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+				 DO THE RIGHT THING					    by					 Spike LeeSecond DraftMarch 1, 1988; Brooklyn, N.Y.Forty Acres and a Mule Filmworks, Inc.YA-DIG SHO-NUFFBY ANY MEANS NECESSARYWGA #45816"The greatest miracle Christianity has achieved in Americais that the black man in white Christian hands has not grownviolent.  It is a miracle that 22 million black people havenot risen up against their oppressors--in which they wouldhave been justified by all moral criteria, and even by thedemocratic tradition!  It is a miracle that a nation ofblack people has so fervently continued to believe in aturn-the-other-cheek and heaven-for-you-after-you-diephilosophy!  It is a miracle that the American Black peoplehave remained a peaceful people, while catching all thecenturies of hell that they have caught, here in white man'sheaven!  The miracle is that the white man's puppet Negro'leaders,' his preachers and the educated Negroes laden withdegrees, and others who have been allowed to wax fat offtheir black poor brothers, have been able to hold the blackmasses quiet until now."		    --THE AUTOBIOGRAPHY OF MALCOLM XTITLES--WHITE ON BLACK					   PLACE				 Brooklyn, New York								    CUT TO:					   TIME					  Present								    CUT TO:					  WEATHER				    Hot as shit!								    CUT TO:INT: WE LOVE RADIO STATION STOREFRONT--DAYEXTREME CLOSE UPWE SEE only big white teeth and very Negroidal (big) lips.					MISTER SE—OR LOVE DADDY		  Waaaake up!		  Wake up!  Wake up!  Wake up!		  Up ya wake!  Up ya wake!  Up ya wake!CAMERA MOVES BACK SLOWLY TO REVEAL MISTER SE—OR LOVE DADDY,a DJ, a radio personality, behind a microphone.					MISTER SE—OR LOVE DADDY		  This is Mister SeÒor Love Daddy.		  Your voice of choice.  The world's		  only twelve-hour strongman, here on		  WE LOVE radio, 108 FM.  The last on		  your dial, but the first in ya		  hearts, and that's the truth, Ruth!The CAMERA, which is STILL PULLING BACK, shows that MisterSeÒor Love Daddy is actually sitting in a storefront window.The control booth looks directly out onto the street.  Thisis WE LOVE RADIO, a modest station with a loyal following,right in the heart of the neighborhood.  The OPENING SHOTwill be a TRICK SHOT--the CAMERA PULLING BACK through thestorefront window.					MISTER SE—OR LOVE DADDY		  Here I am.  Am I here?  Y'know it.		  It ya know.  This is Mister SeÒor		  Love Daddy, doing the nasty to ya		  ears, ya ears to the nasty.  I'se		  play only da platters dat matter,		  da matters dat platter and that's		  the truth, Ruth.He hits the cart machine and we hear a station jingle.					VO		  L-O-V-E RADIO.					MISTER SE—OR LOVE DADDY		  Doing da ying and yang da flip and		  flop da hippy and hoppy			    (he yodels)		  Yo da lay he hoo.  I have today's		  forecast.			    (he screams)		  HOT!He laughs like a madman.INT: DA MAYOR'S BEDROOM--DAYAn old, grizzled man stirs in the bed, his sheets are soakedwith sweat.  He flings them off his wet body.					DA MAYOR		  Damn, it's hot.INT: JADE'S APARTMENT--DAYCAMERA MOVES IN ON a young man sitting at the edge of a sofabed.CLOSE UP--HIS SMALL HANDSWE SEE him counting his money.  This isn't any ordinarycounting of money, he's straightening out all the corners ofthe bills, arranging them so the bills--actually the "deadpresidents"--are facing the same way.  This is MOOKIE.  Oncehe's finished with that task, counting his money, he sneaksinto his sister's bedroom.INT: JADE'S BEDROOM--DAYCLOSE UP--JADEJADE, Mookie's sister, is fast asleep.  Mookie's fingersENTER THE FRAME and start to play with her lips.  Jadepushes his hands away.  