSON) You two get this one set. I'll take the other one up. HALE AND TERRY Running along a tunnel. TERRY What do we do? HALE Beat 'em back to the elevator. Stop 'em from getting out. Terry nods. They hurry off around a corner and are met by... A FLURRY OF BULLETS Fired by... DEAKINS With his Uzi. HALE AND TERRY Run back down the side tunnel, bullets winging off the rock all around them, shooting back. Hale starts shooting out the lights, plunging the tunnel into darkness. DEAKINS Slows down. DEAKINS The bit with the sock was good. I like it. Still, I'm gonna use the the Field Expedient Tactical Timer. It's a little more precise. (BEAT) See, Hale -- you aren't the only one who's thought of setting off a nuke in this mine. BY THE NUKE Kelly is there with Johnson. Kelly flips on a lamp on a headstrap, giving him better light as he opens up the metal briefcase he's been carrying. INSIDE THE BRIEFCASE An elaborate electronic timer. 57. IN THE TUNNELS Deakins pulls out a fresh clip. DEAKINS I need a demonstration. Otherwise, some swinging dick in Washington is going to say I don't have the balls or the ability to set off a nuclear weapon. I'm gonna show these puppies I'm ready, willing and able. Hell, I'm eager. Deakins jams in his clip, walks into the dark part of the tunnel. HALE AND TERRY In the dark, waiting to ambush Deakins and then... DEAKINS Opens fire -- but not at Hale and Terry -- at the cable along the ceiling connecting the lights. The cable snaps and electrical sparks shoot out, flooding the tunnel with light, showing... HALE AND TERRY Suddenly exposed to Deakins' fire. The bullets whiz in. DEAKINS The muzzle flashes from his Uzi give away his position and Hale and Terry's bullets scream in at him. He backs around a corner. HALE AND TERRY Take cover. It's a stand-off. DEAKINS Well, Hale, I better be going. Look at it this way, partner. If you wanted to get closer to God, you are about to get your wish. Hale hears Deakins' footsteps start off. HALE You're gonna ransom Salt Lake City, aren't you? The footsteps stop. DEAKINS What makes you think that? 58. HALE That's where St. Judes Hospital is. You're gonna hide the nukes near the radiology department so they won't show up an any satellite radiation scans. DEAKINS I'm impressed. HALE How much are you gonna ask for? DEAKINS Enough. I've got a broker in Stockholm. Monday morning he's going to buy me five percent of Volvo. For the rest of my days I'm going to live off the dividends, happy in the knowledge I'm helping to build the safest car in the world. HALE So that's it? You're just doing 'this for the money? I'm kind of disappointed. DEAKINS Why would you do it, Hale? HALE That's the thing -- I wouldn't. DEAKINS If you were me. HALE If I were you...? (thinks, starts in) Because ... because I got passed over for promotion and goddamnit I'm going to show the bastards that I'm smarter than them all. (getting angry) Because ... everyone's selling out and cashing in, so why not me? (ANGRIER) Because ... because my ex-wife was sleeping around. Because my parents abused me. Because I ate some sugar. (MORE) 59. HALE (cont'd) (FURIOUS) Because I don't like Mondays. (takes a breath, GRINS) It's all bullshit, Deak. There are no reasons. Not really. There's no difference between you and the guy who shoots up the schoolyard with an M-16. You both think you have reasons. You both think you were wronged. The truth? You're both just fucked in the head. DEAKINS' FACE Grim, evil -- fades into darkness as he turns and walks off. HALE AND TERRY They hear footsteps, receding. Hale bolts out of their hiding spot. Terry follows. INT. BOTTOM OF ELEVATOR SHAFT Deakins gets to the elevator, drags the other nuke in, shuts the gate and starts up. INT. END OF TUNNEL Kelly finishes keying in numbers into the nuke timer. An amber light comes on and... THE TIMER Starts ticking down from ton minutes. KELLY AND JOHNSON Grab their guns and run. INT. MINESHAFT ENTRANCE The elevator comes up. Deakins drags out the nuke, hits the DOWN button, shuts the gate. The elevator descends. DEAKINS Mr. Pritchett! INT. BOTTOM OF ELEVATOR SHAFT Hale and Terry are waiting for the elevator to come down when... KELLY AND JOHNSON Run in. A half-second of surprise is broken when... 60. THE ELEVATOR Comes down. HALE AND TERRY Make a move toward the elevator, but... KELLY AND JOHNSON Unload with their Uzis. HALE AND TERRY Back around a corner, side by side, shooting their pistols. JOHNSON Is shot, drops. KELLY Grabs Johnson's Uzi and, firing both guns, backs to the elevator, kicks open the gate with his foot and gets inside. He hits the UP button with the butt of one of the guns and the elevator starts to rise. HALE AND TERRY Step out of the tunnel and fire on the climbing elevator. INSERT - ECU NUKE TIMER Seven minutes and counting. INT. MINESHAFT ENTRANCE Deakins and Pritchett get the nuke into the back of the Humvee. INT. BOTTOM OF ELEVATOR SHAFT TERRY We can go back, try to shut it down. HALE We don't know the code, and Deak'd have it wired to blow if we so much as look at it funny. TERRY Then we're... Hale looks at her. 61. HALE I'm sorry. I shouldn't've let you come. TERRY Oh, God. Hale takes Terry in his arms, holds her. TERRY I ... I just hope someone remembers to feed my dog. Hale nods, hugs Terry. Terry starts to say something else, but Hale puts a finger to his lips -- he's heard something -- a distant rushing. HALE Come on. Hale pulls Terry, running, down the far tunnel. TERRY What're you --? HALE You said they shut down the mine when they hit an underground river. INT. MINESHAFT ENTRANCE Deakins slams the tailgate on the Humvee shut. From the distance, he and Pritchett hear the whump-whump-whump of a helicopter. Deakins motions Pritchett to stay. EXT. MINE ENTRANCE Deakins comes out, looks up, sees... THE NEST HELICOPTER Coming toward him, two miles away. INT. NEST HELICOPTER Hunt sees something, points. HUNT Ten o'clock! In the clearing! HIS POV The blackened Humvee and Deakins by the mine entrance. 62. INT. MINE TUNNEL Hale and Terry run up. The tunnel comes to an end at a big hole. The rushing sound comes from the hole. They step up to the edge and look down. THEIR POV Dark water rushes by ten feet below them. HALE Any idea where it goes? TERRY No. They look at each other. They don't have any choice. They flick on their flashlights and jump. They-hit the water and are swept from view. INT. MINESHAFT ENTRANCE Deakins enters, motions for Pritchett to get into the Humvee. DEAKINS Get in. We're leaving. PRITCHETT (re: Kelly and JOHNSON) Aren't you going to wait for them? DEAKINS No time. And if they get out, they might talk. Fortunately, there's something wrong with the elevator. Deakins opens fire with his Uzi on the generator. Sparks fly and the thing shuts down. INT. ELEVATOR Kelly is jarred when the elevator stops and the lights dim. EXT. MINE ENTRANCE Deakins and Pritchett drive out of the mine in the Humvee. Deakins punches the trip odometer, setting it to zeroes. INT. ELEVATOR Kelly switches on his headlamp. KELLY Wrong person to screw with, Deak. 63. He pulls open the gate and climbs down. THE ELEVATOR SHAFT Kelly swings under the elevator. KELLY I know the goddamn code, asshole. He grabs the cable trailing off below the elevator and starts sliding down it into the darkness. INSERT - ECU NUKE TIMER Two minutes and counting. INT. THE UNDERGROUND RIVER Hale and Terry are being sucked along through the fast, turbulent water. Their flashlights show... STALACTITES Jutting down like knives, ready-to rip then open. HALE AND TERRY Dodge them, push off, duck under. And then they notice that... THE CEILING Is getting lower, getting closer to the surface of the water. They're running out of breathing room. Three feet, two feet, one foot. They take big breaths, maybe their last, and they're... UNDERWATER Tumbling along, pulled at by the eddies, flashlights showing their faces -- they are running out of air. And then, there's light above them in the water. HALE AND TERRY Lungs bursting, they start kicking up. EXT. COLORADO RIVER Terry and Hale come to the surface, coughing, sucking in air. EXT. 4WD TRAIL/INT. HUMVEE Deakins drives fast along the 4WD trail, glancing in his sideview mirror at... 64. THE NEST HELICOPTER Closing in on him. PRITCHETT Is holding on tight as Deakins drives wildly. PRITCHETT I think I've finally figured out your plan. Those guys in the helicopter are going to kill us, but we're going to rise from the dead and DEAKINS Very suddenly and very violently lashes out. The side of his hand hits Pritchett in the throat. PRITCHETT Gags silently, suddenly unable to get any air. He pulls at his throat, even pounds himself in the back of the neck. No go. He slowly slumps, dying, skin turning blue. DEAKINS Maybe now you'll shut up. INT. MINE TUNNEL Kelly is running as fast as he can, headlamp lighting the way. INSERT - ECU NUKE TIMER Thirty seconds and counting. EXT. COLORADO RIVER Hale and Terry are swimming toward the bank. EXT. 4WD TRAIL Deakins barrels along in the Humvee, the NEST helicopter getting closer behind him. IN THE HUMVEE Deakins has a thought and looks over at Pritchett, dead, held up by the seatbelt. DEAKINS I just realized I've never killed anyone before. I mean, I dropped bombs on Baghdad, but never face to face. (MORE) 65. DEAKINS (cont'd) (thinks about it, SHRUGS) I don't know what the big deal is. INT. MINE - END OF TUNNEL ECU NUKE TIMER Eighteen seconds left. KELLY Runs up, starts entering numbers into the timer keypad. INT./EXT. NEST HELICOPTER The NEST helicopter closes fast on Deakins. They are a couple hundred feet above him, a quarter mile back. HUNT Let him know we're here! EXT. 4WD TRAIL A line of bullets kicks up dust in front of Deakins' Humvee. INT. HUMVEE Deakins looks at... THE TRIP ODOMETER It clicks over from 2.9 to 3.0 miles. DEAKINS Grins, steps on the brakes. EXT. 4WD TRAIL The Humvee stops and Deakins gets out, arms above his head. THE NEST HELICOPTER A hundred feet in the air, slowly coming in toward Deakins. INT. MINE - END OF TUNNEL ECU NUKE TIMER Eleven, ten, nine... KELLY Punches in the last two numbers of the code then ENTER. 66. ECU NUKE TIMER It stops with seven seconds left. The amber light goes off and the red light comes on. KELLY Sits back on the floor, takes a breath. EXT. 4WD TRAIL Deakins is watching the helicopter. Strangely, he is grinning. Then the camera CLOSES IN fast on... DEAKINS' HAND He's holding a small black box. He presses a button and... INT. MINE - END OF TUNNEL Kelly hears a click. He looks over at... THE TIMER The red light goes out. The amber light comes on. A splitsecond later, the green light comes on. KELLY Oh shit. The screen goes white. EXT. 4WD TRAIL DEAKINS Watching the helicopter, listening to Hunt over the loudspeaker. HUNT (V.O.) Do not move or you will be fired -- THE GROUND Rises up beneath Deakins. HIGH ANGLE - WIDE SHOT The ripples of the shockwave shoot out from the mine, shaking dust and dirt into the air with an incredible, deafening roar. DEAKINS AMD THE HUMVEE Fly ten feet into the air. 67. INT. NEST HELICOPTER There's a roar of static over everyone's headphones and then every light, every piece of electronic equipment shuts down. HUNT No...! They plummet. EXT. COLORADO RIVER RIVER BANK Terry and Hale are pulling themselves out of the water when the shockwave hits, knocking them off their feet. INT. MCMURRAN CONTROL ROOM Wilkins and Giles hear the sudden rumble and then the shockwave hits, knocking stuff off desks, swinging lamps. EXT. 4WD TRAIL Deakins and the Humvee land. In the b.g... THE NEST HELICOPTER Drops out of sight behind a rock formation. There's an explosion and a ball of fire shoots up. EXT. COLORADO RIVER - RIVER BANK Terry looks over at Hale -- holy shit. INT. MCMURRAN CONTROL ROOM The lamps are still swinging. GILES That's all we need. A goddamn earthquake. WILKINS Son, I was at the Nevada Test site in the fifties. That wasn't an earthquake. EXT. 4WD TRAIL Deakins picks himself up. DEAKINS (to himself) At least I know they work. INT. MCMURRAN CONTROL ROOM Wilkins grabs a phone. Giles is pacing, freaked. 68. WILKINS (into phone) Get me the Room. GILES I have to get out of here. WILKINS You're going to be fine. It was underground. (into phone) Colonel Wilkins for General Creeley. GILES How do you know? WILKINS For one thing, if it was above ground, it wouldn't have caused the same kind of ground tremor. For another, if it was above ground, we'd all be blind and dying. (into phone) Sir, we've just had a detonation. INT. PENTAGON -- SITUATION ROOM Bedlam. People yelling. The Chairman is huddling with Baird. BAIRD How'd that happen? CHAIRMAN I don't know, but thank God it happened underground. BAIRD What do we do now? CHAIRMAN First thing we do is put a huge goddamn lid on this thing. With all due respect to your boy Giles and his belief in honesty as the best policy, from now on and until the end of time, what happened in Utah tonight was an earthquake. All right? Baird nods. EXT. 4WD TRAIL The Humvee races along the trail. 69. IN THE HUMVEE Deakins and the dead Pritchett motor along. Deakins turns to Pritchett as if Pritchett had just asked him a question. DEAKINS The helicopter? It was hit by EMP. Electromagnetic pulse. It's released in a nuclear detonation. It wipes out anything electronic for miles. That"s another reason I wanted to set off a nuke. I knew it'd bring down any helicopters coming for us. It'll also shut down all radio communications for a few hours, which will severely screw up their response. (GRINS) You see, Mr. Pritchett? There really is nothing for you to worry about. Pritchett's body seems to nod from the motion of the Humvee. EXT. COLORADO RIVER - RIVER BANK BUTTERFLIES Hover and dance over the water in the early morning light. HALE Hale has his shirt off and is wringing it out. TERRY (O.S.) Goddamn it! He turns to see Terry trying to undo her buttons but unable to her fingers are too numb. TERRY Stupid buttons. I hate these shirts. They're ugly and stupid and -- Terry suddenly starts crying. It's not the shirt she's upset about. Hale holds her. HALE It's okay. TERRY We just ... I mean, we almost... HALE I know. 70. TERRY A nuclear bomb went off. HALE That it did. TERRY Are we...? HALE Look. (points at BUTTERFLIES) If the butterflies are okay, then we'll be okay. TERRY Really? HALE Absolutely. It says so in the manual. "If you see butterflies after a detonation, you are fine." Terry looks at Hale. She knows he's bullshitting her, but she appreciates it. They look at each other. They could kiss ... but they both shy away from it. Terry gets her shirt off. HALE We better get moving. We might be able to reach Deakins when he gets to the river. They start off along a trail by the river. HALE Something I've been meaning to ask. (Terry looks at him) How did someone like you end up with a gun? TERRY I hit a bankrobber with a frozen chicken. HALE Excuse me? TERRY I came out here one summer during college. It was the campaign to stop the dam in the Grand Canyon. I loved it here. I came back, worked as a river guide and eventually stayed year-round. When a Park Ranger job came open, I applied. 71. HALE I'm still waiting for the chicken. TERRY The local Parks Department wasn't sure how I'd do with the law enforcement part of the job. Well, one night I was coming home from the store and Tommy Drewson part of the local brain trust was robbing old Bob Kearney in front of the ATM. I bear old Bob yelling and I see Tommy heading for his car, so I tossed a bag of groceries at him at thirty miles an hour. A frozen chicken in the bag hit him in the forehead and he dropped like a rock. Next thing I know, I'm a Ranger. Hale looks at Terry with a new appreciation. EXT. 4WD TRAIL Deakins pilots the Humvee along the trail. EXT. COLORADO RIVER - RIVERBANK TRAIL Hale and Terry are crouching behind a rock, looking down. THEIR POV A zodiac raft has been pulled up on the river bank. A man with an Uzi -- SHEPPARD -- waits, duffel bag by his feet. TERRY Get me a frozen Zacky's fryer and he's a dead man. There's the sound of an approaching engine. Sheppard stands, gun ready. The engine stops. A few seconds later... DEAKINS Appears, walking down a footpath toward Sheppard. SHEPPARD Where is everyone? DEAKINS I am everyone. Let's go. Sheppard hurries to Deakins. They disappear up the footpath. 72. HALE AND TERRY HALE Shit. TERRY What? HALE We're the only ones who know what's going on, and I don't have the faintest idea how we're gonna stop them. TERRY You'll think of something. HALE Why do you say that? TERRY You have so far. Hale looks at Terry -- she's right. But it almost pisses him off more than it gives him confidence. He grumbles to himself and starts off down toward the raft. TERRY Sink it? HALE Steal it. They get down to the raft. They climb in. Hale grabs the engine throttle, slumps. HALE Keys. Hale looks around, spots Sheppard's duffel bag lying on the riverbank. He hops out and starts rummaging through it when they hear grunting and feet approaching. Hale looks around for a place to hide. There isn't any. Terry tries to get out of the raft, but she trips on a tarpaulin bunched on the bottom of the raft. she drops. WITH DEAKINS AND SHEPPARD Coming down a path, lugging the last remaining nuke. THEIR POV Of the raft. Hale and Terry are nowhere to be seen. 73. HALE Is alone, in the water, on the far side of the raft, very silent. He hears Deakins and Sheppard load the nuke into the raft. SHEPPARD (O.S.) Why were you driving around with a dead guy? DEAKINS (O.S.) Because I like him. He doesn't ask a lot of annoying questions. All right? A few seconds later the engine starts up. Hale ducks down under water as the raft takes off over him. He surfaces to watch the raft zooming off into the distance. He is very worried. ON THE RAFT - MOVING The nuke is on a pallet in the middle of the raft. Sheppard pilots the raft. Deakins looks around, sees what he wants. A TARP Is lying on the deck of the raft along one side, all bunched up. It'd be the kind of thing you'd hide under. DEAKINS Grabs the tarp and pulls. UNDER THE TARP There's no one there. DEAKINS Throws the tarp over the nuke. As he does, we PAN OVER to... A LONG CRATE MARKED "LIFE JACKETS" Strapped to one of the side pontoons. A small triangle of cloth is sticking out from inside the crate -- like the corner of a shirt. It's quickly pulled out of sight from within. BACK ON THE RIVERBANK Hale climbs out of the water and looks around, not knowing quite what to do. EXT. LAKE POWELL - TRANSFER POINT The zodiac boat is on the shore. Sheppard and four man -- call them the GUNMEN -- are hauling the nuke to the truck. Deakins walks with another man -- MAX, 50s. Max checks his watch. 74. MAX Your friends in Washington should be getting the package about now. DEAKINS I wish I could see their faces. INT. PENTAGON - SITUATION ROOM Baird, the Chairman, Creeley and the others are all staring slack-jawed at a TV screen. ON THE TV Camcorder shot of Deakins against a black backdrop. DEAKINS ... two-hundred-and-fifty million dollars, by nine a.m. Utah time. The depositing instructions are in the envelope that came with this tape. This deadline is not negotiable, and there is no grace period. The device is on a timer. Shortly after you receive this, the timer will be activated. At nine a.m., I will make a call. If I find out you've done as you've been told, I will stop the timer. If you have not complied -- The screen suddenly cuts to a flurry of images of nuclear destruction -- buildings being knocked sideways, mushroom clouds, shockwaves, fires. CHAIRMAN Turn that off! EXT. LAKE POWELL Hale runs along the shoreline, headed for... A MARINA Where houseboats are rented out. Hale's eyes focus on a sign with a picture of a phone on it. EXT. LAKE POWELL - TRANSFER POINT The back gate of the truck is shut from the inside. The truck starts up and rumbles off, slowly at first. TERRY Jumps up from the raft and runs after the truck, staying right behind. She grabs a handhold and pulls herself up. She holds on tight as the truck bounces off down the dirt road. 75. INT. PENTAGON SITUATION ROOM Loud voices and crosstalk. Baird is on the phone, nodding. BAIRD Yes, sir. Creeley's phone rings. He answers it. CREELEY Creeley. BAIRD (covers phone; to CHAIRMAN) The President wants to know if we know where the device is headed. CHAIRMAN If Deakins had a plane waiting, it could be anywhere. We just don't know. CREELEY I do. (all eyes on him) Major Hale is alive. According to him, Colonel Deakins is headed for Salt Lake City. EXT. LAKE POWELL - MARINA Army helicopters are landing near the marina. Two are already down. One has TROOPS standing outside of it. HALE, WILKINS AND GILES Are walking toward the second helicopter. WILKINS We found the raft on the other side of the lake. Tracks from a heavy truck ran out when they hit the paved road. HALE If we get a rad scanner we can track them. A brief look between Wilkins and Giles. WILKINS Actually, Major, we're going back to McMurran. HALE What? 76. GILES We'd just like to ask you a few questions. HALE I'm not wasting time answering questions. We've got -- WILKINS No debate, Major. I was given orders. Now, you can come with us, or you can go with them. Wilkins nods over at the other helicopter. The troops standing in front of it are MPs. Hale looks at Wilkins, astounded. EXT./INT. WILKINS' HELICOPTER - IN FLIGHT Wilkins is up front with the pilot. Hale and Giles are in back. All wear headsets. Hale is yelling at Wilkins. HALE Deakins thinks I'm dead. He thinks it's over. You've got to let me go after him. I can help. I know how his mind works. WILKINS Major, I know this is personal for you, but I think we can handle it. We're putting a wall of men and machines around Salt Lake City as we speak. That truck is not getting through. INT. TRUCK CLOSE ON THE NUCLEAR WEAPON Dusty slices of light come through the truck's slatted walls. The nuclear weapon is lashed to a hammock, straps running off to D-rings on the sides. Max is hooking up an electronic timer. INT. WILKINS' HELICOPTER HALE What about the Ranger? GILES What about her? HALE When you find that truck, you'll hit it hard. Chances are she'll be killed in the crossfire. "Regrettable but unavoidable." 77. Giles and Wilkins share a look -- Hale is right. HALE Look, she's not supposed to be there. She should be checking camping permits, finding lost kids. She... (BEAT) She saved my life. Giles wants to help. So does Wilkins, but... WILKINS We were ordered to take you back to McMurran. You understand what orders are, don't you, Major? Wilkins turns away. Hale sits back, mind racing, not knowing what to do. He quickly grabs a pistol from the helicopter's weapons rack and puts it to Wilkin's neck. WILKINS Major, put that away or say goodbye to your career and hello to twenty years in Leavenworth. HALE If that's what it takes. WILKINS You'll have to shoot me. Hale thinks, but there's no way he can do that. He lowers the gun, sits back. Giles gets Hale's attention, then points to his own head. Hale doesn't understand, so Giles grabs Hale's gunhand and puts the gun up to his head. GILES Colonel! How about this? Wilkins looks back, sees Hale holding the gun to Giles' head. HALE (bad acting) I swear to God I'll shoot. Wilkins grins. INT. TRUCK Max finishes hooking up the timer. He looks at Deakins. MAX Ready when you are. 78. DEAKINS Wait until I get back. I'm going to check on Sheppard. Deakins goes to a ladder that leads up to the ceiling. INT. WILKIN'S HELICOPTER Hale is looking back and forth between what he sees out the window and the map on his lap. WILKINS I don't know what you're looking for, Major. Every road between here and salt Lake has already been sealed. HALE Deak would know that. Maybe he's not on the road. Wilkins doesn't understand. HALE They were using maps like these to set up the roadblocks? WILKINS Yes...? HALE Then that's the answer. Wilkins doesn't understand. Hale points outside, down at... TRAIN TRACKS On the ground. Old ones, half-covered by weeds. HALE It's an old spur. Probably hasn't been used in twenty years. Nobody bothered to put it on the new maps. WILKINS What are you --? HALE The nuke isn't in a truck, Colonel. It's on a train. EXT. TRAIN A freight train -- engine, a car carrier (carrying a load of Toyotas), several boxcars and a caboose. A hatch opens up an the roof of one of the boxcars near the tail of the train and... 79. DEAKINS Climbs out and we discover that indeed they are not in a truck, they're in a train. The "nuke boxcar" has a small satellite dish mounted on the roof. THE FOUR GUNMEN Are in position at points along the train, ready with Uzis. INT. WILKINS' HELICOPTER Wilkins hangs up the radio mike. WILKINS Radio's still down. We'll head north, look for a phone, then look for a train. Giles nods. Hale is thinking. Wilkins starts to tell the pilot. HALE No. Go south. GILES Salt Lake is north. HALE He's not going to Salt Lake. GILES But you said it would be Salt Lake. You found that hospital tag. HALE He planted that. He wanted whoever found it to think that's where he was going. (Shakes head) He's been doing a rope-a-dope. Giles and Wilkins look at him like he's nuts. HALE It's a boxing term. When Ali -- Look, I know this guy. If everything has been saying he's heading north, then he's heading south. They look at him, then Wilkins grabs the map. WILKINS What's south of here? 80. ECU MAP Wilkins' finger follows the train line on the map. It goes right into Las Vegas. HALE No. Not Vegas. What the hell is there to blow up in Vegas? Wilkins' finger keeps moving on the map. GILES The President. Wilkins' finger stops. EXT. TRAIN Deakins jumps the gap between two boxcars and walks on. We ANGLE DOWN to reveal... TERRY Crouching down between the two cars. INT. TRAIN ENGINE - DRIVER'S COMPARTMENT Sheppard is working with a torch, welding the brake and accelerator controls. Deakins enters. Sheppard turns the torch down. Deakins lights a cigarette off it. DEAKINS How much longer? SHEPPARD Almost done. INT. TRAIN ENGINE ENGINE AREA Behind the driver's compartment is the engine itself, with walkways along either side. TERRY Creeps-up to one of the doors that lead into the driver's compartment. She hears... SHEPPARD (O.S.) How long until the helicopter gets here? INT. DRIVER'S COMPARTMENT DEAKINS Five minutes. We'll leave from the boxcar roof. 81. Deakins turns to go. INT. TRAIN ENGINE - ENGINE AREA Deakins opens the door and strides along beside the engine. TERRY Is hiding on the other side of the engine, very quiet and still. As Deakins goes out the back door of the engine, Terry follows. EXT. TRAIN - BETWEEN ENGINE AND BOXCAR Terry comes out the door and is about to step across to the ladder on the boxcar when we PULL BACK to reveal... DEAKINS As he puts a gun to the back of Terry's head. EXT. GAS STATION AND MINI-MART A RANCHER comes out of the mini-mart with a cup of coffee and heads for his old pickup truck. He starts to open his door when he hears, incongruously, whump-whump-whump. He looks up as... WILKINS' HELICOPTER Comes in, gets about three feet off the ground and Giles jumps out. As Giles runs to a payphone, the helicopter pulls up and flies away, leaving the Rancher agog. INT. NUKE BOXCAR Terry comes down the ladder from the hatch, followed by Deakins with a gun. DEAKINS Terry, Max. Max, Terry. MAX (to Terry) A pleasure. (to Deakins) What the hell is a "Terry" and why is it still live? DEAKINS She asked me how I thought I was going to get away with this and I thought I'd tell her. (to Terry) We're going to a cabin in the mountains, not far from here. When we get there I'm gonna make two phone calls. (MORE) 82. DEAKINS (cont'd) The first is to the Pentagon. I'm gonna tell them where the train is. (GRINS) See, all their forces are up at Salt Lake by now. By the time they could get a F-15 down here the train will be on the outskirts of Vegas. And I'll remind them about the impact trigger -- if they hit this train hard, the nuke'll blow. (shakes head) They won't have any choice. They'll have to let the train get into the city and because of that, they'll have to pay. TERRY You said two phone calls. DEAKINS The second will be to my bank in Geneva. If the money's in my account, I use this... (pulls out what looks like a modified cell- PHONE) ... and shut down the timer. If not, we sit back, put on some shades and get a quick tan. TERRY But -- radio isn't working. DEAKINS You saw the dish on the roof? Microwave. It's not affected by EMP. See? I really have thought of everything. MAX You kept her alive just so you can impress her with how smart you are? DEAKINS (to Max) No, I kept her alive because I want her to do me a favor. See, if something goes wrong and this thing goes off, a half a million people are going to be vaporized. I don't want that on my conscience. So I'm not going to arm the nuke. (MORE) 83. DEAKINS (cont'd) (puts gun to Terry's HEAD) She is. INT. PENTAGON SITUATION ROOM The room is silent. Everyone is looking at video monitors showing a map of Las Vegas. They are listening to a nervous ASSISTANT as he uses a telestrator to diagram the blast effects. AIR FORCE ASSISTANT Starting at ground zero and moving out, we have, in terms of immediate effect, one hundred percent fatalities to thirty miles. Ninety percent from thirty to forty miles, dropping roughly ten percent for every-ten miles after that. The long term -- CHAIRMAN (cut to the chase) Son? AIR FORCE ASSISTANT (looks up, seared) Two hundred and fifty thousand in the first few seconds. The same again within a year. BAIRD (it sinks in) Good God. INT. NUKE BOXCAR Terry is shaking, tears in her eyes, as she slowly-enters the numbers Deakins tells her to in the nuke timer keypad. DEAKINS Nine ... Then pound ... Good. Now six ... ECU TERRY'S EYES Filled with tears. She blinks and... QUICK CUTS Terry has visions of RETIREES in Vegas, watering potted plants outside their motor home, of TEENAGERS ragging on each other as they walk to school, of CHILDREN in a playground. DEAKINS Seven ... Star ... One... 84. And Terry shakingly pushing each button and then... The images of the retirees, the teenagers and the children each bleach out to white, fast, as if hit by a nuclear blast. DEAKINS Then ENTER and it's done. TERRY Her finger hovers over the ENTER button, almost pushes it, then shifts to CANCEL and pushes that. ECU NUKE TIMER The display goes blank. DEAKINS Stunned. He shakes his head. DEAKINS Ooh. You really shouldn't have done that. I said I would kill you, and I will. TERRY I'm gonna be dead either way. I don't want any part of this. Deakins shrugs -- he sees her logic. He puts his gun to Terry's head. Terry shuts her eyes. DEAKINS Night-night. Deakins is about to pull the trigger when Max stops him. Max gestures -- listen. They hear a helicopter approaching. Max checks his watch. DEAKINS They're early. Just then, they hear gunfire. Max gives Deakins a look. DEAKINS It's not a problem. Set the timer, then kill her. Have fun with it. Deakins starts climbing up the ladder to the hatch. EXT. TRAIN The GUNMAN at the caboose is firing on Wilkins's helicopter, hanging a hundred yards off the back of the train. 85. INT. NUKE BOXCAR Max holds a pistol on Terry with one hand while he quickly sets the timer with the other. TERRY'S HAND Rests on Max's tool tray. Her fingers creep over to a vrench. MAX Presses ENTER and finishes setting the timer. MAX There. TERRY AND MAX Terry swings hard and fast with the wrench, knocking the gun out of Max's hand. Max spins, and when Terry swings at him again. Max kicks the wrench out of her hand, then steps up fast and hits Terry under the chin with the heel of his hand. She drops straight back. MAX Thought I was just friendly old Max, huh? Lady, I was a Navy SEAL. You should see what I can do with just my thumb. Max goes for his gun. TERRY'S HAND Grabs onto something. It's the wrench. TERRY AND MAX As Max turns back with the gun, Terry heaves the wrench. It hits Max square in the forehead. He drops like a rock. TERRY Yeah? Well, you should see what I can do with just a chicken. EXT. TRAIN - CABOOSE Deakins joins his man on top of the caboose, firing on Wilkins, helicopter. INT. HELICOPTER Wilkins and Hale are returning fire. Hale points at Deakins. HALE That's him! 86. WILKINS (to pilot) Get him! PILOT They've got guns! WILKINS You've got a helicopter. Use it! EXT. TRAIN Deakins and the gunman keep firing on the helicopter as... THE HELICOPTER Comes swooping in. DEAKINS Sees what's going to happen and turns and runs as... THE HELICOPTER Drops down beside the train. The rotor blades whip about three feet over the train roof and the pilot starts forward. DEAKINS AND THE GUNMAN Run from the blades as fast as they can. THE HELICOPTER Closes fast. DEAKINS AND THE GUNMAN Jump from car to car. The gunman passes Deakins. Just when the helicopter blades are about to catch up to Deakins... DEAKINS Jumps down between two boxcars and the rotor blades go right over his head. Deakins hears an awful sound and a scream cut short. HELICOPTER POV Swooping fast over the train when suddenly... TERRY Pops up out of the hatch, her back to the helicopter. HALE (O.S.) Pull up! 87. THE HELICOPTER Pulls up fast. TERRY Watches the helicopter bank away. Bullets-start whizzing by her. DEAKINS Has climbed up and is shooting at her. TERRY Runs away from Deakins, shooting Max's pistol behind her blindly. TWO GUNMEN Appear two cars ahead of Terry and start toward her, shooting. TERRY Is caught between Deakins and the gunmen with no way out when... THE HELICOPTER Comes along the length of the train, flying low. It rises up and there's... HALE Hanging from the helicopter on a cable hooked to a harness and he's firing a pistol, shooting right over Terry at... THE FIRST GUNMAN He's hit, falls off the train. THE SECOND GUNMAN Aims at Terry and starts firing. TERRY The bullets rip up the boxcar roof around her. She jumps up and grabs onto... HALE As he swings in on the cable, shooting his pistol. HALE AND TERRY Are lifted up and over... 88. THE SECOND GUNMAN Who turns, firing a shotgun. Hale's bullets find him. He falls. SHEPPARD Appears, firing an Uzi at Hale, Terry and the helicopter. IN THE HELICOPTER Bullets rip through. Wilkins is hit, knocked back. THE CABLE HOLDING HALE AND TERRY Is severed by one of Sheppard's bullets. HALE AND TERRY Drop ten feet to the roof of a boxcar. Hale shoots as they fall. SHEPPARD Is hit and drops. THE HELICOPTER Banks away fast, making ugly sounds, smoke billowing out. The engine cuts out and the helicopter drops to a hard landing beside the tracks. HALE AND TERRY Watch the helicopter land as the train rolls on. They look at each other. TERRY You stop the nuke. I'll stop the train. Hale nods. Terry starts forward, then turns. TERRY I'd yell at you for coming after me, but you did just save my life. Hale grins. They hear a helicopter in the distance. They look over to see... A RED CROSS HELICOPTER Coming in fast. HALE AND TERRY Any excitement turns to confusion when they see... 89. A MAN Standing in the doorway of the Red Cross helicopter, holding a gun. TERRY That's Deakins' escape route. HALE Not any more. Terry nods. They share a last look, then Terry heads off. Male coils up the winch cable, slings it over his shoulder and heads for the nuke boxcar and his old friend Deakins. He picks up... THE SHOTGUN Left by deceased Gunman #2. EXT. CAR CARRIER Makes her way past the Toyotas. EXT. WILKINS' HELICOPTER - BESIDE TRAIN TRACKS Wilkins and the pilot stand outside their disabled helicopter. The train is way off in the distance. They hear honking and turn to see... A PICKUP TRUCK Tearing toward then along a dirt road, horn honking. CLOSE ON PICKUP The RANCHER from the mini-mart is driving; Giles beside him. INT. TRAIN ENGINE - DRIVER'S COMPARTMENT Terry comes into the driver's compartment. She tugs at the brake and accelerator levers. It's useless. She looks around, spots a cigarette lighter. INT. BOXCAR Deakins and the one remaining GUNMAN hear the helicopter. They start toward the ladder to the roof hatch when they hear footsteps on the roof of the car. Deakins gestures to the gunman. He raises his gun, trying to figure out where to shoot. Then they hear someone tugging at the hatch handle. The gunman opens fire on the hatch. EXT. ON TOP OF BOXCAR Bullets stream up through the hatch cover, but Hale is nowhere in sight. One end of Hale's helicopter winch cable is tied to the hatch cover. 90. We follow the cable fast, over to the side of the boxcar to find... HALE Standing, tugging on the cable, still attached to the harness. Hale racks a load in the shotgun and jumps back off the side of the train. INT. BOXCAR The gunman hears a sound, starts to turn, just as... HALE Swings into the boxcar on the cable, firing the shotgun. THE GUNMAN Is picked up by the blast and smashed back through the wood slat wall of the boxcar and out of the train. DEAKINS Climbs up fast through the hatch to the roof. HALE Shoots at Deakins, misses. The shotgun clicks empty. Hale tosses the gun then unhooks the cable from the harness. He drops to the floor-of the boxcar and runs to the ladder. EXT. CAR CARRIER Terry has a three-foot length of gasoline-soaked cloth stuffed into the gas tank opening of a Toyota on the lower level of the car carrier. She lights it and hurries off. EXT. ROOF OF TRAIN Deakins steadies himself as... THE RED CROSS HELICOPTER Hovers in sideways toward the train. The MAN in the doorway holds out a hand to Deakins. DEAKINS Is reaching for the man's hand and grabs it when... HALE Reaches out of the hatch and grabs onto Deakins' foot. 91. HALE AND DEAKINS Deakins kicks free of Hale, holds onto the man in the helicopter and is pulled onboard. THE HELICOPTER Moves sideways over the train. IN THE HELICOPTER Deakins turns, pulling his gun and shoots down at the train as... THE HELICOPTER Moves back sideways over the train. DEAKINS' POV No sign of Hale on the train roof. DEAKINS Get us out of here! THE PILOT Nods and starts to lift and bank. Then he gets an odd expression. The helicopter isn't doing what he wants. THE HELICOPTER Is hovering over the train, but it can't fly away because... HALE Is hanging onto the skids and he's hooked the cable to the skid. The other end of the cable is still attached to the hatch. THE HELICOPTER Strains against the cable, but it doesn't snap. IN THE HELICOPTER DEAKINS Hurry! POWER LINES Cross the track, a quarter-mile ahead. DEAKINS Leans out of the helicopter with his Uzi, shooting down at... 92. HALE Who grabs onto the cable and slides down it to the roof of the train, bullets plugging in all around his. He jumps down through the hatch as... DEAKINS Sees what's coming and jumps. THE HELICOPTER Hits... THE POWER LIKES Which snap, shoot sparks and wrap around the helicopter's rotor. THE HELICOPTER Breaks up and flies apart as the train rolls on. EXT. CAR CARRIER The flame burning up the gas-soaked cloth goes into the Toyota gas tank and... THE TOYOTA Explodes. INT. NUKE BOXCAR Hale gets to his feet, goes to look at the nuke. ECU NUKE TIMER Five minutes and counting. HALE Looks at it, trying to figure out how to disarm it. He hears the whoosh-thump of someone jumping down into the boxcar. He turns. DEAKINS Stands there, trying to smile, trying to be cool, but... DEAKINS They would've paid and I would've stopped it. You've made a very, very big mistake. HALE It's over, Deak. I beat you. Disarm it. 93. DEAKINS If it's over and you beat me, you disarm it. HALE Deak... DEAKINS Course you are going to need this. (holds cell-phone REMOTE) All you have to do is get it. (puts remote in POCKET) And if you do, as a special added bonus, you get this. Deakins pulls out... THE TWENTY DOLLAR BILL Then pockets it. HALE AND DEAKINS Share a look. Deakins puts up his fists. DEAKINS Ready? Hale puts up his fists. EXT. CAR CARRIER It's a chain reaction, with one flaming Toyota setting off the one above it or next to it. BETWEEN BOXCAR AND CAR CARRIER Terry is looking under the car carrier. TERRY'S POV The train car axle is smoking, grinding, glowing red in the heat from the flaming Toyotas. INT. BOXCAR Hale and Deakins circle each other. DEAKINS Modern boxing is a pussy sport. They want to make it about scoring points. It's not about scoring points! It's about this! 94. Deakins fakes a right, jabs with his left, catching Hale on the chin. Hale is jarred. Blood runs from his mouth. DEAKINS Okay. You're bleeding. Good. In the old fights, there'd be so much blood, guys would slip and fall. Let's see if we can't get a little more of that red goo out of you. Ready? Again Deakins fakes right, jabs left. Hale half blocks it, but is sent back. EXT. TRAIN CU TRAIN AXLE The axle is bending, grinding, groaning. TERRY Is between the car carrier and a boxcar, looking down at the axle, not knowing what the hell she's going to do when she hears a horn honking. She turns. INT. BOXCAR DEAKINS Used to be, every fight was to a knockout. You know what happens when you get knocked out? It's your brain slapping against the inside of your skull. Here. I'll let you see what it's like. Ready? Deakins steps toward Hale, about to finish him off. Deakins swings. Hale ducks, comes up hard with all he's got, gets Deakins under the chin and Deakins sails up and back, landing prone, seeing stars. HALE Stands over Deakins, in silhouette, the light of the hatch above him. And then... EXT. THE TRAIN AXLE Snaps and... THE TRAIN Jumps the tracks. INT. BOXCAR Hale is thrown off his feet. 95. THE NUCLEAR WEAPON Swings wildly in the hammock webbing. THE STRAPS Securing the webbing to the walls of the car start to snap. EXT. TRAIN The front cars accordion sideways off the tracks, down a short, steep, embankment. It's all grinding, twisting, groaning metal. FLAMING TOYOTAS Fly, tumble, explode. INT. BOXCAR Hale tries to get to his feet, but then the floor starts dropping below him as... EXT. THE TRAIN THE NUKE BOXCAR Goes down the steep slope of the embankment and stops. THE TRAIN The sounds of the crash cease. Dust and smoke. Burning Toyotas. INT. BOXCAR Flickering light from a burning Toyota comes in through the slatted walls. In this weird light, Hale sees... THE NUCLEAR WEAPON It's above him, at the end (top) of the car. It's hanging in mid-air, tangled up in the webbing. Two straps are the only things keeping the nuclear weapon from dropping twenty feet to the bottom of the car. DEAKINS Is lying at the bottom (end) of the car, directly under the nuke, not moving. HALE Looks around for something. He sees it -- DEAKINS' REMOTE CONTROL DEVICE On the floor. 96. DEAKINS' EYES Flicker open. He sees... A PISTOL Lying a few feet away. HALE DEAKINS (O.S.) You have to push amber, then red. You might have time to push amber. You won't get to red. Hale turns to see... DEAKINS Pointing a gun at him. HALE The nuke is armed, Deak. If it falls, the impact trigger will set it off. DEAKINS I know. HALE Half a million people will die. DEAKINS (thinks, shrugs) Fuck 'em if they can't take a joke. ONE OF THE STRAPS Holding the nuke tears through. One strap left. HALE His finger hovers over the amber button. DEAKINS Do it and I shoot. Hale looks at Deakins. HALE I guess you really don't know me that well after all. Hale presses the amber button. 97. DEAKINS Shoots. HALE Spins back, blood spraying from his shoulder. THE REMOTE Falls from his hand. DEAKINS Is about to shoot again, then hears a tearing and looks up as... THE LAST STRAP Rips through and... THE NUKE Drops toward him, point first. HALE'S BLOODY HAND Grabs the remote and his finger presses the RED button. ECU NUKE TIMER Mid-air, dropping, the clock and display go blank as... DEAKINS His eyes fill with true terror as... THE NUCLEAR WEAPON Punches into Deakins, point first, crushing him. HALE Gets to his feet and stands over Deakins. He reaches down, opens Deakins' pocket and pulls out the twenty-dollar bill. HALE Ready. He heads out of the boxcar. EXT. TRAIN TRACKS Hale climbs out of the boxcar and starts running through the train wreckage and burning cars, looking for Terry. 98. A TV NEWSVAN Pulls up and a REPORTER and CAMERAMAN jump out. HALE Keeps running through the wreckage. He stops, unable to breathe when he sees... A FOOT In a boot, sticking out from under a burning Toyota. HALE Runs to the car, pulls at the foot, tries to push the car off the body underneath. O.S. another vehicle drives up. HALE Come on! Oh, God. Oh, no. Hale is pulling hard on the foot when... TERRY (O.S.) The Air Force pays you so little you have to steal shoes off dead people? Hale turns to see... TERRY Walkins over from the Rancher's pickup truck. WILKINS AND GILES Are behind her, grinning. HALE AND TERRY Run to each other. They embrace, start smoothing each other's hair, start wiping blood off each other's faces, start kissing, only to be interrupted by... THE TV REPORTER AND CAMERMAN REPORTER What happened here? Hale and Wilkins and Giles share a look. HALE Uh... (looks at flaming TOYOTAS) ... somebody was trying to steal some Toyotas. 99. The reporter asks more questions. Hale and Terry walk off, arms around each other. As they go, Hale sticks out his hand to Terry. HALE Rawley Hale. TERRY Terry Carmichael. They shake hands and walk on as we... FADE TO BLACK THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Broken Embraces.txt b/unformated_scripts/Script_Broken Embraces.txt new file mode 100644 index 0000000000000000000000000000000000000000..7caa780f01e5f469c01f1d955a6ef0001d81932e --- /dev/null +++ b/unformated_scripts/Script_Broken Embraces.txt @@ -0,0 +1 @@ + BROKEN EMBRACES Written by Pedro Almodovar DUSK, OR NIGHT HAS ONLY BARELY FALLEN. A huge clock marks 7:55 p.m. (The clock belongs to some landmark building, to be determined). Immediately following, the building goes dark. Establishing shot of the Eiffel Tower, lit. Suddenly, all the lights go out. The same thing happens with the Granada's Alhambra, Seville's Giralda Tower, the Guggenheim at Bilbao, the Gate of Alcala. All these well- known architectonic wonders turn dark, abruptly. (Beauty that disappears suddenly, beauty that's extinguished and envelops us in darkness.) 1. HARRY CAINE'S HOME. INT. NIGHT. Harry (fifty years old) sits, as if he were waiting, without hurry, immobile and patient in his study next to his desk, as if it were the thing keeping him company. He isn't doing anything. He lets time take its course. His silence is broken by the sound of footsteps that come and go. At first we can't see who the footsteps belong to, until they stop. In the living room, a few meters from Harry, Judit stops. She, too, is shrouded in darkness. She looks at her wristwatch, the second hand moves from left to right on the watch face. Judit (forty-eight, looks younger) breathes, impatient. (She is dressed soberly, in a dignified and practical manner). She approaches a window that looks out onto the street. Everything outside is also in darkness. The building in front is just a dark mass. She looks to the end of the street. Almost all the buildings visible from the window are dark, the Gate of Alcala in the background is also not lit. Without turning, she says to Harry: JUDIT The Door of Alcala has also darkened. Harry is still sitting, inert, absorbed by his thoughts. The whole house is in darkness, only the ambient clarity of the night comes through the windows, curtains drawn back. 3 Judit heads slowly toward the kitchen. On the wall there is a Vitra clock, to which she gives a cursory glance. She turns on the faucet and fills a glass of water. From her pocket, she removes a tiny heart made of black nacar shell and rimmed in silver. She opens it. She grabs a small pink pill. She takes it. She glances once more at the stylized design of the Vitra clock. The minute hand nears 8 p.m. On a windowsill (or on the kitchen table) there is an open newspaper. The exposed page displays an article about the dangers of global warming. An international date has been convened for a five minute blackout at 8 p.m. Standing in the kitchen, Judit, poised and tense, looks up at the spot where the clock is. The stillness of all the elements comprising the frame make it seem like a painting. She waits until the seconds hand completes its cycle and it's 8 o'clock sharp. Swiftly, Judit powers the central electrical switchboard, which is in the kitchen. The kitchen lights up, the refrigerator emits its characteristic sound. The lamps in the living room also light up. (Low-hanging lamps that make the light bounce. The house is awash in a special luminous atmosphere ≠ dense, translucent, with darkened zones). All the furniture is flush with the walls. There are some paintings hanging and a rug on the ground, everything is of the kind of quality that denotes good personal taste. Upon the light's return, Judit exhales a profound sigh of relief. She moves toward the window where she was standing earlier and contemplates how, in the building across the way, the windows begin to blink, in square patterns of light. 2. FLASHBACK. 1994. LANZAROTE HOSPITAL. INT. DAY. 4 The light's return is contagious, a true spectacle, which ends with a blinding light that floods the screen. It will probably be a close-up of the sun. That very sun enters through another window, which is not that of Harry's house, nor that of the building across the way. It is the window of a hospital room (perhaps a sign should specify that the following scene occurs "Fourteen years earlier") The hospital is on Lanzarote Island, in the Canary Islands. The scene occurs fourteen years earlier. The characters are the same. Harry and Judit. Harry lies in bed, his head completely bandaged. Sunlight enters through the window. Judit is seated on the bed. She holds his hand and pleads, worried and loving: JUDIT Mateo, say something! MATEO-HARRY Mateo is dead. JUDIT (Sweet and devastated) Don't say that! The character to whom Judit refers as Mateo, (the same one that in the previous scene we have called Harry), has a recent wound, either on his arm or on his hands, along with his head, which is completely covered by bandages. Mateo and Harry are the same person, the difference is the fourteen years that separate them. Harry, in the present (2008), is fifty 5 years old. In `94, the time period when the flashback takes place, he was thirty-six. Let's say that when he was thirty-six, Harry was called Mateo. The character has two names, which his own voice-off explains, while we observe what his day-to-day consists of in 2008. OFF HARRY I always wanted to be another person, to be someone beside myself. To dispose of a single identity didn't seem enough. Living a single life wasn't enough for me. And half-joking, I came up with a pseudonym for myself, Harry Caine, an adventurer who, as fate would have it, became a writer. At that time, I had him author all the scripts and stories that I wrote. I came up with a standard biography to fill the back flap of his books. He had been a sailor, an industrial spy, the doorman at a Parisian cabaret, a boxer, a waiter and an advertisement hand-double. A self-made man, active and attractive like an English spy, vital, skeptical and sarcastic. For many years, Mateo Blanco and Harry Caine shared the same person, me, but a time came when, all of a sudden, I couldn't be anyone other than Harry Caine. I became my pseudonym. (He applies lotion in front of the mirror, we first see him in front of it, and then, doubled, reflected in it. Then, suddenly, the mirror does not reflect him. Of his two identities he only has one left). Just as I had planned, a heterodox writer and, never better stated, a self-made man, one might even say, "self-written man". There was only one detail I had not foreseen, Harry would be a blind writer. 6 3. IMAGES THAT ACCOMPANY THE VOICE -OFF. HARRY CAINE'S DAILY RITUALS. Despite his fifty years and his blindness, Harry is a man that keeps himself in great physical shape. Harry's Home. Interior. Day. In the morning: he places a CD in a player. By himself, he selects and starts the program on a treadmill. He steps on and begins exercising. He takes a shower ("Mateo Blanco and Harry Caine shared the same person, me, but a time came when, all of a sudden..."), the camera pans over various parts of his body under the running water, dense waves of white foam slide down his skin, as if it was a landscape. The hangers have Braille-stickers that indicate the characteristic of the clothing they hold. (All the closets have sliding doors) In his bedroom, he opens the closet and looks for the clothes he will wear. Despite the fact that he cannot see himself, he stands in front of a mirror. He smiles, pleased with his appearance . Everything in the house is rigorously ordered. All that Harry needs to ascertain the identity of the things around him is his touch. He exits onto the street. 4. HARRY'S STREET. EXT. DAY. PEDESTRIAN CROSSING. Harry traverses (aided by an umbrella?) the pedestrian crossing. When he reaches the opposite sidewalk, the credits appear on the black and white stripes that mark the crossing. The crossway is clear of pedestrians so that only cars pass through (not many) and as they do, 7 they run over the letters of the credits, making them disappear, in pieces. On a different stripe, a new title appears and as it does, it is run over and destroyed by another car. Like this, successively. 5. SIDEWALK ACROSS FROM HARRY'S BUILDING. EXT. DAY. Just on the sidewalk across from where Harry lives, there is a news- stand, and next to it, perhaps on the nearest corner, a bar. Harry buys the newspaper at the news-stand. This is part of his daily routine. He greets the attendant familiarly. He has the kind of face that provokes pity. He grabs the newspaper, folds it, and places it under his arm. Cut to. 6. BAR ACROSS THE WAY. INT. DAY. He enters the bar. He leans down somewhere on the bar table. Just as soon as he sees him, he is approached by his Waiter Friend, an approachable guy, somewhere in his forties, who is helped by a South American waitress, wearing her makeup since the early part of the morning, whom he is obviously screwing. He brings him a coffee. All of these actions are part of a daily ritual. WAITER FRIEND Do you want me to read you something from the newspaper? HARRY No, thanks. I am off on a stroll. 8 RETURN TO SEC. 5 Harry exits the bar and becomes immersed in the different noises of the street, the passersby, their different sounds and corporeal odors. Auditory life. The camera swirls around his head. At first he hears all the noises, indistinctly mixed, and then he begins to separate them. He selects one he likes, the rest of the sounds of the street disappear or their volume is lowered. Girls, cars, high heels, the smells of different ethnicities. A multi-racial street. Harry selects an odor (the body of a woman, whose aroma appears and disappears), Harry follows it, having also singled out the sound of her heels. He loses them. He finds them again. He walks self-assuredly, without tripping either on the urban furniture or the people. He leans, lightly, on his umbrella, which he uses as a cane. At first glance he doesn't appear blind ... He reaches a pedestrian crossing. Nearby, he recognizes the odor which had attracted him, he follows its trace until he reaches the sidewalk. The odor emanates from a young Girl, just next to him, waiting before the crosswalk. Harry searches with the tip of the umbrella, until he brushes her shoe. He excuses himself, as if the contact had been inadvertent. The girl regards him. Harry then takes one step forward, intent on crossing the street, the cars come very close to him, almost running him over. (A real sense of danger). The light is red for pedestrians. The Girl takes him by the arm, pulling him toward her, frightened. GIRL (Alarmed) Watch out! You can't cross! 9 HARRY Sorry . . . GIRL I'll tell you when! HARRY Thank you very much. 7. MATEO-HARRY'S STREET. EXT. DAY. PEDESTRIAN CROSSING. They make it through the crosswalk. She is not holding his arm (but almost), Harry doesn't need it. He knows the surroundings well. They reach the other sidewalk. Harry thanks her for her help, the Girl observes him the entire time, intrigued and curious. HARRY I live nearby, two blocks up, would you mind coming along with me? The Girl accepts, delighted. Tall, thin, attractive, modern, and inexpressive like a model, this is what the Girl is like. 8. CONTINUED. BUILDING'S ENTRANCE. EXT. DAY. Once at the entrance, Harry invites her to come up so that she can read aloud the newspaper to him. The Girl checks her watch, and ends up accepting. GIRL 10 But I warn you, I've never read out-loud, you may not like it! HARRY You will only have to browse. 9. LIVING ROOM, MATEO'S HOME. INT. DAY. The same living room we've seen in Sequence 1. There is very little light. GIRL Do you mind if I turn on the light? So that I can read... It's too dark in here. HARRY Oh, yes... Turn the light on... The Girl turns on a table lamp. Cut to. Harry is sitting on a sofa and she is in front of him, on an armchair. She opens the newspaper down the middle, before she reads anything she directs a brief but intense glance at Harry. She reads about the percentage of those in Madrid who abided by the blackout that was organized in the name of global change. She turns a few pages and stops. Reads as if for herself: GIRL Ernesto Martel is dead! HARRY Who? 11 GIRL Ernesto Martel. I know one of his granddaughters... HARRY So he's dead. GIRL You knew him? HARRY No... Turns more pages. GIRL What are you interested in, politics, economy... culture? HARRY I am interested in you. What are you like? Do you mind describing yourself? The girl begins to describe herself, at first a little tentative. (Her measurements? She smiles. She knows them by heart.) She describes herself. The color of her eyes. Her hair. Her skin. How she's dressed, while she traces over him with her glance (When she speaks of her eyes, we see his eyes; when she speaks of her mouth, we see his, etc). Her gaze stops at Harry's crotch. Harry can feel her watching him. The situation seems perfectly natural. Harry approaches her (he knows she's right in front of him). With his hands, he places a brief caress on each of the parts the Girl has just described. The eyes, the hair, the mouth. He lowers his hands until they fall, spread, on her breasts. It is as though the blind man could gaze at her with his fingers and palms. He rests his head on the Girl's breast, pulls down her bra straps and he begins to savor 12 her breasts, delicately. Harry's cell phone rings, but he ignores it, doesn't pick up. Cut to. 10. CONTINUED. HARRY'S HOME. INT. DAY. They make love on the sofa. Cut to. The Girl asks for the bathroom, Harry gestures with his hand in its direction. Half-naked, with some of her clothes in her hand, the Girl heads for the bathroom. Harry, still sitting on the same sofa, begins to dress and to smooth down his clothes, without hurry. 11. CONTINUED. HARRY'S HOME. INT. DAY. The doorbell rings. Twice in a row. Immediately following, the key is inserted into the keyhole, from the outside. Someone is opening it. Harry rises. Before he arrives to the foyer, the door is already open. In the middle of the doorway, a woman, Judit (the same one who had been with him during the blackout of the opening sequence). Harry finishes tucking his shirt, barefoot. Judit closes the door slowly and surveys him up and down with inquisitive eyes, which he cannot see but one could say that he can guess. He smiles. JUDIT What are you laughing at? 13 HARRY I am only smiling, because of the way you're looking at me. The sound of a running faucet emerging from the bathroom distracts Judit; first the sound, then the immediate appearance of the Girl. Both women look at each other and are surprised, despite their attempt to hide it. Judit appears more annoyed than surprised. After a very brief silence: GIRL (To Harry) I must go. HARRY Thanks for helping me cross. Judit (forty-eight years old, seems younger, is dressed in an informal and sober manner, little color, etc., her hair is pulled back, parted in the middle, her attitude is that of a guardian), she puts away the key to the door while she gazes sternly at the young woman. The Girl, very uncomfortable, quickly vanishes. 12. CONTINUED. HARRY'S HOME. INT. DAY. Once alone: JUDIT (Annoyed and without apologizing, even if it seems she's trying) I'm sorry, I thought you were alone. HARRY She helped me cross the street and I invited her in to read me the newspaper . . . 14 JUDIT Harry, you can't bring into your house the first person who helps you across the street. One of these days something awful will happen to you! HARRY (Sullen and ironic) Everything awful that's had to happen to me has. Now, all that's left is for me to enjoy life . . . Judit changes the topic so that Harry may also change his tone. She turns off the table lamp and she opens the window drapes that lead to the terrace. JUDIT Diego told me yesterday that you finished the script. HARRY I would like to add a final epilogue. It may not be necessary, but I'd like to write it. JUDIT I agreed to deliver the definitive version to the producer and director today. HARRY You will have it by tomorrow, don't worry. As he speaks, Harry has made his way back to the sofa, without the use of a cane, he knows by heart the landscape of the house, which he walks through as if he could see. If anything, he touches any given piece of furniture with the tip of his fingers, as if to ascertain whether it's still there. He walks both with ease, and with the characteristic rigidity of blind people. 15 He picks up the socks from the floor and slips them on (the newspaper is open on the floor). He puts his shoes on. Judit watches him for a moment, and then turns toward the window. 13. JUDIT'S POINT OF VIEW. THE SIDEWALK ACROSS THE WAY. HARRY'S STREET. EXT. DAY. She observes how, on the sidewalk across the way, the Girl enters the main door of the building just next to the news-stand where Harry buys his newspaper. From the window she can make out that it's an important Modeling Agency. RETURN TO SEQ. 12 Judit is still looking out the window, her back to Harry, when she hears him say: HARRY Ernesto Martel has died. Judit turns to Harry, surprised but masking it with her voice. JUDIT I think he was very ill... HARRY It's been so long since we've spoken of him! Judit nods plainly with her head. Silence. Ernesto Martel's death doesn't bring good memories to either of them. 16 14. HARRY'S HOME. INT. DAY. CONTINUED. The doorbell rings. It's Diego, Judit's son, who doubles as Harry's typist and co-scriptwriter. He is a special kid, twenty-five years old. Baggy-eyed, a weary aspect, but he overflows with charm. Dresses as a modern kid, but not obnoxiously so. He speaks delicately, an attitude uncommon for someone his age. He greets his mother. JUDIT You look awful ...! DIEGO I ran here. HARRY And it's Monday! Diego, you don't have to run for me. We are not in a hurry. JUDIT I am, I've committed ... HARRY You'll have it by tonight, don't worry. JUDIT Start thinking of the next script. Some kind of horror or fantasy story for bratty teenagers. It's what sells best ... HARRY I don't know if I'll know how to. I was thinking of developing a story inspired by Arthur Miller's son... JUDIT (Perplexed) The writer who married Marilyn? HARRY 17 Yes... After Marilyn he married the photographer Inge Morat and they had a son. He was born mentally handicapped and Arthur Miller hid him; he doesn't even mention him in his memoirs. He never recognized him publicly. From the moment he was born, he had him placed in an institution and wanted to hear nothing of him. Despite his condition, the boy was able to learn and to make an almost normal life for himself. He lived in an apartment with other friends and he found a job as a clerk in a supermarket... Judit looks at him perplexed. For some reason, Harry has his back turned. This happens many times. JUDIT And Miller never saw him? ... HARRY (Continues, his back turned) One day, Miller was giving a conference in defense of a mentally retarded man, who had been condemned to death, after what was believed to be a forced confession. Among those present was his mentally handicapped son, who was integrally involved with organizations that aided all sorts of disabled people. The son was very proud to finally be sharing something with his father. At the end of the conference, he approached the stage and held him in an embrace that must have seemed endless to Arthur Miller, who did not know how to extract himself from this mentally handicapped man; imagine, it would not have been politically correct, least of all given the situation in which Miller found himself. Then the stranger let go of him and told him: "I am 18 your son, Daniel, and I am very proud of you, Father!" This was the only time father and son saw each other. Judith listens, affected and disoriented. She looks at her son as if she were looking for help. Diego stops thumbing through a magazine in order to listen to Harry and to witness his mother's reaction. She wasn't ready for Harry to counter with such a shocking narrative. JUDIT (Somewhat tense) It's very moving, but I don't think we can write a script about Arthur Miller without procuring rights from the family. HARRY We change the names, the story is not about the writer's miserliness, but about the strength of the son who survives without the least bit of rancor toward the father who has ignored him his entire life. It is a story of troubles overcome and of inherent goodness. There aren't those many good men that one can write about. Judit would like to say that when she spoke of a commercial script this is not what she had in mind, but she doesn't want to come off rude. Diego keeps watching them. Her mother appears oddly cornered, until she remembers a past comment of Harry's, that suits her just RIGHT: JUDIT It's a beautiful story. But years ago, when you began writing again and I began selling your scripts, you told me you'd never write remakes, sequels, nor biopics. Nor stories whose protagonists were film 19 directors, handicapped or blind. I remember clearly because the part of the biopics surprised me. (SMILES) HARRY I can't bear them... (As if he had at that very moment remembered) It's true, it's true I said all that, but this wouldn't exactly be a biopic... They hear the doorbell ring, two or three times. For Judit, it's the best way to escape the conversation. JUDIT I'll get it. Diego settles on the armchair, in front of his laptop. On the other side of the table sits the computer that is specially programmed for Harry. Diego powers his laptop. Harry heads for the work table. And he sits in front of Diego. HARRY Diego, go to the end of the document. Diego obeys while we hear Judit approaching the door and, before she opens it, someone opens it from the other side. We see the document's text (a script) scrolling, fleetingly, over Diego's computer screen. At the door, Judit finds Mariacruz, the Latin American maid, who also has her own key to the house. She is carrying two shopping bags. Judit gives her some directive (about the windows, the curtains, the kitchen furniture, the food, the floors, things to be dry cleaned , etc.) and she leaves, saying goodbye to Harry and Diego with a simple "Boys, I'm leaving. Goodbye!" 20 15. NIGHT. BAR WITH MUSIC. INT. BOOTH. Diego chooses a track that functions as background music to the three night sequences that follow, although it's not absolutely necessary. He works at a modern bar (not very large), as a D.J. He spends most of the time inside a small booth, which only a few friends access. Alex, his same age, enters. DIEGO Did you bring me the session? Alex takes three CDs out of his jacket. ALEX It's still warm. Just downloaded from the eMule. DIEGO Dude. I'll throw it in now. You want something to drink? ALEX Yes. And you, would you like a tip of "crystal"? DIEGO I pass. I do need to sleep once in a while. 16. HARRY-MATEO HOME. DEN. NIGHT At that moment, Harry is in front the computer (a special computer, sonorous, set up for Harry, with Braille signs jutting from the keyboard). He attempts to "read" some digital newspaper, its contents 21 can be heard spoken by a very unpleasant synthetic voice. His search produces annoying and strange sounds. Harry continously makes mistakes, but that's the way to do it. He manages to get into El Pais, the obituary section. He listens to a list. He finally finds the news of Ernesto Martel's death. He listens to the headline. The sound of a mobile phone ringing interrupts him. 17. JUDIT'S OFFICE. INT. NIGHT. It's Judit, from her office. In front of Judit, on the other side of the table, full of papers, is the head of production and someone from the American production. They are trying to decide on the budget. From the ashtrays full of cigarettes, the bottles of water and the cups of coffee, one assumes that they must have been at this task for many hours. (One should be able to see the layout of the shooting schedule, something visual). The American production can be heard in the background. (Seq. 16 and 17 run in parallel) She greets Harry. JUDIT You need anything? MATEO No, thanks. JUDIT What are you up to? 22 Harry touches the small MP3, much easier than to listen to the digital newspaper. He doesn't want to tell her that he is attempting to listen to Ernesto Martel's obituary, so he tells her what he will be doing next. HARRY I was going to read an Alice Munro story on the MP3. JUDIT Then I'll leave you. I'll stop by tomorrow, when I can. I have to finish the budget for the Americans as soon as possible, so that I can decide what to do ... (Hangs up) (To the Americans, in English). Ok, we can continue tommorow... Once he hangs up his mobile, Harry returns to his computer, this is when we actually hear the biographical sketch of the deceased financier. Fade to black. During the fade to black, we continue to hear the biography. In voice-off. OFF Ernesto Martel has passed away at his residence in the countryside, "La Berzosa." Financier, of Chilean origin, who achieved great success and notoriety due to his involvement in the financing of crucial public infrastructures in different Latin American countries. 18. THE BUILDING'S ENTRANCE. EXT. DAY. 1990. 23 A modern building in the financial district. A sign displays the name of an important financial company (M. Capital) and the year when the action takes place, 1990. 19. 1990. ERNESTO MARTEL'S OFFICE. MODERN SKYSCRAPER. INT. DAY. The end of the voice-off is heard over the image of Ernesto Martel himself, alive, attending to a phone call, while we hear the last words of his obituary, in off. OFF Recently he had been involved in various financial scandals. He was implicated for fraud in the infamous "case of Bank Banelco". He was married three times, and had two children... The interior of Ernesto Martel's office: elegant, ostentatious, and decorated without concern for cost. Through the windows one can witness a cosmopolitan Madrid, from whose soil skyscrapers begin to bud. Ernesto Martel, almost sixty, impeccable suit, settles a conversation with the Transportation Minister. Framed photographs sit on a piece of accessory furniture, one of him with his two children, a boy and a girl, who do not resemble one another. They have different mothers. The walls are decorated by an abstract painting belonging to the avant-garde group El Paso. ERNESTO ... I just spoke to the Transportation Minister. Things are in full swing. Yes, we are doing the Caracas 24 metro ... there's a lot of money ... at least five years. I am looking for a qualified company and had you in mind ... of course, I will serve as intermediary, I have been told so by the President himself. Cut to. 20. ERNESTO MARTEL'S OFFICE BUILDING. ADMINISTRATIVE OFFICES. INT. DAY. 1990. On the same floor. Fairly close to the boss' office, divided by modern and ample cubicles, we find some of the company's employees. His secretary, Magdalena (her diminutive is Lena), is speaking on the phone with a look of contained alarm. Personal problems. In her early thirties, Lena is dressed soberly, almost excessively so (as if she were attempting to project a maturity, effectiveness and responsibility that she not yet possesses). She is a very beautiful woman, on whose countenance the passing of time has begun to leave its mark. She has a small mole, slightly raised, next to the seam of the lips, and another one on the top edge of the nose. She could do more with her physique, modernize it, but this is not what she aims for. Her face reminds us of one of the heroines of the American film noir, brought up to date. She possesses the turbulent and at once translucent beauty of Gene Tierney and the bored disdain of Linda Darnell (in "Fallen Angels"). Lena is a splendid fallen angel. We can't hear what she says, but judging from her reaction, the content of her conversation is dramatic. Her eyes flash with indignation and anger. RETURN TO 19. 25 Ernesto Martel calls Lena, his personal secretary, by way of an internal line. RETURN TO 20. Magdalena interrupts her conversation with "I'll call you later", as the indicator lights up, announcing another call on the line. She pushes on the button corresponding to that phone call and she hears her boss' voice summoning her. "Yes, sir", she responds, promptly. She gets up from the table. She dries her eyes and nose with a Kleenex, grabs a pen and a rectangular writing block and heads to Ernesto Martel's office. 21. ERNESTO MARTEL'S OFFICE. INT. DAY. 1990 Despite the fact that he's dealing in grand-scale business, there are few documents for him to consult on his desk. It gives the sense that for the most important part of his job (grand scale speculation), Ernesto deals directly. He is the great intermediary without intermediaries. Magdalena enters. He invites her to take a seat. She complies without altogether controlling her nervousness; professionally detached, she attempts to hide the tension that the recent, and truncated, telephone conversation has caused her. ERNESTO I will dictate a letter for the Minister of Industry... 26 Magdalena opens her writing pad, ready to write, looking serious. Her pen drops to the floor. Ernesto M. observes her. ERNESTO Are you alright? MAGDALENA (As she picks it up) Yes, thank you. But it's not true. Lena looks agitated, despite her efforts to hide it. ERNESTO Why don't you tell me what's wrong? I'm sure I could help you. Lena looks at him, serious and hurt: MAGDALENA My father is very ill. This afternoon they are releasing him and I wanted to ask you if I could leave an hour early to go pick him and my mother up. ERNESTO Of course. What's wrong with him? MAGDALENA Stomach cancer, metastasized. ERNESTO I am really sorry. 22. SURROUNDINGS AND ENTRANCE, PUERTA DE HIERRO HOSPITAL. EXT. DAY. 1990 27 It's a hot and sunny afternoon at the end of July. Lena arrives inside a taxi to the entrance of Puerta de Hierro Hospital. On the sidewalk, next to the entryway, her mother awaits, (chubby, tired, defenseless and impatient, she's around sixty) next to her, a suitcase and a huge plastic bag full of clothes. The mother is a small-town woman, dignified and beaten. The shock provoked by the situation has liberated her, if only momentarily, from falling into desperation. Through the car's window, Lena can see her mother on the sidewalk, and her ailing Father (a man in his sixties, very debilitated and aged), sitting on a sofa in the foyer. Lena tells the cab-driver to wait, and runs toward her mother. They kiss. LENA I can't believe they have thrown you out of the hospital, like dogs... MOTHER (Humiliated, hurt) Yes, honey, yes... LENA (Indignant) Does Dr. Alvaro de la Torre know this? The mother gestures for them to get away from the door, that way the Father cannot see them. MOTHER He's been the one... LENA But how? If he was going to operate him this week, and last week, and the other week... MOTHER 28 I couldn't explain on the phone. (She recounts) Dr. De la Torre called us for an appointment. I though it would be to tells us that they were finally going to operate on your father... but instead he tells us they are releasing him. (In disbelief) I asked him what he meant and he replied: "quite simple, it's July and I am leaving for my vacation" (as her story moves forward the mother relives the same states of mind that she went through in her conversation with the doctor) And I told him, "you are throwing us out onto the street?" and he insisted, without the least bit of compassion, "I am releasing him so that you can go home", but "what can I do with him at home in his condition?". "That's your problem" he told me (she cries), "do whatever you like, I am leaving on vacation". "He is dying!" I begged. "Well, let him die in peace, at home", he said to me. LENA (Powerless, furious) It cannot be! They can't keep him for twenty days, torturing him with tests in preparation for an operation and now leave him like this, just because the doctor is leaving on vacation! The Mother looks at her without knowing what to say. She takes a small handkerchief to her nose. LENA Have you protested?... MOTHER To who? Dr. De la Torre is the head surgeon. There is no one over him. 29 Lena refuses to accept the situation. The father appears through the doors of the hospital entrance, exhausted. He leans down to catch his breath. With a weak voice, almost inaudible, he says to them: FATHER Did you forget about me? Lena and the mother approach him, almost jubilant, hiding their sense of helplessness and frustration. LENA (Her eyes welled up with tears, she gathers her last bit of strength) How could you think that Dad! Between the two women they help the father to the taxi that is waiting for them nearby. They put him in the car. The man can hardly walk. He is very thin, his bones jut out from under his ashen skin. He walks crouched over. The taxi pulls off. 23. PERIPHERAL HIGHWAY, MADRID. INSIDE THE TAXI. HIGHWAY. DAY. FATHER You know what Dr. De la Torre told me before he broke the news? He falters. He is too exhausted to speak. 30 FATHER (To the Mother) You tell her, Paca. MOTHER He said: I am glad you are not still in the service, Emilio. LENA (Not understanding)Why? MOTHER "Because if you were still in the service, after what I am going to tell you, you'd shoot me..." Lena stares, completely wide-eyed with amazement. LENA He really said that? FATHER Yes... and he was smiling, he thought it was funny... 24. PERIPHERAL NEIGHBORHOOD. EXT. DAY. 1990. The taxi parks in front of a humble building, in one of those outlying neighborhoods in the periphery of Madrid, a commuter town. Children, women, street ambience. It's like a provincial town, transported to a huge city that is in the midst of merciless development. At that hour there are few people on the street. The passage between this sequence and the next happens through the doors of the car and the apartment, respectively. The Father exits, aided by Lena and the Mother, when the door to the taxi closes it's the door to the apartment that shuts, with all three characters inside the entry hall. 31 25. LENA'S PARENTS' HOME. INT. DAY. 1990. Lena locks the door from inside. It's a humble and small apartment, Magdalena and her mother situate the man on the bed in the master bedroom, in the most comfortable way possible. The dÈcor reflects the bad taste of the era, especially of that social class, here and there a certain rural detail stands out. Antique photographs of the grandparents. Photographs of the Father in his policeman uniform, next to the Mother. Over the headboard, there is a crucifix on the wall and perhaps a thick, wooden rosary. Religious images on the nighstands. Attention placed on the bedspread, the curtains, the dresser, the closet and the walls. Everything is new, ugly period furniture. The effect generated is of a somber kitsch. Lena opens a dresser drawer, on top of it sits the picture of the father in his policeman uniform, with the Mother. She finds a Star 9mm pistol. She grabs it and tries its weight, the mother sees her and tells her to leave the weapon in its place. (Perhaps at that very moment the mother is injecting the Father with morphine). Cut to. In the dinning hall, Lena hands her mother money so that she can buy food and her father's medications. LENA Call me any time, no matter what it is! 32 The light that shines through the windows, covered with curtains of an indefinite but slightly brilliant pattern, begins to fade. Mother and daughter kiss. 25 A. LENA INSIDE A TAXI RETURNING TO MADRID. NIGHT. While Lena was at her parent's apartment, night fell. Lena departs lost in her thoughts, she can't shake off her parents' situation. She shifts her eyes. She must find a solution, urgently. She lights a cigarette. She looks at her wristwatch. She seems to have made a decision. She looks out the window. She finds the inter- urban landscape desolating. 25 B. NEIGHBORHOOD: PROSPERIDAD, VALLEGAS OR LA LATINA. EXT. NIGHT. The taxi stops in front of the building where Lena lives. She exits the taxi and opens the door. 26. LENA'S HOME. (NEIGHBORHOOD: PROSPERIDAD, VALLEGAS OR LA LATINA). INT. NIGHT. 1990. Lena enters her apartment. A tiny studio, but charming. No sooner has she dropped all that she is carrying, than she heads to the phone and makes a call. The dÈcor is agreeable. Little money, but well spent. A poster of Hitchcock's "Vertigo" dominates one of the walls, or a framed photochrom of Kim Novak in the film. There may be another 33 film reference (Jean Seberg and Romy Schneider). Lena, secretly, is a cinephile. 27. MADAME MYLENE'S DEN. 1990. INT. NIGHT. 27. A. LENA'S HOME. INT. NIGHT. (Alternating between both spaces) Madame Mylene is a blonde woman, very dressed up, older (between fifty and seventy), has had plastic surgery, and has not renounced her womanhood. Despite the quality of her attire, her makeup and her jewels, there is something about her appearance that is unequivocally sinister and heartless. While she speaks she has a drink and smokes a cigar. A man of "professional" appearance keeps her company. It's the den of a high-class Madame. The den seems more practical than feminine. LENA Madame Mylene? Hello, it's Severine. MADAME MYLENE Severine! It's been so long! I'm so happy to hear from you. LENA I need money. MADAME SEVERINE How soon? LENA Now! My weekend's free. I am busy during the week. MADAME MYLENE I'll see what I can do. May I call tonight if I find something? 34 Her tone gives it away that she won't have the slightest problem "finding something" for Lena. LENA Yes. I'll wait for your call. Cut to. 28. LENA'S HOME. INT. NIGHT. 1990. The telephone rings. Lena has her hair down, she has put makeup on (in excess). She looks more attractive, but the makeup also gives her a harder edge. She covers herself with a robe. She immediately grabs the phone. She seems like a different woman, worldly and nocturnal. LENA Yes? OFF ERNESTO MARTEL Severine? LENA (On alert) Who is it? 29. LIVING ROOM, ERNESTO M.'S MANSION. INT. NIGHT. We see Ernesto Martel, speaking on the phone, in one of the living rooms of his mansion. He is dressed to go out, a drink in his hand. He is alone, his tone is that of a man courting a woman. 35 ERNESTO MARTEL I am calling on Madame Mylene's behalf. Lena recognizes the voice, there is no doubt it's his. Despite the shock she manages to bluff, categorical and quick: LENA (Slightly altering her voice) You've made a mistake, sir. No Severine lives here. Ernesto Martel doesn't believe her, but he plays along. ERNESTO MARTEL I must have dialed wrong. Excuse me. Lena hangs up, confused and irritated. Calls again. 30. LENA'S HOME. INT. NIGHT AND 31. MADAME MYLENE'S DEN. INT. NIGHT. 1990 Lena dials Madame Mylene's number MADAME Hi! Has he already called? LENA Who? MADAME The client! You will not complain about my speediness! LENA 36 (Furious) But... how have you given him my number?! MADAME I couldn't say no. LENA Things aren't done like that! Have you gone mad!? MADAME He knows everything. And I haven't been the one to tell him, he found out on his own account, he knows about your foray into acting, and that you sometimes "acted" for me... Lena listens, furious and impotent. MADAME Months ago he made me promise him that if you got back in contact with me I would call him. I couldn't say no, he is one of my best clients. LENA You bitch! MADAME (Unmoved) Look on the bright side. He must really like you to go to the lengths he has... Perhaps you've found your Sugar Daddy. Lena remains in silence, humiliated, cornered. MADAME What have you agreed on? Remember I am part of the business. Lena doesn't respond. She hangs up the telephone. 37 32. LENA'S HOME. INT. DAY. 1990. IN THE MORNING. Magdalena is sleeping in her bed. The phone wakes her. It's her mother, in the middle of a crying fit and panic attack. LENA (Wakes up, suddenly, frightened) How is Dad? MOTHER (Crying) Not well at all, my dear. We've been through a hellish night. He has not eaten anything. But he won't stop bleeding... and everything is coming up... it's as if he has burst inside. The mother speech falters, she is very scared... LENA I will be there with an ambulance immediately. Be ready to leave! Before she calls an ambulance, Lena calls Ernesto Martel. They greet each other. Ernesto does not pretend to be surprised, he comes across cordially. He thinks this may be the continuation of their phone call from the previous night. LENA Mr. Martel? It's Lena. ERNESTO (Delighted) Good morning, Lena. 38 LENA I am sorry to bother you... ERNESTO (Gallantly) You are never a bother. LENA My father is dying. We must admit him urgently, but I don't know where. As I told you, they released him from Puerta de Hierro yesterday. Ernesto changes his tone. Now he is an all-powerful man, generous and with every recourse at his fingertips. ERNESTO Don't worry. We will take him to the Emergency Room at a private clinic. (Wanting to confirm) You told me that he has stomach cancer... LENA Yes. ERNESTO (Thinking) The best digestive surgeon in Europe is at the Clinica de la Luz. I will take care of the admittance issue. Call an ambulance and tell them to pick up your parents. I'll meet you at the Clinica de la Luz in an hour... LENA (Plainly, but grateful) Thank you very much. Even though neither one of them mentions the phone conversation of the night before, it is present on both of their minds. 33. MADRID STREETS. EXT. DAY. 1990 39 An ambulance traverses Madrid at full speed. 34. SURROUNDINGS AND ENTRANCE TO CLINICA DE LA LUZ. EXT. DAY. 1990 It arrives to the Emergency ward at the Clinica de la Luz. They carry Lena's father in a stretcher, her mother alongside him. 35. CLINICA DE LA LUZ. HALLWAYS. INT. DAY. 1990 One of the hospital's hallways. The Mother, Lena and Ernesto are waiting together on a row of chairs next to a door. Dr. Blasco emerges, an eminent Surgeon Specialist. An impenetrable man, he doesn't mince words. Getting information from him is like pulling teeth. He is polite, but not accommodating in the slightest. ERNESTO How's the patient? SURGEON You have brought him in terrible conditions... Which I suppose you know. The mother affirms with a gesture. ERNESTO (With good manners, but authoritarian) Will you be able to save him? 40 SURGEON We will do everything possible... at this very moment it is impossible to operate... Lena and the Mother look at both men, anxiously. SURGEON Perhaps tomorrow. We are providing parenteral nutrition... He will need a blood transfusion... (Looks at both women) Do you have any relatives who can donate? LENA Well, here... I don't know... The Mother also doesn't know what to say. ERNESTO Give him the best blood you've got! SURGEON I will keep you updated on his condition in the next hours... (He says goodbye to them) MOTHER May I stay? SURGEON Yes, of course. You can stay in his room as long as you wish. The Mother is not accustomed to so many privileges. The doctor says goodbye to Ernesto Martel and the women, mechanically. 36. HALLWAYS CLINICA DE LA LUZ. INT. DAY. 1990 41 When the three are alone the Mother thanks Ernesto Martel for what he has done for them. She looks at her daughter, in a knowing way, as if she understands (and accepts, what else can she do!) the situation. LENA I'll stay here, Mom. You have to rest... MOTHER (With strength, but beaten) No, you rest... You've already done enough... Thank you very much, Mr. Ernesto. If my husband survives, it will be thanks to you. ERNESTO He will survive, ma'am. LENA Really, you don't want me to stay? Or that I bring you something? MOTHER No, go. You both must have things to do... Lena complies. In effect, there is something urgent she must do: pay the price for all those privileges. To pay the cost of her father's life. Ernesto and Lena walk to the other end of the hallway. Before she enters the room, the Mother bids farewell to them with a look that's sad, tired, but of fortitude. The two figures slowly recede down the hallway, until they disappear in a Fade to black. 37. MATEO-HARRY'S HOME. RETURN TO 2008. INT. DAY. 42 From black. The door to Harry's apartment. The doorbell rings. The house is completely dark. Harry moves with his characteristic naturalness. He is coming from the bathroom, his hair wet and wearing a robe. He feels around until he finds the peephole. He opens it and reaches his eye toward it, as if he could really see the person on the other side. He is not waiting for anyone, so he hopes the visitor will think he is watching, even if he can't see a thing. HARRY (From inside) Who is it? A voice on the other side of the door responds: RAY X I'm Ray X ... HARRY Ray X? There's no such a name. RAY X It's a nickname, at one time I took a lot of ecstasy. HARRY What do you want? RAY X To write a script with you, so that I can direct it. HARRY It's your first film? RAY X I made a documentary (naÔve) ... a very good one, eighteen years ago, this would be my first fiction film. HARRY 43 OK. Call Judit Garcia, my agent, and explain everything. If she finds it suitable, she will set up a date for us. And now, I'd like to go dry myself, you pulled me out of the shower and I am dripping wet. RAY X (The words escape) You are naked? HARRY It's none of your business. Ray does not move. Neither does Harry. They both remain still and mute on their respective sides of the door, waiting for the other to do something. Ray is mortified about having asked the last question. HARRY Will you stand there all day? RAY X You haven't given me Judit Garcia's phone number. HARRY Find it out. She is a well-known Production Director. This time Ray steps away from the door and walks toward the elevator. Cut to. 38. HARRY'S HOME. 2008. INT. DAY At another point in the day. Harry plays music (a CD with songs that Diego has selected for him, expressly), he looks after the bonsai, or he waters the plants while 44 he listens to the radio. Harry touches the plants as well as the bonsai delicately, with the tip of his fingers. The phone rings. OFF JUDIT Hi Harry. It's me. HARRY Tell me. OFF JUDIT A young director has been in contact with me. His name is Ray X and he wants to write a script with you... Does this ring a bell? HARRY Yes... (He is about to tell her he showed up without notice, but Judit doesn't give him time to). JUDIT (Since she is always busy and in a hurry) Well, he wants to see you this afternoon, or tomorrow, if you can. I have asked him for an advance and he has accepted, but I cannot accompany you either today or tomorrow... HARRY I will speak to him... and let you know. JUDIT Good, I hope you like him, he seems to be loaded. HARRY Have you seen him? JUDIT No, just judging from his voice. And from the check I am about to ask him for. I will send Diego over so that you're not alone. 45 Cut to. 39. HARRY-MATEO HOME. DEN. INT. DAY. 2008 (The next morning, Harry wears different clothes than in the previous sequence and Ray X as well.) The doorbell rings. It's Ray X. Mariacruz opens the door. Harry waits for him while seated at his desk, one can hear the noises his computer generates. Ray X heads toward the den and introduces himself. Harry stretches his hand and waits for the other man to find it and shake it. RAY X Hi, I'm Ray X. They shake hands. HARRY Hello Mr. X. Please, have a seat... RAY X Please, don't address me formally. (Perhaps the kitchen is lit and only the light from the window enters the area where the conversation is taking place). Ray watches Harry inquisitively. He observes everything, the furniture, the wall-hangings and Harry's own body, shamelessly, taking advantage of the fact that Harry cannot see him. Mateo senses the heat of his visitor's gaze over his body. 46 Ray is thirty-five years old and his physique is somewhere between freakish and bohemian but expensively dressed, hard to classify, thin, with a beard. Only when he speaks he reveals his well-bred origin (not excessively, nor parodically, just sufficiently evocative). He is excited by the very fact of being there, it seems it is something he has been desiring for some time. He takes advantage of the fact that Harry cannot see him in order to observe him without reserve. During the conversation, Harry is not always sitting. At some point he moves (to look for cigarettes, perhaps) and remains standing. RAY I love your work, I know it from the start. HARRY Thank you. RAY I have seen all of Mateo Blanco's films, including the last one, "Girls and Suitcases". HARRY Is that so? You must be the only one. 40. HARRY'S HOME. VESTIBULE AND KITCHEN. INT. DAY. 2008. At this exact moment, Diego enters. Mariacruz opens the door for him. Just in time to hear Ray's question. RAY What happened to Mateo Blanco? HARRY 47 Why do you ask? 40 A. Diego goes to the kitchen. Harry has heard him, he knows he's there, if he hasn't called him it's because he doesn't need him. RAY Because he vanished from public life... HARRY It would seem that way. RAY Almost as if he'd died. HARRY Yes . . . (Ironically) I lost track of him some time ago. RAY I've always been intrigued by the case of his last film. HARRY Whose? RAY Mateo Blanco's. The first five are stupendous. You were the screenwriter for all of them, how do you explain that the last one was a disaster? HARRY (Made uncomfortable by the topic) Films turn out well or badly. The reason is always a mystery. (Mateo switched genres, perhaps he wasn't skilled for comedy). But tell me about the story you want to write. 48 Ray X measures his words, it's very important to him and he doesn't want to do so hastily. RAY ... I would like to write a story about a son's revenge, one against the memory of his father. HARRY Why does the son desire revenge? RAY (Speaking personally) Because the father ruined his life, practically nullifying him while he lived. The father is a successful financier, violent, homophobic, very powerful and unscrupulous. He thinks everyone has a price and that's how he behaves with people. I don't know if you've had the misfortune of meeting someone like this... Harry does not allay his doubt. HARRY When you say he is powerful, what kind of power are you referring to? RAY X Economic, with everything that entails. He is a broker, of the generation of speculators that made quick, high-profit gains in the 80s; he amassed a great fortune during the oil crisis. The son is sensitive, with complexes and artistic preoccupations, and lives under his shadow, trying to please the father in everything. Despite being a bit... homosexual, the son marries twice, just like the father, and, just like him, he separates. He has a 49 son that hates him just as much as he hates his own father. When the father dies, the son is finally able to rebuild his life. That is his salvation and his revenge. HARRY I get it. I am afraid I am not the writer you are looking for. RAY X You are, you don't know how much! Harry registers what he has just heard. RAY X I will pay whatever you ask. HARRY It's too personal. RAY X Make it yours. I am not aiming for a biopic, rather, I think of it as a base from which to develop a fiction. HARRY Thanks, but no. (He rises) And now, if you don't mind... 41. CONTINUED. He calls Diego. The boy responds in that instant, he was in the kitchen, waiting for Harry to call him. Ray X will not give up, so he writes his telephone number on a piece of paper and places it in his hand. 50 RAY X There you have my phone number, if you change your mind. Harry is still standing, with the piece of paper in his hand. Diego observes both men. Ray gets up. RAY X I am sure we will see each other again. HARRY In my case, that would be a miracle. Diego accompanies him to the door. And closes it behind him. Harry opens his desk's drawer and places the piece of paper with Ray's telephone number inside. He rummages through the drawer's interior until he finds a key. He grabs it. 42. CONTINUED. Harry and Diego are now alone, in the den. Ruminating over Ray X's visit and the story he was proposing Harry. HARRY Did you overhear that? DIEGO Yes... I'm flipping out! Why did he ask you if Mateo had died? HARRY 51 To provoke me... I don't know... Help me find something... (he points toward the drawers at the bottom of the bookcase and he hands him the key to open one of them) Look inside that drawer. Diego opens the drawer with the key Harry has given him. The drawer is full of different groups of photographs and various objects mixed in a certain order. There is a black notebook. A box with Mexican handicrafts. Some 1980s postcards as well some from other decades, some movie postcards, some others of exotic landscapes... Some of the groups of photographs are sorted into envelopes, boxes or transparent binders. For Diego it's like looking into a treasure chest. It has been many years since that drawer has been opened. This was out of respect, not from lack of curiosity, Diego would never do so behind Harry's back. HARRY Look through the pictures of the `94 shoot. Some of the photographs must have the date on it. After tossing aside various envelopes, Diego finds a lot of photographs of the shooting, dated `94. He takes them out of their envelope. He shuffles through them, until he pauses at one. DIEGO I think this is him... HARRY Who? DIEGO The man who just left. HARRY 52 (Rising) Describe the picture to me. DIEGO It's from the shoot. (He looks at the box from where he's taken it). He is carrying a small camera, like a Super 8. HARRY It's a 16mm. Are you sure it's him? DIEGO He is now thinner and wears a beard, but it's him. He is talking to you. HARRY What am I saying? DIEGO I don't know. He is handing you something, it looks like a pack of cigarettes. HARRY It's a radio microphone. He is asking me to wear it and I am refusing it. DIEGO Who is he? HARRY Ernesto Martel's son. Harry is perturbed by the confirmation of his doubts. He would have preferred to be mistaken. HARRY (Serious and pensive) You can put them away now... Diego returns the different sets of photographs to their place, inside the drawer a photo appears of Lena's face, in close-up. It's the same woman who appears in sequences 20 through 36. 53 The drawer closes, darkness engulfs its interior, drowning Lena's image, soon reborn in the next sequence. 43. HOME, ERNESTO MARTEL SENIOR. (1992) Out of the darkness, Lena's image emerges, the year is `92: A close- up of the woman, looking at herself in the mirror, touching up her makeup. She grabs a dress by a famous designer of the time and puts it on. A few meters away, in the bedroom, Ernesto buttons up his fly, after tucking in his shirt tail. The scene is that of a wealthy couple, who get along. They are preparing to attend a concert. Ernesto is a big fan of classical music. Lena looks rejuvenated and more refined. Her life and her facial skin have both improved since the first time we see her in Martel's office. The moles have disappeared from her face. Her demeanor is still adult, that of a young woman who has experienced life. Ernesto Martel frequently rests his gaze on her, fascinated, it's hard for him to believe that "such beauty" belongs to him. 44. CONTINUED. The phone rings. Ernesto Senior picks up the handset. His relaxed countenance changes the second he hears the voice on the other end. 54 It's his second wife, whom he divorced years ago. He treats her with disregard. ERNESTO S. I can't talk now, Rosanna. OFF It's about your son. I have caught him trying on my dresses. And it's not the first time... ERNESTO S. It's your fault, you made him effeminate to humiliate me! OFF That's not the problem, the boy is very depressed, I've had to take him to a psychiatrist. ERNESTO S. Don't call him "boy". He is already seventeen. OFF The doctor has told me he is in need of a father figure... I think I am going to send him your way so that he can spend some time with you, after all you are his father. ERNESTO If I haven't been a good father in eighteen years, I don't think I can learn to be one precisely now. OFF How can you speak like that! Have you no feelings? ERNESTO (Looks at Lena, intently) I have them. Very deep feelings, they just don't include either of you. While he speaks, Lena consults him about the jewelry she is about to put on, she tries on different pairs of earrings for his approval, something he gives without pausing his phone conversation. 55 Lena makes a gesture of reproach. Ernesto should not speak to his ex- wife in that tone. OFF If anything happens to him, you'll know who's at fault. ERNESTO Stop blackmailing me, Rosanna. Tell Ernesto that if he wants to talk to me he should call me himself. Ernesto Martel Senior hangs up, bewildered. 45. CONTINUED. 1992. LENA (In reprimand) Don't be so harsh with them, Ernesto! He sips from his drink, or he serves himself another one if he has already finished the first. ERNESTO Blackmailers! LENA Why don't you invite your son to spend a few days here? ERNESTO It'd be better if you didn't get involved with them, Lena. Ernesto takes a sip from his drink. 56 LENA He can keep me company... Does he like movies or theater? Ernesto Senior casts her a sideways glance. ERNESTO I don't know. But the mother has told me he is a bit faggot. If I ask him to come I would like for you to tell me if that's true... and whether you think there's any remedy... LENA And how would I know?! What an idea! ERNESTO I am not asking you to fuck him, but you good-looking girls can tell these things. LENA Call him, but you can't count on me for the rest. Ernesto approaches the telephone and dials a number. 46. ERNESTO MARTEL'S MANSION. (2008). INT. NIGHT. Fourteen years later ≠ in the same room, decorated differently, (more modern, more colorful), although it still retains some noble and timeless furniture pieces and the same layout ≠ Ernesto Junior (we in effect confirm that this is Ray X) speaks on the telephone while getting dressed to leave for a party. In that very room, another man (young, handsome and ambitious) is getting dressed in front of a piece of furniture equipped with a mirror, at the very spot Lena had been 57 earlier. (This piece of furniture is not the same one as the one fourteen years earlier, this is a more masculine piece, the other one was a type of boudoir). OFF EX-WIFE I am not reproaching you for our separation but that you live with a man... What will your children think! ERNESTO JUNIOR (On the phone) That their father is a homosexual (he gazes at his handsome boyfriend) and that he has very good taste. If they love me and you don't set them against me, they will accept it. OFF EX-WIFE You should have told me before we married! ERNESTO JUNIOR If you hadn't been so exclusively concerned with my father's fortune you might have noticed it yourself. The ex-wife grumbles furiously. The beautiful boyfriend continues to dress and smiles at Ernesto. Another telephone rings. ERNESTO JUNIOR I have to go, I have another call. 47. ERNESTO SON'S MANSION. INT. NIGHT 2008 47 A. JUDIT'S PRODUCTION OFFICE. INT. NIGHT. ERNESTO J.'s LOVER Will it be your other ex-wife? 58 ERNESTO JUNIOR I hope not. (Into the headset) Yes? JUDIT (Dryly) It's Judit Garcia. ERNESTO JUNIOR Oh, hello, Judit. (In an amiable tone) Did you get the money? JUDIT I don't want it! I just sent it back, Ernesto! She emphasizes his name. ERNESTO JUNIOR You won't call me Ray? It's my artistic name... JUDIT Artistic? What are you up to? ERNESTO JUNIOR Hoping to erase my father's name. JUDIT And what does that have to do with Harry? ERNESTO JUNIOR I've been wanting to see him for a long time. And it's true that I want to shoot a movie and that I want him to write the script. (Looks at the boyfriend) I've got the protagonist. The boyfriend catches the allusion. JUDIT You are not a director! ERNESTO JUNIOR You should take a look at my documentary, you'd change your mind. 59 JUDIT Ernesto, forget about us! ERNESTO JUNIOR Don't be afraid of me. I am not my father. JUDIT Do not come near Harry again. If you ever stop by his house again I will report you for harassment. And she hangs up the phone. At that very moment Judit is in her office with the American production team. She apologizes and attempts to recover her calm before undertaking the subject of the meeting at hand. 48. JUDIT'S HOME. JUDIT'S BEDROOM. INT. NIGHT. 2008 The house is not very big, but it is large enough for two people. It's discretely feminine and very practical. The details indicate that an independent woman lives there, as well as a young-man, twenty- five years old. There is some detail of the dÈcor (the curtains, for example) that is replicated in Harry's home. It is clear that Judit has had a hand in setting up the writer's home. Judit is packing her bags, she paces back and forth. She is a bit overwhelmed, with multiple thoughts crossing her mind. At times, she asks for Diego's help. JUDIT I am not at all pleased with having to scout outside Madrid, but the Americans pay a bundle and we need money. 60 DIEGO You can leave without concerns. Don't worry about me. JUDIT I am also worried for Harry. (Sounds more like an order than a request) Please, look after him during my absence... DIEGO (Protests) I have things to do, mom. I can't look after him all day. JUDIT It's only two weeks! DIEGO Harry manages perfectly on his own and right now we are not writing anything. Acknowledges the reason for her worry. JUDIT I am worried about Ernesto Junior's visit. I would like for you to be on guard in case he appears or calls and then let me know immediately! DIEGO Why are you so worried? Judit stops what she's doing, and takes a moment to take a deep breath. JUDIT He's crazy. I don't trust him. DIEGO Why? JUDIT 61 (Evasive) It's a long story. DIEGO (Persistent) Summarize it! JUDIT Diego, please, this is not the moment. DIEGO It never is for you! JUDIT (Exasperated) Hey, if it bothers you so much to look after Harry, I'll quit the job and stay in Madrid! Or I'll hire someone. DIEGO It doesn't bother me to look after Harry! But I am tired of so much secrecy! (It's a civilized encounter, no screaming. There is tension, but it is kept under control by both of them) 49. IN A PUBLIC PARK AND ON THE STREET. EXT. DAY. 2008 A public park. Diego and Harry are walking along a straight pathway. Kids, dogs, people jogging. It is a tranquil and pleasant place. Diego is in front, Harry is behind him, holding on to his elbow, (as reference), but it's Harry who is moving faster, pushing Diego from his elbow. The boy shows signs of exhaustion, he is wearing black sunglasses. DIEGO Don't go so fast! HARRY 62 We are exercising... DIEGO I'm not. I'm just keeping you company. How can you walk so fast? HARRY I am training and I don't work at night, nor do I drug myself. DIEGO (On guard) What do you mean by that? HARRY That I take care of myself, with the fanaticism of an older, handicapped person. DIEGO You are no fanatic. HARRY Yes, I am. All of us who survive a critical physical injury are. There is no other way. Cut to. 50. CONTINUED. EXT. DAY. They exit the park. While they wait at a stop sign, a billboard catches Diego's attention. Half of the billboard is taken up by the motto: DONATE BLOOD. The names of participating ambulatory hospitals and their hours appear below. Harry can tell his company is distracted, so he asks him: HARRY 63 What are you looking at? DIEGO A billboard. HARRY Why so? DIEGO In huge letters it says "Donate Blood", it includes where one has to go. HARRY You want to donate blood? DIEGO No, no... I was thinking that "Donate Blood" is a good title for a movie... HARRY Yes. It has a good ring. DIEGO For a vampire flick. Harry finds it amusing. They walk toward home. HARRY It's true. DIEGO (Ironizing, kidding, improvising) Imagine that behind the billboard a whole group of vampires that work in ambulatory care are hiding... and they actually keep the blood they get from donors for their own consumption, of course... HARRY Your mother would like that story. Cut to. 64 51. HARRY'S HOME. INT. DAY. 2008 Mariacruz, the Latin American maid, is preparing something in the kitchen. Meanwhile, Diego and Mateo gather around the table. Diego sits in front of his laptop. Both of the characters are improvising, rapidly, and become increasingly excited, completing each other's sentences. They are having fun, as if playing a game. The sequence becomes a demonstration of the process of creating fiction, based on an trivial, real anecdote. (They will begin the sequence by opening a document. Diego writes the title in caps: DONATE BLOOD.) DIEGO The vampires would be like a type of ethnic group, completely assimilated into Spanish society, they don't stand out. There are vampires who occupy important positions, keeping it a secret (like the Opus Dei). But even though they live in the shadows, they have amassed great social and economic power... HARRY They control various industries. For example, the one responsible for dark sunglasses... DIEGO (Smiles) And those that provide nightly entertainment: bars, discos, after-hours... Since they don't need drugs to stay awake, they are the most apt for working at night. They don't burn out... HARRY 65 And for the sunscreen business. The poor things are very sensitive to climate change and to the holes in the ozone layer. Their sunscreens are some of the best on the market. DIEGO (Laughs) And those which sell best... This is all great... Diego talks and takes notes on his laptop. Harry paces back and forth, in front of the table, like a caged animal. HARRY Protected by the sunscreen, they can function all day... The lotion must be as dense as armour. DIEGO (More inspired) This is how the story could begin: (describes) A gorgeous woman, totally naked, rubbing her body with a super-dense lotion, before heading to work at an ambulatory hospital. Her body is a velvety pale, beautiful... HARRY (Continues) What a great opening! We also need a love story... DIEGO A hybrid love story, between the female vampire and a normal guy. HARRY Like in "Cat People", a love story between beings of different species... DIEGO She works at one of those labs where blood is donated and where they snatch it for themselves. The guy has gone to donate his, or to get some tests. They like 66 each other immediately. After the first needle prick into his vein, she gets completely excited. So, they start to date. But she doesn't want to turn him into a vampire... these aren't proselytizing vampires, they are above biting people... unless they truly need it to survive... HARRY But they must like sex, right? DIEGO Of course. That's one of the problems, the couple desire each other desperately. But when it comes to fucking, she becomes prudish... HARRY Why? DIEGO Because she is afraid of losing control in her excitement and taking a bite into his jugular... HARRY Aha. DIEGO When they're horny, she lets him do everything, front, back, whatever he wants, except ravaging her mouth. HARRY And her breasts? DIEGO Also... But that gets into high-risk territory. When he sucks on her breasts, she has to cover her mouth with a pillow, which she ends up shredding with her fangs... HARRY And when she sucks his dick? DIEGO 67 No, no sucking. She would tear it on the first bite. HARRY And how does he react? A man may do without kissing, but it's very rough not to have your cock sucked. DIEGO Since he is deeply in love, he accepts the situation (or gives up to it). Once they are more comfortable with each other, she wears a muzzle, as security for both. Because when she's turned on, she has a type of dental erection, her face grows into something like that of a she-wolf... Diego writes furiously, while cracking up. HARRY I like your story very much, Diego. DIEGO Our story. HARRY No. This one was your idea, and you'll author it. I'll be your sparring partner, for all the times you've done the same for me... Harry is welcoming him as a writer. This fact doesn't escape the boy, he feels an unexpected pride. 52. MODERN AND MODEST BAR WHERE DIEGO WORKS. NIGHT. INT. 2008 At nights, Diego D.J.'s inside a small booth. Two of his friends, or just acquaintances of the club scene, one of them we've already seen 68 earlier, keep him company. The one we don't know, Friend A, looks pretty loaded. He is very "friendly" with the other two. DIEGO (Without acrimony) Stop fondling me... damn it! ALEX It's the GHB. It kicks your ass. Diego takes a sip of Coke and whisky and sets it down somewhere inside the booth. ALEX Do you want a little bit of "X"? (referring to "MDMA", aka Ecstasy) DIEGO Just a tip. (He licks his finger and sticks its moist tip into the bag that Alex offers him, he takes his finger to his mouth) Tomorrow I have to work, we are writing a vampire script that's going to be the shit! AT THE BAR . The Friend, high on GHB, grabs a glass of Coca-cola from the bartender's hands, at the bar. He takes out a small container and adds a few drops of liquid ecstasy into the drink. He takes a sip and enters the booth where the other two are. He sets the glass down and begins to jump, euphorically. DIEGO Stop already, you are going to go through the roof. 69 In between songs, (he is changing the tune) Diego grabs Friend A's drink. They are both drinking Coca-Cola, Diego's has whisky and Friend A's has liquid ecstasy. Distracted by changing tunes, Diego does not realize that he has grabbed the drink with GHB. He takes a long sip. And he falls flat to the floor. The two friends, bewildered and scared, attempt to revive him, but to no avail. Perhaps Alex will exclaim: ALEX Holy shit, he's taken a drink from your glass! Why in the world did you get Coca-cola! Didn't you notice he was drinking a jack and coke? FRIEND A I didn't realize! ALEX (Very alarmed) He's unconscious! 53. BAR EXTERIOR. NIGHT. 2008 (OPTIONAL) An ambulance arrives. They carry Diego out, unconscious, from the bar on a stretcher. Alex goes with him, very scared. Before they go into the vehicle, Diego's mobile phone rings. Alex takes it from Diego's pocket, he doesn't know why he is doing so, it is a hysterical reaction. On the other side of the line, he hears Harry's voice. ALEX No. I'm a friend. Diego just... he's not well. We are taking him into the emergency room... HARRY 70 Emergency? Can I talk to him? ALEX No... because... HARRY What hospital are you taking him to? The friend asks one of the ambulance employees who tells him the name of the hospital. Alex repeats it for Harry. ALEX Who are you? HARRY (Improvising) ...His uncle. I am on my way. 54. ENRACE TO THE EMERGENCY ROOM OF A HOSPITAL. EXT. NIGHT. 2008 Harry gets out of a taxi. He aids himself with the typical blind man's cane. He can't find the entryway. He bumps into something. We have not yet seen him this clumsy. Someone helps him enter. The same person accompanies him to the reception desk in the waiting-room area. He is no longer the blind man who was walking euphorically along his street's sidewalk, umbrella in hand. HARRY (Anxious) I am here to see Diego Garcia. He's just been admitted. The "receptionist" looks through the admittances. Taking into account that Harry is blind, she decides to call the Doctor who has attended Diego. 71 54 A. Shortly thereafter, the Doctor appears. He heads directly for Harry. HARRY I am here to see Diego Garcia. DOCTOR Are you immediate family? HARRY (Improvises) Yes... I'm his uncle, and his godfather. DOCTOR Your nephew is at the ICU, he arrived in a coma... Harry reacts to the news. HARRY In a coma? DOCTOR Yes... HARRY But, what has happened?! DOCTOR He ingested liquid ecstasy and alcohol... it is a lethal combination. His friend informed us it was a mistake... (It happens sometimes, kids grab the wrong glass...) HARRY My God! But Diego is a very healthy boy... The doctor makes a neutral gesture of acknowledgement... 72 DOCTOR Barring any complications, he will recover in six to twelve hours. HARRY If that's the case, I'll wait... DOCTOR Go home, we will call you... HARRY I'd rather wait. DOCTOR Are you certain? HARRY Yes. Guide me to a place where I can sit, please... The Doctor directs him toward an area with sofas. DOCTOR Would you mind providing us with his parents' phone number? HARRY He only has a mother and, at the moment, she is working outside Madrid... I would prefer to call her myself... I don't want to alarm her, unless he is truly in a grave condition... DOCTOR Normally, he should recuperate in a few hours... but, in any case, you should have a talk with him, once he's better... HARRY Yes, of course... 73 They arrive at a couch set, ugly and lacking style, Harry collapses on one of the armchairs, demolished. The Doctor returns to work. The girl at the reception desk stares at Harry, who is immobile, readied for a long wait. A slow fade to black. 55. HARRY'S HOME. HARRY'S BEDROOM. INT. DAWN. 2008 From black. Harry is still waiting, this time at home, sitting on a wingback chair close to the bed where Diego sleeps. On the nightstand, there are some medications and a glass of water, next to a plastic bottle, an alarm-clock. And perhaps a book. Through the window you can see the day beginning to break, Diego awakens. At first he doesn't know where he is. In the darkness of the room he discovers Harry's figure, sitting on the wingback chair. He can't tell if he's awake or asleep, but it soothes him to know he's not alone. Diego stares at him, he doesn't say anything. Just stares. To his surprise, Harry asks him: HARRY How are you? Diego makes a listless gesture. DIEGO I don't know... dazed. Did you speak with my mother? HARRY 74 Yes, I told her it was something you ate... DIEGO And she believed it? HARRY I don't know. She wanted to hurry back, but I convinced her to continue with the location scouting. At some point you'll have to call her. Silence. Diego thinks about everything's that's happened. After a few seconds: HARRY Are you asleep? DIEGO I'm not sleepy anymore. HARRY Do you want to talk? DIEGO No... HARRY Would you like me to speak? DIEGO I don't know. If you'd like... HARRY I say so in order to distract you. When I was young, before I got into making movies, I was very good at telling stories. DIEGO (Not sure) Well, then... would you mind telling me why my mother is so afraid of Ernesto Junior? HARRY She's afraid of him? 75 DIEGO Before she left, she made me promise that I would remain alert, in case he reappeared... HARRY She didn't explain why? DIEGO She never explains anything. Harry remains pensive for a moment, Diego's request has taken him by surprise. HARRY It's a long story... DIEGO Judit says the same thing. How did you meet him? It is not easy to talk about. In some way it must be obvious that Harry has spent many years (fourteen) avoiding this topic, but he is determined to do anything necessary to entertain Diego. Diego serves himself some water and prepares to listen. HARRY We met him... In an office we had rented in preparation for my new film, about fourteen years ago. 56. MATEO'S OFFICE. INT. DAY. 1994 The images that correspond to the past are edited more freely than the rest of the narrative. Summarized and sped-up by Harry's voice-off, mixing media from diverse sources. 76 OFF HARRY ...After having written five dramas, I had finally managed to write a script for a comedy, or that's what I thought. I wanted to change genres... to take a risk (ironic-destructive) And I swear I accomplished that, the part about taking a risk. In 1994, everyone calls Harry "Mateo". He is sitting behind a table filled with papers, photographs, books, magazines, an ashtray, pencil and pen holders, etc. At its center, a script lies open, with tons of notes scribbled on the margins of its pages. He is finishing the definitive version of "Girls and Suitcases". The casual messiness of the place produces its own aesthetic. The only decorations on the walls, here and there, not following any particular symmetrical rule, are postcards of painters, actors or landscapes, held in place by tacks. There is also a newspaper page that has caught Mateo's attention. Or some astonishing photograph, taken from a magazine. The cover of some magazine. Everything without framing, tacked directly onto the wall. The furniture is pastel, medium-shade green or red, with velvet tapestry, worn and outmoded. The pieces don't match, but they look good together. Judit enters (also fourteen years younger, but this is less obvious. She is a woman unmarked by the march of time.) Mateo is focused on the script's pages. Judit is Mateo's right-hand man, they are accomplices in everything, both professionally and emotionally. JUDIT 77 A girl has stopped by. She doesn't have an appointment, so there is no reason for you to see her... MATEO (Without much interest) What's she like? JUDIT Too beautiful to be funny. MATEO (Smiles) Really? JUDIT She is Ernesto Martel's lover, the tycoon. She is here with his son. MATEO And she's an actress? JUDIT (Ironic) Her? If she's been with him for three years, she must be. In any case, go out and say hello, to be polite. One must get along well with important men. You never know. 57. CONTINUED. WAITING AREA. 1994. Mateo exits his office. In the improvised waiting area (it is not a proper waiting room but a transient-space turned waiting area by a couch left over from the furnishings of some previous film). He finds Ernesto Junior (in other words, the character who had introduced himself as Ray X fourteen years ago; in his case, the age-difference is noticeable, he's just a kid). He is a little heavier, his hair longer, he reminds us of the love-struck big-kid that Phyllip Seymour Hoffman played in "Boogie Nights". 78 Mateo's gaze rests only for an instant on the young man, even though the boy does not take his stupefied eyes away from Mateo throughout the entire sequence. Ernesto Junior has accompanied Lena. When he sees her, Mateo freezes, at the door to his office. Lena's back is turned, or her head is tilted as she reads a magazine. Ernesto elbows her, Lena raises her head and discovers Mateo, watching her from the door to his office. Mateo's heart churns, it's a cinematographic churn, he feels like James Stewart in "Vertigo", when he first sees Kim Novak at the restaurant, with her famous green dress. Time stops for an instant so that Mateo may contemplate this woman's apparition. After this brief hypnotic moment, they introduce themselves, forgetting Ernesto's presence, who then, since no one pays attention to him, introduces himself. Even though she's a bit nervous, one can tell that Lena is a strong and decisive woman. Brunette. Mysterious. Made-up in dark tones that stand out on her pale skin. Refined. She doesn't have the aspect of a comedienne, her presence is too intense, she seems better suited to be the heroine of a film noir (as we've said). Genres and their iconographies pose no limit on Mateo's capacity to be attracted to her, from the first instant. LENA I am sorry we showed up like this, but I've heard you are running auditions... and I would like for you to give me a try out. Mateo observes her intently. She does not resemble any of the characters in the script, but he no longer cares about that. At some 79 point, Judit makes her appearance and gets to contemplate this scene herself, displeased. LENA I can come whatever day is convenient. MATEO You're already here. Let's read something. It doesn't sound like "let's read something" but more like "let's have a drink." They disappear through Mateo's office door. Fade to black. 