Mookie waits several beats and hecontinues.  Jade wakes up--mad.					JADE		  Don't you have enough sense not to		  bother people when they're sleeping?					MOOKIE		  Wake up!					JADE		  Wake up?  Saturday is the lone day		  I get to sleep late.					MOOKIE		  It's gonna be hot today.					JADE		  Good!  Leave me alone when I'm		  sleeping.  I'm gonna get a lock on		  my door, to keep ya ass outta here.					MOOKIE		  Don't ya love ya brother Mookie		  anymore?  I loves ya, Jade.					JADE		  Do me a favor.  Go to work.					MOOKIE		  Later.  Gotta get paid.He plants a big fat juicy on his sister's forehead.EXT: SAL'S FAMOUS PIZZERIA--DAYA 1975 El Dorado pulls up in front of the neighborhoodpizzeria--Sal's Famous Pizzeria.From out of the car comes the owner, SAL, a slightlyoverweight man in his early fifties, and his two sons, PINO,22, and VITO, 20.  It's time for them to go to work at Sal'sFamous Pizzeria in the heart of Black Brooklyn.  Sal's sitson the corner of The Block.  The Block being where this filmon the hottest day of the summer takes place.Pino kicks a beer can in his path into the gutter.					SAL		  Pino, get a broom and sweep out		  front.					PINO		  Vito, get a broom and sweep out		  front.					VITO		  See, Pop.  That's just what I was		  talkin' about.  Every single time		  you tell Pino to do something, he		  gives it to me.					PINO		  He's nuts.					SAL		  The both of youse, shaddup.					VITO		  Tell Pino.					PINO		  Get the broom.					VITO		  I ain't getting shit.					SAL		  Hey!  Watch it.					PINO		  I didn't want to come to work		  anyway.  I hate this freakin' place.					SAL		  Can you do better?  C'mere.Pino is now silent.  Sal walks over to him.					SAL		  Can you do better?			    (he pops Pino upside			    the head)		  I didn't think so.  This is a		  respectable business.  Nuthin'		  wrong with it.  Get dat broom.					PINO		  Tell Vito.					VITO		  Pop asked you.					SAL		  I'm gonna kill somebody today.EXT: MOOKIE'S BROWNSTONE--DAYMookie comes down his stoop and walks to work.EXT: STREET--DAYThe Block is beginning to come to life.  Those unlucky soulswho have to work this Saturday drag themselves to it, andthe kids are out on the street to play in the hot sun allday long.EXT: MOTHER SISTER'S STOOP--DAYMookie stops to say hello to MOTHER SISTER.  She leans outher window on the parlor floor.  In the summertime, the onlytime when she's not perched in her window is when she'sasleep.					MOTHER SISTER		  Good morning, Mookie.					MOOKIE		  Good morning to you.					MOTHER SISTER		  Now, Mookie, don't work too hard		  today.  The man said it's gonna be		  HOT as the devil.  I don't want ya		  falling out from the heat.  You		  hear me, son?					MOOKIE		  I hear ya, Mother Sister.  I hear		  you.					MOTHER SISTER		  Good.  I'll be watching ya, son.		  Mother Sister always watches.INT: SAL'S FAMOUS PIZZERIA--DAYMookie enters the pizzeria and Pino is on him before thedoor closes.					PINO		  Mookie, late again.  How many times		  I gotta tell you?					MOOKIE		  Hello, Sal.  Hello, Vito.					SAL		  How ya doin', Mookie?					VITO		  Whaddup?					MOOKIE		  Just coolin'.					PINO		  You're still late.					SAL		  Pino, relax, will ya.					PINO		  Here, take the broom.  The front		  needs sweeping.					MOOKIE		  Wait a minute.  Wait a minute.  I		  just got here.  You sweep.  I		  betcha Sal asked you first anyhow.					VITO		  That's right.					PINO		  Shaddup, Vito.					MOOKIE		  Fuck dat shit.  I deliver pizzas.		  That's what I get paid for.					PINO		  You get paid to do what we say.					MOOKIE		  What we say.  I didn't hear Sal say		  nuthin'.Pino looks at his father.  