58. ERNESTO SENIOR'S MANSION. (IN PUERTA DE HIERRO OR SOMETHING LIKE IT). EXT. NIGHT. 1994. From black. (Over an establishing shot of the mansion, one hears Harry's voice-off as he speaks to Diego) OFF HARRY The reading didn't work out. We were both too nervous. The first meeting and the reading we did only served to make me realize that woman's very presence perturbed me. Great mansion, with a huge green parcel of land with various trees, bushes, flowers... Two or three dogs are running across the lawn. The 80 plot of land must span about 6,000 square meters or more. (The dogs approach the camera, as if it were a trespasser). Alarm system, etc. The main building has two levels, joined by a grand staircase. All decorated by wives with the wish to be decorators, aided by hired decorators. Brand-name furniture, two or three paintings worth millions. A piano and a certain desolateness. One can tell that his previous wives have left along with a part of the furnishings. 59. LIVING ROOM ON THE TOP LEVEL. LENA AND ERNESTO SENIOR DINE. INT. NIGHT. 1994 The Father already knows he is missing information about something unexpected that has gone on that morning. They are at dessert. ERNESTO SENIOR Where have you been this morning? LENA Ernesto hasn't told you? ERNESTO SENIOR I haven't asked him. LENA (She hates having to account for herself.) I went to see a film director. ERNESTO S. What for! LENA (Dryly) For an audition. Ernesto looks at her with surprise, he doesn't approve of it. 81 ERNESTO S. An audition? How so? LENA (With less determination than she would like, but enough to alarm Ernesto Senior) I want to work. ERNESTO S. Weren't you going to study interior design? Weren't you going to redecorate the house? I thought we agreed that you would transform what's left of my two shipwrecked marriages into something more our own... LENA Call a decorator... I want to be an actress. I've always wanted to. (Brief pause) ERNESTO S. You've already attempted it once... and look how you've ended up. Lena shoots him a fulminating glance. LENA (Affected) That's a cheap shot. ERNESTO S. (First, he attacks. Then, he is sorry. L∫ike any violent lover) I am sorry, forgive me. Lena is frustrated and restless. She rises. LENA 82 Excuse me, I am retiring to my room. Ernesto grabs her and then embraces her. Lena remains still within his arms, imprisoned and elusive, the two locked in a strange posture. LENA In any case, don't worry. It didn't turn out well. I was too nervous. 60. CONTINUED. Someone calls at the door. "There's a call". It's the voice of one of the hired help, behind the door. "it's Mr. Mateo Blanco, and he says it's important". LENA (Yells) Come in! She breaks free from Ernesto's embrace and runs toward the door where the maid is holding the supplementary handset. Avidly, she grabs it from her. She listens, excited. She responds only in monosyllables, affirmatively. She hangs up the phone. Her eyes glitter with intense happiness, a feeling from which Ernesto feels excluded. LENA (Enthusiastically) That's the film director. He says the reading was not sufficient and he wants to see me once more! Lena looks imploringly at Ernesto Senior. 83 ERNESTO S. What are you going to do? LENA Go see him, no?! Ernesto makes a gesture that betrays his anger and displeasure. LENA Please, Ernesto. I need to do something! And I've always wanted to be an actress! ERNESTO S. And what will become of me? LENA They have not given me the role yet. ERNESTO S. They will...! LENA Well, if I were to get it, we would still see each other every day, as it has been, in the mornings and evenings. Nothing will change, except that during the day I would work, just like you. ERNESTO S. Why don't we get married? LENA (Taken by surprise) What? ERNESTO S. I am asking you to marry me... LENA Don't you think you've married and divorced enough times already? ERNESTO S. 84 With you it'd be the first. LENA We've been living together for three years, aren't we fine like this? ERNESTO S. (Somber) It doesn't seem you are. 61. IN THE MORNING. HARRY'S HOME. SIGNIFICANT ELLIPSIS. INT. DAY. 2008 Diego is better, but Harry prefers to keep caring for him. Harry makes him breakfast. Diego is sitting at the table. HARRY Ernesto Martel offered to produce the movie. Your mother didn't want him to. She was waiting for a subsidy from the Ministry and an advance sale to television, but that would take months and I was suddenly in a great hurry to begin shooting. 62. DRESSING ROOM FOR MAKE-UP, HAIR, AND COSTUME. INT. DAY. 1994 Part of the voice-off is edited over these images. Lena is in the process of being made-up, coifed and dressed. This, under the control of Mateo Blanco, who does not stop speaking, offering references, making ironic remarks, etc. All of this is seen through the lens of a 16mm camera. (Images of contrasting colors). The editing is vertiginous and doesn't at all respect continuity 85 rules. The young Ernesto Junior is carrying the camera. We also see this scene from the other side of the 16mm frame, from the point of view of the main narration, which includes images of Ernesto Junior filming with the 16mm camera. On the inside frame of the dressing room mirror, there are photographs of a young Shirley MacLaine, Kate Hepburn (young), Judy Holliday, Audrey Hepburn, Goldie Hawn (in "Butterflies Are Free" or any other film where she wears her hair long with a fringe). Icons of the romantic comedy of today and yesteryear. Over the voices of the characters that appear on frame, one hears Harry's voice-off. OFF HARRY I enjoyed making her up, styling her and dressing her. Lena could be the Shirley McLaine of "The Apartment" and the Audrey Hepburn of "Breakfast at Tiffany's", or even Goldie Hawn... Through the 16mm camera we can see the details of Lena's mutating image, how it gets constructed. It is true that she reminds us of the three actresses that Harry mentions in his voice-off. The members of the team assisting her (hair-stylist, makeup artist, costume designer, etc. and Lena herself) laugh heartily when they finish setting her up with Goldie's blonde long-hair wig with a fringe. And they stare, dumbfounded, when she is made-up as Audrey Hepburn in "Breakfast at Tiffany's" or "Sabrina". It's a style that fits Lena like a glove. They are all fascinated by the change, except Judit, estranged and angered by their playfulness. (For Judit, Mateo is constructing his ideal woman. She finds all that playing around obscene and dangerous). 86 OFF HARRY Your mother didn't like Lena. Judit watches Lena-Audrey with a fatalistic stare. OFF HARRY I, on the other hand, liked her a lot, and she liked me. Mateo manifests his enthusiasm over the changes and Lena looks at him with excitement. She also feels transformed on the inside and that's thanks to Mateo. OFF HARRY Ernesto Junior also liked me... Ernesto Junior directs his camera lens toward Harry's face, not hiding his admiration. OFF HARRY I was hoping to use him for my own ends. His father had asked him to make a documentary about the shooting... 63. SCREENING ROOM, ERNESTO MARTEL SENIOR'S HOME. INT. DAY. OR NIGHT. 1994 Ernesto Senior is watching the make-up test, the hair-styling test, etc., part of what we have already seen through the 16mm lens. The sound is chaotic, many people are always speaking at once. 87 CONTINUED OFF HARRY As far as Ernesto Senior was concerned, (we observe him watching the projection uncomfortably) I've never known a man more obsessed with a woman, except myself. He was producing the film out of a desperate attempt to not lose Lena. In the middle of this emotional quagmire, we began shooting... Your mother was present at every instant, her face like a sergeant's. (End with a shot in 16mm of Judit.) 64. SHOOTING. THE SET OF "GIRLS AND SUITCASES". INT. EFFECT TO BE DETERMINED. 1994 Images from "the making of" shot by Ernesto Junior on 16mm, with high grain and contrast, mixed with direct images from the establishing shot of what is occurring. The look of Lena's character is openly inspired by the Audrey Hepburn of "Breakfast at Tiffany's", with Sabrina's hair style and loop earrings (fringe and ponytail). She has also adopted the style of Holy Golithly, her kind heart and that urbane sophistication that characterizes modern girls from rural origins. The only difference is a more visceral quality, Pina (Lena's character) is exalted and Mediterranean, nothing like Hepburn. Her wardrobe is that of a modern girl in `94, she is a professional model for cosmetic products. One of her advertising photographs is framed and hangs on one of the walls of the loft where she lives. 88 IN STUDIO-MADE KITCHEN, INSIDE THE COMPLEX "PINA'S LOFT". Pina, Lena's character, is cutting tomatoes for a gazpacho, inside a beautiful and shiny kitchen. Pina is sad, probably thinking about "all the times she has had gazpacho with Ivan, the absent lover". A tear drops from her face onto the knife with which she's cutting the tomatoes. (In slow motion, one sees the collision of the tear with the knife, in a cut-in). Hers is a subtly comic sadness. When she is done grinding up the tomatoes she takes a box of sedatives, which she is carrying in her apron's pocket. She throws all the pills into the gazpacho. She keeps two or three for herself. (She may even say out loud, "These are for me".) With a wooden spoon, she mixes the orange liquid, even though it only contains red tomatoes. The cut-ins are to be alternated with the "making of" of the cut-ins. As well as Mateo's comments over the action, which instruct Lena how to react. The clap-board marks the end. It's the fifth take. Mateo says "Great". Lena almost screams with joy. Cut to. 65. ON THE OTHER SIDE OF THE SET. INT. DAY. 1994 (Maybe on two random chairs from THE LOFT TERRACE, which are piled up with objects from the set, given that this is not where they will be shooting; the chairs are next to the corral with the chickens and 89 rabbits.) Seen through the 16mm camera: In the foreground, the team that's preparing the next shot for the next sequence; in the background, without being able to hear what they are saying, Mateo speaking to Lena. They are both holding a script in their hands. Mateo is giving her directions. Everything is very professional, but their demeanor radiates understanding, complicity and... a latent desire. They are not talking about anything personal. "Now we will do the part where you return home, frustrated, after having left Ivan a note on his door. When you bump into Julieta. You just open this door, you look at the answering machine from afar. The machine has become some kind of monster to you. You are terrified of it." "A Monster?" "Yes... Your sanity depends on it. If the light blinks, it means there may have been a call. And if it doesn't blink... you can't do anything but wait... and you lost your patience some time ago." 66. ERNESTO SENIOR'S SCREENING ROOM. INT. 1994 What Lena and Mateo are saying on the terrace, as captured by the "making of" by Ernesto Junior, is being seen and listened to by Ernesto Senior, in the screening room that he's had installed in his own home. Next to him, a young female lip-reader (A girl of neutral aspect, but interesting, dressed as a glamour-less Russian.) is translating for Ernesto Senior what Lena and Mateo are saying, as if she were dubbing them. (The tone of her voice does not betray anything suspicious. Everything sounds strictly professional, a director and an actress who speak, in complicity, about their work.) They both appear 90 contained, their attraction made more evident by what they hide than by what they show. Judit is present in all the shots of the setting up, including the ones where Mateo and Lena are in the background, as Mateo makes suggestions on how to add nuance to Lena's performance. Judit appears solemn and always with an annoyed expression. Ernesto Senior feels sympathy for this woman. Cut to. 67. END OF THE WORK DAY. INTERIOR OF THE STUDIO. INT. DAY. 1994 The team has just finished shooting a shot with Pina on the terrace, leaning over a railing, her back turned, waiting for Ivan. Mateo yells "cut". And the Assistant sends the team away, until the next day. The Production team hands out the order for the next day, as if handing out the last edition of a newspaper with breaking news. Dispersal. The different teams disband and head toward the exit doors. Mateo crosses paths with Ernesto Junior. ERNESTO JUNIOR Are you going to work on something? MATEO No. You may go. ERNESTO J. I don't mind staying. MATEO It's best if you leave. I am going to try out some wigs. ERNESTO J. 91 Wigs? I love wigs! MATEO (Categorically) No! You don't love them! You already have many hours shot of wigs. This is more of the same. Disappointed, Ernesto Junior says goodbye. ERNESTO J. And Lena? MATEO After she tries on the new wigs, she's asked for a massage therapist, she has a spasm... ERNESTO J. Spasms... I don't have footage of spasms... Couldn't I shoot that? MATEO Ernesto, stop being a pest and leave already! See you tomorrow! Mateo speaks to him in a friendly tone, as if there were a warm rapport between them. He does so strategically, given that he thinks the boy is the plague. Ernesto Junior finally understands that there is nothing for him to do and disappears. And Mateo breathes. 68. WAREHOUSE HALLWAY AND HAIR & MAKE-UP DRESSING ROOM. INT. DAY. 1994 92 Mateo accompanies Edurne, (the make-up artist and old flame, collaborator and accomplice in other films), to discuss some detail of Lena's hairstyle and makeup. They end up at the make-up and hair dressing room. Lena's dressing room is just next door. She is there with one or two actors who are still hanging around. The rest have left. (The reason of the previous scene has been a pretext. They both know it) MATEO (To Edurne) I am going to speak to Magdalena... Do you mind being on the lookout? Don't let anyone interrupt us. The hairdresser gestures in accord. 69. LENA'S DRESSING ROOM. INT. DAY. 1994 Lena sees him enter, she glances at him ardently, not surprised to have him in her dressing room. LENA Is Junior around? MATEO No. I sent him home. There's only Edurne, on watch... Mateo approaches Lena and, without the slightest preamble, launches himself at her mouth, kissing her fervently. The impression is that they are about to devour each other. They separate as if to catch their breath, looking intensely into each other's eyes. They tear each other's clothes off (she's in a robe). 93 LENA This is madness, Mateo. I am no good for you. MATEO You should have warned me sooner. There are no overtures. They devour each other, hungry. They make love on a small bed, as if they were on the edge of a precipice. Desire, contained by both during the past weeks, explodes and levels them. Neither one does anything to stop it. (A train passes by at high-speed, both images fuse, the lovers and the train across their bodies.) Fade to black. Ellipsis. 70. ERNESTO SENIOR'S HOME. INT. NIGHT. 1994. Lena arrives late from the shooting, tired and satisfied. This is supposed to be another day, not the same day of the "scene" in the dressing room. Ernesto Senior awaits for her in the living room, in front of a muted television, with a drink in hand. (Perhaps the train will still be present, on the television screen.) Lena approaches him and kisses him. ERNESTO S. (Ironic) I didn't know one worked so hard in the movies. LENA (Smiles) Well, yes, especially if you're a girl. ERNESTO S. 94 Why if you're a girl? Lena sits and takes a sip from his drink. LENA Because you must put on makeup (and then remove it), dress up, do your hair. Get dressed again, do your hair again. And that takes hours. ERNESTO S. And you're not tired? LENA At the end of the week, sure, but I'm happy... ERNESTO S. I was thinking we should take a break, a weekend. Just the two of us, alone. At the house in Ibiza, or in Paris... wherever you want... you and I. LENA I can't travel until the shoot is over... ERNESTO S. I am talking about just a weekend. LENA We rehearse on weekends. ERNESTO S. Don't you also rehearse during the shooting? LENA Yes. ERNESTO S. What's going on, you spend all day rehearsing! LENA (Without losing her cool) That's how one makes a movie! (thinking, "you moron!", but she doesn't say it). 95 ERNESTO S. And everyone else's life? It can't be set aside for months! LENA The movie is boss. ERNESTO S. Excuse me, I'm the producer, so I'm the boss. Cut to. 71. ON A SET IN MID-CONSTRUCTION, WITH CARPENTERS, PAINTERS, ETC. INT. DAY. 1994 Mateo argues with the set designer over one of the sets. Distractedly, Judit waters the plants, real ones, of Pina's fake terrace, some of them somewhat shriveled from being away from the sun for so long. Mateo is going to go complain to her about the set, but he notices that she is so worried and tired that he doesn't say anything. MATEO You look awful... JUDIT Little Diego... he could hardly breathe all night... neither of us has slept a wink. MATEO (Worried) You still don't know what it is? JUDIT 96 Some doctors say it's asthma, others that it's allergies, but we don't know to what... They are still running tests, but it's driving me to the brink... MATEO Take all the time you need... Even if we're shooting, your son is more important. JUDIT Thanks. (Changing subjects) One more thing, I've talked to the producer. MATEO And? JUDIT He complains that the shooting is monopolizing Lena. MATEO (Exasperated and condescending) And how does he think one makes movies? JUDIT Ernesto is a businessman, not an artist. MATEO Then he shouldn't have signed up as a producer, no one asked him... JUDIT I warned you! Ernesto Martel doesn't give a crap about this movie and those of us making it, except for one person! This weekend he is taking her to Ibiza with him, so you won't be able to rehearse. Mateo looks at her as if she had just slapped him. Mumbles: MATEO Son of a bitch! 97 72. LUXURIOUS IBIZAN HOUSE. EXT AND INT. DAY. 1994 Lena and Ernesto spend the weekend together, at an Ibizan house minutely decorated with ethnic details. The decoration, super- luxurious hippie, does not ring untrue to the Island's aesthetic. Consider that Ernesto Senior and Lena are in the bedroom, on the bed, making love luxuriously. There's no hurry, they pay careful attention to all the details. After the final sprint, they both come, satisfied. Or so it seems. Ernesto remains spent on the bed, motionless. Lena gets up and goes to the bathroom. She opens the faucet and lets the water run. Immediately, she is overtaken by vicious retching. On her knees, she vomits into the toilet. After she's done vomiting she gets up and looks at herself in the mirror. She wipes off her mouth and closes the faucet. She looks very pale, the exertion from the vomiting is written on her face. Quickly, she puts some makeup on. Enough to bring some color back to her cheeks and to get rid of the bags under her eyes. Her eyes still glimmer from the tears she's shed. More than in any other sequence, it is here that Lena reveals her talent as an actress. She exits the bathroom, wrapped in an elegant robe, a bit divine- hippie. 73. BEDROOM IBIZAN HOUSE. INT. DAY. 1994 Ernesto Senior is still lying in bed, recuperating. He gazes at her, love-struck. 98 ERNESTO S. Have you put on makeup? LENA (Animated, without exaggeration. A well-faked serenity) I want you to find me pretty. ERNESTO S. To me, you always are! It's impossible that you wouldn't be pretty. Lena sits on the bed, her back to Ernesto. He wraps his arm around her waist while she makes some typical girl-gesture: looks at her nails thinking of how she'll fix them, looks into her pocket mirror and ponders the color of her hair, grabs a magazine on the nightstand and thumbs through it, calls her mother to see how she's doing... Or, simplest of all, takes a cigarette out of its box, looks for the lighter, finds it and lights it. Everything is done sluggishly, she's trying to take up as much time as possible. LENA Would you like a cigarette? ERNESTO S. No... thanks. LENA Do you know how many fucks we've had since we arrived yesterday? ERNESTO S. (Smiles, like a champ) Six? LENA (Also smiles) Ten. ERNESTO S. With honours, yes? 99 Lena forces a smile, with her back to Ernesto. LENA Yes, I suppose so. Ernesto Senior embraces her from behind and brings her toward him. He mumbles, affectionately: ERNESTO S. We have to take advantage of our time. We only have one more day left. 74. ENTRANCE HALL, PINA'S LOFT. INT. DAY. 1994 SHOOT. THE FOLLOWING MONDAY. Only the indispensable members of the team and the actors are clustered around the entrance hall and the elevator: A scene is being shot where Pina exits the elevator and walks through the entrance hall, in a hurry, toward the street. She bumps into Chus, the porter, who is holding two metal objects (A Robert Indiana "LOVE", impressive and metallic, and a Gucci alarm clock in the shape of a G, the G is also metallic.) Chus stops her, almost by force. She is a very "communicative" woman and Pina attempts to get her off her back, as quickly as possible, without being rude to her. Chus shows her both objects, with a questioning look on her face. CHUS 100 Look at what I've found on the sidewalk, they fell from your terrace. PINA They are gifts from Mr. Ivan and I tossed them out. He told me to keep them, but I don't want them! CHUS But you can't do that, Ms. Pina. You could have killed somebody... You can't just throw things off the terrace, much less if they are metal... PINA In Naples, on New Year's Eve, they even throw out furniture, my grandfather was Neapolitan... I carry it in my blood. CHUS But this is not Naples, nor is today New Year's Eve... PINA I was anxious and throwing things relaxes me... Keep them if you like. CHUS Thanks so much, Ms. Pina. But that's not right... Pina exits the entrance hall, leaving the porter mid-sentence, while the porter repeats, still, two more times. CHUS It's not alright, Ms. Pina. The scene is very simple, but it must exude charm. Chus is a natural comic talent and Pina's character must act with a flippancy that plays comically. At the same time, Lena is noticeably exhausted, both physically and emotionally. Instead of lending the text lightness, she brings it down. And she's aware of it. 101 For the first time, Mateo does not hide his annoyance as a director because the scene turns out badly, and as a lover because he is jealous of her weekend with Ernesto Senior. Lena cannot stand to look at him, she can't bare his angered expression. Mateo takes her aside to a secluded corner of the set and away from the team. MATEO (Serious) Your tone is off, Magdalena. LENA (Very depressed) I know. MATEO (In a very low voice) What's wrong? LENA (Whispers, on the brink of tears) I'll tell you later. Mateo gestures for the Assistant to come over. Lena still has her back toward the team. Mateo says something to the Assistant, who then says out loud for all to hear: ASSISTANT We break for thirty minutes, it's snack time! Mateo meets with Lena in the darkest corner of the entrance hall. 75. ERNESTO SENIOR'S HOME. SCREENING ROOM. INT. 1994 Ernesto Senior must be intercut, watching in his screening room all that occurs at the shoot. Next to him, the lip-reader. 102 76. CONTINUED. ENTRANCE HALL. The members of the team slowly depart from the entrance hall. They take the opportunity to grab a bite or get some air, they gather close to the trucks or next to the catering. All except Ernesto Junior who remains inside and hides furtively behind a styrofoam panel, somewhat removed from the couple, who cannot see him. Mateo looks all around to ensure that they are alone. MATEO (With urgency) What's happened? LENA I've had a horrible weekend... MATEO But... we haven't rehearsed, so that you could rest! LENA Rest? I haven't slept a wink all weekend... (Sighs, on the brink of tears) It's been a nightmare! Mateo once again ascertains that there is no one in the entrance hall. He hands her a Kleenex so that she may wipe her tears. LENA I have literally had Ernesto on top of me, all those forty-eight hours, like a leech! (repulsed expression) He has not given me a second to breathe, the asshole! 103 Mateo grabs her by the arm and takes her up the stairs to an apartment that the production company has rented in the same building. 77. ERNESTO SENIOR'S SCREENING ROOM. INT. 1994 Ernesto Senior hears the entire conversation from the lips of the lip- reader. A stony expression on his face. The "reader" repeats the dialogues in an unexpressive tone, which makes them sound even more dramatic and painful. Cut to. Fade to black. 78. ON THE SET OF PINA'S LOFT. FLASHBACK. INT. 1994 A DIFFERENT DAY. Returning from black. Various shots of Pina's loft. Everything seems chaotic, typical of the end of the work day. The furniture is out of place, silverware and plastic is all mixed together with electrical material and stage equipment. The warehouse lights begin to shut off. The team disbands. On her way to the dressing room, Lena tells Ernesto Junior that she is headed to her yoga class, as she does every day. And that she wants to go alone. ERNESTO JUNIOR 104 My father asks me why it is that I don't go with you to yoga, he asks me all the time. LENA Well, you tell him that I am a grown-up now, and free, and that I've forbidden you to follow me. ERNESTO JUNIOR You know I can't tell him that. LENA Try it. It would do you good. ERNESTO JUNIOR I can't. LENA Do as you wish, but you're not coming with me. And she leaves him behind. Ernesto Junior watches her walk away, disoriented. He always has a tripod attached to his camera, as in "Peeping Tom". 79. STREET, MATEO'S HOME. EXT. NIGHT.1994. It's the fist time we see this setting: the entrance of the building where Mateo lives. Almost all the windows are darkened. It's midnight. We watch this sequence through the 16mm camera, situated just in front of the building's doorway. We watch as Mateo appears on the sidewalk, walking toward the building's doorway. In front of the building, in the main narrative, we see Ernesto Junior filming with his 16mm camera. He is hiding behind a bush, or cloaked by a tree's shade. Either way, Mateo does not discover him. 105 80. ERNESTO MARTEL'S MANSION. LIVING ROOM. NIGHT. 1994. LOWER LEVEL At the same time that the former is taking place, Lena arrives to Martel's mansion. She finds Ernesto Senior with a drink in his hand, in one of the living areas (or playing the piano), she approaches him and gives him a slight kiss on the lips, in a gesture of hello. ERNESTO SENIOR (Quotidian and tranquil, an unexpected demeanor for a character of his temperament) How are you? LENA Good, tired. ERNESTO SENIOR And relaxed. LENA (On guard) Yes... ERNESTO SENIOR The yoga is doing you good, isn't it? Lena catches Ernesto's allusion, but she pretends she hasn't. She demonstrates her control over herself and her cold determination. LENA Yes, especially after work... ERNESTO SENIOR I am going to snack on something. Will you join me? LENA I am not hungry, I'd rather go to bed right now. I'll only have a yogurt. 106 Lena climbs up the long staircase, heads directly for her room. Ernesto listens to her steps as they recede. His ironic tranquility disappears and gives way to a furious expression. Fade to black. 81. FRONT ENTRANCE, MATEO'S HOME. EXT. NIGHT. 1994. From black. (A different day.) Framed by the window to Mateo's living room seen from the street, one observes the bottom halves of Mateo's and Lena's bodies, as they move around the apartment. Only half of their body is visible because the roman shades are halfway drawn. (One gets the impression that Mateo is showing her around the house). They say goodbye. We see all this through a 16mm camera. Without a pause in the shooting we realize that the person carrying the camera crosses the street and waits outside of the front door to Mateo's building. 82. FRONT DOOR TO MATEO'S BUILDING. NIGHT. EXT. 1994 Lena exits through the door. The second she discovers the camera, she confronts it. LENA Ernesto, what are you doing here? ERNESTO JUNIOR Working. 107 LENA Turn that off, you idiot! Hasn't Mateo forbidden you to tape us outside the shooting? Not far from them there is a garbage truck that is making horrendous noises and makes it difficult to hear what they are saying. The truck gets closer and the noises louder so that Ernesto Junior and Lena must scream back and forth at each other. ERNESTO JUNIOR My father has told me not to listen to him... he wants to see everything. LENA You both have no scruples! ERNESTO JUNIOR Remember I am taping you. Lena throws herself at Ernesto Junior and attempts to take the camera from him. They struggle (the camera continues shooting, the images move around, dizzyingly). Ernesto Junior manages to break free from Lena. They are both out of breath. Ernesto backs up a few steps in order to frame Lena again and so that he can focus her image. Lena could take off running, but instead she stays right where she is; she lets Ernesto bring her into focus and frame her correctly, while she fixes her hair. She looks straight at the camera: LENA (In a barrage) Listen carefully, Ernesto. Yes, I am talking to you. (She points toward Mateo's house) I was just with the man I love and I am the happiest I've been all my life because he loves me too! (screams) And listen carefully, Ernesto! I will let 108 you be very soon! There is no need to spy on me. There is nothing left to hide! 83. PRIVATE SCREENING ROOM, ERNESTO SENIOR'S MANSION. INT. DAY. 1994 (We see this at the same moment it's happening.) The next day, Ernesto Senior is watching the previous night's scene on the screen of his private projection room. We discover this when he is halfway into it; the images pick the action up at the point when Lena exits Mateo's house and confronts the camera, right after she has attempted to grab the camera away from Ernesto Junior. The shots in 16mm alternate with the shots in 35mm that belong to the main narrative. The sound is uproarious, we can hear what they say in a low volume, just as reference. Ernesto asks for the sound to be muted so that the "translator" can do her job. The "lip reader" tries, as usual, to be "neutral and inexpressive", but on this occasion she cannot help but have the violence of the scene affect her. She acts as a mere vehicle, not part of the conflict; nonetheless, she gets a little nervous. She is seated next to the volcano: Ernesto Senior, stony, frozen, silent, and about to explode. 84. CONTINUED. SAME LOCATION. Just a little earlier, right before the dizzying images appear on screen, those caused by Lena's attempt to remove the camera from Ernesto Junior's hands: 109 On the opposite end of where the screen is, behind the back of both Ernesto and the translator, a door opens. Lena appears. She watches the scene that is unfolding on screen as she lets her voice rise to her mouth. (The entire dialogue in which she has addressed Ernesto Senior directly is seen during the action taking place in the projection room, not on the street.) At first, her voice overlaps with that of the translator, who becomes instantly silent and turns her head toward the door where Lena is standing. Lena is dubbing herself. LENA I was just with the man I love and I am the happiest that I've been all my life because he loves me too! And listen carefully, Ernesto! I will let you be very soon! There is no need to spy on me. I don't have anything left to hide! The translator watches Lena and Ernesto Senior, who is still motionless, watching the screen. On screen, we see Lena walking, her back turned, for a good stretch. With an equal obsession, she is followed down the street by the son and in the screening room by the father. 85. LENA'S BEDROOM, ERNESTO'S MANSION. DUSK FALLING. 1994 An avalanche of snow, on the television screen. (Some short shots of both ice and whisky as they fall into a tall glass function as an ellipsis between one scene and the next). 110 Lena paces around anxiously in her bedroom. She attempts to focus on a fashion magazine, but is unsuccessful. She takes a deep breath, makes a decision. She opens the closet and takes out a small, weekend suitcase. She fills it with her most indispensable clothes. She exits her bedroom, on the top floor. In the hallway, only a few meters separate the door to her bedroom from the stairway. There is a small landing just before the top of the stairs, it has a small table against the wall, a beautiful vase with flowers, a mirror and two small sofas on either side of the small table. Ernesto is seated on one of them, holding a glass of whisky in his right hand. It cannot be the first he's had. One could say he's been waiting some time now for Lena's exit, a bottle and an icebox keeping him company. Lena walks a few steps. Se approaches Ernesto, but keeps her distance. She speaks to him in passing. LENA (Suitcase in hand) I am leaving, Ernesto. I am leaving you. ERNESTO SENIOR (Cold, drunk, contemptuous) You are not going anywhere. LENA And how will you stop me? (Every single one of the words in this dialogue sounds laded and slow) No sooner has she said it than Lena realizes that it has been an unnecessary provocation. But it's too late to take back what's been said. Ernesto Senior shoots her a deathly look. But then gets up and changes his expression to calm her. ERNESTO S. (Pleading) Lena, please. 111 One more time, Ernesto begs forgiveness, but Lena doesn't want to see him or hear him. She turns and begins to descend the stairs. The first step. Ernesto approaches her slowly, from behind. He is still pleading, as in a litany: "Lena, please". "Lena..." 86. CONTINUED. ON THE STAIRWAY. But Lena keeps her back to his supplication, descends one more step, her second one. Suddenly, without any change in his expression, Ernesto pushes her with a quick and unexpected movement of his arm. Lena loses her balance and falls, rolling, bouncing violently against the edges of the steps until her whole body hits the floor at the foot of the stairs. During the time the fall takes, Ernesto doesn't move, he watches her fall, bump by bump. He waits until she's on the floor and she casts him a fulminating glance, before he reacts. 87. CONTINUED. Lena lands on the floor, broken and stunned by the blows. She lifts her head and attempts to move, but can't. Ernesto descends quickly and comes to her side. He begs, calmly, without violence, for her not to move. Lena cannot stand, her battered body only allows her to drag herself toward the door, like a reptile. Ernesto takes her, delicately, in his arms. Lena gazes at him in horror. 112 88. PUERTA DE HIERRO MANSION. LAWN. EXT. NIGHT. 1994 He exits into the night, onto a green lawn, with the woman in his arms, they look like two newlyweds. The dogs, disconcerted, follow them in procession, they intuit that something is not right. Once inside the car (none of the hired help is there that night), he opens the gate from the inside and exits onto the highway. 89. HIGHWAY. EXT. NIGHT. 1994. Lena is lying on the back seat, pale and in pain, but she's not complaining. Ernesto is driving faster than 180 Km/hr. He alerts a pair of patrolmen. When he realizes he's being followed, he increases his speed. The patrolmen signal with their lights for him to stop on the curb, but Ernesto Martel ignores their signal until the police car catches up to him and forces him to stop. 90. A DIFFERENT SEGMENT OF THE HIGHWAY. EXT. NIGHT. 1994 The two patrolmen get out of their vehicle and head, enraged, toward Ernesto. They gesture for him to lower his window. Ernesto lowers the window, relaxed, despite the situation. The two patrolmen, especially the one who calls the shots, recriminate him, their voices raised, for all the infractions he has just committed. They are very agitated and they quickly notice the high level of alcohol emitted by the driver's breath. Knocked out on the back seat, Lena observes the whole scene. Her face is contorted with pain and anxiety. 113 (A river of cars continues to pass nearby.) Using a nasty tone, one of the policemen asks Ernesto for his documents. The following conversation takes place while the policemen verify the vehicle's documents. Ernesto explains to them with a common sense that's disarming: ERNESTO SENIOR We have to get to the hospital. My wife is badly hurt... Lena moans in affirmation. The Policeman takes a look inside the car, in order to ascertain that she is indeed not faking it... POLICEMAN What's happened? ERNESTO I was in the living room and, since we weren't planning to go out, I started drinking early. I am pretty drunk, as you may notice. Suddenly, I heard a thump, I ran to the stairs and there she was. She tripped and fell down the stairs... POLICEMAN Is this true, Madam? LENA Yes... Can't you leave the paperwork for later? POLICEMAN Your husband can't drive in this condition! ERNESTO SENIOR What do you mean? Ernesto attempts to start the car, but the other policeman stops him. 114 POLICEMAN You're crazy! Lena moans inside the car. She may even start crying. LENA Please! She says this to the two men. POLICEMAN Get out of there! I will drive! ERNESTO S. Absolutely not! POLICEMAN You either let me drive or we all stay here until the ambulance arrives! LENA (To Ernesto) Stop it, Ernesto! Let him drive! POLICEMAN (To Ernesto, paternalistic and contemptuous) Get down and sit in the back, with your wife! ERNESTO S. (Threatening) If anything happens (referring to Lena), you better be ready... You have no idea who I am! Taking his time, Ernesto vacates the driver's seat and sits in the back, next to Lena. POLICEMAN 115 I will pretend that I didn't hear you. I will also pretend I noticed neither how drunk you are nor your affronts to authority, Mr. Martel. Sulking and with an alcohol-driven affection (and casual) he asks LENA: ERNESTO S. Are you all right? LENA (Screams) No! (to the policeman) And could we get (the fuck) going?! The policeman gets the car moving and his partner follows them in the patrol car. 91. HOSPITAL ENTRANCE. EXT. NIGHT. 1994 Ernesto's car, driven by the patroleman, arrives to the entrance of a hospital. Cut to. Immediately, at the Emergency Room, some male nurses arrive with a stretcher. 92. HOSPITAL. INT. NIGHT. 1994 X-Rays of arms, legs and head, along with all other routine tests, in short shots. A broken leg. Various contusions. A cast must be applied. 116 The image of the X-Ray takes up the whole screen. We may hear the nurses giving instructions. "Don't move", "Don't breathe", etc. 93. HOSPITAL. INT. NIGHT. 1994 The last thing we see is the X-ray of the head, which dissolves over Lena's head and face as she asks a nurse for the telephone, telling her that she needs to make an urgent phone call. Ernesto censures her with his look. Once the last X-ray has been taken, the nurse brings her a supplementary handset and plugs it in. She hands the handset to Lena. ERNESTO You really can't wait? LENA (Defiant) No. Ernesto looks at her not knowing what to expect. Nonetheless, he remains seated next to her. Lena doesn't react, she doesn't care if he overhears the conversation, she almost wants him to. The brutal beating to which she has been victim is an inescapable reality that gives her an edge over Ernesto, an edge of which she intends to take advantage. She is wounded, but she is no longer afraid of him. She rings Mateo's number. They greet each other. LENA Hello, Mateo? OFF MATEO 117 What's going on? Are you not coming? LENA Not tonight. OFF MATEO Has something happened? LENA Something unexpected has happened, but don't worry, everything's OK. OFF MATEO Tomorrow the shooting begins in the afternoon, will I see you before then? LENA I won't be able to. I will see you directly at the studio. I have something to do. OFF MATEO (Worried) You're acting strange, Magdalena. Are you sure nothing's wrong? LENA Yes. I'll see you tomorrow. 94. THE NEXT DAY. PUERTA DE HIERRO MANSION. ON THE LAWN. DAY. 1994 Ernesto Senior's car arrives at the Puerta de Hierro Mansion. Various members, three or four, of the Mansion's personnel approach to help the couple. Lena exits the car with her leg covered in a cast up to her knee. She leans on crutches or a cane. Cut to. 118 95. MANSION. GROUND FLOOR. INT. DAY. 1994. The group gathers in the living room of the ground floor. Ernesto asks the help to bring them something and then to leave them alone. Cut to. 96. MANSION. GROUND FLOOR. INT. DAY. 1994 A table set ad hoc. Lena is sitting in front of her breakfast (or lunch), sullen, pale, implacable, she doesn't move a single muscle of her massacred face. Ernesto Senior is all sweetness toward his victim. Lena begins to pick at her food, listless, in silence, in order to keep her mouth and eyes occupied. ERNESTO SENIOR (Begs, sincerely) What would you like me to do? What can I do so that you will forgive me? LENA (Seriously) Take me to the studio. ERNESTO SENIOR You shouldn't move. LENA If you don't take me, I'll go there myself, even if I have to drag myself. Her face is still covered in bruises, on her cheekbone and around her eyes. 119 At some point someone from the hired help appears: "Sir, Madam, do you need anything else?". "No, you can leave us alone, I have already told you this, for God's sake!" Ernesto Senior responds. The servant quickly vanishes. Lowering his tone: ERNESTO SENIOR And what will you say? how will you explain the cast on your leg and the bruises? Lena appears implacable throughout the conversation. LENA It's up to you. ERNESTO SENIOR To me? I will do whatever you ask, as long as you promise you'll stay with me. LENA I will stay, under the condition that you let Mateo finish the shooting, according to what he decides. ERNESTO SENIOR He will barrage you with questions, that guy's not stupid. LENA I will tell him I tripped. ERNESTO SENIOR And how will you shoot, if you can't walk? LENA I don't know. Whatever Mateo decides, but I want to rest assured that you will respect his decision, no matter the cost nor the time that it will take. Is that clear? 120 Ernesto Senior hates to negotiate under predetermined limitations. He weighs out his options and realizes that Lena has the upper hand. 97. WAREHOUSE, SHABBY STUDIO. EXT. INT. DAY. 1994 They enter the warehouse, temporarily turned into a studio. (The darkness is almost absolute. A huge door opens. The silhouettes of Ernesto Senior and Lena, on a wheelchair, enter.) The dark, vast space is pierced by the blinding light of a doorway, which both frames and silhouettes the figures of Ernesto and Lena, like cut-outs; creating a powerful image. Epic and terrible. They bump into some of the members of the team, who begin their work day, slothfully. When Mateo discovers the pair, he approaches them immediately. Cut to. 98. MATEO'S OFFICE, IN THE WAREHOUSE TURNED STUDIO. INT. DAY. 1994 Mateo is seated at a casual table. The entire decoration of the office is casual and chaotic, not luxurious, austere, nothing like Lena's dressing room. An enormous drip eats away at one of the corners of the room. Lena is sitting across from him, on a wheelchair, and seated on an ugly armchair, Ernesto Senior. Judit is also present, she's standing. They have just finished talking. Lena has told the version that she and Ernesto Senior agreed on. 121 LENA ... And that's it. Mateo looks at them in disbelief. Judit, still as a statue, waits for the others' reactions. Lena breathes, expectantly. And Ernesto Senior looks uncomfortable and insecure, he is used to being the one who calls the shots; the inverse role, that of listener, disorients him and puts him in a bad mood. LENA Ernesto is prepared to support whatever you decide. MATEO (Containing his rage) Decide, what?! I can't move from one shot where you are walking normally to another one where you are wearing a cast! How long must you wear the cast? LENA Three weeks. Mateo lets out a huff... JUDIT (To Ernesto Senior) Can we stop for those three weeks? With pay for the team, of course. ERNESTO S. If there is no other option! MATEO (A bit agitated) I hate stopping! Movies, when you pick them back up, are no longer the same! Looks at Judit and Ernesto Senior. 122 MATEO (Dryly) Do you mind if I speak to Lena alone for a moment? It's not a question but a demand. Judit shoots him a look of recrimination, as if saying "This is not the moment for that", but she cannot do anything to stop him. Ernesto Senior is also not pleased (but he knows he cannot say no, and this irritates him even more). He glances first at Lena, who orders him with her own glance to accept, and then looks at Judit, who warmly invites him to exit with her. For some reason, Ernesto Senior empathizes with that woman. 99. WAREHOUSE, SHABBY STUDIO. NEXT TO MATEO'S DRESSING ROOM. INT. DAY. 1994 Judit and Ernesto Senior exit the office and hang around not far from to the door. They smoke, perhaps. They are both restless. They look at each other as if seeking some kind of understanding, despite their differences. And they find it. They are joined by their jealousy. At the other end of the warehouse, like a mirage amongst the shadows, Pina's loft appears, majestic, ramshackle and mysterious. Ernesto contemplates it without understanding it, but is affected by its presence. He is unable to understand the essence of this make-belief game, but it's the first time he begins to grasp its hermetic fascination. 100. MATEO'S OFFICE. WAREHOUSE, SHABBY STUDIO. INT. DAY. 1994 123 Mateo lifts her skirt in an attempt to see how far up the cast goes. On the white skin of her thighs, like in an uneven print, various asymmetrical bruises stand out. Mateo touches with his lips on every one of them, kissing them delicately. Lena shudders. LENA Be careful, he may walk in. MATEO Let him walk in! And he continues kissing her thighs until he comes close to her pubis. Lena lifts and/or caresses his head. Mateo lifts it to look at her. MATEO Tell me the truth! People don't fall down the stairs, that only happens in movies. Lena avoids giving a direct answer, but in her own way, she lets him know, somberly and urgently. LENA Mateo, we must finish the shooting as soon as possible! Until then, I cannot leave Ernesto. MATEO Why not? He's a psychopath! What more proof do you need? LENA I cannot leave, I've made a deal with him. MATEO A deal? What deal? LENA 124 I have promised to stay in his house in exchange for his letting you finish the film, under your conditions. MATEO But I cannot ask you for such a sacrifice. LENA You have not asked me... MATEO I can't accept it either. LENA (Pleads) Mateo, please! MATEO There must be another answer. LENA What else? The only solution is that I continue to live with him until you finish the film. MATEO Can you take it? LENA You don't have to think about that... What's important is that you finish shooting. MATEO Exactly what have you agreed to? LENA I've told you, to live under the same roof, with him in his room and me in mine. He doesn't have the right to anything more. MATEO And you think he will be content with that? LENA 125 (Angst-ridden) I don't know... but the sooner you finish shooting, the better! Come up with a reason not to pause! Mateo goes over the story in his head, desperately attempting to think of something. Lena observes him, expectantly. Finally, something seems to hit him. MATEO (Unenthusiastic) We would have to repeat part of the stairway scene... 101. SHOOTING AT THE STAIRWAY. STAIRWAY LANDING, IVAN'S HOUSE. INT. DAY. 1994 (Taking up the whole screen, we see the scene through the Moviola, with the texture of a bad copy, streaks, grain, etc. The solution Mateo has proposed is to repeat the last part of the sequence. On the surface of the Moviola screen, the reflection of Mateo's face is barely visible over the first set of images screened.) A wooden landing and stairway in a building of the old Madrid. At its center, an elevator, also antique. Pina has just left a note for Ivan on the door to his study asking him to please call on her, that she needs to speak to him urgently, that something unexpected has come up... (She is dressed as she was when she came out of the entrance hall in the previous scene with Chus. This sequence is supposed to be the one that follows it.) 126 She has just left the note when Julieta appears, she is dressed conventionally, but with some extravagant detail, something that garners attention. She bumps into Pina by the elevator, Pina does not know her. Julieta knocks on the studio's door (just as Pina had done earlier), she doesn't get an answer. She notices the note that Pina has just affixed on the door. She takes it down and reads it, much to Pina's bafflement, who has been watching her from the other side of the landing. After reading it, Julieta crumples it up. Pina cannot believe it. She remains motionless on the other side of the landing, because she doesn't trust the eccentric looking woman. PINA (Indignant) Leave that note there! It's not for you. How dare you take it and crumple it? Julieta throws the crumpled note through the gap in the stairway and looks condescendingly at Pina while she approaches her, prepared to walk down the stairs. JULIETA What do you have to speak to Ivan about, you whore! PINA It's none of your business. JULIETA I am his wife. PINA His wife has been admitted at a psychiatric hospital for twenty years now. JULIETA Not anymore. 127 UP TO THIS POINT WE WATCH THE SEQUENCE THROUGH THE IMAGE-TEXTURE OF THE MOVIOLA AND THE REFLECTION OF MATEO'S FACE. (These images are what will be retained from what had been shot previously.) 102. SHOOTING AT THE STAIRWAY. CONTINUED. Pina makes a gesture as if to say: "So you are the ex-wife, the crazy one." Pina and Julieta begin to descend the stairs. JULIETA (Repeats) I am no longer committed. I am now here with you. Walking down the stairs. Pina looks at her apprehensively... She steps down only one stair. JULIETA You are in a hurry to see him, aren't you? PINA Yes... JULIETA Well, what are you waiting for! She pushes her and Pina falls, rolling all the way to the bottom. Cut to. 103. WAREHOUSE, SHABBY PLATEAU. VARIOUS SPACES. 1994 128 Images that indicate the passing of time during the shooting. Short sequences of the minute work done by each of the teams, as if assembling ballet pieces, all of it accompanied by a musical score: The D.P. sets up the lighting for the shoot, the bulbs are lit, the filters applied, the interior of the camera cleaned, the film is loaded. The atmosphere is set. Pina in her bedroom, lying on the bed, with one leg in a cast, is relaxing, breathing deeply. The actress playing Chon jokes around with the costume team, they laugh. But no one pays attention to the others. Edurne, in a close-up, retouches one of Pina's eyes. The mouth as well. Chon stops laughing so that the hair-stylist may shape her hair. All the images are very brief... The score predominates, the ambient sounds of the activities of the different teams is heard more like a whisper. The scene must not last longer than a minute. This set of images serves to abridge time and to indicate that the shooting is in its final days, after a long journey. There will probably not be many images, but less: the bulb that lights, Lena's eye as Edurne retouches it, its blinking, its sadness. Chon's mouth as she speaks without pause, stopping only when lipstick is added. The film loaded, the hair fluffed. Lena lying on the rug in her dressing room, totally motionless, her eyes made-up and closed, doing breathing exercises for relaxation, her leg in a cast, etc. Motor. Action! 104. WAREHOUSE STUDIO. PINA'S LOFT. 1994 SCENE FROM "GIRLS AND SUITCASES" 129 The doorbell rings in the loft. Pina limps over to the door. She looks through the metal peephole, its design creates an optical illusion. On the other side of the peephole, Chon's exalted eyes appear. Chon is a Better Midler type, in her 40s, that kind of extroverted woman who at first glance appears chubby but isn't quite so. She is wearing designer clothes, despite the fact that her demeanor is direct and crass. Both of them, Pina and Chon, are tired and hysterical, which each one of them interprets in her own way. Pina opens the door and Chon enters. Even though they are good friends, the last thing Pina is in the mood for is to see Chon, much less an over-excited Chon with "problems". PINA (Whispers) What a drag! (she opens the door, in a languid, bored tone) Oh, it's you? CHON (Reproaches, depressed) I've left you a thousand messages! PINA Yes... Chon notices Ivan's suitcase in the middle of the foyer and looks at it as if she'd never seen a suitcase. CHON And this suitcase?! Judging from the tone, one would guess she could care less. But the script asks for her to inquire about the suitcase and she inquires. PINA (Sounding bored, asleep) It's Ivan's. He's leaving me. 130 Chon, disconcerted, notices that Pina drags herself around with a cast on her leg. (She has picked up Pina's inexpressive tone) CHON And that broken leg? PINA His ex-wife, the crazy one. She pushed me down the stairs . . . CHON I see, we're in great shape... MATEO (Interrupts the take) Cut! Final clap board. It's take number twelve. 105. SHOOTING AND SURROUNDINGS. INT. EXT. DAY. 1994 The camera team directs "load camera" (new film stock is loaded, the one already inside has run out). Mateo has a look of worry, the scene is not funny at all, the actresses are bored and tense. They behave like automatons. Lena looks at Mateo, she had never seen him so disconsolate. A general impasse and discouragement. The team betrays boredom, preoccupation, and exhaustion. 131 The actress playing Chon grumbles, annoyed. Juanba, the hair-stylist, approaches her to fix her hair. In the background, one sees Mateo speaking to Lena. Ernesto Junior wanders around the set. We suppose that he has already shot the other takes, we notice a change in his attitude. He watches Lena and Mateo converse, then watches them as they move away from the set; he has no intention of following them. One might say that he is now on their side, against his own father. WAREHOUSE, SHABBY STUDIO. AWAY FROM THE LOFT. AT THE 106. MAKE-UP & HAIR DRESSING ROOM, OR SOME OTHER PLACE. 1994 In some place of the warehouse where no one can see them and they can speak calmly. Mateo and Lena. During this time, Lena has been keeping her end of the deal and continues to live with Ernesto Martel but, as much as she attempts to diffuse it, its effect has been devastating. She is very depressed. She can hardly hold herself up. Lena's state of mind and how it affects the shooting, makes Mateo feel impotent and guilty. LENA (Distressed, maybe she'll cry) I am sorry... MATEO Don't worry, it will turn out. (Acknowledges) But I don't know what more direction to give you. LENA (Exhausted, hard on herself) You have told me everything, in every way possible... 132 MATEO (Somber and guilty) Ernesto is getting just what he hoped. That we make a piece of crap of a movie! I told you not to agree to that deal... Lena breathes, grasping for a solution and for breath. She attempts to regain her strength. LENA We can't let him have his way! (She dries her tears, feeling newly replenished) Every day I arrive worn out and every day I recover, right? MATEO (Acknowledges) Yes... LENA I ask you only for a bit more patience... And a kiss! Mateo kisses her as one kisses one shipwrecked, although the one shipwrecked is really him. In any case, the kiss brings life back to both of them. 107. LOFT PINA. REPEAT THE TAKE. 1994 Motor. Action. The clap board indicates that they will shoot take number thirteen. A traveling shot follows Lena as she limps toward the door. She looks through the peephole, behind it, Chon. They are supposed to be good friends, but she's the last person Lena wants to see. PINA 133 (Whispers) What a drag! (contemptuous, she greets her) Oh, it's you? CHON Listen, if that's how you'll greet me, I'll leave. PINA No, c'mon! Come inside! Pina treats her with a friendly disdain, which plays comically. She has once again recovered her strength and her lightness. Her low spirits have disappeared and she comes off thoughtless and impudent. Her reenactment has an effect on Chon, who also performs much better than in the previous take. These first few phrases are enough to determine that the two actresses have improved. Lena is now a different actress, light and delicious. Mateo smiles, brimming with admiration. 108. EDITING ROOM. INT. DAY. 1994 Mateo and his editor (and the assistant editor) watch the end of the sequence on the Moviola. MATEO She's so much better! Grab this one! LUIS Yes. Mateo smiles, satisfied. On the same table where the Moviola sits, Luis, the editor, has a notebook in which each page corresponds to a 134 sequence, numbered respectively. The sequences are divided by shots and the shots by the number of takes. Luis draws a circle around take number thirteen. MATEO Let's look at fourteen, it's even better! Luis, an editing assistant and Mateo, sitting in front of the Moviola, examine the footage. There is a palpable complicity between Luis and Mateo. Luis has edited all of Mateo's films, they have been colleagues for a long time. As with Judit, despite their differences, one can tell that Luis belongs to Mateo's artistic family. Cut to. 109. EDITING ROOM. INT. EVENING. 1994 Time passes. The characters are dressed differently. As they load the film and sound onto the Moviola, we hear Harry's voice-off. Only audio: YEAR 2008. VOICE-OFF OF HARRY SPEAKING TO DIEGO. We hear it over the running Moviola. OFF HARRY When we finished shooting, I quickly selected all the takes for the film so that I could rescue Lena as soon as possible from the Martel house. The situation had 135 worsened, we could hardly see each other, he had practically kidnapped her... They were difficult days for everyone, but Lena insisted that I leave all the takes selected... then, we could leave. He hasn't finished saying this when we hear the phone ring. The assistant, phone in hand: (to Mateo) "It's for you". He takes it, surprised, he is still staring at the Moviola screen. It's Lena. OFF It's Magdalena. MATEO Is there something wrong? OFF No. I'm downstairs. I've forgotten my money. I have to pay the cab . . . MATEO I'll be right down. He exits the editing room. 110. CINEARTE [EDITING AND POST-PRODUCTION STUDIO]. STAIRWAY. INT. NIGHT. 1994 Mateo descends the stairs of Cinearte at a good clip, he wasn't expecting Lena's visit. He can sense something's happened. When he arrives at the foyer, he can't find her. The phone operator (ugly, but polite) at the reception desk tells him Lena is in the bathroom. 136 111. CINEARTE. COSTUMER'S BATHROOM. INT. NIGHT. 1994 He enters the bathroom and finds Lena, barefoot, wearing only her bra and panties, cleaning wounds she's suffered on her face and legs. The surface of the sink is tainted with blood. Mateo looks at her, horrified. (She is no longer wearing a cast). A man's jacket lies on top of the counter, this is the only piece of clothing that appears in this scene. MATEO (Horrified) But . . . what has happened?! LENA We have had a brutal fight... At the end, he ripped my clothes off and my shoes and he threw me out naked onto the highway. The jacket belongs to the cab driver. You must give him a good tip, if it weren't for him I don't know how I would have made it here... Mateo cannot believe his eyes. He hurls insults at Ernesto Senior. Lena's apparent composure is purely hysterical. 112. CINEARTE. EXT. NIGHT. 1994 Mateo and Lena exit Cinearte. They enter a cab that is waiting for them. MATEO (To the cab driver) Take us to the nearest police station... 137 LENA No, please... MATEO We must denounce him, Magdalena! LENA He will turn against you! The cab begins moving. Mateo gives the cab driver his address. LENA No, not your house. MATEO We have to look after you. Let's go to a hotel... LENA (Pleads) Let's leave Madrid. Mateo looks through his pockets, fortunately, he has all his credit cards on him. 113. LANZAROTE. FAMARA BEACH. BUNGALOW ZONE. EXT. DAY. 1994 Mateo and Lena are living in a bungalow zone on Famara Beach, a complex nestled between the beach and the foot of a mountain. It is a special and intimate place, like an enormous grotto, where the sky is its ceiling and the mountains one of its walls. Lena and Mateo exit a bungalow and get into a rented car, a red Opel Corsa, not in very good shape. 138 114. EL GOLFO BEACH. EXT. AT DAY'S END. 1994 On the peak of a reddish rock, on Golfo Beach, Mateo takes photographs of the natural wonders surrounding him. Next to him, Lena contemplates the view. What Mateo sees with his camera: a) Wine colored rocks b) The yellow-green lake circumscribed by a rope that has become white, against the black sand. c) The black sand of the enormous beach, licked by the shimmering foam of the waves. d) The rocky walls enveloping the beach, eroded through centuries by the wind on the surface of which it has created peaks and valleys resembling the jutted edge of a watch cog. One of the images captures part of a wine-colored rock. Below it, the infinite surface of the black beach, licked by the white foam of the waves. In the backdrop, an immense limestone wall, its surface full of pit holes where the wind circulates. The sequence ends with a close-up of the click of Mateo's camera's shutter, opening and closing like an owl's eye. 115. SOUVENIR AND PHOTOGRAPHY STORE. LANZAROTE. INT. DAY. 1994 Mateo-Harry and Lena pick up their photos at the store's counter. The owner of the shop hands them to him, he is an attractive and bohemian middle-aged man. Mateo opens the envelope impatiently, he wants to make sure that his photographs are, in effect, the ones inside it. 139 He looks at the last one closely, the landscape with the rocks, the beach, the foam, etc. Somewhere on the vast black-sand beach one can make out a couple, their size is tiny compared to the immensity of the beach. The two are melded into a tight embrace. The beach is deserted. Mateo had not been aware of them when he took the photograph and is overtaken by his discovery. He shows it to Lena. Half-joking. MATEO Look. It's us. (I thought it was empty) Mateo asks the bohemian Attendant for a larger print. 116. MATEO AND LENA, INSIDE THE CAR, ON THE HIGHWAY. EXT. DAY. 1994 They go through various traffic circles. Mateo comments that it is "the island of the useless traffic circles". "That's part of its charm", comments Lena. 117. TRAFFIC CIRCLE WITH CESAR MANRIQUE SCULPTURE. EXT. DAY. 1994 They stop on one of the stop signs at the traffic circle. In the center there is a huge mobile sculpture by Cesar Manrique, rocked by the wind. Mateo and Lena exit the car to take pictures of themselves. Their faces close together, their eyes happy. The sculpture turning around itself produces a strange screeching sound. 140 118. BUNGALOW. FAMARA BEACH. INT. DUSK OR NIGHT. 1994 Many days have passed. Mateo's hair is longer and he appears more tan, the proximity to nature and the absence of a social life has also affected Magdalena's appearance, now much more savage, but also more serene and more humble. She is dressed in cheap clothing, which she has bought on the island (and which fits her marvelously) and her hair is pulled up into a messy bun. The photograph, enlarged, presides on top of a small table where Mateo writes. The picture is leaning against the wall. It's the only image inside the bungalow. The photograph is a clear metaphor for the mysterious quality of the island as well as of the isolation of Mateo and Lena and of their fusion. While Mateo writes, Lena cleans the dishes or she does the laundry in the bathtub. The two wear T-shirts, comfortable and sporty clothes. (On the tape-deck one hears La Lupe singing: ... "porque hay un hombre para cada mujer y una mujer para cada hombre, y nosotros somos, nosotros somos... la pareja" [because there is only one man for each woman and only one woman for each man, and we are, and we are... the couple]). Mateo and Magdalena, the couple. In the bungalow there isn't much furniture; there's a large couch on which they can lie comfortably, a short table, along with the wooden table on which Mateo writes. Some armchair and lamps. And a tape- deck. Cut to. 141 119. BUNGALOW. INT. DUSK OR NIGHT. 1994 Engulfed by the couch, Mateo and Lena are absorbed watching, on a small television, a broadcast of "Voyage in Italy" (Roberto Rossellini's). The scene they are watching is set in a place where a group of men are working on some excavation. The married couple (in the midst of their breakup), played by George Sanders and Ingrid Bergman, is on a tourist trip in that area of Italy and they have gone to visit the excavation. One of the technicians describes the delicate work that is involved in excavating part of a city that had been buried, centuries ago, by the lethal eruption of the Vesuvius. At that moment, the men who are working on the excavation begin, bit by bit, to uncover a couple, a man and a woman, sleeping in an embrace, whom the eruption had taken unaware, leaving them preserved in this position for centuries. Ingrid Bergman cannot stand the sight of this couple calcined in an eternal embrace. She compares it to her own marriage, destroyed by their lack of communication and by the absence of generosity between them. She walks away from the place, unable to contain her tears. The scene affects Magdalena and Mateo as much as it had Ingrid Bergman. Mateo and Lena instinctively embrace each other, seeking refuge in each other, their posture echoes that of the calcined couple. Suddenly, Mateo breaks their embrace. He positions the camera on top of the table where he writes, not far from where the image of the other "embrace" sits. He points it toward the couch and he presses the automatic button. And they take a picture together, locked in an embrace. 142 120. PUBLIC PARK. MADRID. EXT. DAY. 2008 Harry and Diego, now completely cured, are sitting on a bench. HARRY Do you want to go back home and return to the "Donate Blood" story? DIEGO I am hoping to get back to it, but first tell me what happened in Lanzarote. You can't leave me hanging! Harry takes a deep breath. At this stage of the narrative, it is only understandable that Diego would want to know everything. But it pains him to think of what is still left to tell. HARRY Without realizing, a month had elapsed... I knew that sooner or later we would have to return, but we kept postponing it. I was only worried about you and your mother. I had not even said goodbye and you were still suffering from your allergy problem when we left... I can imagine Judit was furious with me. DIEGO You can't imagine how much. HARRY I was planning to return soon to finish the editing... and to explain things to your mother. But Magdalena decided she'd wait for me on the island. She couldn't stand the thought of seeing Ernesto again. 143 121. OFFICE FOR THE FAMARA BUNGALOWS. INT. DAY. 1994 Mateo and Lena are walking toward the office for the bungalow complex. (Part of the previous dialogue is heard as the couple are approaching the office) 121. A. INTERIOR OF THE RECEPTION HALL, FAMARA BUNGALOWS. INT. DAY. 1994 Behind the counter there are two foreign employees, a man and a woman. Lena addresses them in English, while Mateo keeps himself busy at the other end of the reception hall, next to a table with magazines and newspapers. He grabs a newspaper. In English: LENA Sorry to interrupt... I wanted to ask if there are any employment opportunities available here, with you... You always look so busy... I have a lot of free time... EMPLOYEE We could use the help, especially now that the high season is about to start... Do you have experience? LENA I have worked as a secretary at M. Capital, a very important finance company. EMPLOYEE (Looks at her) You could first work during the afternoons and, then, we could see... 144 With his back to the counter, at the other end of the reception desk, Mateo reads a newspaper, frozen. Suddenly, the employee opens a National newspaper and looks for a particular page. He shows it to Lena. On the Entertainment page, an ad for Mateo's movie (Opening Soon). The ad is a close-up of her, in her role as Pina, in the movie. Lena is stunned. She can't believe it. EMPLOYEE We were just saying that the girl in the ad looks like you. Lena looks toward where Mateo is standing and she notices that he is as perplexed as she is, staring at the ad for a soon-to-be-released film in the newspaper. LENA (To the employee) No. It's not me. They exit the office. 122. BUNGALOW COMPLEX. EXT. DAY. 1994 Mateo and Lena walk toward their bungalow as if someone were chasing them. They have just run into the very thing they have been attempting to escape in Madrid. MATEO I was wondering how long it would take him to emerge! 145 LENA (Disoriented) But they can't release the film so soon, right? MATEO No. It's a scheme to annoy us, and a trap to get you to return. The ad is only lacking the words "Missing." LENA What are we going to do? MATEO Nothing. Fuck them! 123. TWO WEEKS LATER. ON FAMARA BEACH. EXT. DAY. 1994 A TITLE TAKING UP THE WHOLE SCREEN: TWO WEEKS LATER A few surfers are preparing to go into the ocean. A father and his young son toss their kites into the wind. Lounging on lounge chairs, on a cobble-stone area before one reaches the sand, Lena and Mateo-Harry are reading the news of the opening of the film in a National newspaper. They only have one copy and Mateo's eyes are transfixed on the news. The note accompanying the event says, in bold type: "The financier, Ernesto Martel, has managed to gather all of Madrid for his first film as a producer, missing are only its director and star." Two pictures accompany the news of the event. Printed next to them, there is a review entitled, "Disaster." Mateo throws the newspaper away from him, enraged. He refuses to read the review. 146 The wind dishevels the newspaper pages. Lena rises and chases the pages that fly, like kites, slightly above the ground. In mid-flight, she catches the Entertainment page and reads it as she approaches Mateo, who watches the ocean, feeling impotent, furious, unable to quite grasp what is happening. Lena sits down next to him, still reading. MATEO (Disconsolate) What does it say? LENA That the only intelligent thing we have done has been not to attend the premier, that my acting is pathetic, that you seem like a first-time director and that you lack talent. At the end, it wonders who might have made your first films. Never before has such a resounding downfall been witnessed... How horrible! Mateo rises and heads quickly for the bungalow, which functions as the office for the complex. Lena follows him, alarmed. LENA What are you going to do? 124. OFFICE FOR BUNGALOW COMPLEX. FAMARA BEACH. INT. DAY. 1994 Cut to, directly to the shot of the telephone. Mateo has just dialed Judit's number. He gets the answering machine, hearing Judit's voice encourages him to leave a message. "Hi. You have reached Judit 147 Garcia's voicemail. Leave your message after the tone and I will return your call as soon as possible." Mateo leaves his message. MATEO (Dryly) Judit. It's me. I hope you and the boy are OK. I apologize that I left without notice, but terrible things have happened, I will explain. Speaking of which, I need to talk to you, urgently. Please call me! Here's the number... (Asks one of the employees) Oh, and, ask for Harry Caine, I have registered under that name... (said almost as an order) I will be waiting for your call! He also rings Luis, the editor. He also doesn't answer. He leaves Luis a shorter and more violent message. MATEO Luis, I just read in the newspaper that the film has opened and I am beside myself!! I don't know what the fuck is going on there, but I would like to know! OK, I'll ring back! He looks at Lena, breathless, his face contorted from sheer helplessness. 125. RETURN TO 2008. HARRY'S HOME. DEN. DAY. Harry is standing, pacing back and forth. Diego stands next to the bookcase. The drawer with the photographs is open. 148 He looks at the photograph of the traffic circle and at the one of "The embrace" on the black sand of Golfo Beach. He has taken them out of the large brown envelope. At the bottom of the drawer one can begin to see Luis' (the editor) notebook. Diego is holding a Dymo label machine, (this Dymo has appeared in previous scenes) with all of its keyboard buttons, corresponding to the regular alphabet, in Braille. He is writing, in Braille, "Famara ≠ Lanzarote 94" so that he can stick the raised title onto the old envelope. DIEGO And mom, did she call you back? HARRY No. DIEGO (Can't understand, he's almost indignant) Why? HARRY She was pissed, I suppose. DIEGO I remember that time, it was while I was undergoing treatment for pulmonary aspergillosis. It was a horrible time for me... Not just because of the illness, my mother was like a crazy woman... I had just seen "The Exorcist" and, for some time, I believed she was possessed... HARRY (Smiles pathetically) I was the demon, Diego. And I am sorry. I suppose I behaved selfishly, but I am not sure I had a choice... Diego thinks about this. DIEGO 149 (Emotionally exhausted) No matter how upset she was, she should have alerted you to what was happening. HARRY The fact is she never did, and we've never spoken of it. Neither one of us has broached the topic. DIEGO (Surprised) And you weren't curious?... HARRY (Emphatically) Me? Curiosity was killing me! For two days I called both your mother and Luis non-stop, the editor (says it agitated), but neither of them answered! So I decided to return to Madrid the next day so that I could witness what was happening for myself! 126. RESTAURANT. EL MIRADOR [THE LOOKOUT]. EXT. DUSK. 1994 (Night falls while they dine.) Mateo and Magdalena dine at "El Mirador," a local restaurant with spectacular views. Their table is beside a long sliding-door window that overlooks the valley. A group of rocks seem to grow next to the window as if they were plants made of stone. The view of the valley is breathtaking. There are few patrons inside the restaurant. Perhaps a foreign couple, sitting far from Lena and Mateo. A waiter brings their first course. They are drinking wine. Lena appears melancholic and fearful. MATEO How did you meet Ernesto Senior? LENA 150 (It's not a topic she likes, but she doesn't hesitate to answer.) I was one of his secretaries. MATEO And... how did you end up with him? You fell in love? LENA He was very generous with me and my family. My father was dying, I needed to take him to a private Hospital and Ernesto took care of everything... He paid for everything... And he made sure that my parents could return to their home town and that they lacked nothing... Mateo imagines the situation, it upsets him. He is perturbed by the very idea of Lena's past with Ernesto, but he doesn't want to upset her on the night before his departure. They have gone out to dinner with just the opposite intent. MATEO (Lovingly) Pardon me, I have no right to ask you about that time in your life. LENA It's only natural that you would want to know. And I don't want any skeletons between us. (Unguarded) I would like to be able to forget all that, but you have the right to ask. MATEO (Assuring her) No. I do not have any right. For me, you were born the day you came for the audition. You looked at me, I saw your face and... I was left hypnotized. Lena smiles. She is both comforted and relived by remembering that moment. 151 LENA I remember your face perfectly. I think I fell in love with the way you looked at me. I thought: this man will be my salvation. Mateo is moved by her use of those terms to speak of their first meeting. Cut to. 126. A. CIRCULAR PARKING AT "EL MIRADOR." EXT. NIGHT. 1994 They exit in an embrace and head toward their car, parked nearby. They kiss before they get in the car. We notice another car which we will have the occasion to recall in the future, the camera gives it just a passing glance. LENA (Childish) It's the first time we part... MATEO (Pampering) Either way, I will return next weekend. But if you are going to be worried, you should come with me. LENA No... I will be better off here. And she smiles, as if the worry has already passed, so as not to disquiet Mateo. 152 127. IN MOVEMENT. THE ISLAND, NIGHTTIME. INSIDE AND OUTSIDE OF THE CAR. LANZAROTE. 1994. View of the sea of lava or of La Geria in an aerial shot with the car moving across the landscape. The full moon allows us to glimpse through the darkness of the landscape. Mateo's car once again heads for the bungalow complex. Show the highway illuminated by the headlights and the landscape as it appears to its left and right. From inside the car, one can see the mobile sculpture of Cesar Manrique at a distance. MATEO (Very insecure) And did I manage to save you from anything? LENA (Enigmatic and unwavering) Yes! Lena does not elaborate on the dangers that Mateo has saved her from, he doesn't understand them exactly, but he likes to hear her say so. They approach the traffic circle. A set of lights first betrays the presence of a car that appears from the left. Mateo yields to it, and briefly kisses Magdalena on the lips. Mateo continues on his way, a short instant later, as he enters the traffic circle, an SUV moving at full speed crashes into them. 153 Everything happens very fast. From inside the car, without any particular attention to Lena or Mateo, the screen fills up with light, noise and darkness. All the different noises form a deafening magma. At the center of the traffic circle, Cesar Manrique's sculpture rotates, propelled by the wind. In any case, we will also shoot the crash from the outside. And although it will not be obvious at first sight, the back side of Mateo's car is illuminated by the headlights of a car that we never quite see, but which has been a witness to the accident. 128. TRAFFIC CIRCLE WITH MOBILE SCULPTURE. LANZAROTE. EXT. NIGHT. 1994. The huge mobile sculpture by Cesar Manrique continues to rotate with the wind immediately following the collision. One can hear the screeching wheels of the SUV escaping from the accident scene. One also hears the sound of a second vehicle, which approaches and stops, and something that sounds like a door opening and a moan. The camera only focuses on the sculpture, swaying in the wind. 129. MATEO-HARRY'S HOME. INT. NIGHT. 2008. Diego looks at Harry in silence, he doesn't say a word. He is still holding the Dymo. Harry also says nothing. OFF HARRY 154 Magdalena's death didn't catch us melded in an embrace, but sitting on separate seats. It caught me by surprise, in that of leaving me alive. When Harry's face once again appears, we begin to hear his voice-off. 130. OUTSIDE A HOSPITAL. LANZAROTE. EXT. DAY. 1994. The entrance to a Hospital in Lanzarote. Through one of the windows, we can see Mateo's gaunt and nebulous figure resting on a bed, his head bandaged. 131. INSIDE THE HOSPITAL ROOM. LIGHT COMING THROUGH THE WINDOW. INT DAY. 1994. Just as in the beginning, Judit is next to Mateo's bed. She is holding his hand and begs him: JUDIT Mateo, say something! HARRY Mateo is dead, Judit. JUDIT (Bags under her eyes and tearful) Don't say that! 132. LANZAROTE HOSPITAL. PSYCHIATRIC WARD. INT. DAY. 1994. 155 A naturalist dÈcor and stage-setting of an island Hospital of that era, located in a very picturesque place. Through the window we can see the local surroundings. The walls are a pastel color, green or blue, an aquatic color, and they have various spots where humidity has seeped through. Other than the psychiatrist, there is another doctor present, explaining the situation to Judit. PSYCHIATRIST We call him by his name, but he doesn't respond to it. He insists Mateo has died. JUDIT Images are the source of his work... and to live in the dark, I suppose that's death to him... Is there any chance he will see? DOCTOR None. His is what we refer to as a cortical blindness, and it's irreversible. It's the result of a lesion to the occipital lobe, the intelligent part of the brain, which has the role of processing all visual information. In other words, the neurons have died... and that's permanent... 133. HOSPITAL. EXIT. EXT. DAY. 1994. OFF HARRY I felt as though I had died with Lena. The Mateo- film-director who had left Madrid would never return. Days or weeks later. 156 Judit exits the hospital, with blind-Mateo (he's hidden behind black sunglasses), now without the bandages or very few, and with little Diego (eight years old), holding hands. Mateo walks tentatively and slowly. He will probably be aided by the typical blind man's cane. They get into a car that is waiting for them. Judit instructs the driver to take them to Famara Beach, to the bungalow complex. 134. LANZAROTE. ROUTE TO FAMARA. HIGHWAY. EXT. DAY. 1994. A CLOUDY AND WINDY DAY. (This is a good opportunity to show some of the more dramatic landscapes of the island. The lava sea, black and twisted, and the rented car that crosses it through the highway that divides it. Or "La Geria" and its vine stalks buried in half-spheres of black dirt to protect them from the winds. The green palm tree fronds flop around against the backdrop of this black-dirt landscape.) Inside the car, Mateo asks Judit: MATEO Did you visit Lena's mother at her hometown? JUDIT Yes. MATEO What did she say? JUDIT She was very thankful to Ernesto for having taken care of everything... MATEO 157 That's it? JUDIT Yes, they buried her next to her father. MATEO Did you visit the grave? JUDIT Yes. Mateo nods in defeated acknowledgement. 135. FAMARA BEACH. BUNGALOW COMPLEX. EXT. DAY. 1994. A CLOUDY AND WINDY DAY. The car stops in front of the bungalow that functions as the "Reception Desk" for the complex. Judit and little Diego exit. Judit helps Mateo out. Mateo remains glued to the ground. He can't move. Judit stares at him. Even though Mateo had renounced being Mateo, he has inherited his most painful memories. Being near the RECEPTION bungalow, and thus near the bungalow where he lived with Magdalena, generates some kind of spasm in him that keeps him from moving. He feels an intense heat (inside and outside of him), as if he were approaching a bonfire the flames of which would slowly scorch him, were he to move. (Perhaps we'll have to inlay the image with the flames of an imaginary conflagration). The face contorted. JUDIT What's wrong? MATEO 158 (Weakened) You go... I can't... I'll wait for you on the beach. The idea excites little Diego. DIEGUITO I also want to go to the beach! He approaches Mateo and instinctively grabs his hand. Judit watches the couple. The situation unfolds before she can stop it. MATEO Do whatever you need to do. We'll wait for you there. Judit is worried about the wind. She buttons Diego's jacket and wraps his scarf around him. She does the same thing with Mateo. JUDIT Bundle up! And don't get too close to the water. (To little Diego) Don't let go of his hand! Little Diego grabs Mateo's hand. Despite the wind, the boy is excited about the idea of going to the beach. He has just become Mateo's guide and Mateo lets him guide him, like a somnambulist. 136. BUNGALOWS OFFICE. INT. DAY. 1994. In the offices of the complex, the two employees are in the middle of a brawl. (Consult with the original) In front of the desk, Judit addresses one of them, in English. 159 JUDIT I am here to pay Mateo Blanco's bill. EMPLOYEE We don't have anyone here registered by that name. Judit gestures that she doesn't understand. JUDIT It's the man who had the accident. He was in bungalow number two. EMPLOYEE Oh, you mean Harry Caine. JUDIT Yes, of course. EMPLOYEE Poor souls! They are not the first to have an accident on that traffic circle! Awful! 137. FAMARA. ROUTE TO THE BEACH. NEXT TO THE BUNGALOWS. EXT. DAY. 1994. Mateo and little Diego walk only a few meters past bungalow number two, where he lived with Magdalena. At that moment they are walking facing the wind, a fierce wind that threatens to tear off their clothes. It is as if nature itself wanted to keep Mateo from walking away from the bungalow where he loved Lena. From this point on, his life will become just that, an endless battle against the elements and against the memory of Lena. 160 Little Diego's voice distracts him. DIEGUITO Look... There are kites! At times little Diego forgets that Mateo cannot see. So he points toward the sky of a nearby beach, whose surface is dotted by various kites. Mateo is grateful for the life-affirming sound of the boy's voice and so he allows himself to be towed. The wind's violent sweep over all the different elements that compose the landscape creates a symphony of strange sounds. 138. BUNGALOW No.2. FAMARA. INT. AND EXT. DAY. 1994. Judit, using the key she was handed at the Reception Desk, opens the door to bungalow number two. She enters into what had been Mateo and Lena's love nest. She takes the entire space in with one glance; she is overtaken, as if she has entered an ancestral and sacred space. She imagines Mateo and Lena filling up the space with their presence. (A strange modesty comes over her, but her curiosity is greater). Lena's spirit (at least in Judit's mind) hangs in the air, but in the material surrounding her absence is absolute. Those who took her body did not leave any trace of Lena. Not a single object, not a single dress. Nothing. Ernesto Senior's cohorts (or Ernesto himself) took all of her things. Mateo's clothes and things are found piled up in a closet. Yet the table where he sat to write remains intact. On it, the photograph of 161 the embrace on Golfo Beach still rests, along with his notebook, blank pages and some envelopes. Judit observes the photograph on Golfo Beach as if it were alive, still palpitating. And she imagines that the two lovers, locked in an embrace, lost in the anonymous vastness of the black sand, are Mateo and Lena. She opens the desk's drawer and, much to her surprise, finds it overflowing with torn photographs of Mateo and Lena, shuffled in no particular order (one might say they had been thrown violently into the drawer. The violence of the hand that ripped and threw them has left its pulsating mark). Judit picks up all the pieces, slowly and delicately, and she places them inside a brown envelope that she finds next to Mateo's notebook. Her sense of guilt is so profound that it dries out her throat and the expression on her face. 139. FAMARA BEACH. EXT. DAY. 1994. At the base of the complex, on one end of the beach, the car that brought them is waiting. Judit places the bags with Mateo's belongings, which she has just carried from the bungalow, inside the trunk. She raises her head, emotionally exhausted. From where she stands she can see little Diego, ecstatic, in front of a group of surfers wearing brilliant colors traversing the waves and a group of kites (around eight or ten) darting through the sky like flying fish. Mateo is motionless, in front of the sea, soaking up its strength. Judit's pain is at odds with the boy's joy and the overwhelming vitality that the place exudes at that very moment. 162 She begins to walk toward Mateo and little Diego. Once she is a few meters away, she observes a surfer riding a wave. In the foreground of her line of sight stands Mateo, out of focus. As he comes into focus, Judit yells out to him: JUDIT Harry! Harry Caine! It seems as though she is invoking the wind (a hurricane) which moves the waves along with the expert surfers riding them. When he hears Judit's voice, Mateo turns to face in her direction and RESPONDS: HARRY We're here, Judit! (And raises his hand like a child) Judit approaches them, petrified with emotion. The wind tears tears from her eyes. JUDIT We have to go, Harry. HARRY (To the boy) Let's go, Dieguito. Give me your hand. DIEGUITO (Protests, politely) Can't we stay a little longer? HARRY No. We must obey your mother... You've had enough wind for one day... DIEGUITO But I'm already all better! 163 Judit walks in front of the blind man and the boy, her eyes glitter. Mateo has responded to her call, and that has filled her with uncontrollable emotion. At this very moment she decides that she will dedicate her life exclusively to the care of this man. This is how it will be. 140. HARRY'S HOME. INT. DAY. 2008. Diego is still sitting on the floor, next to the brown envelope. He sticks on the Braille title, "Famara. Lanzarote 94." In front of him, spread on the floor like a puzzle, lie the pieces of various embraces between Mateo and Lena (like archeological finds, like the Minoan paintings in Crete). The pieces begin to join with one another, an order is established and, soon, the better part of the picture is clear. There are four photographs where, regardless of the missing pieces, one can make out the image. Two are of embraces and the rest are of domestic scenes. The scratches on the four photographs reveal the passing of time. Neither of the two men speak. Mateo remains seated at his desk. Pensive. Cut to. 141. HARRY'S HOME. INT. NIGHT. 2008. They prepare to watch/hear a DVD. Diego goes over Harry's collection (even though one would imagine he knows it). On the spines, the titles are written in Braille. He has already asked him what he would 164 like to watch (he reads off some titles; in general, all the movies are made prior to '94, all classics). HARRY Play "Elevator to the Gallows" and take a look at the ending... While he looks for it... DIEGO Do you always watch the same movies? HARRY Yes. Since I know them by heart, I can visualize the action. DIEGO Is there any new movie you'd want to see...? HARRY Yes. But you'd have to describe the action. Your mother used to describe some to me, some time ago. DIEGO I wouldn't mind doing so. HARRY I would like to "watch" one by Tarantino or Scorsese, and also some Asian cinema... DIEGO Done. They pick a movie (chosen by Mateo). Diego hooks up the television, then inserts the DVD. 142. CONTINUED 165 Images of Mateo Blanco's last film, "Girls and Suitcases," appear on a random television station, it is the beginning of one of the sequences of which the spectator is already aware. For Harry it is all a shock, there is not doubt that it is his film. It is the sequence where Magdalena, wearing a cast, opens the door for her friend Chon. 143. WHAT WE SEE ON THE TELEVISION SCREEN. A SCENE FROM "GIRLS AND SUITCASES." PINA'S LOFT. INT. 2008. Pina limps toward the door. Through the peephole she sees her friend Chon, looking back with an exaggerated look of reproach: PINA What a drag! (she opens, not very welcoming) Oh, it's you? RETURN TO 142. IN HARRY'S LIVING ROOM. 2008. In front of the television, having heard only those two phrases, Harry jumps up as if propelled by springs. HARRY That's "Girls and Suitcases"! Diego observes him and then looks at the television. DIEGO 166 Yes. HARRY Turn up the volume! Sitting on the floor, next to the television, Diego turns up the volume. Harry focuses on the sounds from the screen and Diego on everything else. 144. ON THE TELEVISION. 2008. Chon enters. (They are supposed to be good friends). Chon has an endearing appearance, she is a little chubby, well dressed, according to her age (forty) and her profession, a Counselor for Social Affairs. Spontaneous and direct (she is kind of a Bette Midler in her forties), but the actress is lacking grace and her restlessness reveals more about her fear of running into the moving camera, than about the very funny way that the character inhabits her own anxiety. Lena is also quite languid, lacking spark, tired and unenthusiastic. (As a comedy, it's without charm and, as a drama, it's uninteresting, that's what the critics said). CHON (Reproachful) I've left you a thousand messages. PINA Yes. A thousand from you, and none from Ivan. As if Ivan's phone call depended on Chon. 167 145. LIVINGROOM, HARRY'S HOME. INT. NIGHT. 2008. Harry twitches around in his chair, anxious and impatient. He doesn't like what he hears. 146. ON THE TELEVISION. 2008. CHON (Sees the suitcase sitting in the middle of the loft. Looks at it as if it were some strange insect.) And this suitcase? PINA It's Ivan's. He's leaving me. CHON And the cast on your leg? PINA His ex-wife, the crazy one. She pushed me down the stairs and I broke my leg... All said without any spark. The actresses are reciting the text mechanically and they appear tired of interpreting it. CHON Wow! Well, we're in good shape... I also broke up with my husband... 147. LIVINGROOM, HARRY'S HOME. INT. NIGHT. 2008 168 Diego and Harry are still staring at the television. Harry with his ear turned toward the screen, disappointed and tense. Diego is more indulgent of the scene. HARRY (Annoyed) They're terrible! Each of the men focus their respective senses on the television screen. HARRY How could I have thought these takes were the good ones! What was I thinking! With the same fury with which he had thrown down the newspaper with the bad review of his film onto the sand, he abruptly shuts off the television monitor. He remains suspended for a few moments, as if trying to find an explanation for what he has just heard. Was he so caught up in Magdalena's problems that he was unable to distinguish when a take was good or bad? Cut to. 148. HARRY'S HOME. INT. DAY. 2008. The next morning, Harry wakes up early. He has spent an entire night thinking about the same thing. Dressed in a bathrobe, but not showered yet, he walks over to his desk. 169 All these scenes take place in the dark. A faint light from the breaking dawn enters through the corners of the drapes that cover the windows. He opens the drawer with the photographs. (When Diego had opened it before, we had been able to see that along with the photographs there were other objects, for example, Luis' notebook (the editor). Diego had not mentioned any of this to Harry). Harry pokes around in the drawer with his hands, finds the notebook. He grabs it. He opens it on top of his desk. He touches the different pages. The tips of his finger tips run over the numbers corresponding to the sequences, the shots, the selected takes, attempting to find a message. 149. DIEGO'S ROOM. INT. DAY. 2008. Harry walks over to Diego's room with the notebook in hand. The boy is naked, drying himself with a towel after his shower. Harry asks permission to enter. HARRY May I come in? DIEGO (Drying himself) Yes, come in! Not giving him time to get dressed, Harry hands him the notebook. HARRY Luis, the editor, sent it to me six years ago. At that time I didn't even bother to open it, I didn't want to know anything about him. I am now thinking 170 that perhaps he had something to tell me. Would you mind seeing if beyond the takes and all of that there is something else written? Diego looks through it carefully. The last pages are empty. The rest only have the numbers pertaining to the sequences, the shots, and the selected takes, like we have seen in the sequence with the Moviola. Although, there is something written on the last page. "My new number: 91 6994079." DIEGO At the end he says this is my new number, a number's written down. Harry hands him his mobile phone. HARRY Call him, please! DIEGO Right now? It's too early. HARRY It doesn't matter. Diego dials the number and hands the phone to Harry. DIEGO May I get dressed? I'm naked... HARRY Oh, I'm sorry. He turns around and leaves. 171 150. HARRY'S HOME. DEN. INT. DAY. 2008. He exits the bedroom and heads for his dark den. HARRY (On the phone) Could I speak to Luis, please? WOMAN'S VOICE (Surprised) Luis died six years ago! HARRY Oh, I am so sorry... I had no idea! VOICE It was cancer. I'm his widow. Who are you? HARRY Mateo Blanco. Luis edited all my films... VOICE (More serene) Mateo Blanco! Luis spoke to me about you. I am his second wife... HARRY The one I know is Nieves, the first one. VOICE We married twelve years ago. HARRY (Sincere and sorrowful) I am sorry to hear about Luis' death. I would have liked to speak to him... VOICE He would have liked so too! Once he was quite ill and didn't want to speak to anyone, he would always tell me that, if it was you, I should hand him the phone... Harry keeps silent. 172 HARRY You have no idea how sorry I am! Cut to. 151. LIVING ROOM, HARRY'S HOME. INT. DAY. 2008. Diego is in the kitchen. He is preparing breakfast, both for himself and Mateo. Harry, heavy-hearted, approaches the kitchen, pensive. A half-hearted "happy birthday" escapes Diego's lips. Harry doesn't react, perhaps he hasn't heard him. Noticing the look on his face Diego is not eager to insist. DIEGO What's going on? HARRY My editor. I just found out he died six years ago... Diego remains silent and lets Harry continue talking. HARRY Not long before he died he sent me this notebook. But I didn't want to know anything about him, I also didn't know he was dying... and I put it away... until today... His wife just told me he would have liked to speak to me, that was the purpose of sending me the notebook... but I didn't give him the chance. DIEGO Had you spoken since the accident? 173 HARRY No. Never. Diego places plates with toast and juice on the table. He serves Harry some coffee and adds sugar. DIEGO The coffee is in front of you... Harry finds the cup easily. DIEGO Are you OK? Would you like me to stay here? HARRY No, no... You're heading out? DIEGO My mother arrives today. I would like to be home when she arrives. HARRY I didn't know she was arriving... DIEGO I didn't either, she left me a message this morning. She's coming to celebrate your birthday, with us... HARRY It's my birthday? DIEGO It seems so. Today's the (he tells him the day), does that sound right? HARRY Yes. A day like today, fifty-one years ago, I entered the world. DIEGO 174 Happy birthday! 152. JUDIT AND DIEGO'S HOME. INT. DAY. 2008. Judit returns from location scouting. She enters her house. She hugs her son, effusively. She drops a large suitcase, with wheels. (The sequence takes place in various rooms in the house. From the foyer she should move toward the bedroom or the kitchen, where she makes herself some tea, or where she opens bags full of food that she's brought, typical to the region she's just visited. (She looks inside the refrigerator and doesn't find anything). Things like that. JUDIT I was dying to see you! Are you OK, my son? DIEGO Yes. JUDIT I was very worried about you! DIEGO Mateo has looked after me day and night... JUDIT Mateo? You're not calling him Harry...? Diego had not realized. DIEGO Yes... JUDIT 175 Today's his birthday, we must get him something... What have you been up to all this time? DIEGO Nothing... Watching movies... and talking... JUDIT (As if it were something strange) Talking? DIEGO Yes... JUDIT What about? DIEGO Mom, please! Judit looks at her son. She finds him different. As if all the confidences shared with Harry had left a physical and visible mark on him. Diego seems to guess what his mother is thinking. JUDIT OK. So what happened to you? (Sort of joking) I don't know if I should believe the thing about the stomach flu, you two used that as an excuse in a script... DIEGO (Elusive) (I suffered) ... an accident. But I would rather not speak of that right now... JUDIT (Irritated, by the surprise) What kind of accident? DIEGO It's hard to explain. JUDIT (Orders him, annoyed) Try to! I am not that stupid! DIEGO 176 Let's leave it for another time, yes? I am all well now. Judit gets the sense that she can no longer speak to her son in the same way that she could before she left on her trip. Those two weeks have irreversibly changed him. JUDIT What's wrong with you, Diego? DIEGO Nothing. I'm doing just fine. I'm going to buy a present for Mateo. JUDIT (Repeats) For Mateo... DIEGO Alright, Harry. (Offended, she doesn't want her son to think she is a drag, so she makes an effort not to bombard him with questions) JUDIT Call him however you wish. That's the advantage of having two names. Diego disappears and leaves her in mid-sentence. (Is this his way of avenging himself? Perhaps his reaction is unfair, but he cannot stand to stay there with his mother, answering thousands of questions regarding an "accident" when there has been another "accident" that he is much more intrigued by and that she has kept silent for fourteen years.) 153. MATEO-HARRY'S HOME. INT. DAY. 2008. 177 (The maid may be around) Mateo goes to open the door. Judit has the key in one hand and a huge flower bouquet in the other. They greet each other enthusiastically. Mateo-Harry attempts to hug her but his arms collide with the flowers. JUDIT Wait, my arms are full... MATEO Are those flowers? JUDIT Yes! Happy Birthday! Cut to. 154. MATEO-HARRY'S HOME. INT. DAY. 2008. Mateo and Judit talk, they are sitting on a sofa, the conversation is already mid-way. JUDIT Thank you for looking after Diego... I don't know how to thank you! MATEO You've been looking after me for fourteen years now... Judit brushes his acknowledgement off, with a half-smile. JUDIT 178 I've found him somewhat hostile. He left without telling me what it was that happened... Will you tell me? MATEO I don't know. It should be your son to tell you. Judit is upset by both of their evasiveness. JUDIT What is wrong with the two of you? Why is it that he suddenly is not calling you Harry but Mateo? MATEO (He evades the first question, but responds to the second one.) Two weeks ago, at the place where he D.J.'s, by mistake, he grabbed a friend's drink that had been spiked with G.H.B., liquid ecstasy. He thought it was his drink, both drinks had Coca-cola. JUDIT Liquid ecstasy? MATEO Yes. It's a very dangerous drug when it's mixed with alcohol and Diego had already had two Cuba Libres before he drank from his friend's glass... JUDIT And... what happened... exactly? MATEO (Being vague.) He was badly affected. He spent two days in urgent care, after that, I brought him here. Judit looks at him, horrified. She can't seem to comprehend such a turbulent and simple story. 179 JUDIT Diego's a drug addict? MATEO No. I've told you, he drank from the glass containing liquid ecstasy by mistake... JUDIT But how can one make a mistake with something like that? MATEO At first glace one cannot tell the difference. Both glasses contained Coca-cola... It's not the first time it happens... Judit sighs, defenseless and horrified. MATEO Diego has not told you so that you wouldn't be alarmed... JUDIT (That I wouldn't be alarmed?!) Well, he hasn't succeeded. At some point he will have to speak to me, no? MATEO He is wanting to do so! Judit takes a cigarette out of its box and lights it. JUDIT Is that so? Because I ask him and he doesn't answer! MATEO Then you should try answering him, when he asks you. 180 Judit smokes in silence, she is curious to know what Mateo and Diego have been talking about in her absence, but she doesn't dare ask Mateo. JUDIT The two of you are acting very differently. Both of you. You both have changed. She laments it, as if she had been put aside and they had not taken her into account. Cut to. 155. "NO VIEWS" RESTAURANT. INT. NIGHT. 2008. AT THE BAR BEFORE ONE ENTERS THE RESTAURANT. Judit and Mateo are having something to drink. Mateo tilts his head subtly in front of Judit. MATEO You smell good... JUDIT (Insecure) I have put on some makeup and I am dressed as a woman. MATEO What's the dress like? Judit describes it, with few words and almost shyly. MATEO 181 And the hair? How are you wearing your hair? It's been so long since I've asked you that I don't even know whether it's long or short. The fact that Mateo betrays that type of interest flatters and disconcerts her. JUDIT I haven't changed much, Harry. I am wearing my hair short. MATEO Short like Jean Seberg in "Breathless"? Like Joan of Arc on the bonfire? Like Liza Minnelli in "Cabaret"? Or like Yul Brynner? JUDIT Short, or rather, very short, like that of all fortysomethings who want to appear younger. MATEO I am sure it looks good on you. Thanks for dressing up for me, Judit... Diego looks at them, amused. He hands Mateo three DVDs (Scorsese's "Goodfellas" (or the Coen Brother's "Fargo"), Tarantino's "Kill Bill," and Kiarostami's "Taste of Cherry"). Near them, on the bar table, two couples talk excitedly as if they were about to go on a ride at an Amusement Park. The barman tells them they may now enter. 156. "NO VIEWS" RESTAURANT. INT. NIGHT. 2008. 182 Once they've crossed the doorway, a man signals them to follow him. He's a blind man that, like Mateo, moves smoothly, he knows the place by heart. The restaurant is completely shrouded in darkness, all the waiters, men and women, are blind. The one in charge of Mateo, Diego, and Judit introduces himself: JAVIER My name is Javier. How many are you? MATEO Three. There is not a single light inside. The following sequences take place in absolute darkness. JAVIER Please, grab onto each other's shoulders and follow me in Indian-file. I will guide you to your table. It's number eight. JUDIT What is the idea here, Harry? MATEO We are dinning in darkness. JAVIER You didn't know this, ma'am? JUDIT (Anxious, feeling slightly ridiculed) No... JAVIER You should have been warned, but don't worry. People get used to it after a few minutes. 183 157. "NO VIEWS" RESTAURANT. INT. NIGHT. 2008. They have arrived to their table, as signaled by the waiter. Table number eight. He tells them where to sit. JAVIER Imagine that your plate is the face of a watch. Your silverware is at 9h and at 3h. Your glass at 1h. Bread at 11h. Each of them reaches for the objects as indicated by the waiter around an imaginary clock. Judit still believes this is some kind of joke and that the lights will come on at any moment and that something spectacular will appear before her eyes. If she had been able to see, she would have been witness to the very interesting scenes surrounding her. Two couples kissing, with bestial enjoyment. And a well-bred woman performing fellatio on the man sitting next to her. No one sees them except our camera. JUDIT Harry, what is all this about? The waiter responds. JAVIER We want our clients to discover that the lack of sight harnesses the other senses. Touch, taste, smell and sound will acquire a special intensity tonight, ma'am. I hope you'll enjoy them. 184 Judit says nothing. She hides her nervousness in order not to ruin Mateo's night, he seems fascinated with the place and completely unaware of the process she is now living: the discovery of absolute darkness. A bottomless pit. JAVIER Will the gentlemen be drinking something? MATEO Bring us a bottle of wine, to toast. The waiter leaves them. Slowly, Judit begins to walk the plank that will plunge her into anxiety. The evening feels far from a party, but she doesn't want to spoil it for either Mateo or Diego. She hears Mateo explaining to HIM: MATEO I found out about this place in the newspaper and I wanted to check it out. DIEGO It's a German idea, there are various restaurant like this one, they're totally in fashion. JUDIT (Can't believe what she's hearing.) Darkness, in fashion? I don't understand. Silence. Judit pours herself some water and drinks. And she gets depressed, in silence. She lights a cigarette. 185 158. "NO VIEWS" RESTAURANT. AT THE TABLE. INT. NIGHT. 2008. Javier, the waiter, arrives with the wine. He tells Judit she can't smoke. She puts out the cigarette. (On the floor?) To enliven the occasion, Diego proposes a toast. DIEGO Let's toast! JUDIT Yes. Let's toast. Mateo pours the glasses. They each grab one. Clumsily, they bring them close until they can her the sound of the crystal clinking. DIEGO Happy Birthday! JUDIT Happy Birthday! We must look into each other's eyes. (She has already said it and it's too late when she thinks of retracting it.) DIEGO Well, we're kind of screwed... JUDIT Oh, sorry... It slipped. They attempt to clink glasses. It is not such an easy task. The three glasses head for each other in the darkness, it would have been easiest to have all three meet at the center, but instead each opts to find the other. Only Mateo puts his forward and leaves it in place, waiting for the other two to find his. When this happens, Judit's glass collides with too much force, breaks his glass and wine spills 186 all over the table cloth. Mateo attempts to make light of the situation, as if nothing had happened. He presses his fingers into the wine that has spilled on the tablecloth and exclaims: MATEO Joy! Joy! (to Judit) Bring your ear to me so that I can sprinkle some wine behind it. It's for good luck! Judit attempts to heed his request, she leans forward, offering her head, parallel to the table. Mateo can't quite find her ear. Judit collapses. Her head topples onto the table, without strength, and she bursts into tears. Cut to. 159. "THE MIRROR" TERRACE. INT. EXT. NIGHT. 2008. Show both terraces, the exterior one and the glass-enclosed one. The sequence begins once all three of them (Judit, Diego and Harry) are seated and drinking. Judit's emotional state has not improved. The short sequence of events that she's had to live through since her arrival have been making her increasingly tense and worried. She is trying to combat the letdown by way of gin-and-tonic. (They are sitting on one extreme of the ellipsis that makes up the glass-enclosed terrace, decorated with cheesy DecÛ motifs). At the center, where the bar is located, two or three waiters prepare to clean up the tables. Once in a while, they look over at the only three remaining clients. Once in a while, they are also able to catch Judit's words. And once in a while, the waiters function as the 187 audience, witnessing a theatrical production. Although on this occasion, the setting is real and so is the drama. Judit sips-down the gin-and-tonic quite rapidly. Mateo and Diego accompany her. Cut to. 160. CONTINUED. MIRROR TERRACE. INT. NIGHT. JUDIT I don't know what you've been talking about these past days... A topic which they have waited to broach since she arrived from her trip. Neither of the two men respond, but they are both made uncomfortable by the comment. JUDIT But I do know what I haven't talked to you about all these years... Mateo directs his face toward her, surprised and polite. MATEO I've never asked you... JUDIT But you must have asked yourself a thousand times. This is my birthday gift, Mateo. (To Diego) The gift is also for you, Diego. 188 She takes another sip to draw courage, but she's already gathered enough momentum: JUDIT (To Mateo) After you disappeared, Ernesto Senior thought only of his revenge. A plan had occurred to him but, to carry it out, he had to bribe, at the very least, both Luis and me. It wasn't an issue, we both sold ourselves without hesitation. Luis and I. With me, he had the courtesy to provide an alibi, he proposed that I leave for a month and a half to the United States, to the Mayo Clinic, so that Diego could undergo a cure for his aspergillosis, that way I wouldn't have to be present while he destroyed the movie (because that was his plan, to make a mess out of the film). I opted to stay in Madrid and have Diego undergo his cure here. I wanted to witness everything. If I was going to betray you, I wanted to pay the full price... MATEO What a living hell! For both of you! DIEGO You said it! She takes a deep breath and continues: JUDIT Yes. It was torture to watch Ernesto select the worst takes of each shot and Luis edit them together, turning your film into a monster (briefly tears?). The only way of withstanding that was to suffer more. 189 (Overcome) I sold myself to Ernesto because of my pain and jealousy. I couldn't take it and I couldn't (then) forgive you for having abandoned Cinearte with Lena without saying a word! My betrayal was my revenge against you, against her and against myself... The only innocent one was Diego... (To Diego) Forgive me, my son, for the bitterness that you've had to absorb all these years... no one deserves to grow up like this... 161. CONTINUED. MIRROR TERRACE. INT. NIGHT. Judit rises. She approaches the bar table. She orders another gin- and-tonic. The waiter doesn't dare to tell her they've already closed, so he serves her. With the glass in her hand, Judit returns to the table where Mateo and Diego wait, expectantly. She has observed them whispering, but she hasn't heard what they have said. She sits down with them. Judit takes a sip. MATEO (Interrupts her) Don't continue, Judit! It's not necessary. JUDIT Yes. Now that you once again call yourself Mateo, I have no excuse. Judit takes a sip from her drink, to gather her strength. JUDIT 190 No one knew where you were. We had no idea. Ernesto Senior put everything together, the premier, all that ruckus, to see if you'd react. His revenge was pointless if neither of you found out about it. (Pauses) Ernesto asked me constantly if I knew where you were, but I said that I also didn't know anything, which was true. MATEO (Somber) That's why I never called you, but even if you don't believe it, I was very worried for you and the boy. JUDIT I believe you... Diego attempts to say that he, too, believes him, but Judit doesn't give him time. JUDIT Ernesto hired various detectives to search for you, but before they found you, you called me, two days after the premier. (Slowly, debilitated.) I was too embarrassed to answer, and... too stunned. I still am. When Ernesto Senior asked me again about you, I don't know why, I gave him the phone number for Famara... Mateo and Diego listen to her, with renewed attention. This new information reveals an unexpected possibility, something that neither of the two men had considered. Their reaction toward Judit's painful declaration changes in character. In Mateo's case, his compassion vanishes and is replaced by doubt, now incited by new suspicions. JUDIT 191 Ernesto sent his son to find you in Lanzarote. (Images of Ernesto Junior, inside a rented car, following the couple across various places on the island, including the highway that leads to Famara, on that last night.) JUDIT He was the one who found you after the accident and called the hospital... DIEGO Did he have something to do with the accident? JUDIT No! But I can't stop thinking that had I not given his father the phone number, perhaps nothing would have happened... MATEO (Dryly) Why do you think that? JUDIT I don't know... MATEO (Categorically) If you don't know, then stop torturing yourself. He says this with spite and somewhat disparagingly. For Judit it's like a splash of cold water to the face. The confession, rather than ending as a liberating catharsis, has devolved in its opposite. The silence is weighed down by suspicion and the new abyss between Mateo and Judit. Never before has Judit felt Mateo this distant and antagonistic. Her dramatic confession, far from liberating her, has opened new wounds 192 and generated new suspicions. And Judit feels taken over by an arid anxiety, corrosive, unbearable. She almost can't breathe. Cut to. 162. CASTELLANA STREET. EXT. NIGHT. 2008. Judit, Mateo and Diego are inside Judit's car. Diego is driving. The three are tense and silent. 163. MATEO'S BUILDING. EXT. INT. NIGHT. 2008. In silence, they arrive at the entrance of the building where Mateo lives. (Mateo is possibly carrying his umbrella or a blind man's cane). He exits the car. Judit walks him to the front door. She is glad that Mateo can't see her look of embarrassment. MATEO Good night. JUDIT (Destroyed) Good night. Call me if you need anything... Mateo doesn't respond. When the entrance door shuts like a resounding "no." Judit waits until she sees him disappear into the elevator. 164. MATEO'S DOORWAY. EXT. NIGHT. 2008. 193 From Judit's point of view, Mateo disappears into the elevator, which soon begins to rise. 165. STREET. IN FRONT OF THE ENTRANCE TO MATEO'S BUILDING. EXT. NIGHT. 2008. Undone, and she no longer pretends otherwise, Judit returns to the car. Before she opens the door she bends over and retches violently. Diego gets out of the car and holds her by the waist. He attempts to help her. Judit's face is contorted. She wipes a thread of saliva still hanging from her lips. Despite the retching, she has not vomited anything other than liquid. DIEGO (Touching her forehead) You are sweating... JUDIT It's a panic attack... (Takes a deep breath, as if she had lost her wind) Hand me the purse! Diego finds the purse in the car and hands it to her immediately. Judit searches through the purse, impatiently. She takes the purse and drops all of its contents on the sidewalk. She find a box of tranquilizers. The pill she presses through the aluminum seal comes out with a pop; she places it on her tongue. She leans over the car. Diego looks at her, scared, he has never seen her like this. Articulating poorly, so as to not move her tongue, Judit say to him: JUDIT 194 This will pass soon... 166. JUDIT'S HOME. INT. NIGHT. 2008. Diego hands her a glass of water. Once in bed, Judit takes two sleeping pills. She has overcome the crisis. Diego looks at her, very concerned. His mother has never shown herself to be so physically fragile. He wants to help her, but it doesn't seem like there is anything more he can do than what he already has. Judit attempts to smile in order to calm him. JUDIT I will sleep well with this... DIEGO Do you want me to stay here? JUDIT (Surprised) Here? What for? DIEGO In case the panic returns, so that you don't feel alone. Judit eyes swell with tears. JUDIT Thank you. I am feeling better... and I'll fall asleep soon. DIEGO Call me, if you are not feeling well... 195 He kisses her twice and exits. The curtains that cover a large window that looks out into an interior terrace are made from the same material as those that Mateo has in his bedroom. 168. HARRY'S HOME. INT. DAWN. 2008. The next day. Standing over his desk, Mateo searches the desk drawer under the computer. It's open. There are not many things inside (credit cards, envelopes with money, a jump drive, the MP3, etc.), he goes through it meticulously until he finds the note that Ray X had left him the day he came to ask him if they could write a script together. Ray X has hand-written his own telephone number on the note. He goes over it with his fingertips, as if he could see through them. He dials a familiar number, Diego's. 169. JUDIT'S HOME. DIEGO'S BEDROOM. INT. DAWN. 2008. Diego's mobile phone vibrates four or five times. But Diego is sleeping and he doesn't wake up. The mobile phone stops vibrating. In all the scenes where Mateo is alone at home, he never turns on the light. He will be in the dark, lightly illuminated by any light that the cracks in the windows let through. RETURN TO 168. 196 Mateo leaves him a message: "I am sorry to call you so early. Tell your mother to call me as soon as she can." 170. HARRY'S STREET. EXT. DAY. 2008. As usual, Mateo buys his newspaper at the same news-agent. He turns his body toward the Modeling Agency, but no one there enters or exits whose odor or whose clacking heels rings familiar. There are a few people on the sidewalk and those he crosses are all heading, like zombies, to work. 171. BAR ACROSS. 8 IN THE MORNING. EXT. INT. DAY. 2008. He enters the bar where his Waiter Friend works. The place has just opened. There are very few clients. He greets him. WAITER FRIEND Why here so early? MATEO I couldn't sleep. Would you mind dialing this number? He hands him the phone and the piece of paper where Ray X's number is written. 172. KITCHEN, JUDIT'S HOME. INT. DAY. 2008. 197 Diego is meticulously preparing breakfast for himself and Judit. He works hard to ensure that they both start their day with the help of a generous and varied breakfast, toast, juice, coffee and tea, marmalade, toasted bread spread with oil and tomato, etc.. Judit appears through one of the kitchen doors, calm, with a look of having rested (but also with the hangover of having survived a nightmarish day, the day before). Diego does not hear her approach. The mother takes advantage of this to observe her son with a tender smile. When Diego turns to look, the tenderness disappears a little, more out of modesty and a lack of habit. In any case, Judit enjoys the peacefulness of the moment: her son caring for her after the storm. Judit looks over the culinary display. JUDIT How impressive! DIEGO I am specializing in breakfasts. I would do the same for Mateo... Judit's expression changes, now a bit more somber. DIEGO Are you OK? JUDIT Yes, (still a bit beaten down) don't worry about last night. It's horrible, but it only happens occasionally and I know how to stop it... DIEGO It scared me, it seemed as though an alien would pop out of your stomach. JUDIT 198 It's not a bad way of describing a panic attack... (Changing the topic, one can tell she's made the decision before she arrived in the kitchen). Diego, there was one last thing I didn't tell you yesterday. Assuming it will be painful, he attempts to dissuade her: DIEGO About Mateo? JUDIT Yes. DIEGO You can tell me some other time. Now it's time for breakfast. JUDIT If I don't tell you now, I may never do so... At the end of the eighties, in `77, to be exact. DIEGO The year of punk. JUDIT Yes, in the year of punk, Mateo and I became involved... DIEGO In a love affair? JUDIT Yes... We were just getting started in film, and we are still at it, but our love affair ended, at least on his side... That didn't keep us from working together... until now... DIEGO I knew all that, or I imagined it... JUDIT There's one more thing... Mateo is your father... 199 Diego looks at her, astonished. DIEGO And that fleeting lover, my supposed biological father? You made him up? JUDIT No... I... can hide things... but I never make things up... I don't know how to make up... The fleeting lover existed, he was gay and our affair was short-lived. His name was Vicente and it was while I was with him that you were conceived, but your biological father was Mateo, not Vicente. Still thinking about what he has just heard, Diego places the breakfast on the main kitchen table and serves his mother a cup of tea. Judit begins to drink it, one tiny sip at a time. DIEGO (Assimilates the news. He is not displeased) Does Mateo know? JUDIT No. At that time, he asked me and I denied it, of course. I didn't want to put pressure on him, I didn't want our relationship to change because of it. After all, I had never asked him if he wanted to become a father. The pieces begin to fall together. DIEGO I see... JUDIT 200 If you think I made a mistake, don't tell me now. We have the rest of our lives for recriminations. Diego remains pensive for a moment. DIEGO I will not recriminate you... I think I like being Mateo's son (the son of a bitch) ... Speaking of, he called early this morning... JUDIT Who? DIEGO Mateo. At 8h. She looks at the clock and it's 11h. JUDIT What did he want? DIEGO For you to call him as soon as you could. JUDIT (Surprised, tense) That I call him? Why in the world have you not awakened me?! DIEGO Because, after what happened last night, you needed to sleep. He didn't say it was urgent. You can call him now. Judit grabs her son's phone, agitated once again, and dials Mateo's number. 201 173. ALTERNATING BETWEEN JUDIT'S HOME. INT. DAY. 2008. 174. PUERTA DE HIERRO MANSION. ERNESTO JUNIOR'S STUDY. INT. DAY. 2008. In the beginning the shot is close up and so we are not aware of where he is. All one can see is a bit of a curtain, out of focus. Phone conversation. JUDIT (Attempts to appear calm, since her confession her voice has a less authoritarian edge and is weaker) Diego has told me to call you. Are you OK? Do you need anything? (This is what she's most worried about.) MATEO (Almost with irony) I am not alright, Judit. And yes, I do need something... The forty thousand meters of negative we shot during my last film in order to edit it... I am at the home of Ernesto Junior and I just found out the material was destroyed in '94. I imagined something like this, I just didn't think it would have happened that soon... JUDIT (With urgency) Let me explain... MATEO (Cuts her off) No. I am in a hideous mood, Judit, and I don't want to take it out on you! JUDIT (Surprised and alarmed) What are you doing at Ernesto's house? 202 The shot opens up, and we discover Ernesto Junior at the other end of the room, next to a 16mm camera (on a tripod) recording everything that Mateo says and does, while he searches around in some drawers. MATEO I think I am going to bribe him. We need money, I don't want Diego back at that damn bar. I want to pay Diego a salary, we need money and he has money to throw... 175. PUERTA DE HIERRO MANSION. ERNESTO'S STUDY. INT. DAY. 2008. The studio has a different configuration than when his father lived, but we recognize the place nonetheless; when the father was alive the space served a different purpose. Ernesto looks at Mateo fearlessly, he is still determined to search, urgently, for something inside the drawers of a chest. The place is a pretty big mess. JUDIT Mateo, stop talking crazy! MATEO It is not craziness. I can't think of anyone else to blame for Magdalena's death. JUDIT My God! (She asks Diego to bring her the box of tranquilizers.) Wait a second... I have something to tell you. MATEO Let it be, you already said enough last night. JUDIT 203 (She takes a pill and yells at him) Listen to me, Mateo! (As she raises her voice, she becomes dominant.) I was the production director, if you want to know anything about the footage, ask me! MATEO Since you insist, I will ask you. What do you have to tell me? JUDIT In effect, Ernesto Senior asked for it to be destroyed. MATEO In '94! Very shortly after the release of that aberration. JUDIT Yes. In any case, sooner or later the lab disposes of all the material... and that was many years ago. MATEO That's not anything that I don't already know. JUDIT As the film's producer I was the only one who had access to the lab... to all the material. After I gave the order to have everything destroyed, I intercepted it. And I kept it. I have all of it at home. MATEO You are lying to me. JUDIT I didn't tell you this last night because I didn't realize you wanted to edit it. I took everything, all the double takes, the internegative, the sound tapes... Everything! You can have it whenever you want! The silence on the other end of the line reassures her. 204 MATEO That changes everything. JUDIT (Begs) Please, get out of that place, leave Ernesto alone. He had nothing to do with this. Mateo looks over at Ernesto Junior. The camera is still on its tripod, rolling. MATEO I am not so sure. He has yet to explain what he was doing in Lanzarote. I'll let you go, it seems he wants to talk... (Hangs up) Ernesto, finally, finds a DVD. He has it in his hand and brings it toward Mateo. (His hand enters into view on the screen of the 16mm camera). ERNESTO J. Here is a copy of "the making of". MATEO And why would I want that? I can't watch it! Plus, I'm not interested. Ernesto takes his hand and places the DVD softly onto it. ERNESTO J. Have someone you trust watch it and tell you about it. (This DVD proves that I wasn't responsible for the accident.) Oh, and even if my father had asked me to 205 harm you, I never would have... You are very important to me, Mateo... Ernesto speaks naturally, for the first time, Mateo takes him seriously. 176. MATEO-HARRY HOME. INT. DAY. 2008 Diego is watching the images of "the making of", while Mateo works out on his treadmill. At the last moment, an instant prior to being struck by the SUV, Mateo and Lena kiss inside the car. They are then distracted by a noise from the car that is about to hit them. These images have been recorded from inside a different car, which has been following them from behind, at a safe distance (Ernesto Junior's car). Mateo reaches the living room from the other end of the house, dripping with sweat. Diego has just watched the kiss and the accident. He rewinds and he pauses right at the moment when Mateo's and Lena's kiss fills the whole screen. MATEO Is there something new I should know about? DIEGO (Surprised and moved) It's a very interesting documentary... And, yes, in effect, Ernesto followed you to Lanzarote, until the last moment. MATEO The images are there? DIEGO 206 Yes. MATEO Those of the last night? They take a look at the images that Ernesto taped at "El Mirador" from the outside. Through the glass of the large window we see Lena and Mateo talking. DIEGO Yes. He recorded you at a safe distance, while you were on you way back after dinner. The scene is lit by the light of his headlights. It's not a lot, but enough to see what happened. Not only did he not have anything to do with the accident, he saved your life. Mateo watches the screen of the television without being able to see it, taking in the information Diego gives him. DIEGO And one more e thing: When you were at the traffic circle, before the SUV crashed into to you, you and Lena kiss... MATEO A kiss? I don't remember it... DIEGO It was an ordinary kiss, just one more of the many kisses a couple gives each other, almost without thinking... MATEO (Pensive) The last kiss... DIEGO 207 Yes. Even if it sounds cheesy, someone has to tell you: Lena did not die in your arms, as you dreamed, but the last sensation she experienced in this world was the taste of your mouth... Mateo watches without seeing the television, he gets close to the screen. With his fingertips, he caresses the surface, literally touching Lena's last kiss. Shots of Mateo's hand caressing the screen, with the image of the kiss. Shot of Diego observing the entirety of the scene, moved. A shot of everything. The appropriate kind of music accompanies the scene as it begins to fade out, bit by bit, while a sign appears: EPILOGUE. 177. ON THE AVID. INT. 2008 Luis' notebook, open on given sequences, as if Luis were present on this last moment of the definitive editing. An ashtray with a lit cigarette. The hands of the editor powering the Avid, directing the mouse through all the necessary steps until the screen fills with a block of sequences of "Girls and Suitcases," in Pina's loft. The images fill the entire screen of the main narration. It begins with the same sequence Diego and Mateo watched on television. Everything is the same, but it plays completely differently. The actresses are funny and fresh. The spectator does not know what the difference is, but, unconsciously, he must feel enthralled by the sequences of Pina and Chon, as if spellbound. 208 178. SCENES FROM "GIRLS AND SUITCASES." PINA'S LOFT. ENTRANCE HALL. INT. 2008 Pina limps (fed up) toward the door. Looks through the peephole, behind it, Chon. They are good friends, but Chon is the last person Pina wants to see right now. PINA (Whispers.) What a drag! (She opens, not the least bit welcoming.) Oh, it's you? CHON (Anxious, reproachful.) I have left you a thousand messages! PINA Yes. A thousand from you and none from Ivan. CHON (Looks at the suitcase as if it were a menacing, strange bug.) What about this suitcase! PINA It's Ivan's. He's leaving me. She notices that Pina is wearing a cast on her leg. CHON And that cast on your leg? PINA His ex-wife, the crazy one. She pushed me down the stairs... CHON Well, we're in good shape! I've also broken up with my husband... 209 PINA Oh, sorry to hear it! I will make some coffee, I have spent my entire night looking for Ivan and I haven't gone to bed. CHON Neither have I. On her way to the kitchen Chon notices, through the bedroom door, that the bed has been burnt. She bumps into the phone that has been ripped out of its socket, now on the floor. She says nothing, she doesn't want to pry, but she thinks that Pina's situation must be more complicated than hers. 179. LOFT'S KITCHEN. INT. 2008 The chickens are living large, free to roam throughout the entire place. PINA When did you leave him? CHON Four days ago. I could see it coming. The thing is that after breaking up, I go out onto the street and I notice there is this "guy" looking at me. She also discovers the gazpacho on the kitchen table. CHON (Voracious.) Oh my, gazpacho! Can I have a bowl? PINA 210 No! I've spiked it with an entire box of downers... CHON How so? PINA In case Ivan arrived, he loves gazpacho. CHON (Scolds her.) Pina, my God! Throughout the conversation Pina makes coffee and prepares a tray of Fornassetti cups and the whole bit. PINA And that's not all! Since he wasn't calling, I've torn the phone from the wall, in a moment of rage... CHON I've tripped on the thing, but I didn't want to pry... And the bed? I think I noticed it smoking a bit... PINA I dropped a lit match and it began to burn, and I didn't want to squelch it. Fire purifies. I will have to change the mattress, but all for the best! A whole lot of less memories! Chon looks at her friend. PINA But excuse me, I've interrupted you. You were telling me... She grabs the tray, now full with coffee and pastries. PINA 211 Let's have breakfast on the terrace. The two women head for the terrace, which sits in front of the beautiful backdrop curtain of Madrid. 180. LOFT'S TERRACE. INT. 2008 Chickens and rabbits, running around. Lots of plants, etc. An idyllic and false image. Only the feelings are authentic and the women's happy disposition for living in hysteria. CHON (Struggling with what she's about to say.) Yes. I was telling you that I also have a suitcase at home. PINA Your husband's? CHON No. It's a suitcase with fifteen kilos of cocaine, uncut. Pina's eyes open wide. PINA You've become a dealer, Chon? CHON No! How could you think that! I am still a Counselor for Social Affairs in the City Hall! The suitcase appeared in my closet. Imagine the scandal if the police find out. They could put me in jail! PINA 212 Certainly! CHON I have to get rid of those fifteen kilos as soon as possible. (Thinks.) Because of the hours we keep, politicians consume a lot of drugs. So, between my party cohorts and city hall, I could distribute two kilos, but what do I do with the rest! PINA Throw it out! CHON Are you crazy? How could I throw it out?! I have to keep the police from finding it in my house... I have to take it some other place, immediately! PINA But I don't understand... CHON (Interrupts.) Well, it's clear, honey! PINA (Finishes her question.) How is it that the suitcase appeared in your closet? CHON (Drinks a little coffee, and takes a bite from a pastry.) As I was telling you, after breaking up with my husband, I bumped into this guy on the street who kept watching at me, good-looking, well hung. Summing up, I took him home and screwed him over and over... (Takes another sip of coffee.) PINA An how was he? CHON In bed? Divine. Look at my arm hair? I've got goose-bumps! (She shows her the hair on her arm, 213 standing straight up.) He's that kind of guy who knows how to drive a woman mad with pleasure! PINA So you lost your mind... CHON What else could I do?! So he asked me if he could stay at my place for a few days and I said OK, but I couldn't promise anything. I didn't want him thinking that I was that easy. So (breathes in) he brought the suitcase. He asked me if I cared if he kept it in the closet. He said that he was attached to the suitcase. And, well, why would I care?! (breathes in) By pure chance, I am watching TV last night and I find out that the police have nabbed him in the course of a drug sting operation and that he is one of the most wanted traffickers! I open the suitcase and I discover that it is filled with little bags of cocaine. I ran out of the house and I haven't returned since... Pina breathes out in solidarity. PINA What a story, my God! CHON (Concluding.) I was wondering why he was such a good fuck! For men living in such high-stakes conditions, each fuck could be the last! (She reaches her arm out, again.) Look, the goose-bumps! Once again, she shows Pina her arm, hair standing straight up. 214 PINA I've seen them already... They comes easy for you... (Changing topic.) And the suitcase? CHON (Humble.) I was going to ask you... if you didn't mind that I brought it here. If they find it in my house, well, it's not about what could happen to me, but that it's just not an ideal situation for the Counselor of Social Affairs. Imagine how upset the mayor would be, and my party! My party can't take one more scandal! The doorbell rings: CHON The police! PINA Shush, how could it be the police?! No one knows you're here! CHON I am a woman who attracts attention, Pina. Since I was a little girl... PINA Just pretend you're here for coffee... Pina limps toward the door, uncertain. (Behind it she will find new adventures). She looks back, toward Chon, half-smiling, tired but charming, filled with understanding and a love for life, with all its emotions and its contradictions. It's with this half-smile on Magdalena's face that the sequence arrives at its end. 181. AVID ROOM. INT. 2008 215 Mateo, Judit, Diego, and the new editor, somewhat removed from them, are seated in front of the editing table, they are both moved and entertained. DIEGO This is hilarious! MATEO (Wants to be sure.) It doesn't sound like what we watched on TV, right? DIEGO Not at all! This is a whole different thing! Judit is the one who is most deeply moved. She may cry, but this time her tears will be happy tears, welcome tears. JUDIT It's wonderful, Mateo. We should re-release it. MATEO The important thing is to finish it. Films must be finished. Judit keeps crying. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Brothers Bloom, The.txt b/unformated_scripts/Script_Brothers Bloom, The.txt new file mode 100644 index 0000000000000000000000000000000000000000..3918912b265ba10a21a6c8578df15cffdb5a2261 --- /dev/null +++ b/unformated_scripts/Script_Brothers Bloom, The.txt @@ -0,0 +1 @@ + THE BROTHERS BLOOM Written by Rian Johnson1 EXT. DIRT ROAD - SUNRISE 1 Dawn with her rose-red fingers rises over a dusty country road. A car chugs over the horizon. NARRATOR As far as con man stories go, I think I've heard them all. Of grifters, ropers, faro fixers, tales drawn long and tall. But if one bears a bookmark in the confidence man's tome, twould be that of Penelope, and of the brothers Bloom.2 EXT. COUNTRY HOUSE - MORNING 2 The car deposits two shabby boys (10 & 13) in front of a country house. Both in black. Each with a suitcase. NARRATOR At ten and thirteen Bloom and Stephen (the younger and the old)3 INT. KITCHEN (FLASHBACK) 3 The two brothers and an oafish FOSTER FATHER sit eating breakfast. NARRATOR had been through several foster families. The FOSTER FATHER slaps Bloom upside the head. Stephen LAUNCHES across the table, tackling the dad and beating the crap out of him. NARRATOR (cont'd) Thirty eight, all told.4 INT. CHILD WELFARE OFFICE - DAY 4 CLOSE ON - A CHILD WELFARE FILE COVER "Bloom" stamped on it. It opens, and dozens of reports flip by. Under the "REASON FOR RETURN OF MINORS" field we catch different entries: "BEHAVIOR INAPPROPRIATE", "UNMANAGEABLE", "MOLESTED CAT", "SOLD OUR FURNITURE", "CAUSED FLOODING". 24 CONTINUED: 4 NARRATOR Mischief moved them on in life, and moving kept them close.5 EXT. COUNTRY HOUSE PORCH 5 The brothers on the porch, suitcases in hand. NARRATOR For Bloom had Stephen, Stephen Bloom, and both had more than most. The front door opens, and a pair of FOSTER PARENTS eye the brothers suspiciously.6 EXT. SMALL TOWN SQUARE - LATER THAT DAY 6 A wide dusty Main Street, which the two brothers survey. NARRATOR Another home, another main street. Stephen looked around, then summed the burgh up thusly: STEPHEN Bloom, we've hit a one hat town. NARRATOR One theater. One car wash. One cafe. One park. One cat. Which, through some mishap, had one leg. The cat sits on a roller skate, rowing itself down the street with its one leg. STEPHEN Sweet Jesus. Look at that.7 EXT. SCHOOL - DAY 7 A group of children flee the school joyfully. NARRATOR One school, which meant one tight- knit group of local well-off kids. 3 8 EXT. CANDY SHOP 8 The children run out of the candy store, all slurping Rocket Pops. NARRATOR Their pocket-change bought rocket pops,9 INT. CANDY SHOP 9 The brothers at the counter. Bloom watches the children go, while Stephen counts out pennies. NARRATOR The brothers, Stephen slaps the change down angrily and points with a scowl. STEPHEN Pixie Stix.10 EXT. PARK 10 The children play, resplendent with their Rocket Pops. NARRATOR They were the `they'. All well loved, rooted, happy as you please. Bloom and Stephen sit off to the side of the park, none too happy nursing their Pixie Stix. NARRATOR (cont'd) Always there. In every town. Stephen glares, flicks the Stix away like a cigarette. STEPHEN The playground bourgeoisies. He storms off. Bloom lingers, staring silently at the children. 4 11 EXT. FOREST 11 The brothers amble down a wooded path. Bloom stops, staring into the trees. Through the dense thicket of foliage... the children playing. And one gleaming eye framed perfectly through a small open patch in the leaves. Bloom pushes the leaves aside. A girl. Golden curls. Summer dress. Standing in the distance on a wide lawn. Bloom gazes. Stephen places his hand on Bloom's back.12 EXT. PARK - CONTINUOUS 12 Bloom stumbles from the trees (very much as if he's been shoved) and regains his footing and freezes, not shielded at all now from the playing kids and the girl. NARRATOR Could he simply STEPHEN (O.S.) Talk to her! NARRATOR Just drop his fears and go? Leave his brother in the woods, and join the children? The girl makes eye contact, twisting a daisy chain between her tiny fingers. Bloom's adam apple convulses. He turns tail and runs back into the woods. NARRATOR (cont'd) No.13 INT. BEDROOM - NIGHT 13 Brothers in bed. Bloom gazes window-ward. Stephen gazes Bloom- wise, shuffling a pack of cards. BLOOM What's doing? STEPHEN What? 5 13 CONTINUED: 13 BLOOM You shuffle when you're thinking something through. So whatcha thinking? STEPHEN Not a thing. NARRATOR This wasn't really true. Cause in the root of Stephen's psyche, something now began. A seed of grand epiphany. A hook. A tale.14 EXT. WOODS - DAY 14 STEPHEN A plan. Stephen spreads out a hand-drawn flowchart on a stump, and talks Bloom through it. NARRATOR A fiction made for profit, in which both boys played a part. A simple con in fifteen steps. STEPHEN And this is where we start. Stephen runs his finger backwards down the connected boxes, each neatly numbered, stopping at #1.... "Bloom Talks To Girl"15 EXT. PARK - DAY 15 Children and the gold haired Girl playing. The wall of foliage where the forest begins shimmers. NARRATOR And then, as if a curtain had been pulled back from the sky... Some barrier within the younger Bloom was broken. Bloom bursts through the trees and strides across the wide lawn, confident, glowing, stopping face to golden face with the girl. 6 15 CONTINUED: 15 BLOOM Hi. They talk. They run. They laugh. They play. NARRATOR So Bloom performed his role in Stephen's story to a T. BOX #2 on the flowchart - "Bloom wins the kids' trust"16 EXT. TOWN SQUARE 16 Bloom does indeed, sitting and laughing with a circle of kids, suddenly a natural born charmer. NARRATOR And being who he wasn't, could be as he wished to be. The Golden Girl smiles at him. From the shadows of an adjacent alley, Stephen watches, pleased. He slinks away. SERIES OF SHOTS-17 EXT. CAVE - DAY 17 BOX #3 - "Stephen finds a cave" dissolves to Stephen scouting out a cave deep in the woods.18 EXT. PARK - DAY 18 In the park, Bloom runs with the kids, laughing.19 INT. HARDWARE STORE - DAY 19 BOX #5 - "Stephen buys supplies" dissolves to: Stephen in a hardware store, pointing. A flashlight, snow boots and several large coolers are purchased.20 EXT. PARK - DAY 20 Back in the park, Bloom says goodnight to the kids and walks homeward in the warm twilight. 721 INT. CHURCH - DAY 21 BOX #8 - "Stephen scouts church" dissolves to: Stephen's eyes poke up from behind a pew in a church. He manages to look devious as he snags a SUNDAY SCHOOL SCHEDULE.22 INT. BEDROOM - NIGHT 22 Bloom enters, hears running water from the bathroom. He glimpses down at the flowchart on the bed, scanning down to: Box #10 - "Bloom comes home to find Stephen filling the coolers" Stephen backs out of the bathroom trolling a heavy cooler. STEPHEN Oh - kay. How's it going on the playground front? BLOOM It's great. STEPHEN So, on to step eleven, then. The Tale. You tell them - BLOOM Wait... Bloom's lip quivers, obviously conflicted. NARRATOR Must the numbers rattle on? Must the fiction end? BLOOM I think I need more time to win their- STEPHEN Bloom. They're not your friends. They're part of this, and this aint real. Remember, it's a con. And when it's done, we've just got us. And we'll be moving on. (beat) So, the tale. You tell them there's a 823 EXT. PARK - DAY 23 Bloom holds court with the kids. BLOOM hermit in the woods. A one eyed, steel toothed vagabond...24 INT. ATTIC 24 Back to Bloom and Stephen in the attic BLOOM ...with blood red eyes? STEPHEN (nods) That's good. He stopped you coming home from school...25 EXT. PARK - DAY 25 BLOOM ...and told me of a cave. GIRL What kind of cave? BLOOM A cave of wonders. BOY Pffft ha. GIRL Shut up, Dave. BLOOM At noon on every Sunday, there appears a ball of light, which flutters like a butterfly... GIRL A will-o-whisp? BLOOM That's right. It guides you 926 INT. ATTIC 26 STEPHEN ...if you can keep up...27 EXT. PARK 27 BLOOM ...to where the treasures lay. BOY So where's this cave? GIRL Yeah, where?28 INT. ATTIC 28 STEPHEN Ah-hah. The hermit didn't say. He got this greedy glinting look, the filthy red-eyed leech... and said he'd tell for thirty bucks. Something in Bloom's face falls.29 EXT. PARK 29 The girl's bright, trusting face looking at him. A moment of silence. Then, triumphant, an excited boy leaps to his feet. EXCITED BOY Well that's just two bucks each! The kids all rejoice, and fist-fulls of dollars are thrust at Bloom. He looks almost crestfallen as his eye catches the girl's joyful gaze. NARRATOR So Sunday came...30 EXT. WOODS 30 Children in their bright Sunday clothes run through the dark woods, led by Bloom. 10 30 CONTINUED: 30 NARRATOR ...and straight from church, into the woods Bloom led.31 INT. CAVE 31 In the dim light of a cave, Stephen overturns the coolers of water and retreats into shadow. A flood soaks into the dirt floor, as outside the mouth of the cave the group of panting children come into sight. NARRATOR They stopped. Their hearts leapt. There it was.32 EXT. CAVE 32 The children look at the craggy mouth of a forboding cave. GIRL Just like the hermit said! Deep in the cave's dark maw, a spark of light. The children gasp collectively. The Girl grabs Bloom's arm. Bloom stares, transfixed as any of them. The spark becomes a glowing, fluttering point of light, which hangs in the mouth of the cave for a tantalizing moment, then recedes deeper into the gloom. With a cry the children, Bloom included, dash into the cave.33 INT. CAVE 33 The light glows just around the next corner... the children run after it, slipping in the mud, laughing, turning the corner... And the light glows just around the next corner. They scramble, they slip and slide, they can't catch the light, but they're all having the time of their lives. Bloom included. Holding the girl's hand, laughing, eyes full of wonder. 11 33 CONTINUED: 33 NARRATOR For just one moment, Bloom forgot himself and ran too fast. He puts on a burst of speed, gets ahead of the crowd. NARRATOR (cont'd) He'd catch the light and find the treasure... Turning a corner, he (alone) sees the rather tawdry image of Stephen, flashlight in hand, shooing him back as he turns the next corner. Bloom stops running. NARRATOR (cont'd) But the moment passed. The other kids and the girl pass him, but Bloom stands dead still, a strange expression on his face. The girl turns back towards him, still running, and holds out her hand for him to follow. But he doesn't. He stays behind, and is soon left alone.34 EXT. PLAYGROUND 34 NARRATOR They didn't catch the will-o-wisp, but didn't really care. The muddied children walk home, laughing, while Bloom leans against a lamppost. Stephen appears behind him, counting their money. STEPHEN It seems to me that in the end, the perfect con is where each one involved gets just the thing they wanted. BLOOM Yeah I guess so. NARRATOR Our fledgling thieves were satisfied. 12 35 EXT. FOSTER HOUSE - DAY 35 A front door opens, revealing a porch-full of 30 angry parents holding 15 muddied kids by their ears. NARRATOR The children's parents, less so. The Foster Parents exchange a glance. QUICK SHOTS - Stephen is smacked. The wad of money is snatched from a grubby small hand by an angry big one. A telephone slams down. On a form, the field "Reason for return:" is filled with "Larceny."36 INT. BEDROOM - DAY 36 Two suitcases on a bed are snapped closed and pulled away. The bed sits solid and vacant in the dusty afternoon sunlight. NARRATOR A bitter ending? Maybe. But there's sweetness in the mix. Beneath the bed, forgotten, a piece of paper. On it, the con flow-chart. Numbered boxes. NARRATOR (cont'd) The brothers Bloom had found their calling. One of the boxes... number six... NARRATOR (cont'd) As shown in number six. BOX #6: "Cut % O'Henry's" NARRATOR (cont'd) `Cut' meant to negotiate, `percent' percentage deal. 1337 EXT. SMALL TOWN SQUARE - DAY 37 Through a storefront window - rows of the children's muddy Sunday clothes hang, each tagged. NARRATOR `O'Henry's' was the town's one dry clean shop. And striding out of the store beneath the `O'Henry's Cleaners' sign is Stephen, fifty dollars in hand, sucking a Rocket Pop. The OWNER leans out of the door, looking a little nervous. Stephen throws him back a salute.38 EXT. BACK ALLEY - DAY 38 Bloom sits against a wall, suitcases beside him. Boxes of Rocket Pops, and one in each fist. Stephen plops down beside him. STEPHEN So how's it feel? Bloom's eye catches the children, and the girl, playing in the distance. NARRATOR In truth, young Bloom won't know for twenty years just how he felt. HONK! A `Child Welfare' car waiting out on the street. The brothers pick themselves up. NARRATOR (cont'd) And so, we'll skip ahead now in our story. Stephen tosses his Rocket Pop. STEPHEN Let `em melt. The con man team of the brothers Bloom, suitcases in hand, strides down the alleyway. Stephen in front. 14 38 CONTINUED: 38 Bloom a few steps behind, stealing one last glance back at the children playing in the sun. CUT TO:39 OPENING CREDITS 39 CUT TO:40 INT. LIBRARY - NIGHT 40 Flames spread over a wall of bookshelves. TITLE CARD: BERLIN, 25 YEARS LATER A YOUNG MAN in a nice suit and bowler hat steps in front of the flaming books. YOUNG MAN He gets the scarab, you get the money, I get the girl... so in the end, everyone gets everything he wants. Three gunshots, two bloody holes in the nice suit and the young man folds to the ground. A sweaty man named CHARLESTON (40s) lowers his gun, while behind him the rest of the library roars in flames. VOICE (O.S.) Wha - Charleston, what - oh my god are you... oh god he's dead, Victor's dead... you've killed us! We had it he was right it was all in the bag and now we're dead, why? Why, you stupid son of a bitch? The owner of the voice, a MAN a bit younger than Charleston in a derby cap, snatches the gun away and slaps Charleston hard. 15 40 CONTINUED: 40 CHARLESTON Cause the Turk was right. After seeing her, after that night on the airstrip, after Cairo everything changed, and he couldn't see the play through that one milky eye, but the Turk was right about one thing, that there's nothing beautiful about money. She's beautiful. MCGUIRE This isn't happening... CHARLESTON He'll never have her now. She's free. And I'll never see her in scarlet again, her chestnut hair, but it's worth the money and my job and his life and the rest of my life that she's free. MCGUIRE Charleston. I can't be here... CHARLESTON You're not here. Neither of us are. It's Mowcher's gun. MCGUIRE Mowcher is at the bottom of the Spree with a cowl in his neck! Charleston gets to his feet. CHARLESTON They won't find him for a week, and the Albino will chalk it up to Davey, he won't talk. We're clean. MCGUIRE Listen to you - four months ago you were an investment banker! Now you're nothing. The Scarab's lost. The money's gone. It'll rot in the Peruvian earth. It's gone. Charleston limps to the flaming doorway. 1640 CONTINUED: (2) 40 CHARLESTON The man named Charleston you met nine months and a thousand years ago at the hotel bar in Jodhpur is dead. If we see each other again it'll be as strangers. As for the money... let it rot. He exits, leaving McGuire stooped beside the crumpled form of Victor. A long beat. The distant roar of an engine, tires squealing. Then through the smoky doorway steps a beautiful ASIAN WOMAN, early 20s. She gives a nearly imperceptible nod. MCGUIRE Wow. He pats Victor, who sits up, spitting blood. McGuire looks to Victor and the woman for a reaction. Gets none. MCGUIRE (cont'd) Wow is the word you're both looking for. Wow. The Asian woman nods slightly. VICTOR (un-wowishly) You're a genius, Stephen. For McGuire is, of course, Stephen. STEPHEN We're a genius, Bloom. Just as Victor is, indeed, Bloom. He spits. BLOOM Tastes like tin foil. STEPHEN So does real blood. Buy you a drink. Stephen escorts the Asian woman out, while Bloom wipes his lip. 1741 EXT. HOUSE - PRE-DAWN 41 A stately house in the middle of nowhere, on fire. Stephen holds the door of a car open, while Bloom steps from the flaming house. STEPHEN "Four months and a thousand years ago." That's Kipling, isn't it? He stole that from Kipling. BLOOM No.42 EXT. BERLIN - PRE-DAWN 42 Hazy light over the sprawling city.43 INT. DEUTCH MARK 43 A low, cozy basement level bar. A dozen people crowd it, all expectant in a surprise-party type way. A TURKISH GENTLEMAN in a white linen suit and eye patch raises his drink when Bloom, Stephen and the woman enter. THE TURK Make way, make room for the brothers Bloom! The bar bursts into cheers.44 INT. DEUTCH MARK - LATER 44 A DWARF dances on the bar. Stephen plays cards with the Turk, an ALBINO and a small crowd of character types. THE TURK Nine months, six countries, three faked deaths, for one mark. You're a beautiful antique, my friend. They clink glasses. ALL Proust. 18 44 CONTINUED: 44 THE TURK One thing baffles me. The entire con would have fallen apart if Charleston had walked away. How did you know he'd pull the trigger? Stephen riffle shuffles a pack of cards. STEPHEN Just think of any card. Got one? Stephen cuts the deck randomly - 2 of spades. THE TURK No. Stephen shrugs. STEPHEN But if I do it enough, eventually it'll work on someone. And then it'll be the best card trick in the world. Wink. The dwarf slips, plummets from the bar. Stephen kicks a chair across the room, into which he lands with a crunch. STEPHEN (cont'd) Ante up. THE TURK It's true you never work with the same crew twice? STEPHEN That's true. THE TURK Well shit. Except for the uh, for her? STEPHEN La Chinoise? THE TURK Yeah. Back at the bar - the Asian woman. The CHINK. Being hit on by a weasly ROMANIAN. ROMANIAN Yeah, I'm pretty big into anime. 19 44 CONTINUED: (2) 44 She almost imperceptibly rolls her eyes. STEPHEN Our fifth Beatle. She knows the ins and the outs, and so far as I can tell, speaks three words of English. She taps on the bar. THE CHINK Jameson. BARTENDER Ice? She says `no' with a look. THE ALBINO So she's with you and Bloom till the end. STEPHEN Just till the wind changes. Stephen makes a gun with his finger and shoots at the Chink. She flicks a champaign flute to make a `DING!' and mimes the bullet bouncing off her. THE TURK Where is Bloom? In the corner of the bar, in a private booth with drawn velvet curtains, Bloom sits alone playing solitaire. Stuck with a queen of hearts he can't play. A beautiful woman in scarlet with auburn hair pokes her face through the curtains. ROSE There you are. Hiding? BLOOM Yeah. ROSE I've been learning. Stephen likes to talk about you. BLOOM Did he tell you the cave story? 2044 CONTINUED: (3) 44 ROSE Is it true? BLOOM What else did he tell you? ROSE I'm not going to tell it as good as Stephen. You two kicked around till your early teens, then stowed away on a merchant marine freighter and ended up in St. Petersburg, where you spent five years under the tutelage of a shadowy old swindler named the Diamond Dog. And he was your Fagin and Stephen was his Artful Dodger, but it ended suddenly and badly. BLOOM Stephen took his eye out with an antique rapier. ROSE Why did he do that? BLOOM And then the Brothers Bloom lit out on their own to make their fortune as gentleman thieves. Sounds romantic. ROSE It does. She pushes the cards aside and slides clumsily onto the table, her face inches from Bloom's, eyes closed, expecting a kiss. Bloom's eyes stay open. BLOOM You want to know how Stephen did it? With Charleston? ROSE It's not the first thing on my mind. 2145 INT. LIBRARY - NIGHT (FLASHBACK) 45 A replay of Bloom in front of the flaming bookshelf. BLOOM (O.S.) He positioned me in the same spot where, seven years ago, Charleston's wife stood and told him she was leaving. The room transforms, becomes daylit, not on fire, seven years ago, a WIFE standing in Bloom's place. BLOOM (O.S.) (cont'd) He chose my outfit to mirror her suit. Sure enough, the colors and shape of Bloom's suit matches the Wife's outfit. BLOOM (O.S.) (cont'd) He even phonetically matched my final words to hers. WIFE This is the end. Charelston, you've always been a dunce. Everything snaps back to Bloom in the flaming room. BLOOM (IN FLASHBACK) So in the end, everyone gets everything he wants. BANG.46 INT. DEUTCH MARK 46 BLOOM That's what he does, he writes his cons the way dead Russians write novels, with thematic arcs and imbedded symbolism and shit. And he wrote me as a vulnerable anti- hero. And that's why you think you want to kiss me. It's a con. He leaves Rose lying on the table and sweeps through the bar towards the exit, passing Stephen. 22 46 CONTINUED: 46 BLOOM (cont'd) I need air. STEPHEN Who doesn't? (plays a card) That's the big 2.47 EXT. BERLIN STREET - EARLY MORNING 47 Bloom stumbles up stone steps to street level. A THOUSAND YEAR OLD MAN sweeps up across the square. Bloom sits wearily on the curb, bowler hat in hand, shirt bright red with fake blood, face long as hell. Putting the broom aside a moment, the old man walks painfully across the street to Bloom. Standing nearly toe to toe with him, the man pulls a huge joyful smile across his grizzled face. He then smears his hand over his mug, pulling the smile off his face and rubbing it on Bloom's mouth. When he takes his hand away, Bloom plays along and has the same big joyful smile. The old man winks at him and walks back to his broom. As soon as the old man is away, Bloom drops the smile. Stephen paces out into the street. STEPHEN We missed the sunrise. That would've been nice. They walk across the street to the Tiergarten.48 EXT. TIERGARTEN - EARLY MORNING 48 Berlin's Central Park and zoo, dead and brown. The brothers stroll through the woods, Stephen a few steps ahead, Bloom trailing behind, lost in thought. Camel heads poke over a wall with `Kamelhaus' painted on it. Stephen throws open the wall's gate. STEPHEN (to camels) Back to the swamps! The camels are unimpressed. Bloom slouches into a bench. 23 48 CONTINUED: 48 Stephen shows the deck of cards to Bloom, who nods. Stephen cuts the deck, shows him a card. Bloom shakes his head, no. STEPHEN (cont'd) At least you're honest. Bloom stares into space. STEPHEN (cont'd) Alright, let's do this. Let's just get it done. So first you say `I'm quitting, Stephen. I'm out.' Then I say... BLOOM `Do we have to go through this again.' STEPHEN Then you make a show of putting on your jacket and say `no I mean it this time Stephen, this time I'm really out.' BLOOM Then you say `let's have a drink, and in the morning Bloom you'll have come to your senses' Stephen pulls a flask, unscrews it. STEPHEN (re: Bloom's bright red blood stain) That's a major design flaw in fake blood, by the way. BLOOM `and we'll be moving on.' STEPHEN Real blood turns brown after a half hour. BLOOM Listen to me, Stephen. STEPHEN This scotch costs more than your suit. 24 26/11/06.48 CONTINUED: (2) 48 BLOOM Listen to me. STEPHEN And the flask stopped a bullet from a black powder rifle at Appomattox. BLOOM Listen. Bloom bats the flask away. A camel catches it, tips its camel neck back and gulps it down. STEPHEN That's my new favorite camel. BLOOM I hate you. I hate this life, I hate it, I hate that you won't fucking listen to me for one goddamn second. Just listen. Stephen listens. BLOOM (cont'd) I can't wake up next to another stranger, who thinks they know me, or even wants to know me, cause I don't know - who - I'm thirty five years old, and I, I'm useless, I'm crippled, I don't, I've only ever lived life through these roles that aren't me, that are written for me by you. STEPHEN Tell me what you want. BLOOM Why? So you can write me a role in a story where I get it? You're not listening to me. I want a real... thing, I wanna do things how I don't know are gonna work out, a, I, want, a... STEPHEN (sotto) You want an unwritten life. (MORE) 25 48 CONTINUED: (3) 48 BLOOM I want an unwritten life! (realizes Stephen just wrote that line for him) Aauuugghh god! The camel belches. Bloom makes a show of putting on his jacket. BLOOM (cont'd) I'm going away. Somewhere you or even the Chink won't be able to track me down, so don't try. No more stories. Bloom tosses Stephen the bowler, and storms off. He gets about ten feet, then hesitates. BLOOM (cont'd) I love you. Bye. Then goes. The camel nudges Stephen's jacket, looking for more scotch. Stephen puts the bowler on its camel head. STEPHEN Sorry bud. I'm dry. Stephen watches his brother walk off into the rising morning mist, lost in thought. His hands mechanically begin shuffling the pack of cards. FADE OUT FADE IN:49 EXT. ITALIAN COUNTRYSIDE - DAY 49 Beautiful green hills surround the walled medieval city of Ferentino. TITLE CARD: Ferentino, Italy - 3 months later. A tiny red car inches its way across the countryside. It winds its way up and deeper into the city on the hill. 26 50 EXT. FERENTINO APARTMENT - DAY 50 The tiny stone porch outside a private apartment. The red car's bumper pulls up, parks. On a small wood table, empty booze bottles and a loose pack of cards. Fingertips spread the cards, then the fingertips' owner heads for the apartment door.51 INT. FERENTINO APARTMENT - DAY 51 Stephen steps in cautiously, surveys the apartment. A goddamn mess. Empty bottles and glasses, very little light. Stephen opens the curtains, light streams in the window. A groan of displeasure comes from the gloom. Bloom stirs, passed out in a hammock. Unkept beard, a few extra pounds. Crushed cigar hanging on his lip. A rotund GRANDMOTHER waddles in, cleaning up bottles and berating Bloom in a constant stream of angry Italian. STEPHEN She's right, you know. BLOOM Why are you here, Stephen? STEPHEN Put on your face, let's eat.52 EXT. FERENTINO APARTMENT - LATER 52 Stephen guides a dressed Bloom out the door. The grandmother follows them, still barking angry Italian at Bloom. At the last moment she says a few kind words, kisses him on the cheek and sends them off.53 EXT. FERENTINO CAFE - DAY 53 A few tables on a stone walkway overlooking the countryside. The red car parked nearby. Stephen eats, Bloom stares. BLOOM How'd you find me? 27 53 CONTINUED: 53 STEPHEN The Chink. BLOOM How'd the Chink find me? Stephen's eyes: "Are you joking?" STEPHEN How've you been? BLOOM Great. STEPHEN I've done a lot of thinking the past three months. You don't want out. You think you do but you don't. Here, c'mere. I want to show you something. BLOOM I'm quits, Stephen. Stephen stands, strolls off. Bloom wearily follows. BLOOM (cont'd) Where are we going? STEPHEN New Jersey. BLOOM (sighs) Well lemme get my jacket. CUT TO:54 EXT. AN AIRPLANE ROARS RIGHT TO LEFT 54 CUT TO:55 EXT. LUDICROUS MANSION - AFTERNOON 55 A long private road through a tunnel of trees leads to a ludicrous mansion. Our trio watch it from the road. BLOOM Looks like an etching from a Bronte novel. 28 55 CONTINUED: 55 Stephen flips open a first edition Jane Eyre. The illustration inside is in fact an exact match, right down to a plaster deer in the front yard. BLOOM (cont'd) Huh. Look at that. Well thanks. I'm gonna head back to Italy. STEPHEN Big money. Inheritance. Dad died early, Mom died two years ago after ten years fighting an illness that I can't pronounce. BLOOM How much? The Chink writes a number in the snow with a stick. Just when we think she's done, she adds several more zeros. BLOOM (cont'd) Jesus. STEPHEN Look out. Stephen pulls Bloom into the trees as a cherry red Lamborghini roars down the private road, does an unruly donut and crunches painfully into a tree, kicking up a cloud of dust and smoke. Thumping bass from the audio system turns off, and from the dust cloud emerges PENELOPE, early 30s, beautiful but in a non-Lamborghini way. Bloom watches her through the trees, none too happy.56 EXT. THICKET - LATER 56 Off to the side of the house. They lean on the hood of their rental car, an old school Cadillac. In the background, a tow truck arrives with a brand new Lamborghini, and leaves towing the old one. BLOOM What am I doing here, Stephen? I have one rule, and you've never even tested it. 29 56 CONTINUED: 56 STEPHEN Stick with me. BLOOM No women. One rule. You know we don't do women, I don't, and it's not a morality thing or- a thing- it's, whatever it is it doesn't matter what it is, that's just our rule. So what are we, (RE: the rental car) Did you rent a `78 Caddy? Stephen nods to the Chink. Bloom nods appreciatively. BLOOM (cont'd) Controversial choice. So no, is what I'm saying. I'm quits anyway. I'll be in Italy. Drinking. The front door of the mansion slams, and they watch Penelope drag a harp around into the back yard. STEPHEN Penelope Stamp. Thirty three. Lived at home her whole life. Bloom's eyes never leave Penelope. BLOOM An eccentric shut-in rich bitch. You're not helping your case. The Chink silently hands Bloom a retractable spyglass, he watches Penelope drift atop a hill and sit on a stump. STEPHEN She's bored, a seed in the snow. We're going to put her through a grand adventure, bring her to life. BLOOM So this is the big plan. Lure me back into things with some beautiful intriguing elusive girl, stir up old memories with the prospect of redemption and rebirth. Seriously Stephen. Amateur night. Bloom watches her play Clash songs on the harp. 3056 CONTINUED: (2) 56 BLOOM (cont'd) I'm not saying yes. But what's the con? Stephen spreads a folded piece of paper on a tree stump, with a flowchart on it. Numbered boxes. Bloom doesn't take his spyglass off Penelope. STEPHEN It's actually pretty simple. We're brothers, antique dealers, perusing the Americas for antiquities en route to someplace exciting via luxury steamer, say Greece. You tie into her and work your magic... Penelope plays on.57 INT. HOTEL BAR - NIGHT 57 Very late. Bloom and Stephen in armchairs, collars loosened, drinks drunk. The Chink's Chuck Taylors stick up over the back of a chair. Bloom holds the con flowchart. STEPHEN ...and so that's how it ends, in Mexico, a burst of violence then a moment of truth on the beach. What do you think? Bloom idly looks over the chart. BLOOM You've got something up your sleeve. This is about me, right? Somehow. STEPHEN This might not be something you know, but they've all been about you. Maybe that's why they've none of them been perfect, I've never been able to give you what you really want. 31 57 CONTINUED: 57 BLOOM I want to be outta all this. So by definition, this is not going to give me what I want. Stephen answers by letting an ace fall from his sleeve. BLOOM (cont'd) This will be the last one. You'll let me go. The Chink's inert sneakers come to life and she's on her feet, silently going to Stephen's side. STEPHEN I will never approach you to do another con again. (to the Chink) Let's make it a red Schwinn. Bloom stares at #1 on the flowchart - "BLOOM MEETS PENELOPE."58 EXT. HILLTOP - MORNING 58 A grumpy Bloom perched on the red Schwinn, an ill fitting Styrofoam helmet on his head. Stephen sits in a lawn chair watching the highway below. The Chink sets up a lawn umbrella, a chair for herself, and a cooler with Coronas. BLOOM There are less painful ways to cut into a mark. STEPHEN Wahk wahk wahk wahk wahk wahk wahk. Score to beat is 7.9. Keep your head in the game, the Chinese judge is tough. BLOOM This is a banana seat, man! He directs this to the Chink, who blinks with innocent incomprehension and opens two Coronas. BLOOM (cont'd) Don't give me that blank look, you know what a fuckin banana seat is. 32 58 CONTINUED: 58 Stephen spots something and blows a whistle. With a grunt, Bloom launches the Schwinn forward. Gaining speed, bumping over weeds and gopher holes, down the steep steep hill. At the bottom of the hill, a two lane highway. Cruising down the highway, a cherry red Lamborghini. Whose front right fender Bloom expertly smashes into. CUT TO:59 EXT. HIGHWAY / SKY - DAY 59 Silent and blue. Time slows to a crawl as Bloom sails through the air, arcing over the Italian luxury car's hood and past a horrified Penelope, face frozen mid scream behind the wheel. BLOOM (V.O.) There's actually a knack to this. You want to avoid dying or breaking anything that won't grow back, but you don't want to roll out of it and come up roses. If you're trying to fast track into a mark's sympathies, there's nothing quite as efficient as having your first conversation be from a hospital bed they put you in. I usually like to try for a dislocated shoulder. Several things happen at once. Bloom hits the pavement shoulder-first, hard. The bent bike follows suit. Up on the hill, Stephen and the Chink raise score cards. 8.9 and 5.6. The Lamborghini screeches to a stop. Everything is still. Then the car jolts forward. Then stops. Then again, jolts and stops. Rolls forward a few feet, lazily drifting, then jolts and stops. Bloom painfully stands, as confused by the car's behavior as us. 33 59 CONTINUED: 59 Stephen and the Chink lower their cards, equally confused. One last long beat of silence, then the car jolts forward, veers drunkenly to the left, tips into a ditch and chunks to a stop. The horn blares. Bloom looks up to the hilltop for guidance. Stephen stares blankly. The Chink raises a new score card - 7.8.60 INT. HOSPITAL ROOM - NIGHT 60 Penelope sleeps, bruised and battered. Bloom sits bedside uncomfortably, arm in a wimpy sling. She stirs. Bloom leans forward. Slurred with sleep and drugs, she painfully barely breathes PENELOPE Are you alright?61 INT. HOSPITAL HALLWAY - NIGHT 61 Bloom consults with Stephen and the Chink, both in scrubs. STEPHEN The Chink had it - I'm telling him, I know, thank you - in her report, I missed it. This is actually kind of great, I'll tell you why. The Chink lights a cigarette. BLOOM You missed it? STEPHEN Dostoevsky was an epileptic. BLOOM I know. STEPHEN His seizures were preceded by an enlightened euphoria, a sort of opening of his spiritual eye. (MORE) 34 61 CONTINUED: 61 STEPHEN (cont'd) I think the fact that she saw your face the instant before a seizure is a pretty goddamn good foot to start things out on, right? Bloom stares blankly. The Chink burps into her stethoscope.62 INT. HOSPITAL ROOM - NIGHT 62 Bloom slumps in a chair, watching Penelope sleep. BLOOM (V.O.) The next step is to figure out a way to insinuate yourself into their personal life. Bloom drifts off, then wakes with a start. It is MORNING. Penelope is shaking him. PENELOPE I think they took my car. Could you drive me home? BLOOM Uh. Yeah. She walks away, the back of her gown wide open, then turns. PENELOPE I'm Penelope Stamp. BLOOM Bloom.63 INT. CADILLAC - MORNING 63 Bloom drives, Penelope gazes stiffly out the window. BLOOM (V.O.) Engagement. Find a connection with your mark through conversation. BLOOM (cont'd) I'm sorry about your Lamborghini. PENELOPE S' ok. Silence. He notices her playing with the side mirror knob, angling it to stare at him while looking out the window. 35 63 CONTINUED: 63 BLOOM Nice area. (beat) Jersey. More silence. PENELOPE This car is like riding in a huge marshmallow. And still more silence. BLOOM (V.O.) Having now deftly set your hook in the mark's psyche, this would be the perfect time to tug the line,64 EXT. LUDICROUS MANSION - MORNING 64 They pull up in the car. A tow truck is dropping off a new Lamborghini. BLOOM (V.O.) Get invited in for coffee, and tell them the full tale. Bloom looks about to launch into something, when Penelope drops a stack of cash bound in a green rubber band on his dashboard. PENELOPE For the bike, and the whole, thing. This was a big shit sandwich. Ok. Bye. The car door slams and she's gone. Bloom sits a moment. BLOOM (V.O.) However, there are advantages to playing it cool. Letting it lie for a day or two, then casually re- establish contact. Bloom starts driving off, and adjusts the passenger side mirror so it points back to the road. As he does he sees Penelope in it, sprinting after his car. He stops. A moment later she appears at his window, heaving. 36 64 CONTINUED: 64 PENELOPE I realized... I should have... invited you in... for coffee... right?65 INT. PENELOPE'S KITCHEN - DAY 65 Bloom and Penelope sit in a luxurious stone-based kitchen, neither touching their coffee. Bloom talks. This is how Penelope listens: she starts with her eyes on Bloom, then very quickly drifts away into her own thoughts, then recognizes she's doing it and makes eye contact again and gives an overbaked "oh yes go on" smile/nod, then does it all again. Three or four times. BLOOM ...didn't really have anyone except each other growing up, and our father was in the antique business, he had a shop in Charleston. So we stuck together, my brother Stephen and me, we and just took over the shop when dad died. Then we realized one day, we saw the dealers who were finding and selling us the antiques coming from exotic countries all over the world, and there was a, almost a scent they had, when they'd come in the dusty shop we worked nine to five in since we were nineteen, the air would, like before a rain, the ions would line up, and you could just smell midnight trains to Paris and steamer ships and Calcutta bazaars, and we made the decision, we just did it, that we want to have that sort of life. So we did, and we've been travelling and treasure hunting the world ever since, and could you, I'm sorry, stop doing - that, you're, I'm, ok. Alright, look. PENELOPE I'm really bad at talking to people. 37 65 CONTINUED: 65 BLOOM I told you, that's alright. You want me to go? PENELOPE No! I want to talk to you. Fuck. She storms out.66 INT. PARLOR 66 Victorian, expensive. Penelope leans against the window, looking out. Sulking. Bloom enters. BLOOM So what kind of stuff do you do? PENELOPE Nothing. Maybe you should go. BLOOM Alright. I'm just gonna finish my coffee first. Very slowly, he sips it. Each sip becomes a noisier and noisier slurp. PENELOPE I collect hobbies. I see someone doing something I like, and I get books and learn how to do it. BLOOM Hm. Anything interesting? PENELOPE Not really. HOBBY MONTAGE In which Penelope demonstrates the following with exacting seriousness and skill for Bloom: Playing the piano. The classical guitar. The fiddle. The banjo. Putting the finishing touches on a ship in a bottle. Executing a perfect ollie on a skateboard. 38 66 CONTINUED: 66 Juggling various items. Riding a unicycle. Juggling while riding a unicycle. Playing ping-pong against a wall with ungodly speed. Karate chopping through too much wood. Breakdancing. Playing the accordion. Rapping to a drum machine. Creating a perfect origami dragon. END HOBBY MONTAGE On Bloom's shell-shock face. BLOOM Is that it? PENELOPE No. I know a lot of stuff. BLOOM You just learned this stuff, here by yourself? PENELOPE Kinda sad. BLOOM No. So you just thought, `so I want to learn this and this,' and you just did it? How do you plan to use all these skills? PENELOPE I dunno. I'm not a planner. I just do stuff. Here, look at this watermelon. It's a camera. You can make a pinhole camera out of anything hollowish and dark. BLOOM It's gotta warp the image though, right? 3966 CONTINUED: (2) 66 PENELOPE No, yeah it does. That's what - the Taj Majal taken by a fat tourist with diarrhea and a point- and-shoot camera can be the flattest, dullest, "here's us at the Taj Majal," "Oh lovely lets go stick our thumbs up our asses" picture. But you can look at the most menial everyday thing, and depending on how your pinhole camera eats the light, it's warped and peculiar and imperfect. It's not reproduction, it's storytelling. BLOOM It's a lie that tells the truth. PENELOPE I dunno about truth. A photograph is a secret about a secret. The more it tells you, the less you know. BLOOM What's changed between now and twenty minutes ago? Cause this is kinda like a conversation. PENELOPE Huh. Well shit.67 EXT. BACKYARD - DAY 67 Bloom and Penelope walk and talk, finally rounding the house and ending up at the driveway. BLOOM Well, I should, uh, it's late. So. I meet a lot of people in my job I have to professionally act interested in. It's a good feeling to be genuinely interested in someone. PENELOPE Are you leaving? BLOOM Yeah. 40 67 CONTINUED: 67 PENELOPE Are you coming back? BLOOM Well next time I'm in town. We're taking a steamer at noon tomorrow off the docks, to the continent for a few months. During this, Bloom very naturally moves his hand to the small of Penelope's back. The edge of his thumb comes to rest on a small slit of exposed skin. Penelope's expression does not change, but a noticeable blush crosses her still face. When Bloom removes his hand, the blush falls. BLOOM (cont'd) Paris and Greece, I think. I've gotta get a hat. Thanks for the pinhole camera demonstration. And for the good conversation. Goodbye Penelope. PENELOPE Goodbye Bloom. He drives off. She stands in the doorway, watching him go.68 EXT. THE DOCKS - DAY 68 A jaunty steamer ship docked and ready. Bloom watches the access road, Stephen makes notes, the Chink whittles. BLOOM I need another day with her. STEPHEN You'll have two weeks on the boat. BLOOM I need another day to get her on the boat, she isn't hooked. That bit I skipped where we were talking in the backyard, it was ten minutes on the optics of lensless photography, we didn't really talk. 41 68 CONTINUED: 68 STEPHEN It isn't the talking that hooked her. Bloom turns from the road. BLOOM I think you're wrong. A screech of distant tires and a crash. Bloom doesn't look. BLOOM (CONT'D) (cont'd) Though every time I say that, you end up being comically right. That's her, isn't it? Yeah. Penelope pulls a clumsy steamer trunk that never could have fit in her Lamborghini, which is bent around a pylon. Bloom meets her. PENELOPE Hey. BLOOM Hi. What are you doing here? She holds out the stack of bills in the green rubber band. PENELOPE You left this money in my kitchen. He doesn't take it. BLOOM Yeah, I didn't want it, but thanks. PENELOPE Oh. (beat) Hey, where's this boat going?69 EXT. THE ATLANTIC OCEAN - DAY 69 The good ship Fidele breaks the waves Greece-ward.70 EXT. DECK - DAY 70 Bloom and Penelope stroll the deck. 42 70 CONTINUED: 70 BLOOM Why did you decide to come? PENELOPE Well I'd never been to Greece. Or Europe. Or outside New Jersey. BLOOM It just seems like a big leap. From where you were at yesterday to being a world traveler. PENELOPE It looked like fun. I wanted to do it. BLOOM A new hobby. Up ahead, Bloom spots a large man in a fur collared cape gazing out to sea. He quickly turns Penelope away. BLOOM (cont'd) Here, this way.71 EXT. SHUFFLEBOARD DECK - DAY 71 The Chink and Stephen play shuffleboard. Bloom leads Penelope to them. BLOOM Penelope, this is my brother Stephen. STEPHEN Pleased to make your acquaintance. Bloom's told me about you, you're the epileptic photographer? PENELOPE Sort of. STEPHEN This is my personal secretary and masseuse, Mrs. Yuengling. A nearly imperceptible glare from the Chink. PENELOPE Yuengling like the beer? 4371 CONTINUED: 71 STEPHEN Heh. No. So what are your plans in Greece? PENELOPE I don't plan. STEPHEN Good for you. The Chink hits a damn near impossible shuffleboard shot, then gives Stephen a pointed deferential giggle-bow.72 INT. STATE ROOM - NIGHT 72 The brothers dress for dinner. BLOOM You named the Chink `Yuengling?' STEPHEN I was writing in a bar. And she doesn't drink, how does she know a Philly beer? BLOOM She knows a lot of stuff. (beat) Was that who I thought it was on the East deck this morning? STEPHEN Yes it was. Did he spot you? An ominous glance. BLOOM Not yet.73 EXT. DECK - NIGHT 73 Several small tables scattered about the moonlit deck, Bloom and Penelope sit with flutes of champagne. Penelope, in an elegant but understated dress, shuffles a pack of cards. BLOOM You look very nice. She laughs as if at a joke she doesn't think is funny. 44 73 CONTINUED: 73 BLOOM (cont'd) What was your childhood like? PENELOPE I make cameras out of watermelons. BLOOM Lonely. PENELOPE Lucky guess. Penelope's hands move faster. She knows how to shuffle cards. BLOOM How was it lonely? PENELOPE Fishing for an entertaining childhood anecdote that encapsulates my adult issues? BLOOM Well it's funny how everyone's usually got one. As Penelope tells her story she gets fancier with her shuffles. PENELOPE When I turned six I started getting allergies, hayfever, rashes, really bad. So my mom took me into the doctor, and he did that test where they use needles to prick a grid on your back with all the different toxins, to see which ones you're allergic to. The next day I came in, the doctor lifted up my shirt, and my back looked like a patch of oily, moldy, blackish green double- puff marshmallows. I was allergic to everything. So they sealed the house with plastic and a special ventilation system, and I spent my entire childhood and adolescence indoors. Mostly alone. Lonely. She pulls the Queens out of the deck and lays them face up on the table. 4573 CONTINUED: (2) 73 BLOOM Wow. PENELOPE It wasn't `til I was nineteen they discovered what I was actually allergic to was the aluminum alloy the hypodermic needle was made out of. Then I was going to leave, but my mom got sick. So I stayed. And she stayed sick, a long time. BLOOM Do you feel cheated? Penelope does an amazing card trick using the four queens. PENELOPE The trick to not feeling cheated is to learn how to cheat. So I decided this wasn't a story about a miserable girl trapped in a house that smelled like medical supplies wasting her life on a dying person she sometimes hated. It was about a girl who could find infinite beauty in anything, any little thing. And do anything she decided to do. And love the person she was trapped with. So I told myself that story until it became true. Now did doing that let me escape a wasted life, or did it just blind me so I wouldn't want to escape it? I don't know. But either way, I was the one telling my own story. So I don't feel cheated. She finishes the trick. A single pair of hands clapping turns their heads. At the far end of the deck, alone at a table, the large man in the fur collared cape, who for reasons unlikely to become clear at the moment will be called THE CURATOR. THE CURATOR And a magician is just an actor playing the part of a magician. My compliments. Bloom takes Penelope gently by the elbow and guides her up and away. 46 74 EXT. BOW - NIGHT 74 They stroll out onto the moonlit bow of the ship. PENELOPE Who is that man? You avoided him earlier on the deck. BLOOM I don't know, but he's carrying a knife up his sleeve and wearing a cape. Do me a favor and steer clear of him. A waltz drifts through the air from a band unseen. BLOOM (CONT'D) (cont'd) I don't suppose in all your hobby acquiring you ever learned how to dance? PENELOPE I went through a phase when I was mildly obsessed with the Bolero. BLOOM Give me a minute. He leaves her alone. Clouds obscure the moon, shadows deepen. She shivers. A match strikes. She jumps. The moon re-emerges, and she is no longer alone on the deck. The Curator lights a dapper briar pipe, shakes out the match. THE CURATOR Mademoiselle. PENELOPE Monsieur. THE CURATOR (in French, subtitled) I didn't mean to startle you. PENELOPE (in French, subtitled) Yes you did. 47 74 CONTINUED: 74 THE CURATOR (in French, subtitled) Apologies, but the deck was dark, and I had to approach. (English) It's been such a time since I've encountered the Brothers Bloom. PENELOPE You're in antiques? THE CURATOR (Cheshire grin) Antiques. I wonder, my dear, if you know the true nature of the men you travel with? The band strikes up a Bolero. The Curator flicks his wrist, and a long thin blade falls into his hand. THE CURATOR (cont'd) A little fear might suit you, I think. He raises the blade... it is in fact a fine mustache brush, which he delicately employs. THE CURATOR (cont'd) Bon soir, ma cherie. With that the Curator backs into the shadows, and is gone. Moments later Bloom trots up to her, oblivious. BLOOM It isn't a Spanish band, but they'll do their best. He hands her a single blood red rose. She puts it in her teeth, and they dance. If there is a tinge of tension in the air, the Bolero suits it. The moon ducks behind a cloud once more, and they dance on in the dark.75 INT. STATE ROOM - MORNING 75 Bloom wakes with a start. Morning light pours in through his porthole. He opens it, looks out to sea. 4875 CONTINUED: 75 His dinner jacket draped over a chair. The rose in its lapel. He fishes it out. Runs his fingers over the teeth marks on the stem. Then raises an eyebrow at a lump in the breast pocket, and pulls out the stack of bills in the green rubber band.76 EXT. DECK - MORNING 76 The Chink and Penelope lie on their stomachs on the deck, a beer can pinhole camera between them. Penelope gives a lesson on how it works. The Chink appreciates her.77 EXT. BREAKFAST DECK - LATER 77 Bloom escorts Penelope to breakfast. PENELOPE How'd you find her? BLOOM The Chi-nese, uh, Yeungling? She found us.78 INT. KITCHEN - EARLY MORNING (FLASHBACK) 78 Bloom cooks breakfast in his bathrobe. BLOOM (O.S.) A few years back, when we hit the top of our art dealing game, she just appeared. A door opens and slams. Bloom turns. The Chink sits at his place at the table, suitcase beside her, smoking a cigarette. BLOOM (O.S.) (cont'd) She's stuck with us. We figure when she gets bored she'll vanish with the same lack of noise. Like feeding a strange animal, Bloom pours her coffee. She drinks it without looking at him. 4979 EXT. BREAKFAST DECK 79 PENELOPE I like her. BLOOM Good. They smile when they see Stephen and the Chink at a table. Their smiles drop when they see the Curator sitting with them. Bloom glares at the Curator, but speaks to Stephen. BLOOM (cont'd) What's he doing here? STEPHEN I invited him, sit down. This ship's too small to dance around each other for a week, we might as well have it out now. Bloom. Sit. Penelope, do you know our friend? PENELOPE Only as the creepy Frenchman. THE CURATOR Book-learned. You know languages but not accents, my dear. I am Belgian. Maxmillion Melville, at your service. BLOOM Also known in certain professional circles as the Curator. PENELOPE Pleased to make your acquaintance. What do you do? THE CURATOR I'm a curator, presently for the National Museum in Prague. And yourself? PENELOPE I'm an epileptic photographer. THE CURATOR Good for you. Boys? What do you do? 50 79 CONTINUED: 79 STEPHEN We have a legitimate antique reselling business. THE CURATOR Baissez le rideau, la farce est jouee. STEPHEN We've gone straight, Max. THE CURATOR Pardon, but you do not ascend to the grand heights of the Brothers Bloom only to toss it all and sell terra cotta to blue haired weekend antiquers. STEPHEN We did. Eat your waffles. THE CURATOR But Mademoiselle appears... confused. Perhaps she is unawares? BLOOM Eat your waffles, fat man. THE CURATOR Unaware that the Brothers Bloom are in fact the two most highly respected art smugglers in the western world? STEPHEN Were. We've been on the straight for three years. So that's that. THE CURATOR Well, if that is that, then that is indeed that. As you say. Penelope snaps her fingers. Everyone looks up. PENELOPE Your name's Melville? THE CURATOR Maxmillion Melville, Esquire. 5179 CONTINUED: (2) 79 PENELOPE Sorry, no, cause I noticed but I couldn't place it, this ship is the Fidele, which was the ship in Melville's novel "The Confidence Man." So that's weird. Everyone glances at Stephen, a little uncomfortable. STEPHEN Huh.80 INT. DECK - NIGHT 80 Bloom paces, Stephen shuffles cards. BLOOM I know you like to throw those clever little details in, but you've gotta watch that shit with her Stephen. She had a lot of time alone in that house, and she used it. She did the best Double Dutch Queens I've ever seen up on the deck last night. STEPHEN Double Dutch Queens uses gaffed cards. BLOOM She had them in her purse and cut them in while I was folding my napkin. STEPHEN Jesus. BLOOM That's what I'm saying. She's different, she knows, sometimes it feels like she knows everything. Doesn't that worry you? STEPHEN No. But something about her is worrying you plenty. BLOOM She feels like one of your characters. 52 80 CONTINUED: 80 STEPHEN The day I con you is the day I die, Bloom. BLOOM I know that. (beat) How did you get the Belgian, on our budget? STEPHEN He's beautiful, right? BLOOM I didn't expect him to actually be Belgian. STEPHEN I'm not sure he is. I'm to bed. Stephen stands to go, then pauses. STEPHEN (CONT'D) (cont'd) I've always protected you, right? The only real danger in this whole play is that you'll actually fall in love with her. Look at me. Don't fall in love with her.81 EXT. UPPER DECK - CONTINUOUS 81 The Chink sits smoking her whittled pipe, watching Bloom alone on the deck. Stephen passes her, and she stops him with a look. STEPHEN Shut up. I know what I'm doing. She hands him a thin piece of paper. He looks it over. STEPHEN (cont'd) This came through just now? The paper is a telegram with the Fidele's imprint, received from St. Petersburg. Stephen reads it. 53 81 CONTINUED: 81 STEPHEN (cont'd) "My dear Stephen STOP Word on the wire is the Bros B are bound for Prague STOP Am heading there myself would love to see my boys STOP Affectionately DD." The Diamond Dog. He crumples the paper, looks down at Bloom. STEPHEN (cont'd) Wire him back for me. "Dear Dog STOP Unless you've lately felt an excess of eyes left in your head kindly stay the fuck away from me and my brother STOP Regards," etcetera.82 EXT. THE MEDITERRANIAN SEA - MORNING 82 The good ship Fidele rounds the Rock of Gibraltar.83 EXT. DECK - MORNING 83 Bloom and Penelope lie on the deck, watching dolphins. She says this word like she's eating chocolate: PENELOPE Smugglers. It's like an adventure story. Whose idea was it to go straight? BLOOM Mine. Stephen always loved the life. Then he was almost killed on a run to Jakarta, two thugs with heads like canned hams worked him beyond all reason.84 EXT. JAKARTA PIER - NIGHT (FLASHBACK) 84 Stephen is set upon by two thugs. He rushes them. STEPHEN Have at thee, you ham headed bastards! 54 26/11/06.85 EXT. DECK - MORNING 85 BLOOM And I called it, that was it. PENELOPE Scary. BLOOM For me. Stephen enjoyed it. He loved the idea that we were internationally infamous art smugglers, but I think deep down, same as me, he felt like we were putting on a persona, faking it. PENELOPE Telling a story. BLOOM He'd love to die on a job. Cornered at midnight on a run to Jakarta. That's his dream, to tell his story so well it fulfills itself. It somehow would make it finally real for him. PENELOPE That's kinda the thing we all want, right? He looks at her in the sun. BLOOM Trying to get something real by telling yourself stories is a trap. Trust me on that one.86 EXT. GRECIAN PORT - DAY 86 Kalamata, if it matters. The Fidele docked in bright blue water. Our intrepid heroes stand aside a dusty road, surrounded by their luggage. The Curator approaches, tips his hat to them. THE CURATOR Best of luck with the antiquing, boys. Au revoir, Chinois. (MORE) (MORE) 55 86 CONTINUED: 86 THE CURATOR (cont'd) (to Penelope) Mademoiselle. Mes restes d'offre. With a wink, he is gone. A beat. Penelope stands apart. BLOOM My French is a little rusty, but I believe he just told you `my offer stands.' PENELOPE He came out of nowhere last night.87 EXT. DECK - NIGHT (FLASHBACK) 87 Penelope taking air on the moonlit deck. The Curator dissolves out of the darkness. PENELOPE (V.O.) Whatever's in his pipe, it made me thick. He brings her face close to hers, smoke twisting, and speaks unheard words low and fast.88 EXT. GRECIAN PORT - MORNING 88 BLOOM Oh lord. What has he got? PENELOPE An 8th century prayer book.89 EXT. PRAGUE STREETS - DAY 89 We fly through the city streets... PENELOPE (V.O.) From his museum in Prague, stashed in the castle. Up to the base of the castle, through a grated hole in an ancient wall, into...90 INT. MUSEUM VAULT 90 A stunning illuminated manuscript lies open on a stone table. The Curator's hands close it gently and take it away. 5690 CONTINUED: 90 STEPHEN (V.O.) A book of hours. PENELOPE (V.O.) Yeah. Medieval art bores the crap out of me so I don't know it that well. So that's what he does, he makes pieces in his collections disappear, then sells them off via a trusted middleman.91 EXT. GRECIAN PORT 91 BLOOM That's what he does. STEPHEN Wonder who's his fence? BLOOM Probably his Spanish guy, right? (asks Penelope) Did he say who's buying? PENELOPE An Argentinian. Argentine? Argentinian?92 EXT. DECK - NIGHT (FLASHBACK) 92 THE CURATOR A gentleman from Argentina. He's quite sick, cancer in his bones, and desperate for sentimental reasons to own this piece while he may.93 EXT. GRECIAN PORT 93 PENELOPE He'll sell it to a middleman for one million, US. The Argentin...a guy will pay two point five. STEPHEN Not bad. PENELOPE Is he legit? 57 93 CONTINUED: 93 STEPHEN The Curator? That's a relative term. He's telling the truth. BLOOM I'm sorry you had to deal with that guy. Behind Penelope, two porters load her steamer trunk into the back of a taxi. BLOOM (cont'd) Where's that cab going? PENELOPE The train station. BLOOM Where's the train going? PENELOPE Prague. Bloom breathes. PENELOPE (cont'd) Let's do it. Let's, just, I want to try this. Let's be smugglers. I think it'd be fun. We should do this. BLOOM No. PENELOPE Why not? BLOOM Well first off, we don't have a million dollars. PENELOPE I do, I've got, that's whatever. I mean a real reason. BLOOM This is real, it's dangerous, it could go very bad. PENELOPE I think a little real danger might suit me. I'm gonna do it. (MORE) 58 93 CONTINUED: (2) 93 PENELOPE (cont'd) So if you want to join my smugglers gang, you know, I'll consider it. She walks off towards the taxi. BLOOM This is not an adventure story. PENELOPE What are you talking about? It totally is.94 EXT. HUNGARIAN COUNTRYSIDE - NIGHT 94 A train roars through the night towards Prague.95 INT. STEPHEN'S SLEEPING CAR - NIGHT 95 Stephen reclines, hat on his face. Bloom paces. STEPHEN Take it easy. She's having fun, that's the point of this. BLOOM She's making a flag for our "smugglers gang," man. She made me learn a secret smugglers handshake. Unhealthy. This afternoon, when she was writing, in the observation car? A letter? A journal? No. She is getting way too into this. Bloom fishes a crumpled piece of paper from his pocket and thrusts it in front of Stephen's face. On it are written dozens of variations in stylized fonts of "Penelope the smuggler." BLOOM (cont'd) She's been singing the Smuggler Song since Athens. STEPHEN What Smugglers Song? 59 95 CONTINUED: 95 BLOOM You know, the one from whatsit, the Disney thing, that Smuggler Song, the `We're a band of smugglers hey, la la la la la, we smuggle by night and drink by day, smugglers ho, ho ho, smugglers...' there, this isn't... there isn't a Smuggler Song, is there? Ok. She made up a Smuggler Song. With hand motions. STEPHEN The whole point of this was to sweep her off her feet. Let her enjoy it. BLOOM While it lasts. STEPHEN Nothing lasts. Exit Bloom. Stephen sighs and drops his hat back on his face.96 INT. BLOOM'S SLEEPING CAR 96 Bloom reads. Footsteps pound by outside. Penelope and the Chink run past his door. A moment later a uniformed ATTENDANT runs past. A beat, then the footsteps come back, and the girls duck into Bloom's cabin, slamming the door. Sacks in their teeth. Off Bloom's quizzical look: PENELOPE Smuggling. From the snack car. They pull bags of chips and tiny liquor bottles from their sacks. Bloom glares at the Chink, who tries to avoid his gaze.97 INT. SNACK CAR 97 Bloom pays the SNACK CAR ATTENDANT from a stack of Euros, while the Chink gives him counts on her fingers. 60 97 CONTINUED: 97 BLOOM Fourteen gins? Are you kidding me? THE CHINK Jameson. BLOOM I'm not paying for that. She holds up two fingers, the Attendant pours two. ATTENDANT Ice? She says no with a look, they drink. BLOOM She made up the Smuggler Song. The Chink nods. Bloom pays for the Jameson. BLOOM (cont'd) I thought it was a Disney thing.98 INT. PENELOPE'S SLEEPING CAR - LATER THAT NIGHT 98 The lights are off. Penelope reclines on the bed, surrounded by empty tiny gin bottles. Drunk. Bloom sits on the floor, both framed in a big window looking out on a breathtaking moonlit landscape rolling hypnotically by. PENELOPE Gin is fuckin fruity. Have you taken this train before? BLOOM Yeah. PENELOPE So this is all like fuckin `whatever' to you. BLOOM I usually drink with the Chink in the snack car, play cards. PENELOPE With the who? 61 98 CONTINUED: 98 Oops. BLOOM Mrs. Yeungling. That's her smuggler nickname. PENELOPE That's offensive. BLOOM I think if it were offensive to her, she'd let us know. PENELOPE Do I get a smuggler nickname? Bloom quietly slips the stack of cash in the green rubber band into Penelope's luggage. BLOOM No. PENELOPE I think you're constipated. In your fuckin soul. Bloom makes several attempts to form a response to this before giving up. BLOOM What? PENELOPE You've got a big load of grumpy petrified poop up your ass, I'm just calling you out on it. Yeah I'm pretending I'm a smuggler, so you know what? I'm a fuckin smuggler. If that's your thing, fuckin tell it like you own it. When you've got a spotlight in front of your feet, man, fuckin jump into it and dance the shit out of it. Stop fuckin thinking so much. Enjoy the fuckin ride. Fuck. A roll of thunder and spectacular flash of lightning ignites the landscape, and rain starts to patter. Penelope stiffens. PENELOPE (cont'd) Whoa. 62 98 CONTINUED: (2) 98 BLOOM Look, I'm not- PENELOPE Shh. I love thunderstorms. Another crash. Lying on her stomach, Penelope slowly starts feeling something which makes her undulate. Bloom stares, confused. PENELOPE (cont'd) Whoa ha. Oh ho ho. Ohhhhhh whoooo ha ha ha ha. Beneath her, the train wheels rhythmically clack and vibrate against the tracks. Another flash of lightening, the rain falls harder. Penelope writhes. Bloom silently shrinks back in terror. PENELOPE (cont'd) Oh hooooooooooo ha ha ha ha ha ha ha oh my GOD, ha whoooo.. whee... ha... hoo. I... am... so horny. BLOOM Nite. The door to her car latches, and Bloom is gone.99 INT. SNACK CAR - NIGHT 99 Bloom sits drinking and playing cards with the Chink. He spaces out, she snaps her fingers to wake him up. BLOOM (playing a card) That's the big 2.100 EXT. HUNGARIAN COUNTRYSIDE - NIGHT 100 The train steams onward into the growing storm.101 EXT. CHARLES BRIDGE, PRAGUE - MORNING 101 Our intrepid four stroll the bridge, the city's castle looming before them. Penelope slumps pale faced in dark glasses. 63 101 CONTINUED: 101 STEPHEN The last time I was in Prague, I was in love. PENELOPE What was she like? STEPHEN Pale skin. Long feet. So. He winks.102 INT. PRAGUE HOTEL ROOM - DAY 102 STEPHEN (V.O.) Bloom and I will secure us lodging, The brothers set their suitcases on the beds. Bloom finds the stack of bills in the green rubber band in his.103 INT. NATIONAL MUSEUM - DAY 103 STEPHEN (V.O.) Mrs. Yeungling will scout the castle museum. The Chink, in ridiculous tourist garb and a "PROPERTY OF KGB" t-shirt, takes pictures with one of several cameras around her neck.104 EXT. CHARLES BRIDGE, PRAGUE 104 STEPHEN You will go to the bank, that wire should have cleared if you put it in at Athens. PENELOPE Cash?105 INT. PRAGUE BANK - DAY 105 STEPHEN (V.O.) Only movie thugs and Russians deal in suitcases of cash. Draw a certified check. 64 105 CONTINUED: 105 A cashier hands over an elaborate check, which Penelope signs and puts in an envelope.106 INT. APARTMENT STAIRCASE - DAY 106 A baroque spiral staircase, the spine of a high apartment building. Our intrepid four ring the bell beside an apartment door. THE CURATOR (FROM INSIDE) Who the hell is that?! Who is it?! STEPHEN Candy-Gram. It's us, Max. Stephen pushes open the door, and an instant later a SHOTGUN BLAST takes out a chunk of the landing beside his head. They all dive onto the floor, piling on top of each other. THE CURATOR (FROM INSIDE) Who the hell are you, what do you want, who the hell!!!!?? BLOOM STEPHEN Max! Max! It's us, Bloom, Max! Max! It's Stephen and Stephen, Jesus, Max, easy, Bloom, easy, whoa, Christ, whoa! whoa now! The Curator stands in the smoky apartment hallway, sloppily draped in a ratty bathrobe, bottle in one hand and shotgun in the other. He squints at them. THE CURATOR (cont'd) Ah. Good morning. Come in. I have been drinking.107 INT. THE CURATOR'S APARTMENT - LATER 107 A schematic of the castle laid on the kitchen table. The Curator looks even worse in the light, red rimmed eyes, heavy skin on his face. THE CURATOR Here, off the Basilica, are offices of administration, and beneath those, an otherwise inaccessible section of catacombs. And the book. 65 107 CONTINUED: 107 BLOOM Administrative offices. So how do you steal the book? THE CURATOR The book is already stolen. The stealing is in the bureaucracy, in the filing, red tape. As far as the museum is concerned, the book does not exist. I am the curator, I walk in, pinch the copy girl's baboosh, put the book in a briefcase and walk out. Tomorrow, say, at two. STEPHEN Today. THE CURATOR Today is not a good day. STEPHEN Tomorrow. Now what about this Argentinian. THE CURATOR (blank, then realizes) Ah, the Argentine? Senor Luise Belguta Rioso. I get his file.108 INT. CURATORS APARTMENT BEDROOM - LATER 108 Penelope and Bloom wander into the bedroom, looking at an array of beautiful paintings on the wall. PENELOPE Gin is slow death, man. Stephen and the Chink poke their heads in, leaving. The Curator strolls in. STEPHEN We'll see you back at the hotel. (glances at the Curator) Soon. They go, leaving Bloom and Penelope, who squints at an unframed oil on canvas, of a lonely stone well in a primeval forest clearing. It sits at the foot of an unmade bed. 66 108 CONTINUED: 108 THE CURATOR From a private collection on the island of Ikaria. That one. BLOOM Who painted it? THE CURATOR I don't know. PENELOPE Why is it the last thing you see every night, and the first thing you see every morning? THE CURATOR That's a story. You have a minute? He closes the blinds and sits on a stool in front of the painting. Setting the stage. THE CURATOR (cont'd) My daughter travelled with me when she was very young, and I'd show her the places and the art, all the most joyous and terrifying things in the world. Memories of his daughter's hand in his, flashing against the sun. THE CURATOR (CONT'D) (cont'd) I wanted that the world was alive in the most fantastic way for her. To built her a pair of wings. Make these things real. But maybe more than any other objet d'art, she loved to hear she'd ask to hear the story of the stone golem. From a painting in a small private collection on the island of Ikaria. He motions to the painting, and we move into it. As he tells the story the scenes are shown in the painting, just as still images, which we move across like a picture book. THE CURATOR (CONT'D) (cont'd) Well Rachel, like most monsters the Golem was once a human. A boy, about your age. (MORE) 67 108 CONTINUED: (2) 108 THE CURATOR (CONT'D) (cont'd) And one day the boy was walking home, and he quarrelled, he fought, with a good friend of his. They got very angry and his friend pushed him a certain way and the boy fell and struck his head and died. The boy's friend was very sad but also very frightened. So instead of telling the boy's parents, he did something awful. He pulled the body into a quarry, a pit of broken rocks, and hid the boy beneath a pile of large stones. Well. Years went by, and the boy's friend became a young man, and one day while drinking in town (which in his guilt he did quite a lot of) he heard that a well was being built near the forest... with the stones from the quarry. He ran to the quarry to find it nearly empty... no stones, no body. He ran to the well where the masons were finishing their work. `Did they find anything strange in the quarry?' he asked, expecting, maybe hoping they'd arrest him for the awful crime on the spot. But no, they said, motioning to the well. Nothing strange. Just stones. They left him alone there at the well, and he stood looking into it as the sun fell behind the mountains and twilight set the world in a deep, still silence. The last image we land on is the well, alone in the clearing. Its dark innards loom ominously in the long pregnant silence that follows. Then, with a piercing ROAR, a living monster of stone lunges out of the well, animated and terrifying, grabs the friend by the throat and with a crunching of bones and one last roar pulls him back down into the depths of the well. Silence again. We pull out of the painting, back to the Curator, sitting very still. THE CURATOR (cont'd) My daughter died nineteen years ago today. She was six. She went out to play one afternoon and vanished. (MORE) 68 108 CONTINUED: (3) 108 THE CURATOR (cont'd) The next morning we found her, in a stone well on a neighboring property. I climbed down to her, but slipped and broke my leg, and while we waited for the rescue team to pull us out she died in my arms. If you've had a child... my whole everything just focused down to one thing, to hold her and make her feel safe. But no matter what I said to her, I couldn't stop her shaking, crying. Her last moments on this earth were filled with terror. Of a stone golem. He stands, opens the blinds, pours another drink. THE CURATOR (cont'd) It was the first painting I `acquired.' I keep it maybe hoping some night the golem will come for me.109 INT. APARTMENT STAIRCASE - MOMENTS LATER 109 Bloom trots out, ahead of Penelope. THE CURATOR Mademoiselle. Bloom keeps going, anxious to leave, but Penelope lingers on the staircase. The Curator comes out. THE CURATOR (cont'd) It is you I do business with, yes? PENELOPE Right. Oh, right. She gives him the envelope with the certified check. He shakes her hand, then deftly adjusts his grip so that just for a moment he holds her hand as you would hold a child's. He lets go, and smiles apologetically. THE CURATOR Au revoir. 69 110 EXT. PRAGUE STREETS - DAY 110 Penelope and Bloom stroll home in silence through crowded, vibrant cobblestone streets. PENELOPE You aren't constipated. You're scared. What are you scared of? They walk on, suddenly somehow holding hands. As they approach the hotel, Bloom deftly breaks their hand holding off. Penelope notices why.111 INT. PRAGUE HOTEL ROOM - CONTINUOUS 111 Stephen, up in the window watching them approach. He recedes into the room.112 EXT. PRAGUE STREETS - NIGHT 112 The sun sets against the castle, taking us into night.113 INT. PRAGUE HOTEL BAR - NIGHT 113 Bloom drinks alone, sketching Penelope's face with a pencil. A smell breaks his concentration. BLOOM Diamond Dog, carrying a cup and a cane. Standing behind him, a soft old man in an ashy suit and eyepatch. The DIAMOND DOG. DIAMOND DOG Bloom. How long has it been? (sits, orders) Tea. (to Bloom) Can you believe that? Tea? Been a long while. BLOOM If I call Stephen down he'll kill you. 70 113 CONTINUED: 113 DIAMOND DOG Well then please don't call Stephen down. Look at you, you're terrified. C'mon now, look. Take a look. I'm an old man with no depth perception. You don't have to be scared of me. The Dog plays with a heavy gold lighter, making sparks. DIAMOND DOG (cont'd) It's been a funny thing, watching you boys take what I taught you and eclipse me. I'm so proud to be a footnote in the lives of the Brothers Bloom. And you hate me. The curse of all bad fathers - that my presence on this earth after I die will not live on the lips of admiring men, but will sink into the murky backwaters of my children's psyches. BLOOM Is this profundity? Cause you can skip it. DIAMOND DOG Ha! Ha ha. Piss and vinegar. The Dog scoots next to Bloom. DIAMOND DOG (cont'd) When I first took you boys in, showed you the ropes, haunting St. Pete's, piss and vinegar. I still crave that youthful joy. Even today. The Dog's hand touches Bloom's leg. There is something horrible about this. Beneath the bar, Bloom grips the sharp pencil like a knife. BLOOM Don't touch me. DIAMOND DOG You probably won't believe I loved you boys very much. 71 113 CONTINUED: (2) 113 BLOOM You're going to take your hand away or I'm going to break your arm, there's nothing between. He does, but Bloom's fingers don't loosen on the pencil. DIAMOND DOG But love, you know. We know, folks like us, you can always blink and realize that it's a fiction, and like Peter walking on water or Wiley Coyote running off a cliff, if you look down in doubt you'll fall. That's the price of our lives, the wax in our wings. One day Stephen's going to fall. It may be glorious, but he's going to fall hard and he won't be there to tell you what to do and protect you. When he's gone, remember me. The Dog has moved in very close to Bloom, his breath hot on his face, and his hand comes to rest fully on Bloom's leg. Bloom's hand with the pencil quivers, about to strike- When Bloom is pulled from the bar stool by a heavy hand. Stephen, his eyes burning through the Dog. DIAMOND DOG (cont'd) Hello Stephen. Stephen smashes a bottle from the bar and slashes it across the Dog's hand. Waiters and porters tackle him, the Dog howls, holding his bleeding hand. Bloom stands numb, and puts the pencil in his pocket.114 EXT. PRAGUE HOTEL - NIGHT 114 Bloom watches the Dog get into a waiting black Mercedes. For an instant the car's interior light shows an 11 year old boy behind the tinted glass, as the Dog slides in and puts his arm around him. The Mercedes drives off. 72 115 EXT. PRAGUE STREETS - NIGHT 115 Right in front of the hotel, on the water. Bloom sips coffee from a china cup, spinning a paper in his hands. Stephen joins him, with a matching cup. STEPHEN I'm sorry I wasn't there. BLOOM You can't always be there. STEPHEN No, I guess can't. A beat. BLOOM That was a real tonal shift. The Curator's tale. On one side of the paper is the sketch of Penelope, on the other is the con flowchart. "#12 - The Curator's Tale." "#14 - Castle Break-In." STEPHEN I'm a big fan of tonal shifts. I didn't write it for him, though. BLOOM He made it up on the spot? STEPHEN I don't know.116 INT. BLOOM'S HOTEL ROOM - NIGHT 116 Bloom flops into bed. He turns and looks at the wall. Right on the other side of it...117 INT. PENELOPE'S HOTEL ROOM - CONTINUOUS 117 Penelope lies in bed, looking at the wall also. She closes her eyes. 73 118 INT. BLOOM'S HOTEL ROOM - NIGHT 118 Bloom's breathing slows. He closes his eyes. A beat. Then light snoring breaks the silence, coming through the wall. Penelope snoring. Bloom smiles slightly. What a cute snore. The snoring deepens slightly. The clock on the wall advances from 1:30am to 5:50am, and through the window the horizon glows with the approach of dawn. Bloom lies wide awake on his back, red rimmed eyes wide open, the guttural snoring ringing in his ears.119 INT. APARTMENT STAIRCASE - MORNING 119 Our four at the Curator's door. Bloom knocks, and they all step judiciously back. No response. STEPHEN Max? BLOOM We're a little early...120 INT. THE CURATOR'S APARMENT - MORNING 120 Still and silent in the breaking light of morning. And totally empty. Picked clean down to the bare walls. The only thing left in the apartment is the painting of the well... broken on the floor. Our intrepid four stand in various states of thoughtfulness. Penelope stares at the painting, Bloom at the window. PENELOPE The Golem came for him. In my dream. Crawled out of the painting and killed him in a horrible way. 74 120 CONTINUED: 120 BLOOM Well at least he had the decency to just skip out on us, not do something tacky like fake his own death. Poking around the room, Bloom opens a closet. The Curator stands pressed against the back wall in his pajamas. THE CURATOR (sotto) You're a little early. Bloom quickly closes it. STEPHEN I don't get it. If he was hightailing it he could have waited eight hours till we traded the million for the book, and had some traveling money. Well. Back to antiquing. Nothing gained, nothing lost. (to Penelope) And you got to see Prague, which is nice. Penelope's eyes widen with realization. PENELOPE Oh. BLOOM You should stay in the city for awhile, they have these amazing puppet show opera things- But Stephen raises a hand to shut him up. STEPHEN Oh?121 EXT. SIDEWALK BAR - DAY 121 Several empty glasses of wine, one full one in Penelope's hand. All heads are slumped. PENELOPE Oh. 75 121 CONTINUED: 121 BLOOM It's my fault. I can't believe I left you alone with him. The Chink hands Stephen a piece of paper. He glances at it. STEPHEN The check was cashed yesterday afternoon, he'd have deposited it in a Swiss account. I'm sorry Pen. PENELOPE What a waste. Bloom puts his hand on her arm, sympathetic. PENELOPE (cont'd) That poor man. What a waste. Bloom's expression turns quizzical. PENELOPE (cont'd) That poor Argentina man. He'll never see the book now, it'll just rot in the catacombs. What a waste. When Penelope lifts her suddenly brightened eyes in a moment of divine inspiration, Bloom meets her gaze with fear.122 EXT. CHARLES BRIDGE, PRAGUE - DAY 122 Bloom paces, Penelope looks up at the castle with binoculars. The Chink and Stephen stand by. BLOOM No. No no. Can't you see what happened here, there is no book, we've been swindled - PENELOPE But maybe there is, maybe it's real, we don't know! BLOOM It's not real, it's a con. PENELOPE It's my money, I'm going to find out for sure. He gave us every piece of information we need. 76 122 CONTINUED: 122 She spreads the castle floor plan out on a bench. Bloom turns to Stephen and the Chink with a "this is crazy right?" expression and gesture. They give him nothing back. STEPHEN We'd need to clear the administrative offices. Some sort of disruption. The Chink strokes her chin in mock-thoughtfulness. PENELOPE (to Bloom) C'mon. Help me break into this castle. It'll be fun.123 EXT. FIELD - DAY 123 A Barbie Doll set up in the middle of the field explodes in a theatrical plume of fire. Several others follow suit. The Chink pops up from behind a mound of dirt in her aviator goggles, cigarette dangling from her lip. She leans on a detonator plunger. Bloom, Stephen and Penelope crouch nearby, watching her work. STEPHEN She's an artist with nitroglycerin. It's kind of her thing. PENELOPE I feel like I want to know more about her. BLOOM STEPHEN Yeah. Yeah. STEPHEN Check the tat. On the back of the Chink's neck, a few finely scripted lines of Chinese. 77 123 CONTINUED: 123 STEPHEN (cont'd) An inky wisp of personal information. We transcribed it, brought it into a Chinese restaurant. PENELOPE What's it say? BLOOM The literal translation is something about water cranes, but essentially it means "When you're done with something, blow it up."124 INT. PENELOPE'S PRAGUE HOTEL ROOM - EVENING 124 The Chink lies on the floor with Penelope, showing her how to build a tiny remotely detonated bomb. She slices a tiny bit off a brick of dynamite, sets it in a petri dish with a detonator, and puts the whole thing in a handbag. Penelope appreciates her. Bloom and Stephen hunker over the castle floorplan. STEPHEN There's a smoke detector in these empty rooms in the east tower. So we plant and set off a tiny - (to the Chink) TINY tiny, tiny charge. The Chink clicks a seemingly innocent ballpoint pen. With a BEEP, a tiny poof of fire plumes from the handbag setting it on fire, and the smoke rises to the ceiling. STEPHEN (cont'd) Fire drill ensues, offices empty, and you'll have exactly four and a half minutes to get through the access hatch, into the catacombs, get the book and get out before the fire department arrives. Penelope and the Chink do their elaborate handshake, and she gives Stephen and Bloom a finger snap thumbs up. 78 125 INT. PENELOPE'S HOTEL ROOM - LATER 125 Bloom and Penelope, up late at the table. Going over the floorplan one more time. BLOOM So straight down the corridor, again, tell me where. PENELOPE Second left, third right, access hatch behind the copier, I need to sleeeeeeep... BLOOM The abort code if we need to abort is "corned beef." For some reason. PENELOPE Bloom, I need to sleep. He folds up the plans, she wraps up the brick of dynamite and bomb components and spots a black leather backpack beside an open handbag on the table. PENELOPE (cont'd) Is this Yeungling's backpack? BLOOM Yeah. She gently puts the brick of stabilized nitroglycerin inside the front zipper compartment, and sets the tiny petri-dish bomb beside the handbag. PENELOPE You know what I feel? BLOOM Horny? PENELOPE Scared. All my big talk. But this isn't a story, it's real. Fuckin scary. She kisses him. He kisses her back. 79 125 CONTINUED: 125 The pure whole hearted sensuality with which they attack each other and the deluge of almost child-like need let loose in this one simple act quickly reaches a point where as a viewer we no longer feel comfortable intruding with our gaze. Fifteen seconds after this point, we FADE OUT.126 EXT. PRAGUE - DAWN 126 The sun arcs into the sky above the castle.127 INT. PENELOPE'S PRAGUE HOTEL ROOM - DAWN 127 Bloom half wakes. Across the landscape of the bed, Penelope sleeps. Sunlight on her body and her sleeping face. Distant KNOCKING. From the next room over. Bloom's eyes snap open. He scampers.128 EXT. PRAGUE HOTEL WINDOW LEDGE - DAWN CONTINUOUS 128 In his boxers, holding trousers and shirt in his teeth, Bloom swings over the ledge from Penelope's window into his.129 INT. BLOOM'S PRAGUE HOTEL ROOM - DAWN CONTINUOUS 129 He opens the door for Stephen, who regards him narrowly. STEPHEN Ready?130 INT. PENELOPE'S PRAGUE HOTEL ROOM - MORNING 130 The Chink picks up the backpack, handbag and petri dish bomb.131 INT. PENELOPE'S PRAGUE HOTEL ROOM - MORNING 131 Penelope folds a plastic bag and puts it under her jacket.132 EXT. CASTLE ADJACENT STREETS - DAY 132 A little alcove with a good view of the castle. 80 132 CONTINUED: 132 Stephen trains his gaze on one set of windows high in the Eastern tower. Bloom paces.133 INT. EASTERN TOWER ROOM - CONTINUOUS 133 An empty storage room, half under construction. The Chink walks in, wearing the backpack and carrying the handbag. She goes straight for a spot just under a smoke detector.134 EXT. CASTLE ADJACENT STREETS - CONTINUOUS 134 Stephen, Bloom and Penelope are joined by the Chink. STEPHEN Ok. He looks through his binoculars again. BLOOM Alright? PENELOPE Ok. They share a brief moment with their eyes, and Penelope trots off. The Chink caught it. She looks at Bloom slyly. BLOOM For the record, I'm still against this. Why send her in alone? The Chink finds a way to casually smell Bloom's fingers. STEPHEN Because going in alone is a very important thing to do. She's walking into a zero security tourism office during a fire drill and taking a five hundred dollar manuscript replica from a utility crawlspace. Worst case scenario, a file clerk asks if she's lost. Which isn't even going to happen. (to the Chink) She's in position. He spots Penelope casually waiting beside an unmarked door. Bloom notices the Chink looking at him with a knowing grin. She mimes sealing her lips and tossing the key. 81 134 CONTINUED: 134 She then takes the ballpoint pen detonator... out of the handbag dangling at her hip. STEPHEN (cont'd) Cause nobody's going to know we were ever here. Bloom spots the handbag. Something's not right. BLOOM Uh- The Chink clicks the pen.135 INT. EASTERN TOWER ROOM - CONTINUOUS 135 The black backpack, sitting under the smoke alarm, beeps.136 EXT. CASTLE ADJACENT STREETS - CONTINUOUS 136 A THUNDEROUS EXPLOSION blows a massive ten foot wide chunk out of the side of the Eastern tower, spewing a painfully dramatic ball of fire and debris. Screams. Shouts. Panic. Our three look up at the tower, agape. THE CHINK Fuck me. Bloom grabs the binoculars from Stephen, looks for Penelope.137 EXT. CASTLE COURTYARD - DAY 137 Panicked tourists stumble away from the descending dust. Penelope sees what's happened, but holds her ground. The unmarked door opens, and a dozen business people pour out.138 EXT. CASTLE ADJACENT STREETS - DAY 138 BLOOM Don't do it don't do it Penelope don't- 82 138 CONTINUED: 138 STEPHEN They're locking down the castle, she won't get in.139 EXT. CASTLE COURTYARD - DAY 139 She takes a step towards the door.140 EXT. CASTLE ADJACENT STREETS - DAY 140 Bloom drops the binoculars and sprints.141 EXT. CASTLE COURTYARD - DAY 141 A burly SECURITY GUARD trots across the courtyard, herding tourists and smoking a cigar. SECURITY GUARD To ze back, no panic, to ze back... He blocks the office door, and sets his cigar down for a moment. Penelope spots it.142 EXT. CASTLE ADJACENT STREETS - DAY 142 Bloom nears the courtyard, sees Penelope up ahead. BLOOM Pen! Don't - abort! Corned beef! Corned beef!143 EXT. CASTLE COURTYARD - DAY 143 Penelope deftly spins the cigar 180 degrees. The Guard absently picks it up and puts it back in his mouth, fire-side first. He howls, doubles over. She dashes into the door. Bloom bursts out of the crowd and lunges for the door, but a SECOND SECURITY GUARD stops him. Dozens more security guards swarm in. Overhead, an army helicopter buzzes by. Bloom stares into the doorway, helpless and scared. 83 144 INT. TOURISM OFFICE HALLWAYS - DAY 144 Water rains down from the ceiling sprinklers. Penelope weaves through the halls.145 INT. COPY ROOM - DAY 145 Cramped, ill lit, and with its own sprinkler. Penelope dashes in, shoulders the massive cold war era copy machine and with a Herculean effort pulls it away from the wall. PENELOPE I'm in Prague. I burned a man's lips off to break into a castle in Prague. Revealing an access hatch.146 INT. CRAWLSPACE 146 Tiny, earthy. Penelope shuts the hatch behind her. Light from a barred window illuminates a rectangular shape lying on a stone slab. Penelope approaches the small BOOK OF HOURS reverently.147 EXT. CHARLES BRIDGE - DAY 147 A full view of the castle reveals just about the worst case scenario. The entire area swarms with army helicopters and tanks, soldiers with rifles, yellow tape, news crews. Stephen, Bloom and the Chink sit behind the police line on the bridge with the rest of the crowds. Heads in their hands.148 INT. CRAWLSPACE 148 Penelope is broken out of her stupor by heavy footsteps all around her, soldiers searching the castle. Voices right outside the hatch. She slides the wimpy little bolt shut. It rattles. She looks up - a moldy vent in the muddy ceiling. 84 149 EXT. CHARLES BRIDGE - DAY 149 Bloom suddenly stands. BLOOM Wait. Wait, we're fine. She's fine. If the soldiers find her wandering the halls they'll assume she's a clerk, they'll just shoo her out. So as long as she doesn't do anything suspicious, she's fine.150 INT. VENTILATION DUCT 150 Penelope wriggles on her belly through a tin ventilation duct barely big enough for her. The book, encased in the plastic bag, hangs from her teeth. Sounds of soldiers searching the offices come from below her. Up ahead she sees a point of light. With a gleeful grunt she shimmies faster - she's nearly made it!151 INT. TOURISM OFFICE - CONTINUOUS 151 A dozen SOLDIERS and the CHIEF OF POLICE have their eyes (and guns) trained on the tin ventilation duct above their heads. It is very very obvious not only that a person is crawling through it, but exactly where that person is. The Chief of Police pointedly coughs to get her attention.152 INT. VENTILATION DUCT 152 Penelope freezes. A beat of silence. The tin gives way, and she plummets...153 INT. TOURISM OFFICE - DAY 153 ...hitting the ground hard, then springing to her feet and through some knee-jerk primal instinct kicking a nearby soldier in the head. Eleven rifles cock and aim at her. 85 153 CONTINUED: 153 And that's how she's caught, frozen in a kung fu stance, plastic bag in her teeth. She locks eyes with the Chief of Police. Lets the bag drop from her teeth. And opens her mouth to speak.154 EXT. CHARLES BRIDGE - AFTERNOON 154 The hubbub has died down considerably, soldiers march away from the castle in formation. Bloom Stephen and the Chink sit watching for some sign. Three police cars, sirens blazing, drive down the length of the bridge. BLOOM The Chief of Police. As the last one passes, Bloom sees the Chief of Police riding shotgun, and Penelope sitting with a soldier behind caged mesh in the back seat. His face falls. Then Penelope spots him, points and says something. Very suddenly, the police car stops. The Chief of Police gets out. Nods at our intrepid three. And opens the door for Penelope. As she climbs out he motions for the passing soldiers to stand at attention and salute her. He kisses her hand. CHIEF OF POLICE (in Czech) It has been a privilege, madame, to behold even briefly such a strong, beautiful flower. PENELOPE (in Czech) Thank you sir, I will not soon forget your kindness. She blushes and smiles, then does an unhurried victory strut back to Bloom, Stephen and the Chink. 86 154 CONTINUED: 154 The police cars drive off. Penelope pulls the book out from under her jacket and sets it on a bench. A moment of victorious silence. Clapping her hands, she does a little shuffle dance of joy. PENELOPE (cont'd) (sings) We're a band of smugglers hey, la la la la la, we smuggle by night, drink by day, smugglers ho, ho ho... Everybody!155 EXT. SIDEWALK BAR - LATE AFTERNOON 155 Bloom and Stephen sit among empty wine glasses. The Chink approaches, gives Stephen a hand gesture. STEPHEN Let her sleep. Train doesn't leave till eight. BLOOM That was real. STEPHEN Yeah, I know. BLOOM Fuckin scary.156 EXT. PARK - LATE AFTERNOON 156 Bloom walks pensively through a green park. Cat Stevens' "Miles from Nowhere" plays from a nearby radio. His eye catches something. A shiny red apple on a fruit seller's cart. He approaches it slowly, face flushed, breath shallow, eyeing the elderly vendor with a thin semblance of nonchalance. Holy shit. He is going to steal that apple. Deftly he passes, lifting and pocketing it just as the Vendor turns away. Bloom has done it. His pale face tightens. 87 156 CONTINUED: 156 And turns. And sees a five year old boy. Giving him a stare of infinite judgement. Bloom turns on his heel and RUNS HELL FOR LEATHER. The vendor shouts. The little boy chases him, pointing and screaming. Dogs bark. People stare. And Bloom sprints, apple in hand, a joyful smile forming on his lips.157 INT. PRAGUE POLICE STATION - EVENING 157 Stephen bails Bloom out. STEPHEN An apple? BLOOM Yeah, but it was part of an epiphany.158 EXT. HUNGARIAN COUNTRYSIDE - NIGHT 158 The train thunders South, towards Greece.159 INT. TRAIN SLEEPER CAR - NIGHT 159 Stephen pokes his head into Penelope's car, says goodnight. As soon as he's gone, a foot dangles down outside the window and taps it. Penelope pulls it open, Bloom shimmies in with two mini bottles of gin. He kisses her.160 INT. SHIP STATE ROOM - MORNING 160 Bloom holds a sleeping Penelope, watching the sun stream through the window and slipping the green rubber band cash into her suitcase. A low horn blows, and Bloom's face darkens.161 EXT. THE ATLANTIC OCEAN - DAY 161 The good ship Fidele breaks the waves, blowing its horn. 88 161 CONTINUED: 161 Stephen stands on the deck. Bloom joins him. STEPHEN Mexico. He strolls off, leaving Bloom watching the horizon gloomily.162 EXT. DECK - DAY 162 Our intrepid four sit around a small table (except for the Chink, who lies on a deck chair in a bikini and Chuck Taylors, sunning herself.) STEPHEN Oh-kay. We're rendezvousing with Senor Rioso's guys here, on an isolated beach just south of the Mexican port town Tampico. A simple handoff. Penelope and Yeungling will stay with the car, Bloom and I will do the handing. PENELOPE You guys seem a little tense. STEPHEN Well I'm not thrilled they set this in Mexico. There could be legitimate reasons, but Mexico's - and I don't want to simplistically vilify an entire country, but Mexico's a horrible place. So we'll be careful.163 EXT. MEXICO BEACH - LATE AFTERNOON 163 The Chink fires an automatic pistol eight times into the dead center of a target pinned to a palm tree. She re-loads.164 EXT. TAMPICO HOTEL GROUNDS - CONTINUOUS 164 The beach sprawling below them, Penelope and Bloom meander. The hotel itself feels very old, red ruinous stone. PENELOPE Is this going to be more dangerous than I think, tomorrow? 89 164 CONTINUED: 164 BLOOM Yeah. You should sleep at the hotel tonight, I'll stay with Stephen at the beach house. You'll need sleep. On the distant beach, following the faint rapport of gunfire, a palm tree falls over. PENELOPE I'm really happy right now. Are you? BLOOM Right now I am. She kisses him and runs off along the cliff side, singing the smuggler song. BLOOM (cont'd) Penelope... But she's too far away now, and the ocean is too loud. She can't hear him, and he can't hear her, and in another moment she has vanishes into the green brush and white flowers. Behind Bloom's pained face, the sun dips towards the beach.165 INT. BEACH HOUSE - NIGHT 165 Stephen packs for tomorrow, Bloom stares out the black window, drinking. Flower in his lapel. Stephen picks up the con flowchart. STEPHEN The last box in our last con. Let them begin the beguine. How's it feel? BLOOM She's something special, Stephen. STEPHEN Uh huh. BLOOM Can I... He stares at his drink. 90 165 CONTINUED: 165 BLOOM (cont'd) Can I just have a little more time? Just a few days. I want to keep her, like this, I don't want this to just end. Don't make me do this. STEPHEN Be angry at me, you son of a bitch. Don't be pathetic. Make you? Jesus. I told you not to fall for her- BLOOM I'm not gonna do this. Stephen comes very close to Bloom's face, looks him straight in the eye. Finds his answer. STEPHEN I don't believe you. He goes back to packing.166 EXT. TAMPICO HOTEL GROUNDS - NIGHT 166 Bloom stands, the beach behind him, the glowing lights of the hotel before him. Growing determination.167 EXT. HOTEL HALLWAY - NIGHT 167 Bloom knocks on a door. Penelope answers, in her bathrobe. PENELOPE Hey. BLOOM I know what I've gotta do. I've gotta talk to you. Are you wearing shoes? PENELOPE What's up? He pulls her out of the room.168 INT. TAMPICO HOTEL GROUNDS - NIGHT 168 Bloom pulls Penelope by the hand, but she stops. 91 168 CONTINUED: 168 PENELOPE Bloom. What? Deep breath. BLOOM My brother and I are con men. All things considered, we might be the most respected con man team working today. And everything since you hit me with your Lamborghini, all of this, it's all fake. It's all a con.169 EXT. BEACH - NIGHT 169 The waves break angrily on the beach. In the distance, Stephen finishes his drink on the beach house porch, goes inside and turns out the light.170 EXT. TAMPICO HOTEL GROUNDS - NIGHT 170 BLOOM No, we were going to blow you off tomorrow using the cackle bladder, it's a, term, we have actors playing the Argentina guy's men, when we showed up the deal would go bad, they would open fire on us, Stephen and I would pretend to be shot using blood packets, squibs. That's - cackle bladder, in the old days they put fake blood in chicken bladders, so... So you'd escape with the Chink, she'd send you off with a little travelling money and that would be that. PENELOPE Wow. BLOOM But that's not how this one's going to end. I love you now, and I want to get you out of this. I'm going to do what I have to do to get you out of this, away from all this for good. Are you ready? 92 171 EXT. BEACH - NIGHT 171 Bloom leads Penelope down the beach by the hand. BLOOM Stephen's gone into town to prep the Argentina actors. Your money's at his place. PENELOPE Money? I don't want the money, let's just leave. For a moment he's tempted. The dark beach house looms ahead. BLOOM C'mon.172 INT. BEACH HOUSE - NIGHT 172 Dark. Bloom leads Penelope in, stumbles in the dark, switches on a lamp. Click, click - it doesn't come on. STEPHEN (O.S.) You have to switch it on at the base. A beat. Bloom does. Stephen sits in an easy chair, not looking happy. But not angry. Much more sad than angry. BLOOM So I've told her our whole play. And I'm here. To take her money back. How's that make you feel? STEPHEN Disappointed. BLOOM This isn't the ending you wanted? STEPHEN It doesn't matter now. This is the way it ends. So let's get it over with. BLOOM Where's the money? 93 172 CONTINUED: 172 STEPHEN I ate it. BLOOM Give me the money, Stephen. STEPHEN No. PENELOPE I don't want the money. BLOOM He's not going to keep a single piece of you. Stephen stands. STEPHEN I'm sorry you fell in love with her. But she's a mark. And all of this, all of it is a con. Every moment you shared with her, you were just playing the part of a man falling in love. That's what you're afraid of, right? That you don't know the difference? Or maybe that there is no difference. That that's what love is. PENELOPE We're leaving. STEPHEN (to Bloom) No. You're too scared to leave. You're scared to ride off into a sunset that isn't painted tarpaulin, cause real sunsets are beautiful but they turn into dark uncertain nights. If you were ready for that, you wouldn't be here. The money is in my bedroom. Right behind me. But in my story you don't get the money or the sunset or the girl. A long beat. The dark bedroom doorway looms behind Stephen. PENELOPE Bloom. Let's just go. Please. 94 172 CONTINUED: (2) 172 Bloom LUNGES, cracking Stephen in the jaw. Stephen goes down, Bloom leaps past him - but Stephen grabs Bloom's leg and brings him down. Then they are fighting. Penelope watches, horrified. A frightening, brutal brawl that tears the small beach house apart, thirty years worth of a fight. Until Stephen throws Bloom to the ground at Penelope's feet. Upsetting a small table. The Chink's pistol, lying on the holey paper target, falls and strikes the ground. And goes off with a deafening rapport. Blood spreads just beneath Stephen's collarbone. Penelope screams. Stephen stays standing for a moment, shocked. A dribble of blood out of the corner of his mouth. He half grins. STEPHEN Tastes like tin foil. And sinks to the ground. Bloom's eyes glaze. He crawls to his brother. Takes him in his arms. BLOOM I'm sorry. Penelope watches the brothers holding each other. Tears in her eyes, but she backs away a step, very conscious of not being a part of this moment. Bloom looks up at her, almost taking a moment to recognize her. PENELOPE Bloom... He doesn't move from his brother. PENELOPE (cont'd) I'm sorry. She leaves. 95 172 CONTINUED: (3) 172 For a long moment the Brothers Bloom lie in each other's arms in the middle of the broken room. Then Bloom stands, goes to the window and watches Penelope walking off into the distance down the beach. From the darkened bedroom doorway steps the Chink, her face a mask. Stephen stands. Lifts his shirt and removes the squib and blood packets. Bloom steps outside.173 EXT. BEACH HOUSE - NIGHT 173 A wood patio with steps leading down to the sand. Bloom watches Penelope, now very distant, almost gone. Stephen comes out, pulls out a flask. STEPHEN Hey. (nothing) I think that was the most honest conversation we've ever had. (more nothing) You actually connected on a few of those punches. BLOOM Did you expect me to do it? To come here tonight, end it the way you wrote it? Or were you really disappointed I didn't run off with her? STEPHEN I was disappointed. But I wasn't surprised. Bloom turns and SLUGS him in the jaw. Stephen falls to the sand. BLOOM I let you do your monologue, but you wanna know why I did it? I did it so she'd never want to see me again. To get her away from all this for good. 96 173 CONTINUED: 173 Without looking back Bloom walks off down the beach, in the opposite direction of Penelope, leaving Stephen bleeding in the sand, alone in the dark uncertain night. FADE OUT. TITLE CARD - 3 months later.174 EXT. LUDICROUS MANSION - DAY 174 Penelope's home, bucolic on a lazy Spring day. At a picnic table at the far edge of the front lawn, Penelope sits writing with intense concentration on a piece of paper. After awhile she raises her head, regarding what she's written thoughtfully. Folds it up, puts it in her pocket. Clicks the seemingly innocent ballpoint pen. BEEP. The mansion EXPLODES, completely. She walks away without looking back. After a beat, the plaster deer explodes in a ridiculous fireball.175 EXT. ITALIAN COUNTRYSIDE - DAY 175 Green hills surround the walled medieval city of Ferentino. A tiny white car inches its way across the countryside, and up into the city.176 EXT. FERENTINO APARTMENT - DAY 176 Bloom walks up the stone alley to his apartment, a bag of groceries in hand. He spots the white car parked out front. Loud shouting in Italian grows louder, until Penelope and the Grandmother burst out the front door. Berating each other with Italian curses and hand gestures. Penelope sees Bloom, and freezes. PENELOPE Hello. 97 176 CONTINUED: 176 BLOOM Hey. The Grandmother keeps up her barrage as she takes the groceries from Bloom, but as soon as she's behind Penelope's back she gives Bloom a wink, points to her and gives a thumbs- up of approval.177 EXT. FERENTINO STREETS - DAY 177 Bloom and Penelope wander the twisty alleyways of the city. BLOOM How did you find me? PENELOPE The Chink. BLOOM How did you find the Chink? PENELOPE She gave me her cell when we got to Mexico. BLOOM I didn't even know she had one. PENELOPE I think she's kind of selective in who she gives the number to.178 EXT. FERENTINO CAFE - LATER 178 They sit with wine and bread. BLOOM Why are you here, Penelope? PENELOPE Why did you decide to stay with your brother instead of coming with me in Mexico? BLOOM Everything Stephen said that night was true. 98 178 CONTINUED: 178 PENELOPE I've been doing a lot of thinking the past three months. I want you to consider something. She takes a piece of paper from her pocket, unfolds it and slides it across the table to him. On it, written over and over in a dozen different stylized fonts, is "PENELOPE THE CON ARTIST." Bloom sets the paper down with a snap. BLOOM Go away. Everything Stephen said was true. I was just playing you as a mark. Everything between us, none of it was real. She leans in close to him, her hand on his leg. PENELOPE I don't believe you. It's obvious even before she kisses him that she's right.179 EXT. FERENTINO STREETS - DAY 179 Bloom dials a pay phone. He's been crying. It rings. BLOOM Pick up... c'mon...180 INT. MONTE CARLO CASINO - CONTINUOUS 180 Lush, Edwardian. In a private room, a card table is overturned. Stephen lies on the ground in a defensive posture, a RAVISHING WOMAN in red lunging at him with a curved dagger. A BEARDED MAN with an eyepatch holds her back by the wrists, while a MONOCLED MAN in an antique wheelchair holds his tear stained face in his hands. This whole scene is frozen like a tableau, as Stephen's cell phone chirps away. Annoyed, the Bearded Man gives him a `go ahead' nod. Stephen hastily answers it. 99 180 CONTINUED: 180 STEPHEN Hello?181 EXT. FERENTINO STREETS - CONTINUOUS 181 BLOOM How quickly can you get to Ferentino? STEPHEN (ON PHONE) Uh... Nine-ish? Bloom fishes out his pocket watch. BLOOM Alright. Click. As he's putting his pocket watch back, he finds the stack of green rubber band money in his breast pocket.182 INT. FERENTINO APARTMENT - NIGHT 182 Penelope plays cards with the Grandmother.183 EXT. FERENTINO APARTMENT - NIGHT 183 Stephen and Bloom sit on the little landing outside the apartment. STEPHEN So she comes back wanting to work with us. Honestly? I think we'd be lucky to have her. If you called me to hear my opinion on the matter. Which I'm getting the feeling you didn't. BLOOM I did what I did in Mexico to get her out of all this. I would rather die than bring her into the con. STEPHEN So maybe you want to tell me what I'm doing in Ferentino. 100 183 CONTINUED: 183 BLOOM You knew she'd come back. What did you figure she was good for, another million? STEPHEN One point seven five. BLOOM We will play her again, one last con, but not for money. I'm gonna tell you how this one's gonna end. You built us into this, you're gonna fly us out, end it so she's done with all of us. End it all so it can't start up again. STEPHEN You want me to plan a con whose sole purpose is to blow her off for good? BLOOM I love her. You owe me this. I don't want to turn her into me.184 INT. FERENTINO APARTMENT - NIGHT 184 Penelope sleeps on a cot against the window. Bloom enters wearily. Sits in a chair. Watches her. In the next room over, Stephen sits in the dark. Shuffling cards. A lovely tune sung in Mandarin Chinese plays over this, segueing us into...185 INT. KARAOKE BAR - NIGHT 185 On a television screen, images of the Shanghai skyline. TITLE CARD - Shanghai A wall of monitors, which the Chink steps in front of, singing the climax of the song. Beautiful and sad. As the song ends, she sees through the spotlight Penelope, Bloom and Stephen at a table. Penelope waves. 101 185 CONTINUED: 185 The Chink's face betrays just the slightest hint of disappointment.186 INT. KARAOKE BAR PRIVATE BOOTH - LATER 186 The four sit with drinks. PENELOPE So what's the next job? STEPHEN Before we do the next job, we need to liquidate our assets from the last job. PENELOPE But you've got- STEPHEN Your money from the last job, well that's profit, not capital, the three of us have already split it up. So step one: sell the book of hours. PENELOPE I thought it was fake. STEPHEN With all your random expertise we couldn't risk a flat out fake. It isn't worth two point five million, we could maybe catch four hundred grand for it, but it's real. Who'd we buy it from? BLOOM Minskie. STEPHEN Perfect, we'll sell it right back to him. The Chink hands him a piece of paper. STEPHEN (cont'd) If he wasn't dead. BLOOM Well there's Demarco or Boyer. Or Roche, if we want to go state-side. 102 186 CONTINUED: 186 STEPHEN All traceable. With Minskie out we'd have to go deep black market if we wanted to be a hundred percent clear. There's only one place that's deep enough for that. Bloom and the Chink know exactly what he's talking about, and they don't look happy. PENELOPE Where?187 INT. KARAOKE BAR BACK ROOM - LATER 187 BLOOM Russia. It's like `cancer', I don't even like saying the word. Bloom, Stephen and the Chink drink in a cramped little concrete room adjacent to the bar's kitchen. STEPHEN We're obviously not going to deal with real Russians. They'll be our guys in a phony set up, they'll take our phony book and give her phony cash, a closed loop. Safe and simple. Bloom looks to the Chink for an opinion. Gets a blank face. STEPHEN (cont'd) So. We go to St. Petersburg. At the mention of St. Petersburg Bloom looks sharply at Stephen, but Stephen presses on. STEPHEN (cont'd) She does the hand-off with our fake "Russians." But while we're driving out of town, everything goes bad. He lays a simple flowchart, drawn on a napkin - three boxes. He points to the first, "Penelope sells book to `Russians'" 103 187 CONTINUED: 187 STEPHEN (cont'd) We discover we were sold a counterfeit book in the first place, which we've now sold to Russian smugglers. We discover this when the Russian mob starts taking us out one by one. Oh shit. He points to the second box, "Red Dawn." STEPHEN (cont'd) First they ambush our car, destroying the money. Then they take me out, then the Chink, and finally you Bloom, in a heroic death that allows Penelope to barely escape with her life. Devastated but reborn with the knowledge that you loved her so much you died so she could live, she drives off into a romantic life of adventure and peril, on the run from imaginary Russians. He points to the third box, "The End." STEPHEN (cont'd) What do you think? CUT TO:188 EXT. ST. PETERSBURG - SUNSET 188 The blood red sun sets over the city.189 INT. ST. PETERSBURG HOTEL ROOM - NIGHT 189 Penelope snores on the bed, while our intrepid three unpack. The phone rings. Stephen answers it, listens, hangs up. STEPHEN Our "Russians" have arrived.190 INT. ELEVATOR - NIGHT 190 Stephen, Bloom and the Chink ride down to the lobby with a red suitcase. 104 190 CONTINUED: 190 BLOOM Who'd you get, anyway? STEPHEN Hm? BLOOM To play the "Russians?" DING. The elevator doors open, revealing the Diamond Dog. DIAMOND DOG My boys.191 INT. HOTEL BAR - LATER 191 Empty. The Dog leans against the bar with several LACKEYS, waiting patiently, making sparks with his gold lighter. Sounds of shouting come from the adjoining dining area.192 INT. HOTEL DINING ROOM 192 BLOOM I don't understand. Tell me so I understand. Three months ago you were ready to blind the old bastard- STEPHEN We need someone who can pass for the Russian mob to buy our fake book. The Dog's got his big store right here in St. Petersburg. BLOOM Alright, fuckin stop. You want this to finish in St. Petersburg, you want this to end with the Dog for some what thematic something? Fine but don't tell it like a story, let's say it. Twenty three years ago and I can still smell, that blood red apartment of his, the smell of that place. I hate him Stephen but this isn't that, this is I don't trust him. 105 192 CONTINUED: 192 STEPHEN What's he gonna do? Steal our fake money? (beat) I've thought this one out, believe me. And we can't end it without him. Trust me. It's gonna be ok.193 INT. HOTEL BAR - LATER 193 The red leather suitcase on the bar. DIAMOND DOG Stephen, still the grand architect with your symbols. Red for temptation, white for salvation. The Dog opens it, revealing US hundreds. Examines it with a loupe. DIAMOND DOG (cont'd) Impressive, boys. BLOOM It's trash. There's visible cross hatching in Franklin's eye. Sure enough - obvious jagged misprints cut into Ben Franklin's eye on the bills. DIAMOND DOG Hm. I'll be damned. (closes case) Ruskies wouldn't be caught dead handing over a rag bag like this, it should be a steel attache. STEPHEN This'll do. We'll do the drop off at your store. Make it scary, think a movie version of the Russian mafia, but don't hassle her. DIAMOND DOG Alright. The Dog closes the case, and for a moment Bloom's eyes rest on his bandaged hand. He then takes the case and quickly moves off with his crew. 106 193 CONTINUED: 193 DIAMOND DOG (cont'd) I look forward to meeting the lady. Take care, boys. Leaving his gold lighter on the bar.194 INT. HOTEL CAR PORT - NIGHT 194 The Chink leads Stephen and Bloom around the brown Peugeot. STEPHEN So. Our fake Russian attack. One small charge will simulate a bullet hit, and blow out the back window. The Chink points with an extendable pointer to a small nub on the rear windshield. STEPHEN (cont'd) So that one bang, then we roll off the road. Once we get clear of the car the Chink sets off the final charge, incinerating the car and the money in the trunk. This'll all happen exactly twenty seconds after we cross the main bridge out of town. After the bridge. Stephen makes a note in a manila envelope, tucks it in his jacket. BLOOM Ok.195 INT. HOTEL HALLWAY - LATER 195 Bloom and the Chink walk back to their rooms. The Chink is expressionless. BLOOM You've been awful quiet. She doesn't react. BLOOM (cont'd) I'm doing this for her. But a door clicks shut, and Bloom is alone in the hall. 107 196 INT. PENELOPE'S HOTEL ROOM 196 Penelope in bed. Her door cracks open, and she sleepily looks up. Bloom stands silhouetted in the doorway. PENELOPE Tomorrow it all starts. She lifts the sheets. He gets into bed, and as she drifts into peaceful slumber Bloom is very conscious of holding her for the last time. When her snores begin, he has ear plugs ready.197 EXT. ST. PETERSBURG - SUNRISE 197 The Peugeot drives into the heart of the city.198 EXT. ST. PETERSBURG ALLEY - DAY 198 Bloom, Stephen and the Chink parked in an alley, watching a doorway across the street with a pair of binoculars. Bloom breathes uneasily, checks his watch. BLOOM She gives the Dog the book, he gives her the fake money. This is taking too long. Just then Penelope trots out. Metal attache case in hand.199 EXT. RUSSIA HIGHWAY - MORNING 199 On the outskirts of town, parked beside a murky little lake. Our heroes gather around the metal attache case on the hood. PENELOPE He hassled me. Took forever looking the book over, haggled the price. Wanted to pay me in Rubles. Stephen smirks, then opens it. The money's there. STEPHEN Alright. Let's get the hell out of Russia. 108 199 CONTINUED: 199 Bloom pulls the Dog's gold lighter from his pocket, takes one last glance at St. Petersburg and tosses it down into the lake.200 EXT. ST. PETERSBURG HIGHWAY - MORNING 200 The brown Peugeot drives towards the climbing sun.201 INT. PEUGEOT 201 The Chink drives, Stephen rides shotgun. Bloom and Penelope in the back seat. He looks weary. He sees the bridge approaching, maybe a half mile ahead. She pulls his head down into her lap, fingers in his hair. He breathes, closes his eyes. An explosion shatters the front passenger window. Bloom's eyes snap open, he bolts upright. The bridge is still a quarter mile away. In the next moment the car becomes a din of breaking glass, screams, tires screeching.202 EXT. ST. PETERSBURG HIGHWAY 202 A BLACK MERCEDES roars out on to the road, machine gun fire blazing from its windows, literally shredding the Peugeot. The car spins, tires flapping, and hits a highway embankment full speed, launching into the air.203 INT. PEUGEOT 203 A moment of strange silence as the car flips mid-air. The brothers lock eyes for a split second.204 EXT. FOREST BESIDE ST. PETERSBURG HIGHWAY 204 The car slams into the steep grassy embankment, manages to flip upright, and rolls into a thick forest, coming to an abrupt stop against a stout tree. 109 204 CONTINUED: 204 STEPHEN OUT! They all four dive out of the car, Bloom shoving Penelope, tumbling into the thick forest an instant before the car becomes a roiling ball of flame. Bloom lies shell-shocked, his vision blurry. He vaguely sees Penelope passed out beside him, Stephen on the other side of the car. A DARK FIGURE comes trotting into the woods, shining a flashlight on the charred car. Goes to Stephen. Reaches down to him... Bloom's mind flutters away into darkness.205 INT. FOREST - DAY 205 Bloom wakes. Rain splattering. Slumped against a tree. Penelope hunches over him. BLOOM What happened? PENELOPE Are you alright? BLOOM What happened? PENELOPE Yeungling went to get another car. BLOOM Where's Stephen? PENELOPE We don't know. He was gone. Bloom stands shakily, goes to the charred car. Runs his fingers over the dozens of bullet holes. Goes to where Stephen fell. Lying in the grass, a manila envelope. PENELOPE (cont'd) We're going to find him. If he escaped, he'll contact us. If they've got him, it's for ransom. 110 205 CONTINUED: 205 BLOOM Who's got him? PENELOPE The Russians. The Chink pulls up in the green bug, headlights catching Bloom's face against the dark forest depths.206 EXT. PARKING LOT - DAY 206 A desolate gas station parking lot. Bloom sits in the Bug, loading his revolver with shaky fingers. Penelope stands outside. BLOOM Stephen, god please what's happening. I don't know what to do. I don't know Stephen please. Please. What's happening. Please. A long black sedan screeches to a halt in the parking lot outside the window, Bloom bolts out of the car, pistol ready. But the Chink climbs out of the black sedan. PENELOPE Where does she get all these cars? Bloom motions for Penelope to stay back, then goes to meet the Chink in the middle of the parking lot. BLOOM If you know what's happening, now would be a really good time to speak up. She sets a suitcase down beside her. Bloom takes this in. BLOOM (cont'd) No, please. Not now. I need your help here now, I don't know what to do. The slightest smile communicates all the compassion in the world. But she's leaving. She hands him a small slip of paper, their fingers touching for an instant. 111 206 CONTINUED: 206 She gives Penelope a quick little "call me" gesture, picks up her case and walks off. A truck blocking our view of her car pulls away, and she gets in. Bloom looks down at the slip of paper. A short phrase, in Chinese. BLOOM (cont'd) Thanks. The engine turns over, and the Chink's car EXPLODES in a dramatic fireball. The paper flutters out of Blooms's fingers a moment before he and Penelope are thrown to the pavement by the shock wave. Bloom and Penelope lift their heads, absorbing what just happened.207 EXT. CHICAGO - DAY 207 A busy street, which a title card identifies as "Chicago, Illinois." On the corner, an unassuming Chinese restaurant.208 INT. CHINESE RESTAURANT - DAY 208 A dive. The chef on the phone. CHEF Ah, ah yes, Mr. Bloom. Yes, ok. ALL THE COOKS Blooooom! He puts the phone down and goes to the fax machine, which is spitting out a facsimile of the Chink's slip of paper.209 INT. ST. PETERSBURG COPY SHOP - EARLY MORNING 209 Bloom on a pay phone, scribbling on a piece of paper. 112 209 CONTINUED: 209 BLOOM Uh huh. Assholes. Ok. Um, ok. So I've got "We are all assholes in our own theatrical enterprises." You sure? This phrase, written on Bloom's paper. CHEF And then it end with "Goodbye shit head." BLOOM Shit head? CHEF But it is different meaning in Mandarin, uh, endearing. "Shit head" if you have affection for shit.210 EXT. SIDEWALK - MOMENTS LATER 210 The Bug parked nearby. Penelope sits on the curb, crying. Bloom sits next to her. PENELOPE What did it mean? BLOOM I don't know. PENELOPE What did it say? BLOOM "We're all of us marks in our own cons." And she said goodbye. PENELOPE I still can't believe it. BLOOM That the Chink fell for a car bomb? Neither can I. PENELOPE (hopeful) What? Oh, oh god do you think she faked it? So the Russians would think she was dead? 113 210 CONTINUED: 210 Bloom stands, paces away. He leafs limply through the manila folder - addresses, pictures, information... A paper with the Dog's photo clipped to it. An address in St. Petersburg. The napkin Stephen wrote the con flowchart on. The third box - "The End." PENELOPE (cont'd) What do we do now? Scrawled on the inside of the manila envelope - "An unwritten life." Bloom's face clears. He wipes his eyes. BLOOM Ok. Bloom goes to the Bug. PENELOPE Where are you going? BLOOM This wasn't Russians. This was done by an old mentor of ours who wants us off the map. He has an apartment in St. Petersburg. So this is, yeah. I've gotta go back to that apartment to face the Dog and get my brother back. That's how I'm gonna end this. Penelope's eyes gleam. She jumps up to the passenger door, and Bloom stops her with a weary look. PENELOPE We can skip the whole you-sending- me-nobly-away-and-me-refusing-to- leave-your-side-thing. BLOOM Thank Christ.211 EXT. ST. PETERSBURG STREET - LATE MORNING 211 A narrow alley between tall apartments. Bloom parks, pulls his gun and checks it. 114 211 CONTINUED: 211 BLOOM If there are shots you run to the car and drive, with or without me.212 INT. APARTMENT ENTRYWAY - DAY 212 A badly lit apartment hallway. Bloom approaches a door, Penelope behind him. His breathing becomes hard. His face contorts. He crumples next to the door. PENELOPE What's in there? Tell me who this guy is. Bloom's breathing steadies. BLOOM He's just an old man. He tries the knob. It opens.213 INT. DIAMOND DOG'S APARTMENT - D 213 Blood red walls. Dark, neglected and to all appearances empty. Bloom creeps down the darkened corridor, gun outstretched. Breathes through his nose, chokes. BLOOM Dog! I came back. He kicks open a door, revealing a large living space. Empty. He lowers his gun, switches on the light. Penelope enters. Sniffs the air. PENELOPE Moth balls. Bloom almost laughs. BLOOM Is that what that smell is? BAM! A closet door smacks open, revealing the business end of a double barrel shotgun. 115 213 CONTINUED: 213 Bloom spins, gun drawn. Penelope screams. Then a moment of stillness. The shotgun barrel quivers. It's held by the 11 year old boy Bloom saw in the Dog's Mercedes in Prague. Malnourished and scared. Penelope approaches him slowly. PENELOPE (in Russian) It's okay. Honey, it's alright. The shotgun sinks to the ground. Penelope strokes his hair back from his face. Bloom lowers the gun, trembling. BLOOM Ask him if anyone else is here. She does. BOY Nyet. BLOOM Ask him where the Diamond Dog is. PENELOPE Diamond Dog? (in Russian) Where is the Diamond Dog? BOY (in English) The Dog of Diamonds is gone. Bloom does a quick search of the rest of the room. As he does Penelope asks the boy one more question in Russian, and gets a quick answer. BLOOM Get the car started. PENELOPE What about him? BLOOM It's alright. 116 213 CONTINUED: (2) 213 She believes him, and goes. Bloom kneels in front of the boy. BLOOM (cont'd) You don't need to be afraid of him anymore. Or angry at him. Or ever come back here again. He doesn't concern you anymore. Understand? It's gonna be ok. The boy nods. Bloom hands him the stack of bills wrapped in the green rubber band. The boy snatches it and runs off.214 EXT. ST. PETERSBURG STREET - DAY 214 Bloom trots out of the apartment building, and sees two things: Penelope working the VW's starter, and a black Mercedes speeding down the narrow street towards her. He sprints towards her, screaming BLOOM Get out! Get out of the car!! She sees the approaching Merc, too late, and ducks down. A hand hurls something from the darkened window. It smashes through the Bug's passenger side window, showering Penelope with glass. The Mercedes roars off down the street. Bloom reaches the Bug and throws the door open. Penelope lies covered in safety glass, holding a Russian nesting doll.215 INT. BUG - LATER 215 The seven progressively smaller dolls lie open on the back seat, Bloom holds the two halves of the final tiny doll, and Penelope holds a note. PENELOPE It's a ransom note. It says they have Stephen, it says they want the money wired to a specific account, they give a bank to do it at and a manager to ask for. (MORE) 117 215 CONTINUED: 215 PENELOPE (cont'd) Then an address to come to, at two p.m. In two hours. BLOOM I'll wire the money from my account, and we'll go get Stephen. PENELOPE It's a lot. BLOOM How much? PENELOPE I'll do it, I want to, I've got plenty- BLOOM How much are they asking for? PENELOPE One point seven five million. A cold pit opens in Bloom's stomach. BLOOM Oh. Oh oh. No no NO. He punches the dashboard. BLOOM (cont'd) No I'll kill him. I'll kill him if that's what this is, if that's all that this is, no NO NO. PENELOPE What are you talking about? BLOOM There's another possibility that I should of, I'm a fucking idiot. This might all be a con. By my brother. To get me - oh god - he wanted me to face the Dog, to end it, and he gets your money. Oh god. I'm going to be sick. PENELOPE Would he do that? To you? BLOOM I don't know. Yes. Yes of course he would. (MORE) 118 215 CONTINUED: (2) 215 BLOOM (cont'd) To tell a story so well it becomes real. The perfect con. That's his whole, goddammit, that's what. PENELOPE But you don't know. Let's transfer the money. You don't know. BLOOM Son of a bitch. PENELOPE You don't know. This is your brother's life. I'm gonna wire the money.216 EXT. ST. PETERSBURG BANK - DAY 216 Bloom sits in the car, alone. He punches the dashboard again, helpless enraged and scared. Penelope gets in, looks at the address on the note. PENELOPE Ok.217 EXT. BURNED OUT THEATER - DAY 217 Penelope and Bloom sit in the car, parked in front of the impressive facade of a closed, burned out old theater. The clock on the dashboard reads 1:50. BLOOM I'm so scared. Anything I can imagine finding in there, I'm scared of. PENELOPE I'm going to be here when you come out. She kisses him. He puts his hand on the door. Hesitates. Then goes. Walks up the stairs to the inky maw of the theater door. Goes in alone. 119 218 INT. THEATER LOBBY 218 No lights. Moldy dust. A genuinely creepy place. Bloom steps lightly, deeper into the theater. BLOOM Stephen!219 INT. THEATER AUDITORIUM 219 A few lights flicker on the walls, fitfully illuminating the broken dusty seats and bare ruined stage. Bloom walks down the aisle, trying to keep his voice steady. BLOOM Stephen! A spotlight snaps on from the mezzanine, right in Bloom's face. He spins, trapped in its glare. A guttural command is shouted in what might be Russian. When Bloom doesn't respond, the spot silently advances a few feet ahead of him towards the stage. Bloom gingerly follows it, up onto the splintered stage and finally resting on a split in the tarpaulin backdrop. With a wary glance back, Bloom steps through it.220 INT. THEATER BACKSTAGE 220 Giant fossils of antique stage scenery. Utility lights high above, cut by scaffolding, patch everything in dim jagged forms of light and black. BLOOM (unsteady) Stephen. Game's up. Come on out. Let's blow this one hat town. Silence. Then a harsh utility lamp snaps on, cruelly lighting Stephen's face. Shockingly bruised and battered, old and new blood. Bloom cries and rushes towards him... 120 220 CONTINUED: 220 STEPHEN No! No Bloom, freeze. He obeys. Stephen is tied to a chair. A dark figure behind him holds the lamp with a black gloved hand. BLOOM Stephen, who is it? Is it the Dog? STEPHEN Did Penelope wire the money? BLOOM Yeah. STEPHEN They're calling to check right now. Don't move. I'm alright. The dark figure's cell phone rings, he holds it to his ear for a moment then flips it closed. Something happens in the blackness, and Stephen shakily stands, cut loose. STEPHEN (cont'd) Stay where you are, Bloom. I'm coming to you. He takes a couple wobbly steps. Behind him, Bloom sees the dark figure raising his gun towards Stephen's back, pulling the hammer... And the utility lamp switches off. BLOOM No! Bloom's revolver pops out of his sleeve and he's firing into the blackness. Stephen drops flat to the ground. The fiery rapport of a big pistol flashes from the blackness, strobing the scene like stage lightning. Bloom reloads behind the cover of a heavy flat, but Stephen lies on his stomach out in the open. BLOOM (cont'd) Stephen! 121 220 CONTINUED: (2) 220 STEPHEN Stay back! But Bloom makes a dash for his brother, out into the open, unloading three more rounds into the dark. The dark figure returns fire on Bloom, who is sprinting full on his feet in a large pool of light. A sitting duck. Stephen launches himself up, tackling Bloom backwards. Just before they fall behind the safety of the flat, a red burst of blood flowers from Stephen's left lower back. Bloom sets him down gently, and hears heavy footsteps behind him. He turns, firing, but only sees a blur of dark coat go by, through the torn backdrop. Bloom runs out on stage, tearing the tarpaulin, and fires after the dark figure limping up the aisle and away into the lobby. Silence. Bloom walks back to Stephen, who lies behind the flat, breathing heavy. Blood soaking through his shirt. BLOOM Please tell me this is all gonna be ok. Tell me that's a squib, and that's makeup, and that you just gave me what I always wanted and pulled off the perfect con. A long, long moment. Stephen coughs, spits. Then a wry grin spreads across his face. STEPHEN You said it, not me. He stands, the shakiness gone. STEPHEN (cont'd) Can I get a `wow' for this one? BLOOM You son of a bitch. 122 220 CONTINUED: (3) 220 Bloom looks like he might hit him, but his face breaks and he embraces him, crying. The Brothers Bloom stay like that for a long while, holding each other in the spotlight's glow. Finally Stephen pulls away, tears in his eyes. He wipes them, wipes blood from his lip. STEPHEN Tastes like tin foil. Alright here's what I want you to do. The Chink split? BLOOM Yeah. Clean exit. STEPHEN How? BLOOM Car bomb. A hint of relief in Stephen's face. STEPHEN Good. Here's what. Take Penelope back to Helsinki, take that flight to Rio. Lay low like we said. Play out the on-the-run-from- vengeful-Russians thing, that'll be fun for her. Play it like I'm dead, actually - that'll add some gravity to everything, that'll be nice. And I'll see you when I see you. BLOOM Soon? STEPHEN I hope not. Last thing you need is me hanging around. Anyway, how could I top this? Bloom hugs him again. BLOOM I love you. Bye. He turns to go. STEPHEN Hey. Think of any card. 123 220 CONTINUED: (4) 220 Stephen pulls out a pack of cards. BLOOM Alright. Stephen cuts, to the Queen of hearts. BLOOM (cont'd) Stephen. That's it. (grins) That's the best card trick I've ever seen. I just wish you had a bigger audience. STEPHEN You're the only audience I've ever needed. Wink. Bloom leaves. Stephen watches him go.221 EXT. RUSSIA HIGHWAY - LATE AFTERNOON 221 Rumbling towards Finland. In the Bug, Bloom sleeps in Penelope's arm while she drives. She looks at his hand on hers, his shirt cuff bright red with Stephen's "blood." She strokes his shoulder sadly. Off Bloom's sleeping face...222 INT. THEATER STAGE 222 Stephen pulls a chair out onto the stage, sets it right in the spotlight's glare. Trembling as if it takes all his last strength in the world. Sits. Looks at the Queen of Hearts, moves his fingers over it. Then slides is up his sleeve. Blood trickles down his hand. 124 223 INT. BUG - SUNSET 223 Bloom wakes with a start. PENELOPE Hey. Hey, it's ok. The bridge is coming up, we're almost at the border. Were you dreaming about Stephen? She strokes his hair back from his face. He nods, and looks down at his sleeve. Stephen's "blood" on his white cuff. Now a dark shade of brown. Bloom looks at this shirt. All the blood, it's all brown. He looks up at the road, nearly panicked. Maybe a quarter mile ahead is the bridge. BLOOM Pull over. Pull over!!224 EXT. ROADSIDE - SUNSET 224 She does. He bursts out of the car, and run/tumbles down the grassy hillside till he finds the car tracks. He follows them to the charred remains of the Peugeot. Penelope stumbles down after him. PENELOPE What is it? You're scaring me- BLOOM What did you ask the Russian kid, in the Dog's apartment? He said the Dog isn't here, then what did you ask? Bloom kicks open the trunk. Pries open the blistered attache case. 125 224 CONTINUED: 224 Sifts through the charred pile of cinders that was the money from the "Russians" till he finds what he was looking for and brings it out into the dying light. PENELOPE How long had he been alone. BLOOM And what did he say? A scrap of unburned money. A fragment of Ben Franklin's face. PENELOPE Since yesterday morning. A single eye gazing up at him, the green grass behind it. The eye is perfect. No cross hatching. Bloom sinks to his knees. BLOOM This is real. They hassled you. PENELOPE Bloom- BLOOM The Dog was gone before we got there. They hadn't cleared out of their apartment, they had been cleared out.225 INT. DIAMOND DOG'S APARTMENT - DAY FLASHBACK 225 RUSSIANS in black overcoats burst in, shooting the Dog's men with silenced pistols. The BOY shuts himself in the closet, terrified.226 EXT. ROADSIDE - SUNSET 226 BLOOM Real Russians. Took his store. They didn't know about his deal with us, but you haggled with them. You really sold the book to real Russians. The Diamond Dog was gone. 126 227 EXT. RUSSIA HIGHWAY - FLASHBACK 227 The scene beside the lake, our four heroes checking the money in the attache case. STEPHEN Let's get the hell out of Russia. Bloom tosses the gold lighter, it splashes into the lake. We follow it, plunging beneath the surface. Deep deep down, among weak tendrils of light, the Diamond Dog sinks into watery blackness, a long blade in his neck.228 EXT. ROADSIDE - SUNSET 228 BLOOM And they came after us. And Stephen... Penelope holds him tight. PENELOPE I know. BLOOM Stephen saved my life. PENELOPE I know. BLOOM He's gone. Bloom folds into Penelope's arms, but she doesn't let him. She holds his crying face up. PENELOPE And he did it so you could live. Your brother loved you. He loved you so much. Look at me. Stephen said something once, I got the feeling he'd rather be telling it to you. He said there's no such thing as an unwritten life. Just badly written ones. I love you. (MORE) 127 228 CONTINUED: 228 PENELOPE (cont'd) We're gonna outrun these bastard Russian mafia, and we're gonna hide out in Rio, then we're gonna live like we're telling the best fucking story in the world. Are you ready? She holds his face close to hers for a long beat. Then smiles and pushes away, launching up the grassy hill. Bloom watches her. Time slows as she turns back towards him, still running, and holds out her hand for him to follow. BLOOM (V.O.) I was thinking of something Stephen said too. "The perfect con is one where everyone involved gets just the thing they wanted." Well. He takes the girl's hand, and runs with her towards the point of light breaking over the hill.229 EXT. HIGHWAY - SUNSET 229 Sunset with her wine-red fingers falls over the road ahead. The rumbly old VW chugs away from us, towards the horizon. THE END \ No newline at end of file diff --git a/unformated_scripts/Script_Bruce Almighty.txt b/unformated_scripts/Script_Bruce Almighty.txt new file mode 100644 index 0000000000000000000000000000000000000000..370ef49ee5235442b6fd3bae426be9639812e5bd --- /dev/null +++ b/unformated_scripts/Script_Bruce Almighty.txt @@ -0,0 +1 @@ + BRUCE ALMIGHTYby Steve Koren & Mark O'Keefe Rewrite by Steve Oedekerk 7/30/02 Shady Acres EntertainmentINT. KOWOLSKI'S BAKERY - KITCHEN - DAYA news crew shuttles around a GIGANTIC COOKIE. Standing byare the KOWOLSKI BROTHERS, GUSTOV and VOL, two SHORT, STOCKY,MEN, along with MOTHER KOWOLSKI and other bakery familyemployees. A "30 YEAR ANNIVERSARY" sign hangs in thebackground.BRUCE NOLAN looks into a make-up mirror, desperately tryingto place a large segment of wayward hair. BRUCE Oh, God, no! The hair's wrong. This is a bad sign. (calling out) We really need to get a make-up person?!The segment producer, ALLY LOMAN, steps over. ALLY Not in the budget. And not to * * worry, you're going to look great in this.She holds out a HAIR NET. BRUCE A hair net? I'm not wearing a hair net. I just did the hair. ALLY (matter of fact) Health code. In the kitchen or around the cookie, you gotta have it. BRUCE (to crew: re hair net) You guy's should tell me this before hand, this is like a huge waste of...moose.Bruce spreads the hair net, bends down out of frame, comes uplooking ridiculous and very disgruntled. BRUCE Remind me to swing by an elementary * school after this and serve lunch.Ally laughs. 2. ALLY You're a thing of beauty. In three, two, one. . .Bruce SNAPS from pissed to instant charismatic TV newsman.(Note: Whenever Bruce speaks on camera he speaks in his"REPORTER'S VOICE" - that recognizable, too-smooth deliverythat all news reporters seem to have. In mathematical termsBruce's version is to the 7th power.) BRUCE For three decades the Kowolski Family Bakery has been a mainstay in downtown Buffalo. Known for their sinfully rich, cream filled, deep fried polski pierogis. And the occasional sugar induced coma that follows. Today, in honor of their 30 year anniversary, Momma Kowolski and her sons Gustov and Vol, decided to do something, a little bit different. Tell me guys, how did this idea come about? GUSTOV Well, Vol said to me, 'Gustov, why don't we make the biggest chocolate chip cookie in Buffalo?' And I said, 'Yeah, sure.' BRUCE Wow. Fascinating.Bruce steps up to the HUGE COOKIE. BRUCE The previous Buffalo cookie record was 3 feet, 17 inches baked by Gladys Pelsnick. But this behemoth cookie clearly proving that Gustov and Vol have much more free time.The Kowolski brothers and all celebrate in the background,toasting with big mugs of milk. Bruce steps forward, looksdramatically at camera, slow zoom in as he speaks. BRUCE (CONT'D) As we witness the ceremonial toasting with milk it makes one pause and think. What are we really looking at here? (MORE) 3. BRUCE (CONT'D) Is it just a big cookie or does this cookie represent the pride of Buffalo? Our dedicated and hard working citizens the key ingredient, with a few nuts thrown in. (motions his eyes to the Kowolski twins) And finally, the love of our families which provides the warm chewy center making our beloved Buffalo the sweetest place to live.Camera is in CLOSE as Bruce signs-off. BRUCE (CONT'D) And that's the way the cookie crumbles. I'm Bruce Nolan, Eyewitness News.Bruce's hair net SLIPS UP, PUFFING HIS HAIR INTO A BUN ON THETOP OF HIS HEAD. The Kowolskis and bystanders all laugh.The frame FREEZES.We PULL BACK from the TV and find Bruce holding the remote,watching the recorded spot on TV. We are now...INT. BRUCE AND GRACE'S APARTMENT - NIGHTBruce is with his longtime girlfriend, GRACE. She has a boxof photos on the coffee table in front of her organizing theminto a photo album. BRUCE So, what do you think? GRACE It's good. BRUCE It sucks. It's a story about a cookie. People with eating disorders will be riveted, (goes into huge pathetic fan character) Dear Bruce, love the bakery piece. I can't wait to vomit so I can make room for more cookies. GRACE I thought it was funny. I love the hair net. How'd you get it to do that? 4. BRUCE What? I'm cutting that. They made me wear that stupid thing. I don't even look like myself. The hair is one of the most important parts of an on camera persona. Right out of the gate, I lost the hair advantage.Grace looks at a photo, GRACE Oh, my gosh, look at this one. My sister is so drunk.She places it in the album. BRUCE Grace. Try to stay focused here. I need your help. GRACE Aren't you taking this a little too seriously? BRUCE It's sweeps Grace. It is serious. There's an anchor job open. This is important. This is our future!Bruce points to the TV as he says "future," not realizinghe's pointing at the ridiculous image of himself with thehair net bun. Grace can't help but giggle. GRACE I'm sorry.Bruce collapses into Grace's arms like a child. He clearlyhas a fragile temperament. BRUCE (sighs) I'm never going to get anchor doing these kind of assignments. I want my work to matter. GRACE It does matter. You're funny. You make people smile. Come on, take a break, help me put this album together. BRUCE (reluctant) Alright.Grace holds up a photo. GRACE Oh look at this. It's the first day we moved in together.It's the two of them, younger, laughing. BRUCE (down) Yeah, so full of hopes and dreams. GRACE Oh, here's me at my sister's wedding. I caught the bouquet.It's a picture of Grace overpowering the other bridesmaidsfor the bouquet. BRUCE You look pretty intense, hun. GRACE Well, I was thinking about you.Grace cuddles into Bruce. BRUCE So, you're attracted to me in some way, is that what you're trying to say?Grace rolls over onto Bruce. GRACE You have no idea. BRUCE I was saving myself for the wedding night, but if you keep this up, I may lose my resolve.Grace stands, pulling Bruce up. GRACE Well, that's the way the cookie crumbles.They kiss, stumbling toward the bedroom. 6. BRUCE Hey, that's a good line, but you need more resonance. From the diaphragm. (newscaster voice) That's the way the cookie crumbles. GRACE Oh, say it again. BRUCE (bigger) That's the way the cookie crumbles. GRACE (sweet, southern groupie) Oh, I just love on-air personalities. BRUCE (newscaster voice) Well then, let me take these clothes off and slip into my hair net.Grace laughs, Bruce joins in as they disappear into thebedroom. CUT TO:A TELEVISION SCREENWe see the INTRO FOR SIXTY MINUTES: NEWS CLIP I'm Ed Bradley, I'm Merely Safer, an d I ' m --LESLIE STAHL is HIT IN THE NECK WITH A TRANQUILIZER DART.Her head wavers, then DROPS on the desk. The camera PANS toBRUCE, who lowers a bamboo blow gun, cooly addresses camera. BRUCE ...Bruce Nolan. And this is Sixty Minutes.THE SIXTY MINUTES TICKING CLOCK DISSOLVE TO:BRUCE'S ALARM CLOCK - IT RINGSWe are in. . . 7.INT. BRUCE AND GRACE'S APARTMENT - MORNINGBruce lies next to Grace with a big smile on his face. Gracehits the alarm, rolls over snuggling close to Bruce. GRACE Sweety, time to get up...She kisses Bruce, gets up. BRUCE No, I'm having a great dream.The covers are RIPPED OUT OF FRAME. Bruce throws a mockhissy fit.INT. BEDROOM - MORNINGBruce watches TV as he buttons his shirt. SPORTSCASTER ...and the Sabers lost another close one last night. Four to three to the Toronto Maple Leafs. BRUCE Of course they lost, they're my team. CUT TO:MOMENTS LATERBruce checks his hair in the mirror practicing his new sign-off. BRUCE "And that's the way the cookie crumbles." (calls to Grace) You know, I think there might be something to that cookie line. Everything great anchor has his own signature sign-off. (as Walter Cronkite) "And that's the way the cookie crumbles."ANGLE - SAMPeeing in the corner on the carpet. 8. BRUCE Oh no! Grace, the dog! GRACE (O.S.) I'm in the shower! BRUCE Ah!INT. APARTMENT STAIRCASEBruce runs along carrying the peeing Sam with extended armsdodges a man ascending the stares, who gets sprinkled. BRUCE Whoops, sorry.EXT. APARTMENT - CONTINUOUSBruce makes it outside, sets Sam down on the grass. Samlooks up innocently at Bruce, finished. BRUCE Oh, you're all done, huh? B-e-a-utiful.EXT. SMALL WONDERS DAY CARE - MORNINGBruce pulls up in his Ford Tauras to a cluster of carsunloading kids. A 2003 MERCEDES SRL passes by. GRACE Wow, nice car, huh? BRUCE Yeah, if you want to rub your success in people's faces.Then Bruce notices a big medical van in front of the schoolwith a BLOOD DRIVE SIGN. BRUCE What's with the hubbub? GRACE We're having a blood drive. BRUCE Creepy. Needles, yech... GRACE Oh, that's a nice response. 9. BRUCE I mean, it's just s o . . . GRACE Helpful and life saving? BRUCE C'mon, that's your...blood. It's in your body and I don't think it's supposed to come out. Besides, they stockpile that stuff. They have an endless supply frozen in a warehouse somewhere then tell everyone there's a shortage. GRACE They do not. Now stop it. I'm * giving. I have a very rare blood * type, AB positive. BRUCE Well, I'm IB positive. IB positive they aint touchin' me with no needle.Grace sighs in exasperation, starts out when... GRACE (suddenly remembers something) O. . . hShe places a STRING OF PRAYER BEADS on the rearview mirror. BRUCE What's that? GRACE Prayer beads. The kids made 'em. Keep you safe. BRUCE Well, I hope they work, cause it's going take a miracle to get me to work on time.EXT. HIGHWAY - DAYBruce is stuck in bumper to bumper traffic. He stares at theprayer beads with a "thanks alot" look. 10.A big accident ahead. Bruce looks at his watch, he'sscrewed. A person is CARRIED BY ON A STRETCHER, Bruce isoblivious. BRUCE This is just my luck.Bruce's BEEPER sounds. He checks it. BRUCE. The meeting's starting, perfect... (thinks) Screw it.He looks to the right of the car in front of him, then peelsoff onto the shoulder, passing tons of cars. BRUCE (laughs) Catch you later, lemmings 1 It's kill or be killed, only the strong survive, no guts, no glory1SFX: SIRENBruce pulls over, fumes. BRUCE (looking heavenward) Thank you.EXT. PARKING LOT - DAYBruce screeches into a space, races out of the car, bumpingover a trash can, goes back to pick it up, sees a HOMELESSMAN who sits peacefully next to a paint bucket and signboards. The various "warnings" change daily. Today's SIGNreads: R EWE BLIND?Bruce looks at the sign quizzically for a beat, thencontinues on.INT. NEWSROOM - DAYBruce rushes through the newsroom, rounds a corner and runsright into BOBBY, the endlessly yammering PASTRY CART GUY. 1. 1 BOBBY Bruce the goose! Morning, Buddy. Don't even move, I got somethin' special today. My mom made it just for you. BRUCE Well, that's- Bobby, I gotta go- I'm late... BOBBY (bending down) You like Quiche?He comes back up, proudly presents a slice of quiche. BOBBY You know, contrary to popular belief the quiche was actually invented by the Mayans, then stolen by the French. They shoulda said, "Hey, that quiche ain't yours, it's Mayan!"Bobby belts out a laugh. BRUCE Bobby, I can't, I-- BOBBY Just taste it, taste it...Bobby shoves a bite into Bruce's mouth. Bruce feigns likingit with exasperation. BRUCE Mmm, delicious, I really gotta go. BOBBY That's a buck seventy-five. BRUCE Can you get Kelly- Ahh...Bruce tosses the thought, digs into his pocket, fishing forcash. BOBBY (excited) Oh, two o'clock, two o'clock, two-o- five, two-ten... 12.Bruce glances over, annoyed but freezes at the sight of sexyanchorwoman, SUSAN ORTEGA across the room. BOBBY Way out of our league, huh?Bruce offers his money to Bobby. BOBBY You know, I saw them editing your cookie piece. BRUCE Really? BOBBY They must have gotten high or something, cause they was orderin' everything, I had. Hey, how long have you been interested in pastry? 'Cause I've got an aunt who makes baklava twenty layers deep. BRUCE (holding money out) Bobby. BOBBY (gets a brilliant idea) Maybe you could do a story on her!Bruce tosses the money on the cart, heads off. BRUCE Keep the change. BOBBY (calling after) I'll give her a call, we'll talk about it later!INT. STAFF MEETING ROOM - DAYON THE MONITOR: EVAN Is something killing your kids? Find out tonight at eleven.Bruce looks at the sign quizzically for a beat, thencontinues on. 13.IN THE ROOMThe morning meeting is well in progress. Leading the groupis the station manager and Bruce's boss, JACK KELLER, 50's, aconstant furrow in his brow.Also in the room: Bruce's fellow field reporter and rivalEVAN BAXTER, 30' s , a walking statement. Impeccable posture,perfect speech, perfect everything and he knows it.FRED DONOHUE, the ever jovial sports reporter; always tanned,vain weatherman, DALLAS COLEMAN and segment producer AllyLoman. JACK Okay, promos are approved, let's-- ALLY Ah, isn't that last one a little misleading? I mean, the story's about flu shots. Do we have to scare people to death? EVAN No, just into watching. Or I could change it to: "Slow news day, come yawn with us. At eleven." FRED Sniffles at eleven is nice. DALLAS Attack of the killer sniffles? ALLY (to Dallas) The tanning booth is starting to zap your brain, you know that? DALLAS I don't use a tanning booth.A beat and they all crack up. FRED * Come on. You're turning orange. * EVAN * He looks Florida ripe to me. . *More laughs. * 14. JACK I would have swore I already said this, but promos are approved. Now * can we move on? * ALLY Jack, shouldn't the promos be * focusing on Pete's retirement. This is his last week. EVAN (leading) Yeah, yeah. Any word on the open anchor position, Jack? JACK Evan, you'11 know something when I know something.Bruce bursts into the room. The meeting stops. Jack doesn'tneed to say anything, he just looks at his watch. BRUCE Sorry, Jack. It wasn't my fault. The traffic was -- You guys already played the spots? JACK Nice story, Bruce, but we're going with Evan's piece on the sex scandal at the mayor's office for sweeps.This hits Bruce hard. A beat of silence. EVAN And that's the way the cookie crumbles.The others chuckle. Only Ally remains sympathetic. EVAN I'm just messin' with you, Bruce. See you've got to remember that the news room is like a cookie...More laughs. BRUCE (re: Evan's perfect posture) That's great Evan. (MORE) 15. BRUCE (cont'd) Is you're posture naturally that good, or do you have to shove a stick up there? JACK Okay, knock it off... Bruce we're holding your story in reserve. Now, can we get back to the board so we have something to air today?Jack continues with assignments. Evan sits smugly, as Bruceslides down into his chair, deflated.INT. HALLWAY - MOMENTS LATERJack is at Bobby's cart, paying for a sandwich. Brucecatches up .to him. BRUCE Jack, Jack, hey. Can I talk to you for a second? JACK Sure, Bruce. What do you need? BRUCE Sweeps.Jack takes his sandwich and leaves. Bobby leans to Bruce. BOBBY Don't worry about it. I called my aunt, we're on.Bruce looks at Bobby, continues after and catches Jack. BRUCE Look, Jack. Hear me out, I'm getting desperate man, I am pushing forty and what have I got to show for it? The point is, I've hit some kind of a ceiling here. Some kind of anti-Bruce barrierI And Evan is just lovin' it, by the way. He gets the good stories, he gets on sweeps. Maybe I have to be more like Evan. JACK You don't want to be like Evan. Evan's an asshole. BRUCE I can be an asshole. 16. JACK No, Bruce. You can't.Bruce thinks, then flips Jack's sandwich plate over. Itscatters on the floor. Jack and Bruce stare at each otherfor a beat. JACK Are you going to pick that up? BRUCE Yeah, I'm sorry.Bruce bends down, starts picking up Jack's food. BRUCE It's just- this anchor position looming, it's gotten me nuts...He hands the plate to Jack, as sexy anchorwoman SUSAN ORTEGAsaunters by. JACK BRUCEHi, Susan. Hi, Susan. SUSAN ORTEGA Hi, Jack.Bruce blanches at this obvious snubbing. JACK Look, Bruce. You're a good reporter. You make people laugh. God knows today we can use it.Bruce slumps, he's heard this a thousand times before. * JACK * (beat) Alright, tell you what. It's the * 23rd anniversary of the Maid of the Mist. I want you at Niagara Falls in an hour. BRUCE Maid of the Mist. That's always live. JACK Yep. BRUCE Evan gets the live feeds. 17. JACK Well now you and Evan get the live feeds. BRUCE I'm going live. In sweeps. JACK Yes, but watch yourself, Bruce. I've seen your outtakes.Bruce hugs Jack, pressing the sandwich against his chest. BRUCE Yes 1 You will not regret this, Jack. (releases Jack) I will not forget you when I go national.Bruce takes off, Jack looks down, peels the sandwich off hischest. We hear children's joyous SHRIEKS...INT. SMALL WONDERS DAY CARE - DAYA COUPLE DOZEN KIDS playing at Grace's self-starter business,a one room day care center filled with children and toys.Grace turns, reacts. GRACE Martin, are you eating the glitter again?ON MARTIN - AN ADORABLE HISPANIC BOYHe shakes his head "no." GRACE Martin. Open your mouth. Abra su boca.He does. His tongue sparkles with glitter. GRACE Oh, you're not huh? Well, then you've got a bad case of Liberace.Grace's sister, Debbie, enters. She's wearing a nurse'soutfit. Her youngest, ZOE, 3, runs over to greet her. ZOE Mommy1 18. GRACE They didn't teach you Spanish in nursing school, did they? DEBBIE Well, it seemed like they were speaking a foreign language sometimes, but no. Problemo? GRACE Martin has decided to explore new food groups. (back to Martin) Martin, this is for art. Like this.She spreads paste on the paper, sprinkles glitter. DEBBIE Is it so wrong to tie them up? GRACE D eb -- Ma rt i n!Martin is busted with the paste spreader stuck in his mouth.Grace snatches it. GRACE Okay, go rinse your mouth with water. Lave su boca. Go. (to Debbie) I swear that kid is going to poop an ornament. DEBBIE (laughs) You're good with them, you know. You should have some of your own. GRACE Don't start... DEBBIE Free milk cow. GRACE Debbie, don't call me that. DEBBIE If the moo fits.The phone RINGS. 19. GRACE Saved by the bell. Grab that for me, will you?Debbie does. DEBBIE Small Wonders Day Care.EXT. NIAGARA FALLS - DAYBruce is on his cell phone, while the NEWS CREW races around,setting up for the report. The FALLS ROAR behind him and theMate of the Mist sightseeing boat is in the b.g. BRUCE Grace?INTERCUT DAY CARE AND FALLS DEBBIE (cheery) No, it's Debbie. The sister who's life you're not wasting. GRACE Hey.Grace GRABS THE PHONE. DEBBIE (feigns innocent) What? GRACE Sorry, honey. My sister seems to think she's my mother. Where are you? BRUCE (flying high) Oh, A little place called the winners circle. I'm at the Falls doing a "live" report. GRACE Live? That's greatI BRUCE Yep, it's happenin', hun. I got sweeps and I'm live. You know what that means? (MORE) 20. BRUCE (cont'd) They're seeing if I can think on my feet, like you might have to do in a live news anchor situation. GRACE Oh, my gosh. BRUCE This is happening for us, Grace. What we've always talked about. Jack practically came out and told me.Grace quickly switches gears. She experienced the premature-celebration before. GRACE Wait, what do you mean practically? BRUCE Well, he didn't spell it out, but this is exactly what happened to Susan Ortega right before she was bumped up to the desk. GRACE (being cautious) I just want to make sure we're not getting too ahead of ourselves. BRUCE I totally agree, but in the mean time you should start thinking about what coast you want to live on.Ally interrupts, indicating the time. BRUCE Oh, they're calling me, I gotta go. GRACE Good luck, honey. I love you. * BRUCE * I love you. * (hangs up) *Debbie turns to Grace. * DEBBIE * Moooo. * 21. GRACE * Stop it. *EXT. NIAGARA FALLS - MAID OF THE MIST BOAT - DAYAlly hustles Bruce toward the bow of the boat, as he placeshis ear piece. ALLY They want you close to the falls. BRUCE What for? I'll get soaked. ALLY That's the point. They want you to hold up this.She hands Bruce a very stupid looking, blue "falls" shapedUMBRELLA with the MAID OF THE MIST INSIGNIA. ALLY Part of the condition of us getting the exclusive.Bruce takes the umbrella.' ' BRUCE Lovely. Glad I wore my tap shoes. ALLY Remember, this is their 23rd anniversary. Capacity is 59. They cater to tourists, honeymooners. . . BRUCE And people who are insanely ' * thirsty, I get it. * ALLY And you'll be interviewing Irene Dansfeild...She positions A VERY, VERY OLD WOMAN next to Bruce. ALLY ...She rode on the maiden voyage with her late husband. Okay, 90 * seconds.Bruce looks upward at the ridiculous umbrella. Muttersencouragement to himself. 22, BRUCE 90 seconds, going live. Think anchor, think dignity, (glances up toward umbrella) Ignore umbrella. Just have fun. CUT TO:THE LIVE FEED IN THE CAMERA TRUCK AT THE FALLSSome of the CREW MEMBERS watch the feed.ON TVPete Fineman is reporting. PETE FINEMAN ...but because of the fast response by our local fire fighters, the toxic chemicals were cleaned up without incident. Susan.The female co-anchor, SUSAN ORTEGA: SUSAN Bruce Nolan is standing by at Niagara Falls with a report on the Maid of the Mist sightseeing boat, but before we go live to Bruce, we have an announcement to make. As everyone knows, after 33 years, our beloved Pete Fineman is retiring.Pete smiles a proud, heart-felt smile. SUSAN Pete's shoes are virtually impossible to fill, but the show must go on. And we could think of no one better than our very own Evan Baxter.ON BRUCEListening to the feed. His FACE GOES WHITE. He stands inshock.Evan is seated next to Susan. 23. SUSAN Congratulations, Evan. Looks like we'll be sitting side by side from now on. EVAN Thanks, Susan. I ' m thrilled and honored. Like you said, no one can replace the great Pete Fineman, but I'll do my best. I have to say I am so proud to be a part of our local community. Of Buffalo. I think a great city is a lot like a great recipe really. Put in some hard working citizens, add some care givers, maybe a few nuts...The other news anchors and Evan himself chuckle at "his"joke. Bruce listens on the feed, beyond stunned. EVAN (CONT'D) All sprinkled with the strength and love of our good families, that ultimately creates a sweet place to live. Thank you. SUSAN (touched) Wow. That was amazing. And now let's go live to wacky Bruce Nolan out at Niagara Falls.EXT. NIAGARA FALLS - CONTINUOUSBruce stands like a deer in headlights, drenched, holding theridiculous umbrella. Ally sig nals Bruce he's on. He staresinto camera, numb.INT. SMALL WONDER DAY CARE - SAME TIMEThe kids are gone. Grace watches the TV with a few otherteachers. She's concerned. GRACE Talk honey, talk.INT. STUDIO CONTROL ROOM - CONTINUOUSJack rushes in, looking at Bruce on the monitor. JACK What's going on? 24. DIRECTOR We've got a Walt Disney. CONSOLE OPERATOR Frozen solid. JACK He may not have audio. Check his feed, have Susan cover.INT. STUDIO CONTROL ROOM - CONTINUOUSSusan reacts to the message in her ear piece. SUSAN We may be having a bit of technical difficulty...Evan smiles in the background, clearly enjoying himself.INT. STUDIO CONTROL ROOM - CONTINUOUS CONSOLE OPERATOR Feed's good, Jack. JACK Come on, Bruce, talk damn-it... Okay, get ready to pull the plug.INT. SMALL WONDERS CARE - DAY GRACE Please baby, say something...EXT. NIAGARA FALLS - CONTINUOUSLike popping out of a coma, Bruce surges in. Surprisingly,seems very up and fine. BRUCE Thank you, Susan 1 Bruce Nolan here aboard the Maid of the Mist at Niagara falls.INT. SMALL WONDERS DAY CARE - CONTINUOUS GRACE Thank you, God. 25,INT. STUDIO CONTROL ROOM - CONTINUOUS JACK (sighs relief) Thank God.Jack pats the Director's shoulder, heads out of the room.EXT. NIAGARA FALLS - CONTINUOUS BRUCE First off, "I want to add another congratulations to Evan Baxter. It's good to see what someone with real talent can accomplish when great opportunities are given to him instead of me. (still smiling) Anyway, I'm here, I believe with Katherine Hepburn's mom. Tell me, why did you toss the blue "heart of the ocean" jewel over the railing of Titanic?The Old Woman doesn't know what to say. BRUCE Did you feel guilty at all letting Leonardo Decaprio freeze, while you were safe floating on the big door? Do you think he would have survived if you had taken turns, or were you too afraid to freeze your big fat ass off?INT. STUDIO CONTROL ROOM - CONTINUOUSJack rockets back into the room. JACK Did I just hear..? BRUCE Well, I guess that's the way life works, isn't it? Some people are drenched, freezing to death, on a stupid boat, with a stupid umbrella... (heaves the umbrella) while others who aren't fit to kiss my willy, are sitting in a nice, comfy news room, sucking up all the glory111 26.INT. SMALL .WONDERS DAY CARE - CONTINUOUS GRACE This isn't happening. This isn't happening...EXT. NIAGARA FALLS - CONTINUOUSBruce takes off walking, the camera follows. BRUCE Now, lets speak to the owner. Come on in here, Bill.Bill shakes his head "NO" as Bruce pulls him into frame. BRUCE Bill, you.'ve been running the Maid of the Mist for 23 years. Tell me, why do you think I didn't get the anchor job? BILL Hey, man, I don't want any-- BRUCE Do you think it's my hair? (Bruce messes his hair like crazy) Maybe my teeth aren't white enough? Or like the great falls, is the bedrock of my life slowly erroding underneath me. (moving closer to camera, to an inch away) Erroding. Erroooding. Errodiiiing...INT. NEWS ROOM - DAYAll work has stopped. Stunned staffers stare at the monitor.INT. STUDIO CONTROL ROOM - CONTINUOUSJack stands with his jaw dropped, snaps out of it. JACK Alright, cut the feed! Cut to black if you have to. CONTROL BOOTH OPERATOR I'm on it. 27.EXT. NIAGARA FALLS - CONTINUOUSBruce is now licking the camera lens. He steps back andsigns-off. Smooth as silk. BRUCE I'm Bruce Nolan for Eyewitness news. Back to you fuckers 1INT. STUDIO CONTROL ROOM - .CONTINUOUSSusan Ortega stares frozen blankly into camera. SMASH CUT TO:EXT. OFFICE BUILDING - DAYBruce is TOSSED OUT THE FRONT DOORS, his box of possessionsspilling on the ground. Bruce FLAILS at the building.EXT. PARKING LOT - DAYBruce carries his box to his car, when he HEARS A NOISE.A street GANG is hassling the HOMELESS SIGN GUY. Pushing himaround, breaking and painting over his signs.Instinctively, Bruce walks over. BRUCE Hey, come on guys. What are you doin'? Just leave him alone.They turn, look at Bruce, laugh and head off. Bruce helpsthe Sign Guy up, looks after the Gang. BRUCE Yeah, you'd better keep walkin'.They stop cold, turn back to Bruce and CHARGE AT HIM. Bruceattempts to run, but they leap on him in a big dog pile,swinging and kicking.Bruce is left with a bloody lip, lying beside his car. Wehear the sound of smashing glass and scratching metal and thegang running off. Bruce slowly gets up.Reveal Bruce's car, WINDOW'S SMASHED, PAINT SCRAPED and theword "HERO" KEY SCRATCHED ON THE DOOR. BRUCE B-e-a-utiful. (looks up) (MORE) 28. BRUCE (cont'd) Just what you get for trying to help someone.Bruce gets in, pulls out of the parking lot passing theHomeless Man who sits beaten up holding a scrawled out sign"LIFE IS. JUST" BRUCE Get a clue, buddy.INT. BRUCE AND GRACE'S APARTMENT - NIGHTBruce is pacing, holding an ICE PACK to his swollen lip. GRACE Thank God you're alright. BRUCE God, yeah. Let's thank God. Thanks for everything, Lord. I am so honored that my horrible demise is a part of your loving and mysterious plan. GRACE Bruce, don't talk like that. BRUCE Oh, don't worry, he's not listening. If he is he doesn't care. Have you seen the news lately? We got gangs, we got drugs, we got corruption. What kind of God lets that happen? Every time we cure a disease he comes up with a new one! (goes into God character) Yeah, is this the lab? Yeah, it's God. They've just come up with a treatment for syphilis down there. I think it's time to release the tainted monkey. Oh, and there's a guy in Ohio who's praying for strength and wisdom, blind him and cut off his legs. GRACE So God is torturing us? BRUCE Think about it, Grace. God is all- powerful . He could fix everything in five minutes if he wanted to. (MORE) 29. BRUCE (cont'd) But he doesn't want to. He doesn't like me.Sam starts PEEING ON THE RUG. BRUCE Oh, Perfect! (to the dog) But you're aim isn't so good, I'm over herel GRACE Bruce, please. This isn't his fault. BRUCE Of course not. (hushed tone) It's part of the mysterious plan.Grace puts Sam outside. Returns, trying to calm Bruce. GRACE Honey, you're mad right now. It's understandable. And what Evan did was slimy and wrong. But your job doesn't matter to me. You matter to me. You could've really been hurt. I'm just glad you're okay. BRUCE Okay? News flash: I'm not okayi And I'm not okay with the fact that you think everything is okay. I'm not okay with a mediocre job. I'm not okay with a mediocre apartment. I'm not okay with a mediocre LIFE!Bruce angrily swipes at the table knocking the photos and thephoto albums to floor. GRACE Is that what you have, Bruce? A mediocre life? Well, I'm sorry for being a piece in your mediocre puzzle. BRUCE Terrific. I'm drowning and you throw me a brick!Grace starts to cry. 30. BRUCE Perfect! I'll have the worst day of my life with a side order of guilt, please. I-- I don't need this.Bruce grabs his keys and heads out.INT. CAR - NIGHTIt's RAINING now. Bruce drives, going nowhere in particular.His frustration is turning to desperation. BRUCE Okay, God. You want me to talk to you? Then talk back. Tell me what's going on? What should I do? Give me a sign...Bruce passes a BLINKING YELLOW CAUTION LIGHT, doesn'tnotice. . . BRUCE I'm right here. Speak to me.A PEDESTRIAN stepping into the crosswalk, steps back out ofthe way. PEDESTRIAN SLOW DOWN, ASSHOLE!Bruce is oblivious. BRUCE All I need is some guidance. Please send me a signal.A TRUCK TRANSPORTING VARIOUS ROAD SIGNS pulls in front ofBr uce . F our way s, bli nki ng. The va rie d s igns re ad: Yi eld ,Wrong Way, Dead End, Do Not Enter, Stop. BRUCE Oh well, I guess you don't care.Bruce spots the PRAYER BEADS hanging on the rearview mirror. BRUCE Okay, we'll do it your way. (pulls the beads from the mirror) Lord, I need a miracle. Please help me. 31.He hits a bump and the BEADS DROP TO THE FLOOR. Brucereaches down, fishes for the beads... BRUCE Come on, where'd you go? (holds them up in triumph) Ah ha! AHHH!And BAM!11 BRUCE'S CAR SLAMS INTO A LIGHT POST.EXT. STREET - LAKE EERIE - CONTINUOUSBruce stumbles out, surveys his demolished car, then looks atthe beads in his hands. He begins to laugh maniacally.He spots the lake, starts running toward it like a madman,HEAVES THE PRAYER BEADS INTO THE LAKE. He looks heavenward,challenging the Infinite. BRUCE Okay, if that's the way you want it. The gloves are off, pal! Let me see a little wrath! Smite me oh mighty smiteri What, no pestilence no boils? Come on, you got me on the ropes, don't you want to finish me off?! You're the one who should be fired! The only one around here not doing his job is YOU! What are we, you're little pet project? A hobby you tinker with now and again? Answer me. ANSWER ME!!!A beat of silence then Bruce's BEEPER GOES OFF. He cynicallychuckles at the timing, checks it, sees 772-5623. BRUCE Sorry, don't know you, wouldn't call you if I did.Bruce walks off toward his wrecked car, it BEEPS AGAIN. CUT TO:CLOSE ON - AN ALARM CLOCKThe BEEPING continues. We are in. . .INT. BRUCE AND GRACE'S APARTMENT - BEDROOM - MORNINGBruce wakes, slaps at the alarm clock, groggy, reaches forthe phone, finally realizes it's the beeper. He gets up,begrudgingly, checks it. The same number. 32. BRUCE Well, hello again 772-5623, don't hold your breath.Bruce tosses the pager on the bed, heads for the bathroom.The beeper BEEPS. Bruce stops in his tracks, turns, opensthe window, grabs the beeper and FIRES IT OUT. It SHATTERSagainst a telephone pole. He calmly continues to thebathroom.INT. BATHROOMA note is stuck in the bathroom mirror, with an old pictureof he and Grace in happier times. The note simply says:"I LOVE YOU. WE NEED TO TALK.Grace"Peering over top of the note, Bruce sees Sam circling on therug. BRUCE Oh, no.EXT. STAIR WELL - CONTINUOUSBruce runs down the stairs carrying the trickling, Sam.EXT. APARTMENT - DAYBruce sets Sam on the grass. Sam looks up, finished. BRUCE What's the point?BEEP, BEEP, BEEP...Bruce walks over to the shattered beeper. He picks up asmall piece of it containing the LED read out: 772-5623ON BRUCE - AMAZED CUT TO:INT. BRUCE AND GRACE'S APARTMENT - MOMENTS LATERA PHONE - BRUCE DIALS THE NUMBERA PRERECORDED VOICE ANSWERS 33. COMPUTERIZED VOICE Denied that promotion at work? Is life unfair? Everywhere you turn is there someone less talented than you reaping all the benefits ? Is your name Bruce? Then do we have the job for you. We're located at 77256 23rd Street...Bruce reaches for a pen, begins jotting down the address. COMPUTERIZED VOICE So come on down, or we'll just keep beepin' ya.EXT. WAREHOUSE - DAYAn old building on the outskirts of town. A faded signpainted on the wall reads, OMNI PRESENTS.Bruce's demolished car enters frame. He studies the area andbuilding suspiciously.Bruce cautiously moves towards the structure and then, STEPSIN A PUDDLE. He SINKS UP TO HIS KNEE. BRUCE Perfect.He gets out, shakes off his sopping leg, and heads inside.INT. OMNI PRESENTS - DAYBruce enters and checks the BUILDING DIRECTORY. It reads:OMNI PRESENTS UNLTD.Pers onnel Rm. 7Ac coun ting Rm. 7Security Rm . 7Creativ e Rm. 7 VOICE (O.S.) You're looking for room 7.Bruce turns to see a JANITOR mopping the floor. He looks atBruce's wet leg, offers the mop. JANITOR Want me to even those up for you? 34. BRUCE (feigns a smile) How would I get to room 7? JANITOR That'd be on the seventh floor. Stairs are right over there. BRUCE What about the elevator?He points to an elevator bank a couple of steps away. JANITOR Out of order.Bruce heads for the stairs. JANITOR You mind giving me a hand with this floor? BRUCE What? Yeah, I mind.He continues on.SEVENTH FLOORThe stairwell door opens up to a LARGE ROOM with a SINGLEDESK at the end of an otherwise empty space.Bruce hears someone tinkering atop a tall ladder extendinginto a hole in the ceiling. BRUCE Excuse me. Hello. I'm, ah, looking for whoever runs this joint... MAN (O.S.) Be right with y.a, just fixin' a light. Tell me if it's working?CLICK and an INSANELY BRIGHT WHITE LIGHT ILLUMINATES, shiningdown blinding Bruce. BRUCE Yep, seems to be. (wiping his eyes) Kinda bright, though. 35.An electrician, silhouetted in the bright light, descends theladder. MAN (O.S.) Yeah, it is for most people. They spend their lives in the dark...As he talks he steps down next to Bruce and we see that it isthe SAME JANITOR. JANITOR (CONT'D) . . . thinkin' they can hide from me.The two stand, angelically illuminated. Bruce tries to puteverything together. BRUCE Oh, the elevator's broken, huh? JANITOR Yeah, but I'll get around to it.The Janitor CLAPS HIS HANDS TWICE and the light goes off. BRUCE You installed a clapper? JANITOR Nope. Catchy jingle, though. (sings) CLAP ON. CLAP OFF. CLAP ON, CLAP OFF. THE CLAPPER. (claps twice) You can't get it out of your head. BRUCE I gotta go. JANITOR Okay, but the boss'11 be right out.The Janitor unzips his uniform, revealing a very nice suit.He extends his hand to Bruce. JANITOR You must be Bruce. I've been expecting you. BRUCE Oh, this is hilarious. So you're the boss and the electrician and the janitor. 36. JANITOR Nothin' wrong with rollin' up your sleeves, son. People underestimate the benefits of good 'ol manual labor. There's freedom in it. Happiest people in the world stink like hell at the end of the day.He strolls down the room, takes a seat behind the big desk. JANITOR Your father knew that. He was a damn good welder.Bruce approaches the desk. BRUCE How do you know my father? And how did you get my pager number? JANITOR Oh, I know a lot about you Bruce. Pretty much everything there is to know. Everything you've ever said, done or thought about doin', is right there in that file cabinet.He points out a single drawer file cabinet. BRUCE (sarcastic) Wow, a whole drawer. Just for me? Mind if I take a look? JANITOR It's your life.Bruce pulls the drawer and it FLIES OPEN, DRAGGING HIM THEFULL LENGTH OF THE ROOM --The Janitor casually pulls a file. JANITOR Now this last entry was a little disturbing.He thumps the file cabinet with his fist and the drawerdramatically sucks closed, DRAGGING BRUCE BACK. The Janitorreads from the file. JANITOR (reads, scanning) Thanks for everything, Lord. (MORE) 37. JANITOR (cont'd) I am so honored that my horrible demise is a part of your loving and mysterious plan.. The gloves are off, pal.. Smite me oh mighty smiter. (aside) I'm not much for blaspheming but that one made me laugh. Oh, and let's not forget "What kind of a God would let this happen? I mean, have you seen then news lately?"Bruce stands, dazed. ∑ BRUCE Who are you? JANITOR I'm the creator of the heavens and the earth. I'm the alpha & omega. The first and the last. BRUCE Sorry, it's not ringing a bell. JANITOR/GOD I'm God, Bruce. BRUCE Oh, you're God. Well that explains everything1 That's how you know everything about me. That's how you got up to the seventh floor so quickly. (placating) Well, it's really nice to meet you. Thanks for the Grand Canyon and, ah, good luck with the apocalypse.Bruce turns to leave, BUT FINDS HIMSELF WALKING RIGHT TOWARDGOD AND HIS DESK. He tries again, and again. BRUCE Okay, I don't know how you're doing that, but I really gotta go. This place is obviously rigged in some way. We're on some freaky hidden camera show. (playing to the "cameras") ...for which I will not sign a release, by the way! But you know what, I'd be a little more impressed if you didn't use the cheesy file cabinet illusion. (MORE) 38. BRUCE (cont'd) Everyone with a brain in their head would know that the drawer is being∑ fed through the wall from behind-- Bruce pulls the file cabinet from the wall, sees it has a normal back. BRUCE Okay. That's good. That's a good one. Bruce quickly puts his hands behind his back. BRUCE Okay, God. How many fingers am I holding out? Bruce extends three fingers. GOD Three. He quickly pulls one finger in. GOD Two. Bruce begins switching fingers rapidly. God doesn't miss a beat. GOD Four. Nine. Six. Eight. One... One final attempt, Bruce holds seven fingers. BRUCE Okay, how about now. He quickly pulls in two fingers. GOD Seven. .BRUCE AH HAl Bruce proudly presents his single hand of five extended fingers to God, then immediately notices he has SEVEN FINGERS ON HIS ONE HAND. BRUCE AAAHHHl 39,He shakes his fingers wildly and the two extra fingersdisappear. God approaches Bruce. GOD You've been doing a lot of complaining about me, Bruce. And quite frankly, I'm tired of it...Bruce backs away from God. BRUCE You stay away from me! I don't know what your doing. But whatever you're doing is probably actionable! GOD Well, that's not very neighborly. I brought you here to offer you a job. BRUCE Job? Wh at job? GOD My job. You think you can do it better, so here's your chance. When you leave this building you will be endowed with all my powers. BRUCE Sure, whatever you say, Pal.He turns to go but GOD STANDS BEFORE HIM in the Janitoruniform, holding the mop. GOD All the power of God.Bruce glances back at the empty desk, turns back again andGod the Janitor has also vanished. A beat, then Brucesprints out of the room.EXT. OMNI PRESENTS - DAYBruce barrels out of the building -- BRUCE Okay, that did not happen.He races to his car stepping in the SAME PUDDLE, but thistime his foot doesn't sink, he WALKS RIGHT ACROSS IT. Hepaus es f or a bea t -- 40. BRUCE No.He races on.INT. BRUCE'S CARBruce jumps in, turns the key, the car turns over but doesn'tstart. BRUCE I'm having a breakdown. That's what it is. Just a normal, everyday psychotic episode, brought on by tumor or brain lesion...We hear the car wind down to nothing. Bruce releases the keypounds the steering wheel in frustration. BRUCE (to the car) Come on, startIThe car INSTANTLY starts. BRUCE (denial) Well, that was lucky.Bruce backs up, peels out.MUSIC UP: "HE'S GOT THE WHOLE WORLD IN HIS HANDS"EXT. CITY STREETSBruce drives, whistling the tune, catches himself,immediately stops whistling. BRUCE Okay, just relax here. I did not meet God and I do not have his powers. (laughs) If that was God, then I'm Mario Andretti.Instantly, Bruce's car PEELS OUT, races through traffic,dodging and passing cars right and left. BRUCE AAAHHHHHHHH!J! 41.Suddenly there is a GUY IN A RED PIT CREW SUIT standingbefore Bruce waving a red flag. Bruce swerves to avoid theman and SCREECHES into a pit stop. Several other red-suitedItalian men engulf the car. Bruce watches in amazement as theprofessional racing team jacks up his car, slaps on HUGE MAGTIRES, gases him up, etc. PAUL NEWMAN leans into thedriver's window. PAUL NEWMAN Hey Mario, did you get that box of dressing I sent you?Bruce responds against his will IN PERFECT ITALIAN -- BRUCE (in perfect Italian) Si, dovete venire sopra per il pranzo un certo tempo. (SUBTITLES: Yes, you must come over for dinner some time.)Bruce reacts shocked. The crew backs off and urges him on inItalian. PIT CREW Vete l Ve telBruce's car peels out on it's own, he struggles to controlthe wheel, finally pulling over to a curb. His car doorwon't open so he has to crawl out of the driver's window.He rushes onto the sidewalk, backing away from his normallooking Tauras. Not knowing what to do, he slips into adiner.INT. DINER - DAYBruce quickly walks to a back corner booth. The only otherpatron is an OLD MAN seated at the counter. BRUCE It isn't real, it isn't real, it isn't real...An older. Sally Kirkland-type WAITRESS, order pad in hand,stands listening to Bruce with a raised eyebrow. BRUCE Oh hi, ah, coffee please.The waitress pours him a cup. 42. WAITRESS We've got a special on soup today. BRUCE No, that's okay. WAITRESS It's tomato. BRUCE Alright, okay.She heads off. Bruce sits thinking. Could it be real?He looks at the SUGAR down at the end of the table, holds outhis hand and the SUGAR SLIDES ACROSS THE TABLE RIGHT INTO HISHAND. The CREAMER slides into his other hand.Bruce is half scared, half thrilled. He pours some cream andsugar into his cup, looks around the table. BRUCE Excuse me I need a spoooo...Bruce chokes up a spoon into his hands, wipes it off with hisnapkin. BRUCE That's alright, I found one.The Old Man eyes Bruce suspiciously, gets up and movesfurther down the counter.The Waitress sets down the soup, heads off, then turns back. WAITRESS I lie to my sister. BRUCE What? WAITRESS (becoming emotional) And I'm sleeping with my best friend's husband. I know he's just using me but.. I'm just so tired of being alone. I don't know why I'm telling you all this. Just seems like you'd understand. BRUCE Okay. 43. WAITRESS (sets the check down) Take care of that whenever you're ready.Bruce looks at the soup. His look grows intense. He slowlyraises his hands over the soup bowl....MUSIC UP: THE TEN COMMANDMENTS THEMEThe front door blows open, as A WIND SWIRLS through the dinerand with all the flourish of Moses at the Red Sea, BRUCEPARTS HIS RED SOUP.A little cockroach scurries across the table, climbs up theedge of the bowl and walks through to the other side. GOD (O.S.) Havin' fun?Bruce is startled and the soup splashes back to normalcollapsing on the cockroach. He looks up at God standingbeside the booth. Bruce is now awestruck. BRUCE You- He- Thy... GOD Let's take a walk.EXT. LAKE ERIE - DAYGod leans down, lets the little soup covered cockroach go.God and Bruce then walk along the lake shore. GOD (re: the cockroach) Most people want to kill these guys. I'm quite fond of em'. Very streamlined design. Like little armored tanks. Y'know, they can hold their breath for forty minutes and their cells divide only once per molting cycle creating a cytoskeleton with cell adhesion that... (catching himself) Oh, this is a bit over your head, isn't it?Off Bruce's look. 44. GOD Okay, let me explain the rules. BRUCE Rules ? GOD Yeah, you left in such a rush I didn't get a chance to explain. BRUCE Well the two extra fingers freaked me out a little bit. GOD (laughs) I figured that would get your attention.. I did the same thing to Ghandi, he couldn't eat for three weeks. Now, here's the deal. You have all my power. Use it any way you choose. There are only two rules. You can't tell anyone you're God. Believe me you don't want that kind of attention. And you can't mess with free will. BRUCE Uh huh. Can I-ask why? GOD (excited) Yes you can. That's the beauty it.Suddenly a LARGE SAILBOAT SAIL PASSES RIGHT BY THEM. Brucelooks to the sail, oddly, then...WIDE ANGLE - REVEAL God and Bruce are now walking ON THE LAKEabout 100 feet from the shore. They watch the sailboat pass.Bruce is awestruck. BRUCE This is amazing. GOD Oh, speaking of amazing...God dips his hand in the Lake and pulls out THE PRAYER BEADS.He pockets them as he talks. 45. GOD Since you're finished with these, I think I'll hang to 'em. Might come in handy someday.WIDE MASTER - BUFFALO CITY-SCAPEGod and Bruce are tiny figures on the river, as God begins towalk away. GOD I'll be seein' ya. BRUCE Where are you going? GOD I'm taking a vacation. BRUCE God can't take a vacation. Can he? Can you? GOD Ever hear of the Dark Ages? Besides, I'm covered. You can fix everything in five minutes if you want to, right?ON BRUCE BRUCE ...Right.Left alone, Bruce begins to carefully tip toe back to shore,progresses to a full sprint.INT. GROCERY STORE - DAYGrace and Debbie stand at the check-out stand. Grace flipsthrough a celeb magazine, as Debbie places the last few itemsfrom the cart to the conveyor belt.In the background, throughout, Debbie's daughter, Zoe isgrabbing random items off the shelves and placing them on thebelt. GRACE (re: magazine) Gosh, this girl is so talented and all they ever talk about is her hair. 46. DEBBIE Yeah, she should marry somebody famous, take the focus off.Grace checks her cell phone screen. DEBBIE We would have heard it ring. GRACE I know. It's just that he usually calls during the day. DEBBIE He just needs to blow off some steam, he'll be fine. GRACE I hope so. I've never seen him * that mad. An d I lashed back-- * DEBBIE Wow, you lashed? You never lash. I'm impressed. GRACE I feel bad for him. He's wanted anchor for so long.Zoe begins pulling groups of items onto the belt. DEBBIE Well, I've been praying to win the lottery for fifteen years, but it's not going to happen. You know, it's not all about money.The CLERK finishes ringing the last item. CLERK That'll be four hundred and twenty- seven, eighty.- DEBBIE What?!Debbie looks in a bag, pulls out a handful of various counteritems. Zoe giggles and proudly holds up one of the hundredor so Tic-Tac mint containers. DEBBIE Zoe. (to Clerk) (MORE) 47. DEBBIE (cont'd) Hang on, I might need you to un- check a few things.The people in line hem and haw, exasperated. GUY IN LINE Come on, lady. DEBBIE (snaps) Hey, everybody back-off iZoe laughs, enjoying the commotion. GRACE Listen, I better get back. I want to be there for him. DEBBIE You're a saint, Grace. GRACE What can I say, I love him. And if I know Bruce, he's out there wandering around with the weight of the world on his shoulders. CUT T0:EXT. CITY STREETS - DUSKBruce struts down the street the embodiment of confidence.He turns shooting a finger at a fire hydrant, it BLASTSWATER. KIDS run off their front steps, start playing.A PRETTY GIRL IN A DRESS, comes' walking toward him. As shepasses he BLOWS A LITTLE AIR OUT OF THE CORNER OF HIS MOUTHand turns to watch her SKIRT FLY UP. BRUCE And he saw that it was good.He spots a mannequin in a store window display, wearing acool, casu al outfit. He closes his eyes. When he opensthem, HE'S WEARING THE COOL NEW OUTFIT and the mannequin isdressed in his clothes. He checks his reflection. . . better.Bruce rounds the corner, sees the SAME GANG that beat him up,hanging out in the alley. BRUCE B-e-a-utifull 48.EXT. ALLEYBruce approaches the gang. BRUCE Hey guys, remember me?The gang members turn to Bruce. HOOD #1 Oh look, it's the hero. HOOD #2 Hungry for another can of whoop- ass? HOOD #3 Your stereo sounds great in my car, man.He and a couple other gang members laugh and high-five. BRUCE Look, I don't want to fight you guys. So as soon as you apologize, I'll be on my way.A beat, then the Hoods BURST OUT LAUGHING. A few circlebehind, surrounding Bruce. HOOD #1 Oh, yeah. I'll apologize... The day a monkey climbs out of my butt. BRUCE What a coincidence. That's today.The Hood gets a PAINED LOOK, starts gyrating around, then aMONKEY comes climbing out the back of his baggy pants.The Big Guy looks at Hood #1. BIG GUY Did that come out of your butt, man?Hood #1 faints from shock. BRUCE Now I'm going to have to teach the rest of you guys a lesson. 49. HOOD #2 Yeah, you and whose army? BRUCE Just me... and me...ANOTHER BRUCE steps out from behind a stack of crates. BRUCE And me, and me, and me, me, me, me, me and me and me.As Bruce talks, DUPLICATE BRUCE'S begin popping out fromvarious spots, a doorway, hanging down from a fire escape, adumpster pops open, six Bruce's jump out. BRUCE PILE ON THE RABBIT1T HE B RUGES CONV ERGE ON TH E GA NG --Hood #2 is instantly tackled by THREE BRUGES --ONE BRUCE kneels down behind a hood, ANOTHER BRUCE pushes himdown over his back. The two Bruce's high-five --A Hood climbs a fire escape. ONE BRUCE gives a hand up toANOTHER BRUCE, who takes pursuit. ANOTHER BRUCE leans out ofa window SMASHES a potted plant over his head --ON THE MONKEY - SCREECHING, ENJOYING THE EXCITEMENTOur Bruce stands in the middle of the action, happilywatching the mayhem. HOOD #2 Let's get out of here, manlHood #2 takes off running, the gang members follow. BRUCE Okay guys, Kum Ba YalThe Bruce's jog over, leaping and diving into Bruce's body. BRUCE I'll take it from here.Bruce takes a deep breath, OPENS HIS MOUTH WIDE, RELEASING ASWARM OF LOCUSTS -- 50.EXT. ALLEY - CONTINUOUSThe gang streams out of the alley screaming, COVERED INLOCUSTS.Bruce exits the alley, the monkey at his side. He looks downto the monkey. BRUCE Back home for you, little one.The monkey takes off back into the alley, as we see HOOD #1stumbling to his feet. HOOD #1 NoI NOOOOO1He takes off running, the monkey in hot pursuit.ON BRUCEHe belches and one last locust flies out. He reacts to theunpleasant aftertaste and walks off. CUT TO:CLOSE ON - BRUCEWe widen to an UP ANGLE of him standing on the top ofBuffalo's tallest SKYSCRAPER. Clouds swirl behind him. Helooks out over the vast city lights, opens his arms andproclaims to the world. BRUCE I AM THE LORD THY BRUCE ALMIGHTY. MY WILL BE DONE IBruce poses in dramatic god-like form, lightning crashesbehind him. He is an awesome god.INT. BRUCE AND GRACE'S APARTMENT - NIGHTGrace sits on the floor next to the coffee table with a boxof photos working on the album. She takes a sip of wine,sets down the glass. Sam walks over and laps up the wine. GRACE (to Sam) Well, at least I have someone to drink with.Grace hears Bruce coming up the stairs, singing. 51. BRUCE What if God was one of us. . . Just a slob like one of us... Just a stranger on a bus... Trying to make his way. . .Grace reacts a bit surprised by Bruce's happy tone, she getsup, opens the door and there stands BRUCE, beaming smile,holding a very unique BOUQUET OF FLOWERS. BRUCE (finishing song) ...home. GRACE (re: the flowers) Oh, my God. BRUCE You can call me Bruce. GRACE Where have you been? You're so...happy. BRUCE Who wouldn't be on a night like this? (holding out the flowers) For you.Grace takes the flowers, gives Bruce a kiss, still sizing uphis mood. GRACE These are amazing. What are they? BRUCE It's a totally new breed. A cross pollination between tulips and Daisies. I call them Todayzees. GRACE Todayzees? Okay...Grace goes to put them in water.INT. KITCHEN - CONTINUOUS GRACE Bruce, is there something you're not telling me? 52. BRUCE Nothing of this world. Why? GRACE What do you mean, why? Last night you weren't exactly happy with life. BRUCE Last night, I was only human.Bruce backs out of the kitchen seductively.INT. LIVING ROOM - CONTINUOUSBruce breezes through, casually instructs the stereo as hepasses. BRUCE CD 4, Track 7.The Stereo illuminates and Barry White music plays.EXT. BALCONY - CONTINUOUSBruce opens the doors, steps onto the balcony. He surveysthe cloudy sky, reaches up with his hand and ERASES THECLOUDS, LIKE ON A CHALKBOARD.Still not completely satisfied he reaches up toward the moonand makes a LASSOING MOTION, THEN BEGINS TO PULL. CUT TO:OUTER SPACE - BEHIND THE MOONEarth far off in the distance - And with a THUNDEROUS RUMBLEthe MOON starts MOVING CLOSER TO EARTH.BACK TO SCENEBruce adds a finishing touch by adding several stars withpoints of his finger.Grace joins Bruce on the balcony and is taken aback by theperfectly orchestrated sky. GRACE Wow, it really cleared up. I've never seen the moon that big.Bruce puts his arms around Grace from behind. 53. BRUCE We shouldn't waste it.Bruce starts kissing her neck. Grace turns, .they kiss and aMETEOR SHOWER lights the sky behind them. The kiss ends. BRUCE Bedroom. GRACE Five minutes.INT. BEDROOM - NIGHTGrace grabs a neglige from the drawer, heads into thebathroom. Bruce enters, adjusts the ambience of the room,BLOWS THE LIGHTS OUT with a quick puff of air, LIGHTS CANDLESwith a gesture. His clothes magically fall away.INT. BATHROOM - CONTINUOUSGrace slips her neglige on, begins brushing her hair. GRACE I'11 be out in a minute. BRUCE (O.S.) * Don't rush yourself. Sometimes * anticipation can heighten the * pleasure. *Grace SHUDDERS a bit at the word "pleasure", quickly finishes *brushing, picks up her lipstick. * BRUCE (O.S.) * It's a funny thing about, pleasure. *GRACE'S KNEES BUCKLE, causing the lipstick to smear across *her face. She sits down on the toilet seat to get a hold of *herself. * BRUCE (O.S.) * It can be extremely pleasurable. *Grace has a very POWERFUL ORGASM and slides off the toilet *out of frame to the ground. * GRACE * (out of control) * Oh, oh. Oh my... * CUT TO: * 54.BRUCEStanding at the door with both arms extended toward thebathroom like an WARLOCK CASTING A SPELL. Suddenly the lighthits him from the open bathroom door and he quickly strikes acasual pose.Grace stands in the open doorway, panting like an animal.She dives on Bruce, attacking him.INT. KITCHEN - MORNINGON TV - THE MORNING NEWS MORNING REPORTER In international news, Japanese relief workers are staging a desperate effort to rescue hundreds of people stranded by a freak tidal wave that hit Kitamoto City...We see remote footage of Japanese families being airliftedfrom root tops. MORNING REPORTER Scientists say the tsunami may have been caused by what they're describing as "unusual lunar activity." More on this, as it develops. . .Grace half watches the newscast as she finishes breakfast.INT. BEDROOM - MORNINGBruce lies blissfully asleep. Big smile, life is good.Then, we hear WHISPERING - Like distant voices MURMURING allat once. Bruce wakes with a start. He looks around puzzled,sticks his finger in his ear checking his hearing as thevoices fade away.ANGLE - SAMCircling, getting ready to go on the carpet. Bruce casuallywarns. BRUCE Sam. Uh uh uh. 55.Sam looks at Bruce for a beat, then walks into bathroom,raises the toilet seat with his nos e, and STANDS UP ON HISTWO HIND LEGS, HOLDING HIS SNAUSAGE WITH HIS FRONT PAWS (NO,WE DON'T SEE IT) AND STARTS TO GO. He looks proudly back atBruce. BRUCE Good boy.INT. KITCHENGrace places breakfast on the table. Bruce comes out, fullydressed with a spring in his step. BRUCE Good morning. GRACE (gushy-lovey, sing songy) Good morning. Cooked you grilled cheese. BRUCE Oo, my favey.Bruce sits, Grace sets down his plate, leans close. GRACE Last night was just... BRUCE Heavenly? GRACE Mmm hmm.Bruce enjoys his grilled cheese. GRACE It's funny, but when I woke up this morning, It felt like my boobs were bigger.Bruce looks away, guilty, trying to be nonchalant. GRACE (holding them up) Do they look bigger to you? BRUCE Huh? Ah, no, they, ah, look the same to me. 56.They aren't. They are clearly bigger. She holds them. GRACE They're definitely bigger. They feel huge to me.Bruce throws up his hands. BRUCE You got me. Probably just a hormonal thing. (takes a quick final bite) Well, enjoy your breakfast, I've gotta run. GRACE Where are you going?He stops, turns. A new confident Bruce. BRUCE To get my job back.MUSIC UP:EXT. BRUCE'S APARTMENT - DAYBruce heads for his severely beat-up junker car whistling"What if God were One of Us."INT. BRUCE'S CARCLOSE ON - BRUCEHe gets in, fastens his seat belt, as two teenagers cruise byon skateboards, stop outside Bruce's window. TEENAGER (sincerely impressed) Wow, nice car man. BRUCE Well, it gets me from A to B.MASTER - STREETReveal Bruce's car is now a brand new MERCEDES 2003 VISIONSLR. He starts and revs THE POWERFUL NEW ENGINE and peelsout. 57.EXT. CITY STREETS - DAYBruce turns the corner into bumper to bumper traffic. Noproblem, the traffic magically opens up for him, carsinstantly swerving right and left clearing a path for Bruce.He waves as he passes. BRUCE And the last shall be first.EXT. POLICE TRAINING CENTER - DAYA POLICE DOG, HANK, performs some standard TAKE DOWNS by"attacking" a "criminal" (trainer) on the run. PHIL, areporter from a rival station is wrapping up his story. PHIL I certainly wouldn't want to be a fugitive on the run with Hank, Buffalo's number one police dog, on the job. This is Phil Sidleman reporting from The Police Canine Training center. (beat) And cut it. Let's go, guys.The crew start to wrap up.ANGLE - BRUCEWatching the action from the side, holding his own home videocamera. Phil spots him. PHIL Hey, channel seven, right? You're the guy that went crazy. BRUCE Yeah, I had a bad day. But things are lookin' up. PHIL What are you doin' here? BRUCE Just lookin' for a story. PHIL (waving the video tape) Well, this pond's fished out. Pretty standard stuff anyway. 58. BRUCE I don't know. My instinct tells me there's something more. PHIL Well, go with that. It's served you well in the past, right?Phil and a couple of his crew laugh, as they load the last oftheir equipment into the van and shut the doors. TRAINER (O.S.) Hey, Hank found something1Phil turns back, Bruce and he exchange a glance.Hank is DIGGING FURIOUSLY, making a BIG HOLE. The Policemanjogs over, joins the trainer. They watch as TWO DRESS SHOESARE UNCOVERE D IN THE DI RT. Hank BARKS. POLICEMAN We got a bodyI PHIL (to his crew) Shit. Get the camera, now!EXTREME CLOSE ON - THE VAN'S DOOR LOCKIt LOCKS AUTOMATICALLY. The CAMERAMAN yanks at the door. CAMERAMAN It's locked and the keys are inside IBruce casually turns his camera on, gives Phil a "toughbreak" look, heads for the scene, as Phil and his crewscramble around the van. CUT TO:ON A TV ∑ DAN RATHER The body of Jimmy Hoffa was uncovered in a field today outside of a canine training center in Buffalo New York. Local Buffalo freelance field reporter Bruce Nolan was the first on the scene... 59.We cut to the pre-taped story. Bruce stands with Hank andhis trainer before camera, the body being exhumed from theground behind him. BRUCE Since the disapearence of Teamster president Jimmy Hoffa in the nineteen sixties, his whereabouts have remained one of this country's great unsolved mysteries. That is until just moments ago, when during a routine training session, a police dog named Hank sniffed his way right into the history books. As you can see behind us, the body is being carefully exhumed and will be transported to a hospital facility where DNA testing will confirm the identity. That, of course, only a formality as in a bizarre twist, the body was found buried with a birth certificate and complete set of dental records. (rubs Hank's neck) Sort of a two-in-one for Hank today, as moments later, he busted a local news camera crew with four kilo's of marijuana.We see footage of PHIL AND HIS NEWS CREW, being cuffed on theground, as large stacks of marijuana plants are being pulledfrom the van. PHIL I've never seen it before, I swear IEXT. NEWS STATION - DAYAs Bruce pulls up in front of the building the NO PARKINGSIGN flies back into the bushes and the RED CURB TRANSFORMSTO GREEN as though being sloppily painted with invisiblebrushes.Bruce exits the car and smooths past the Homeless Sign Guy,who sits in his usual spot. His sign reads:"HEAVEN IS AT HAND. LEGGO YOUR EGGO."INT. NEWSROOM - DAYBruce cruises through the office, fielding greetings. 60. VARIOUS OFFICE STAFF Nice Job, Bruce...Way to go, buddy...GO get 'em, Bruce, etc.Susan Ortega smooths up to Bruce. SUSAN ORTEGA Hi, Bruce. BRUCE (surprised) Oh, Susan.. Hi. SUSAN ORTEGA Good work, I'm impressed.She give's Bruce a "look" and continues on. Bruce is a bitinflated by the encounter.Bobby the pastry cart guy wheels his cart up along side. BOBBY Hey, Br uce . N ice job , m an. Wa sn' t the same without you around here, pal. (leading) I hear Jack wants to see you. BRUCE That's the word. BOBBY You're going to need your energy in there. Can I interest you in a donut? BRUCE No, thank you, I'm not hungry. BOBBY Coffee? BRUCE No. BOBBY Fiber grain bar with bee pollen and Spiralina? BRUCE I'm really not interested. 61. BOBBY Yeah, I don't blame 'ya, they taste like grass.Bobby CUTS BRUCE OFF WITH HIS CART. Bruce is forced to stop. BOBBY Tell you what? I wasn't going to break it open until lunch time, but I made a batch of rhubarb that you have got to try. BRUCE Bobby, I-- BOBBY Come on, it's my mother's recipe she's practically cripple...Bobby forces a ladle of rhubarb out at Bruce. BRUCE No, I really- no... BOBBY Open up, that's it, here comes the news chopper... (makes sound of Chopper) BRUCE No, Bobby.. Bobby N01 I said I didn't want anything. (turns, heading off) Damn you...Bruce continues off, as Bobby stops cold, adopts an oddexpression, then his EYES ROLL UP IN THEIR SOCKETS, SPIN ALLTHE WAR AROUND, THEN GLOW RED. LITTLE HORN BUMPS PUSH UPFROM HIS SKULL. He turns instantly demonic.An overly PERKY FEMALE OFFICE WORKER approaches Bobby frombehind. FEMALE OFFICE WORKER Hi, Bobby. Is there any of that split pea soup left?She is instantly hit in the chest with a stream of greenvomit. A beat and Bobby offers out a plastic spoon.INT. JACK'S OFFICE - DAYON JACK 6 2.He sees Bruce enter, immediately perks up. * JACK * (big laugh) * The re he i sl Ho ff al H a i W h a t a r e * the odds of that? * BRUCE * (laughing along with him) * Ha! What are the odds? * JACK Look, I'll be straight. We want you back, Bruce. I want to tell you, it wasn't my decision to let you go. When the big guy gives the order, I gotta... BRUCE No harm no foul, Jack. I needed some time off to reassess my goals and get in touch with my true self. JACK You did that in a day? BRUCE Imagine what I can do with seven.Jack pauses for an awkward beat. His face grows serious. JACK I haven't been the best father in the world. BRUCE What's that? JACK I cur se a lo t. I c hea t on my ta xe s. My w ife u se d t o mak e my kids call me, when she was alive... (breaking down) ...Now, I go to strip clubs, and dri nk a ll nig ht. Bu t at le ast their open unt il four. W hat are you doing tonight? BRUCE Oh, I'm busy doing...things.Jack recovers, rejuvenated. 63. JACK Yeah, I gotcha. It feels good to get that out. Thank you.Jack gives Bruce a big hug. JACK Look, it's not in my power to give you a nchor, but as far as field repor ting goes, if you're looking for a bump. BRUCE Jack, don't worry about that. Just give me a camera and a crew and I'll give you the news.Bruce exits. Jack likes the new Bruce.INT. NEWSROOMBruce heads out as The Eyewitness News opening plays onseveral monitors. Susan Ortega opens. SUSAN Good evening and welcome to Eyewitness News at six. I'm Susan Ortega. EVAN And I'm Evan Baxter. And here's what's making news...This stops Bruc e. He watc hes Evan on a newsr oom monit or. Adevilish smile forms on Bruce's face. EVAN A potential scandal with the Buffalo P.D. surfaced today when...Evan's voice suddenly becomes HIGH PITCHED, like a girls. EVAN (falsetto) ...the mayor demanded that the Chief of Police issue... (clears his throat) ...Uh-hum, that the Chief of Police...Evan tries to clear his throat again, but his voice remainsHIGH PITCHED. 64, -^ EVAN(j ∑ (falsetto)1^ ...the Chief of Police issue a response over allegations made b. . . y INT. JACK'S OFFICE - SAME TIME JACK What the hell is that? Evan is starting to visibly sweat. EVAN (falsetto) I'm sorry. There seems to be something. Evan shoots Susan a look to cover for him. Susan tries to cover with a joke. SUSAN Looks like my new co-anchor may need a glass of water. She laughs, Evan laughs in a RIDICULOUS HIGH PITCHED GIRLY L AU GH tha t m ak es it ev en w or se . H e s ip s th e w at er a nd hi s/∑" "" NVJ voice returns. EVAN Ah, there we go. Sorry about that. The Prime Minister of Sweden visited Washington today as my little tiny nipples moved to France- Evan stops cold, staring at the teleprompter. INT. TV STUDIO - CONTINUOUS The Director in the booth reacts. DIRECTOR What did he just say? Check the prompter. The Console Operator checks the text being fed to Evan. CONSOLE OPERATOR It's fine. DIRECTOR Well, signal for him to keep going. 65.-^ The Stage Manager motions to Evan, he reluctantly continues/ reading. INTERCUT TV STUDIO AND NEWSROOM MONITOR EVAN The White House reception committee greeted the Prime Rib Roast Minister and I do the cha cha like a sissy girl... (urged to keep going, so continues slowly) I lika do da cha cha... In desperation, Evan shifts from the prompter to the paper script on his desk. EVAN Sorry, we're having a few technical difficulties, here... (reading) * In other n-n-n-n....n-n-n-n... * Evan's NOSE STARTS BLEEDING. A sudden stream out of one * nostril. Susan reacts. So does Jack. Bruce smiles. , Evan sees the blood, tries to stop it but it only streams-/ faster. He keeps talking, but the stream increases. Susan gets up, tries to help. SUSAN Somebody get some napkins. Dallas, help me. DALLAS I'm not touching hinu (realizing he's on camera) I mean, I'm not really qualified. Evan's hair IGNITES. SUSAN His hair's on fire! Dallas runs off. BRUCE (casual to an amazed news staffer) You know, he does have a certain pizazz about him. 66.Susan reaches for a water pitcher, as a crew man steps in andBLASTS Evan's head with a fire extinguisher. Evan is inshock, his face now white.The screen cuts to a "PLEASE STAND-BY" title card, then cutsto an episode of "Dragnet."ON BRUCE - It's fun to be God.MUSIC UP/MONTAGE UPEXT. FAIR GROUNDS - DAYBruce is bored off his ass, interviewing some BLUE HAIRED OLDLADIES at the Mark Twain chili cook off. BLUE HAIRED LADY (talks so slow you want to kill yourself) My secret is I let the jalapeno's marinade in a spicy sauce for over 24 hours before I--We see Bruce's pained face, realizing what horrible news thisis, when he gets an idea and SCHWWWWWAAAAAAM!11 AN ASTEROIDCRASHES to earth behind them. BRUCE Hold that thought, Hazel! (Bruce walks back toward the explosion) It seems some type of meteor or asteroid has, by chance, hit the earth right behind the Mark Twain Chili Cook Off. . .EXT. SKY - DAYBruce is free-falling in full sky diving uniform. BRUCE . . . So remember, it's sky diving season at Old Pete's airfield. (grabs the ripcord) This is Bruce Nolan.. (gives it a tug, doesn't budge) My rip cord appears to be a bit stuck.Bruce yanks again harder, nothing, then again and the cordrips free from the suit. 67. BRUCE This is a very unfortunate turn of events. I'm heading toward the earth at a very precarious speed...The cameraman pops his shoot and we see Bruce continue tostream toward the ground below. He falls into a wooded area.A CAMERA ON THE GROUND picks up the coverage, runs throughthe brush with other BYSTANDERS to find Bruce laying on topof a BIG, HAIRY CREATURE. BYSTANDERS (O.S.) He's okay...What's that?...It's Bigfoot!...Bigfoot broke his fall!. . .Bruce stands groggy, points to a dazed Bigfoot. BRUCE Ah ha! You are real!INT. BRUCE AND GRACE'S APARTMENT - DAYBruce sits watching a hockey game on TV. He follows the puckintently with his eyes, as though controlling it's path.GOAL, SABERS! THE CROWD ROARS! CUT TO:G O AL , S A BE R S! TH E C R OW D R OA R S! CUT TO:Grace sits aside him, working on the photo album. GRACE Do you believe how they're playing? (beat) Oh, honey, would you hand me the scissors?Bruce diverts his attention, when the Sabers screw up and thecrowd GROANS. Bruce immediately turns, looks intently at thepuck and GOAL, SABERS! THE CROWD ROARS!INT. BRUCE AND GRACE'S APARTMENT - BEDROOM - MORNINGCLOSE ON - BRA CLASPGrace's BOOBS ARE EVEN BIGGER. Bruce is trying to help herfasten her bra, but it's a good three inches from touching.Bruce shrugs "got me." 68.EXT. BUFFALO ZOO - DAYBruce is doing a report just outside the Pandas' enclosure. BRUCE In the past, zoo officials have been unable to get these Panda's to mate, but that doesn't seem to be a problem today.REVEAL A MALE PANDA wholeheartedly humping another PANDA. BRUCE And the mood seems to be catching o. . . nWIDE SHOT of the enclosure - PANDA'S are coupled off andhumping everywhere. Mothers are frantically coveringchildren's eyes, ushering them away from the exhibit.QUICK CUTS OF DIFFERENT NEWSCASTERS ON TV NEWSCASTER His stories are all over town... NEWSCASTER #2 ...from unearthing Jimmy Hoffa... NEWSCASTER #3 ...to an asteroid crashing to earth. Bruce Nolan is rapidly becoming known as. . .EXT. BUFFALO - DAYA BILLBOARD being put up with a big smiling Bruce with armsextended. It reads: "Mr. Exclusive".INT. HOCKEY ARENA - NIGHT *A close up of Bruce on the Jumbotron. * ANNOUNCER * Ladies and Gentlemen, please * welcome Mr. Exlusive, Bu ffal o's * own, Bruce Nolan. *Bruce starts SINGING THE MOST AMAZING GOSPEL SINGER/JAZZ *VERSION OF THE NATIONAL ANTHEM ANYONE HAS EVER HEARD. * BRUCE * Oh, say can you * seeeEEEEeeeeeEEEEeeeee... * 69.ON GRACE - IN THE STANDS . *Debbie turns to her, she shrugs. * GRACE * I didn't even know he could sing. *INT. BRUCE AND GRACE'S APARTMENT - BATHROOM - DAYGrace opens the bathroom door, revealing SAM, SITTING ON THETOILET SEAT WITH A NEWSPAPER UNDER HIS FRONT PAWS. Sam BARKSand Grace quickly closes the door.INT. HOCKEY ARENA - NIGHT *Bruce sings, still on the same word. * BRUCE * ...eeeEEEEeeeeeEEEEEEEEEEeeeee. . . *INT. BRUCE AND GRACE'S APARTMENT - BATHROOM - DAYBruce finishes running a bath, gets into the tub but SLIPS asis UNABLE TO SINK and ends up sliding around ON THE WATERlike on a sheet of glass. He tries to break through, can't.Then, he concentrates and finally LOWERS INTO THE WATER.INT. HOCKEY ARENA - NIGHT *Bruce dramatically finishes the national anthem. * BRUCE * ...of the * BraaaaaaaaaaAAAAAAAAAAAAAAAAAAAAVE i . *He hits an impossibly high note and the rink glass SHATTERS I *Bruce is projected on the ARENA JUMBOTRON. He shoots his *arms up, the crowd goes nuts! "Mr. Exclusive" flashes on the *screen. *EXT. WOODS - DAYA Mob of photographers flash photos like crazy, as Brucestands casually with his arm around BIGFOOT. BRUCE ...and that's the way the cookie crumbles.EXT. FAIRGROUNDS - DAYBruce surrounded by Hazel and other chili cook offcontestants shouts up from the bottom of the crater hole: 70. BRUCE & CHILI CONTESTANTS (in unison) And that's the way the cookie crumbles!INT. HOCKEY ARENA - DAY *The words FLASH on the jumbotron and the entire crowd chants: * CROWD * And that's the way the cookie * crumbles! *MUSIC OUT/MONTAGE OUTINT. BEAUTY SALON - DAYGrace lies in full body wrap, while Debbie is in the processof being wrapped by MARGARITA, a rather ruff Spanish Salonattendant. DEBBIE So this is what success buys you. GRACE I guess. (wiggling around) I feel like a human taquito. DEBBIE Well, thank Mr. Exclusive for me. He's on a quite a roll. What'd he do make a deal with the devil? GRACE And he's taking me out tonight to dinner at Chez L'Amour. DEBBIE Well, la-ti-da. Mike's idea of a romantic evening is Chez Sizzler.Margarita pulls the wrap tightly around Debbie. DEBBIE (to Margarita) What does this do again? MARGARITA EstS para su grasa. DEBBIE Grasa? Doesn't that mean fat? 71. GRACE Afraid so.Debbie eyes Margarita. GRACE (gushing) So, Bruce said and I quote: "Prepare yourself for an amazing evening that will change our lives forever."Margarita reaches Debbie's waist and YANKS tightly. DEBBIE Good - you wouldn't want to leave any spare oxygen in there. (back to Grace) Wait a second, you don't think he's going to propose, do you? GRACE I don't think anything. DEBBIE You do. You think he's going to propose. GRACE Well, he's always said when he gets his career together, you know... And his career is more than together. I mean, come on, Chez L'Amour. Change our lives... DEBBIE I don't know, hun. I mean, I like Bruce but that man's priority list is him, him, him, then him some more and then you. GRACE Well, he just might surprise you. DEBBIE That's what I'm worried about. (re: Margarita) Careful, you missed a spot of free flowing circulation.Margarita senses the attitude and pulls tighter. Debbiereacts. 72. DEBBIE That'd do it.Margarita motions for Debbie to lay down and leaves. Debbiestruggles to lay down. DEBBIE Let's see, how do I--Debbie slides to the ground, Grace cracks up, gets up tohelp, but also in mummy wrap, topples on top of her. Theyboth laugh and struggling to get up.Hearing the ruckus, Margarita enters and gasps. MARGARITA Lesbianas1Grace and Debbie crack up harder. DEBBIE Hey, I'll take that over fat...Margarita tries to pull them up, but falls too. MARGARITA No sexo, no sexolGrace and Debbie can't stop laughing.INT. CHEZ L'AMOUR - NIGHTA waiter pours the first trickle of wine into Bruce's glass.Bruce whiffs it, tastes it. BRUCE Very good. If you run out just bring me some water, I'll take it from there.Grace looks over the menu as Bruce notices people at varioustables eyeing him. He glances up to a ceiling light andREDIRECTS IT with his mind, so it SPOTLIGHTS HIM in goldenlight.TWO CUTE GIRLS with dates SMILE and wave. He waves back. GRACE Should we ask for a more private table? 73, BRUCE Huh? Oh, no this is fine right here.Bruce looks at Grace lovingly. He takes her hand. BRUCE I was going to wait until after the meal, but I think it's going to just bust out of me if I don't do it now.Grace beams, looks at Bruce with total love. BRUCE You ready? GRACE (nervous) I think so. BRUCE I got anchor.Grace's face falls. She does her best to cover. BRUCE Evidently, they're having problems with Evan. He's finishing up the week and I go live Monday. GRACE That's great, honey. Congratulations. Wow. So that's what's tonight is about? BRUCE Well, yeah. Grace, I got anchor. We got anchor!She's having a hard time covering her let down. BRUCE (noticing her flat reaction) What's the matter? GRACE Well, to be honest, I thought that maybe tonight, you--The TWO CUTE GIRLS interrupt, approach Bruce. 74. CUTE GIRL #1 I'm sorry, but we had to come over. We just think you're amazing and... CUTE GIRL #2 Well, we can't believe it's you! They both laugh, Bruce enjoys the attention. BRUCE (laughing along) Yep, it's me. CUTE GIRL #1 Can we get a picture with you? BRUCE Well, sure. (glances to Grace) Just one second, hun. (leans to Grace) Fans. We better get used to this, huh? Grace sits watching the two girls take turns sitting on Bruce's lap, taking pictures. Sees Bruce relishing in the attention. One girl gives Bruce a peck on the cheek and theyr"sS!w^w!s leave. Grace is clearly upset. GRACE You have lipstick on your face. BRUCE Oh, thanks... GRACE Bruce, we need to talk. I thought we had an understanding-- Suddenly, the WHISPERS start again. Bruce looks around, figures it's coming from the restaurant patrons. BRUCE Wow. It's kind of loud in here. Grace looks around the quiet romantic setting. GRACE What are you talking about? It's not loud. The WHISPERS GROW IN VOLUME. 75. BRUCE Geez... (shouts to the restaurant)----- - COULD YOU ~KEEP TT DOWNl--- -- GRACE Bruce, this isn't funny. BRUCE (talking loud .over the "racket") WHAT? WOULD YOU EXCUSE ME FOR A SECOND?He gets up and darts off.INT. CHEZ L'AMOUR KITCHEN - CONTINUOUSBruce races through the restaurant kitchen holding his ears -EXT. ALLEYWAY - NIGHT - CONTINUOUSHe BURSTS out the kitchen exit into the alley. Unclasps hisears, but no relief. The whispers are now loud voices. Westart to make out fragments of words "Please," "Help me,"etc.Overwhelmed and scared, he slides down the alley wall,covering his face, then TOTAL SILENCE --Bruce lowers his hands and finds himself SITTING ATOP A HIGHMOUNTAIN PEAK. GOD (O.S.) Really something isn't it?God sits down next to Bruce. BRUCE Is this heaven?God laughs at this one. GOD It's Everest. You should try flipping on the Discovery Channel every now and then. Well, I guess you can't now, being dead and all. BRUCE I'm dead?IGod laughs. 76. GOD No, I'm just messing with you. BRUCE Those voices... GOD They're prayers, Bruce. You keep ignoring them and they're going to build up on. you like that. You didn't think being God was going to be all fun and games did you? BRUCE Prayers? Those are prayers? Why can't I understand them?God forms a snowball in his hands as he talks. GOD You aren't listening, son. Let's see, you've had my powers for over a week now and how many people have you helped? BRUCE Okay, so maybe I've righted a couple of the wrongs in my own life. I was going to get around to others. I can do both. I can help the world. GOD The world? That wasn't the world, Bruce. That was just Buffalo, between Commonwealth and 57th. Didn't want to start you out with more than you can handle. Now how you doing otherwise? Personal life in good shape? BRUCE Yeah. Everything is great.A DOORWAY OPENS like a crack in space. Grace steps out, seesBruce. GRACE Bruce? What are you doing out here?With that, the terrain TRANSFORMS back into the alley whereGrace has been standing all along. She can not see .God. 77, BRUCE Oh, ah, (to God) She can't... (God shakes his head, back to Grace) I just, ah, needed a little fresh air.Bruce fakes a couple big breaths. GRACE Bruce, what is going on? The second I want to talk about us you run out on me. GOD (to Bruce) Everything's great, huh? BRUCE I wasn't running out on you... GRACE You know, I actually had the crazy idea that you were going to ask me to marry you tonight. GOD Now it's heating up. BRUCE (to God) You are not helping. (back to Grace) ...me at all here, Grace. GOD (sarcastic) Nice recovery.Bruce looks to God to shut up. GRACE Not helping you what? BRUCE (to Grace) Look hun, I want to talk about this. This just isn't a good time. Okay? 78. GRACE When is it a good time? It's never a good time. GOD She's got a point. BRUCE (to God) Stay out of this.Grace looks at him like he's nuts. * GRACE Who are you talking to?!Just then, the WHISPERS start in again. Bruce reacts. BRUCE Oh, not now.Bruce puts his hands to his ears. Grace takes this as himnot wanting to listen to her. GOD You're going to have to answer those things, y'know. GRACE Fin e. Yo u kn ow wh at? I 'm go in g t o go home and if by some miracle it * suddenly becomes a 'good time', you * know where to find me. * (starts out, then) * And speaking of time, you're * running out of it. *Grace heads back into the restaurant. Bruce standscompletely frustrated. BRUCE (to God) Thank you. GOD You want some friendly advice? BRUCE No.God smiles. 79. GOD You wanted the job, Bruce. I * suggest you get to it. * INT. BRUCE AND GRACE'S APARTMENT - DAY * Grace is asleep in the bedroom while Bruce paces in the * living room. * BRUCE * Okay...Prayers. * He concentrates for a second and in an instant, the WHISPERS * start in. BRUCE Okay, first off, this creepy whisper thing has got to go. (paces) Organization and management. I need a system. Something concrete... (an idea) * Prayer files 1 * (commands) * Let all prayers be organized into *+* files. * Bruce WAVES HIS HAND--- * Instantly, the room is JAMMED FULL OF FILE. CABINETS. * BRUCE * Too b ulky. Ah! Praye r po st-it s! * Instantly, the files are gone and millions of POST-IT'S, EACH * WITH A PERSON'S PRAYER REQUEST begin slapping down attaching * themselves to everything in the room. * Bruce himself becomes a big post-it mummy. He pulls the one * covering his mouth. * BRUCE * Sloppy. * (an idea) * Ah! * CUT TO: * Bruce sits before a High Tech computer sitting on a desktop. * We HEAR the famous "You've Got Mail" sound bite. * 8 0. BRUCE Welcome to the information super highway. No mess, full bless.A COMPUTER PROGRESS BAR titled "Downloading Prayers" appearson screen, there's a long, long way to go.Bruce watches and waits, bored - looks at his watch. * DISSOLVE TO: *BRUCE - MORNING *He's fallen asleep by the computer. As he wakes he sees: *"1,567,432 unread messages" * BRUCE * Whoa. *Suddenly, Grace bounds out of the bathroom. * GRACE Okay, this is getting ridiculous IGrace's boobs are enormous! A healthy D-cup. GRACE I have to see a doctor. There's definitely something wrong with me. *Bruce jumps up from the computer, hides what he's doing... BRUCE No. You look great. GRACE I look like a hooker I My whole body is changing.She turns profile, her back sways causing her ass to stickout. GRACE My back didn't used to arch like this.Bruce gets up, walks to Grace. BRUCE I think you look amazing. * 81. GRACE Bruce, I feel like our relationship is becoming all about sex. BRUCE No it's not. Come on, give me a * hug. GRACE No, Bruce. Come on. *She breaks away and sees the computer is on. * GRACE * What's that? What are you doing? *Bruce tries to cover. * BRUCE * Oh, ah. Nothing. Surfing the * * internet...for stories... GRACE * Is this why you didn't come to bed? * BRUCE * No, ah...Honey, you're going to be * late. GRACE No, I'm not.Bruce looks over Grace's shoulder and ADJUSTS THE CLOCK FORTYMINUTES FORWARD. Grace turns and is surprised. GRACE Oh my goshI How did I sleep this late? I've got to run. Are you giving me a ride? BRUCE Don't need to.Bruce motions to the window. Grace walks over, looks out ands es . . e.A NEW SPORTY RED CONVERTIBLE wrapped in a WHITE BOW. BRUCE Happy two months and four days before your birthday. 82. GRACE (gasps) y ou' re c ra zy . Ca n we a ff ord t ha t? BRUCE I'll work it out. Just trust me.Bruce dangles the keys in front of her eyes. * GRACE * If you're trying to buy your way * out of the hot water you're in, * it's not working. . . * (looks at the car) * Well, it's working a little... *Bruce smiles. * CUT TO:GRACE DRIVES OFF IN HER NEW CARBruce turns away from the window, gets back to the computer. BRUCE * Okay. Let's start with something * easy. (typing) Find: Sports...Sabers. (reading) Please make the Sabers win the playoffs, good. Please, please let the Red Wings beat the Sabers.Bruce puzzles over the two prayers. Starts typing. BRUCE Yes to you, loyal Sabers fan. And no to you. (typing) And your goalie has turrets.Bruce smiles, this is fun.MUSIC UP: MIC JAGGER "GOD GIVE ME EVERYTHING I WANT"MONTAGE - BRUCE ANSWERS PRAYERSCLOSE ON COMPUTER SCREENEmails scroll, stop at:Filbert Davidson RE: GYM CLASS 83.INT. HIGH SCHOOL GYM - ROPE CLIMBING DRILL - DAYA BULLY taunts a FAT KID WITH HORN RIMMED GLASSES.ANGLE BRUCE - WATCHING FROM THE BLEACHERS.The FAT KID nervously grabs the rope and much to his *surprise, he CLIMBS IT LIKE STALLONE IN CLIFF HANGER. *Bruce is in the stands, pleased. He flicks his finger upwardand the BULLY'S gym shorts SHOOT UP HIS BUTT CRACK - asupernatural wedgy.Filbert flexes his flabby arm, amazed. CUT TO:CLOSE ON - COMPUTER SCREEN E-MAILEster Maha RE: BANKRUPTCYINT. BANK OFFICE - DAYBruce looks in the bank window and sees a very stressed, *ESTER sitting in the loan officer's office, tears in her *eyes. As she opens her purse for a tissue, IT IS FULL OFCASH. She registers shock and joy. BRUCE * Ask and ye shall receive. * CUT TO:CLOSE ON - COMPUTER SCREEN E-MAILBella Winters. RE - PARKING.EXT. PARKING LOT - DAYClose on a middle-aged woman driving a car in a parking lot. MIDDLE AGED WOMAN Please let. me find a space.She drives right by Bruce who smiles. . . * BRUCE * Knock, and the door shall be * open. . . *Bruce makes a KNOCKING MOTION and... *ANGLE - HANDICAPPED SPACES 84.All the signs fall off their post. The painted wheelchairsymbols on the pavement animate WHEELING THEMSELVES OFF THESPACES. She pulls into the now open spaces.EXT. PRISON YARD - DAYBruec watches a stickball game in progress. One PRISONERchases a batted ball to the prison wall revealing a HUGE HOLEto freedom. PRISONER (looks heavenward) Thank you, God.EXT. BEASLEY CONSTRUCTION SITE - DAYConstruction workers stand staring down in awe as woman afterwoman on the sidewalk below, STOP, RAISE THEIR TOPS AND FLASHTHEM. CONSTRUCTION WORKER Thank you, God.INT. SMALL WONDERS DAY CARE - DAYGrace bends over to help with a craft, revealing amplecleavage.ANGLE - MARTIN AND THE OTHER BOYS STARING AT HER, EYES WIDE. MARTIN Gracias, dios. (Subtitles read: Thank you, God.)He shovels a scoop of paste in his mouth.CLOSE ON: COMPUTER KEYBOARDBruce's hands typing responses. His fingers move faster andfaster.FRAGMENT MONTAGE OF OVERLAPPING IMAGERY - TEXT AND VISUALS:"I want to be bigger" text and dissolve to a young mangrowing six inches. He smiles wide --Close up computer text snippets dissolve over one another:"Please help my stock go up" "..my stock..." "...make akilling in the market..."Then another "I want to be bigger" this time dissolve to agrown man, peeks down his pants, smiles wide -- 85.EXT. BUFFALO CITY STREETS - DAYBruce walks along head high, FULL OF HIMSELF. He audiblyhears snippets of prayers, snapping off responses. VARIOUS PEDESTRIANS I've got to find a better job...Come on light, turn...God, I wish I were thinner... BRUCE Promotion with 15% raise...It's green. . . Donuts are now healthy...INT. BRUCE AND GRACE'S APARTMENT - DAYBruce sits at the computer, looks at the total prayerrequests, his jaw drops. 3 MILLION and growing. BRUCE Oh, come on. What a bunch of whiners. This is going to suck up my whole life.Bruce gets an idea, pulls down a menu on the computer,highlights "ANSWER ALL" types in the word "YES" and hitsenter.The computer takes over, ANSWERING EACH EMAIL AUTOMATICALLY.Bruce smiles and gets up.CLOSE ON - THE COMPUTER SCREENWe see the list scroll by, everything from "LOST CAT" to"MORE MONEY" "MAKE ME SMARTER" "MAKE ME THINNER," ETC."YES" "SEND", "YES" "SEND" and on and on.MUSIC OUT/END MONTAGEINT. EYEWITNESS NEWS STATION - JACK'S OFFICE - DAYON JACKVery uncomfortable, struggles for the right words as he'sfiring somebody. JACK Look this isn't easy for me. We're starting to get some complaints and... Well, Bobby, things just aren't working out. 86.JACK'S POVBobby's demon-looking head, slowly ROTATES 360 DEGREES ON HISNECK. JACK (scared) An, you can keep the cart if you like.We can SEE BOBBY'S BREATH NOW. BOBBY (deep demonic voice) Thanks. I've grown kind of attached to it.EXT. SMALL WONDERS DAY CARE - DAYBruce pulls up, Grace, her BODY BACK TO NORMAL, walks up andhops in, happy. GRACE L ook! I'm back to no rmal. It was the wildest thing, I was worried, so I said a prayer and the next thing I know, I was completely healed. It was like a miracle. BRUCE (fakes happy) That's great. GRACE So, you're taking me to lunch? Th is i s ra re -- (catches herself) But wonderful. BRUCE Oh, I've got something better than lunch.Bruce pulls out. They drive off. GRACE (O.S.) Oh, you'll never believe it. Debbie won the lotteryI BRUCE (O.S.) Really? 87. GRACE (O.S.) But get this, there were like 433 thousand other winners, so it only paid out 17 dollars. Can you believe the odds of that?EXT., UPSCALE HOME - DAYBruce leads her out of the car. BRUCE Keep 'em closed... GRACE (laughing) What is this?EXT. UPSCALE HOME - DAY *Bruce leads Grace through the gates. * BRUCE Okay...open your eyes.Grace does and sees A STAGGERING MANSION. * GRACE * Wow. This is a bit overwhelming. * BRUCE * I know, it's incredible. Come on * in, look. *INT. MANSION . *As amazing as it is, it's interior design is way over the top *ritzy. Painted ceilings, gold trim everwhere. ' * GRACE * (laughing) * This place is hilarious. Are you * doing a story here? * BRUCE * (coy) * No. Guess again? *Grace turns to Bruce confused. BRUCE It's mine...ours. 88. GRACE What? BRUCE (beaming) This is our new home. Come on...Bruce pulls Grace up the stairs. GRACE This had to cost-- I can't even imagine how much this had to cost. BRUCE 7 million. That was the asking, but I got a deal. GRACE Wh-What am I missing here? You can't afford this. You're a reporter. Buying cars is one t hing, but this--Bruce grabs a hold of Grace. BRUCE We'll have the money. Listen to me closely. I'm getting anchor. Then, I'm going to get spotted, offers will come flooding in to go national, and then you and I are moving to New York City to a place that will put this to shame. This has been my exact dream my whole life and it's finally going to happen. Every step just how I pictured it.Grace just stares at Bruce. GRACE There's only one problem. BRUCE What? GRACE I hate it.Bruce is surprised. 89. GRACEWhat were you thinking? Why didn't *you talk to me about this? * BRUCE *I wanted to surprise you. * GRACE *Mission accomplished. * BRUCEHonestly, I thought you'd be alittle more appreciative. GRACEAppreciative of what? The factthat you didn't include me on amajor life decision or that we nowlive in the Sultan of Bernai's *house? * BRUCE (under his breath)Like pearls to swine. GRACEWhat is that supposed to mean? BRUCELet those with ears hear. GRACEWhat is happening to you? You'rechanging. BRUCEExa ct ly. F or th e bet te r. I' m notpoor and s truggling . And mayb ethat threatens you. I'm tellingyou, there are plenty of women whowould love this place. GRACEYeah, and so would their pimps. * BRUCE *I can't believe this. I did all *this for us. * GRACE *Us ? W hat us? Yo u a lwa ys said wh en *your career takes off we'd get *married. What happened to that us? * 90. BRUCE I want that. GRACE * 'That'. You can't even say the * word. * BRUCE * Marriage, I want marriage, okay. * It's just not a great time right now. GRACE Not a great time. What is that, your mantra? This is never going to change. . .Grace heads down the stairs. * BRUCE Come on Grace, lighten up. .* Tomorrow's Saturday. The office is * throwing me a party here, for getting anchor. Let's enjoy the ride for a whi le. We're just starting to have some fun. GRACE No, you're just starting to have fun.Suddenly, the TOILET FLUSHES off camera. Grace sees Sam inthe bathroom spraying some deodorizer before he exits. GRACE And what in God's name is going on with that dogI?Grace pulls her cell phone .out of her purse, heads for thedoor. GRACE I'm going to have Debbie pick me up. BRUCE Grace. GRACE I'm sorry, but I won't be attending your little pa rty tomorrow. And if * you would like to see me after I will be at our home. * 91.She starts out. GRACE (CONT'D) Oh, and that poor, struggling guy you talked about? I miss him.ON BRUCE - BUMMEDPARTY MUSIC UP:INT. UPSCALE HOME - NIGHTThe PARTY OF PARTIES is in order. The place is jam packedwith co-workers, fellow reporters, and various news contactsEveryone is in an ecstatic mood, many prayers having beenrecently answered. We MOVE THROUGH THE PARTY and hearsnippets of various conversations. BUSINESSMAN I'll drink to that! My tech stocks tripled in five days.They clink glasses. WOMAN You seem taller. JOE I am! FATHER TYPE My son pitched a no hitter! HEAVYISH WOMAN I lost 47 Ibs on the Krispy Kreme diet.ON SAMWalking on his hind legs, delivers a cold beer to Bruce.ON BRUCEWell on his way to plastered, takes a swig, then glances atthe beer. BRUCE (to Sam) Hello... (pointing to bottle) Corona. Lime next time? 92.Sam walks away, his tail between his legs.Bruce maneuvers down the hall dancing, high-fiving, drunkenly *accepting the praise coming at him from all sides. * PARTIERS There he is. . . The manI.. All hail our new anchor!I BRUCE Bless you. Bless you. PARTYING SPORTS GUY Hey Bruce, who do you like in the game tonight? BRUCE Put your money on the Sabers. Coach prays a lot.A FRENCH WAITER approaches Bruce. FRENCH WAITER Ah, Mr. Nolan, we're running out of hors doerves. I'm afraid we under- ordered, sir. And the people are hungry. BRUCE What do you have left?The Waiter holds up a small basket. FRENCH WAITER Only three chips and two shrimp. BRUCE (confident) Just take it around.The Waiter gets a confused look. CUT TO:CHIPS OVERFLOWING, SHRIMP SPILLING OUT OF BASKETS, HANDSREACHING GLUTTONOUSLY FOR THE BOUNTY.The Waiter walks along amazed as handfuls of shrimp and chipsare pulled from the small basket.Partiers crowd around Bruce, start to chant. 93. CROWD Speech! Speech!! Speech!Bruce takes center stage, quiets the crowd. BRUCE I ' d thank you all for coming, but the liquor is free so maybe you should THANK ME!Everyone laughs. BRUCE And now let me tell you a story. There was a man who had two sons. The younger son took his inheritance and squandered his money on a life of lust and debauchery. I LOVE THAT GUY!!Everyone throws their hands up and continues to party.Bruce's big smile fades. He looks around the room, hoping tospot Grace. He grabs a phone, walks out to the balcony,di al s --He gets their answering machine, hears their outgoing messagetogether from happier times. He hangs up. FEMALE VOICE (O.S.) Hey there.Bruce turns, sees SUSAN ORTEGA, completely stunning in a sexydress. SUSAN Hi Br uce. What are you d oing out here all alone? BRUCE Oh, ah, I was calling Grace. SUSAN Yeah, I didn't see her in there. I love the new place, by the way. So how are you and Grace doing? BRUCE I don't know, we had a fight earlier. Ever since I . . Well, things are different now and... 94. SUSAN You're on fire Bruce. Some women can't handle fire. Some can.Susan smooths close to Bruce. SUSAN You know, I always had an instinct about you. I knew you were going to make something of yourself. BRUCE Really? SUSAN There's something special about you Bruce. I like special... BRUCE Look Susan, I don't know, I--Susan grabs Bruce, kisses him passionately. Bruce doesn'tjoin in, but doesn't fight it either.ANGLE - THE FRONT DOORGrace and Debbie enter. DEBBIE So this is your new place, huh? GRACE Cozy, don't you think? Come on help me find him.They head into the room. DEBBIE You sure you want to do this? GRACE I don't know. It's his big night. * I don't want to spoil it. I know . * how much this means to him. * DEBBIE * * So much for lashing back...Grace stops dead in her tracks. Her face drops.GRACE'S POV - BRUCE, still lip-locked with Susan Ortega. 95. DEBBIE Oh, boy.Bruce turns and sees Grace. BRUCE Grace, I... GRACE . (fighting back tears) Get the car, Deb. DEBBIE Right. BRUCE Grace, wait.Grace follows Debbie out.EXT. UPSCALE HOME - NIGHTBruce follows Grace outside. BRUCE Grace, come on.Grace stops, opens her purse, tosses the keys to her new carin Bruce's chest. GRACE Here. I do n't w ant your car. I don't want your things. . . I don't want you. BRUCE Come on, don't say that. I was just calling y ou-- GRACE And you thought Susan's mouth was the phone? BRUCE I didn't think you were coming-- I mean, I . . . I screwed up, okay. Let me make it up to you. GRACE How about a boat, Bruce? BRUCE If that's what you want. 96. GRACE Yeah, a big boat and oh, maybe two bags of cash, you know, the ones with the big cartoon dollar signs on the front. Then I'll be happy. Because I'm just hollow inside. Debbie's been right. All this time. I defended you, told her there was good in you. Another side to you. Well, I just saw that other side and I don't want anything to do with it.Debbie pulls up, Grace storms off to the car. Bruce follows, BRUCE Grace, come on, don't do this. GRACE Go back to your little co-anchor. Or is that ho-anchor? (tearing) I came back here to apologize. How stupid am I?Grace turns and heads to the car. BRUCE You're the one that didn't like the new place!Grace gets in, slams the door. BRUCE You can't walk out on me! I'm the alpha, lady! I'm the Omega!Debbie peels out. BRUCE (desperate last attempt) I could make you stay!Bruce is left alone in the middle of the street. BRUCE Fine! I don't need you! I have everything I need. Did you hear that?! (yelling) I have EVERYTHING! 97.INT. UPSCALE HOME - MOMENTS LATERBruce walks in, Susan is waiting for him. SUSAN I was right. She couldn't handle the fire. *Bruce looks at Susan with disgust, then glances to a FIREALARM on the wall, mentally TRIGGERS IT. The sprinklers turnon, as well. People scream, rush toward the exit.Bruce sits down on the sofa, being rained on by thesprinklers, alone. He finally plops back and God is sittingnext to him. GOD Enjoying your party? Yeah, nothing like spending time with some real frien ds. Any s hrimp left ? BRUCE Grace left me. GOD I know. BRUCE (certain) She'll take me back. (uncertain) Will she take me back? GOD Would you take you back?Bruce mulls this over,- then... BRUCE How do you make someone love you when you can't effect free will? GOD Welcome to my world, son. You come up with an answer to that one, you let me know.Off of Bruce thinking... CUT TO: 98.INT. DEBBIE AND MIKE'S HOUSE - MORNINGGrace's alarm goes off. The radio comes on and it plays aJohn Cougar Mellencamp song. But the lyrics are different. JOHN COUGAR MELLENCAMP Here's a little ditty, about Grace and her man Bruce, two Americans growing up, needing to make a truce.Grace's eyes pop open. Is she dreaming?EXT. DEBBIE'S HOUSEBruce hides behind a hedge, watches Grace jog past.ON GRACEnotices something CARVED IN THE TREE it reads: "GRACE +BRUCE". Carved in the next tree, "A COUPLE FOR THE AGES".Carved in the next tree, "COME ON ALREADY, GIVE HIM ANOTHERCHANCE". She does a double take, continues on.INT. COFFEE SHOPGrace reaches in her purse to pay for her coffee and a bunchof PICTURES FALL OUT. They are all of Bruce and Grace. Shethinks, definitely didn't -put them there.INT. SMALL WONDER'S DAY CARE - DAYGrace is helping one of the kids, when she notices somethingoutside the window. It's a cloud formation that strangelylooks like BRUCE (in profile) HOLDING HANDS WITH GRACE. Shereacts as the imagery melts away into a very faint "FORGIVEHIM."EXT. SMALL WONDERS DAY CARE - LATERGrace is talking with one of the other teachers. The kids,playing dodgeball in the background, laugh and scream louderand louder. Grace turns and sees...Bruce getting pelted by multiple balls. BRUCE Okay, surrender, surrender.He walks over to Grace. BRUCE Hi. 99. GRACE Hi.. BRUCE I, ah, have my first anchor tonight. GRACE That's great. I hope it goes well for you.He's hit in the head by a ball. Grace can't help but smilesBruce leaps at the opportunity. BRUCE I miss you. (off her silence) I just took the first step, shot myself out on the ledge, awaiting vulnerably your response. GRACE . . . I don't know what to say. BRUCE How about you love me and you'll take me back. GRACE No, Bruce. BRUCE Come on, what about all the signs? GRACE What? How do you know about that? Did you talk to Debbie? BRUCE (beat) Would it help if I told you I acted like an ass?Martin is standing nearby. MARTIN Hey, you said ass. BRUCE It's okay as long as you mean a donkey. I didn't add "hole." It's only bad when you say "ass-ho-- 100. GRACE Alright, inside, Martin. (to the others) Okay everyone, inside.The kids race in. Grace starts to follow. BRUCE Grace, please. None of this seems * right without you. * (off her reaction) * Is that a glimmer of hope I see? * GRACE I have to go... *She starts off. . . BRUCE Wait.Bruce DRAMATICALLY RAISES A HAND TOWARD GRACE, like putting alove spell on her. BRUCE Now how do you feel?She looks at him, oddly. GRACE ...Are you out of your mind? Have you been drinking? BRUCE Drin kin g? Sur e. I'm dru nk wit h POWER.Bruce RAISES BOTH HANDS IN FULL HEXING FASHION... BRUCE ...LOVE ME1!! GRACE (a beat) You need help.She heads back inside. Bruce throws his hands in the air,frustrated.EXT. SMALL WONDER'S PARKING LOT - MOMENTS LATERBruce heads for his car as he sees a two guys in PRISON SUITS(from the prison yard) drive off with it. 101. BRUCE Hey11 That's my car!!INT. BRUCE'S CAR - CONTINUOUSThe PRISONERS drive off laughing. PRISONER #1 Ha, nice wheels, huh?BRUCE sits up in the back seat. BRUCE Thou shalt not steal.The prisoners JUMP. BRUCE Car, show them the way out.Instantly, the car doors fly open and the seats tilt sidewaysdumping the prisoners. BRUCE What is wrong with the world?INT. EYEWITNESS NEWS STATION - TV STUDIOON A TV MONITOR NEWS ANCHOR #1 The Dow skyrocketed again today and with a new influx of paper millionaires, analysts are warning of a potential run on banks...We see a stock graph superimposed on the screen with aludicrous jump straight up off the charts.CHANNEL CHANGES TO: NEWSANCHOR #2 The scene nearly turned violent when hundreds of disgruntled Buffalo residents protested the results of lasts weeks fluke lottery results...CHANNEL CHANGES TO: 102. NEWS ANCHOR #3 ...another 37 arrests today at the Beasley Construction Site for indecent exposure. . .We see women getting pulled away one by one into police vans,after they flash their tops. In the background, a "Girl'sGone Wild" van is there rolling tape of each flashing.ON JACK JACK The world's gone mad.Jack clicks off the monitor. Bruce hustles in from make-up.An air of forced confidence about him. Nothing and no one isgoing to ruin his big moment. JACK Oh, there you are. Your big debut. How you feeling? BRUCE You know what? I'm good. The show must go on.Bruce sits in the anchor desk, breathes in the reality. SUSAN (whispers) Bruce, if I had any idea Grace was going to be there last night... BRUCE Susan, you didn't do anything * wrong. In fact, I found the * moment rather pleasurable. *Susan shudders, tries to compose himself. SUSAN (flustered) Oh, really. . . that's nice. JACK Okay, the Sabers just won the Stanley Cup. It's getting pretty crazy out there. We're going to kick live to Fred at the stadium. Oh, and Bruce, you won the pool again. Exact score, dead on. Twenty-three to one, who would have thought. 103. bXA