He wants to be backed up on this;all he gets is an amused look, and a smirk from Vito.					PINO		  Who's working for who?There's a knock on the door and Da Mayor enters.					SAL		  Come on in, Mayor.					DA MAYOR		  Good morning, gentlemens.  It's		  gonna be a scorcher today, that's		  for sure.  Need any work done		  around here?Sal looks at Pino, who reluctantly gives Da Mayor the broom.					DA MAYOR		  It will be the cleanest sidewalk in		  Brooklyn.  Clean as the Board of		  Health.Da Mayor almost runs out of the pizzeria in his hurry; soonas he finishes he'll be able to get a bottle.					PINO		  Pop, I don't believe this shit.  We		  runnin' welfare or somethin'?		  Every day you give dat bum--					MOOKIE		  Da Mayor ain't no bum.					PINO		  Give dat bum a dollar for sweeping		  our sidewalk.  What do we pay		  Mookie for?  He don't even work.  I		  work harder than him and I'm your		  own son.					MOOKIE		  Who don't work?  Let's see you		  carry six large pies up six flights		  of stairs.  No elevator either and		  shit.					SAL		  Both of youse--shaddup.  This is a		  place of business.					VITO		  Tell 'em, Pop.					PINO		  Me and you are gonna have a talk.					VITO		  Sez who?					PINO		  Sez me.					SAL		  Hey!  What did I say?					MOOKIE		  Who doesn't work?  Don't start no		  shit, won't be no shit.					SAL		  Mookie, no cursing in the store.					MOOKIE		  Talk to your son.EXT: SAL'S FAMOUS PIZZERIA--DAYDa Mayor sweeps the sidewalk, happy as can be.  As soon ashe finishes he can get that money and get that bottle.EXT: STOOP--DAYA group of youths sit on a stoop, waiting for someone.  Theyare CEE, PUNCHY, and the lone female, ELLA.					ELLA		  What's keeping him?					PUNCHY		  You call him, then.Ella stands up and yells.					ELLA		  Yo, Ahmad!					PUNCHY		  I coulda done dat.					ELLA		  Yo, Ahmad!She looks up into his window, then sits down.					ELLA		  Punchy, if ya want to do some more		  screaming, be my guest.  I'm too		  through.The door swings open at the top of the stoop and AHMADappears.					AHMAD		  Who's yelling my name?					ELLA		  Punchy told me to.					AHMAD		  Don't listen to him, it will get ya		  in trouble.					ELLA		  Heard that, Punchy.Ahmad sits down with them.					AHMAD		  Ella, you have a brain, use it.In the BG, we hear the dum-dum-dum of a giant box.  Thesound gets louder as the box gets closer.  The youths lookdown the block and see a tall young man coming towards them.He has a very distinct walk, it's more like a bop.  This isRADIO RAHEEM.  The size of his box is tremendous and one hasto think, how does he carry something that big around withhim?  It must weigh a ton, and it seems like the sidewalkshakes as the rap music blares out.  The song we hear is theonly one Radio Raheem plays.MEDIUM SHOT--RADIO RAHEEMRadio Raheem stops in front of the group, looks at them, andturns down the volume.  It's quiet again.					RADIO RAHEEM		  Peace, y'all.					ELLA		  Peace, Radio Raheem.					CEE		  Peace.											    10.					PUNCHY		  You the man, Radio Raheem.					AHMAD		  It's your world.					CEE		  In a big way.Radio Raheem nods and turns up the volume.  Way up.					AHMAD		  My people.  My people.EXT: WE LOVE STOREFRONT--DAYRadio Raheem waves to Mister SeÒor Love Daddy as he walks by.INT: WE LOVE CONTROL BOOTH--DAYMister SeÒor Love Daddy gives Radio Raheem a clenched-fistsalute.EXT: FRUIT-N-VEG DELIGHT--DAYDa Mayor walks into a newly opened fruit and vegetable delistand that is owned by Koreans.INT: FRUIT-N-VEG DELIGHT--DAYDa Mayor is looking for his beer in the refrigerated cases,his ice-cold beer.					DA MAYOR		  Where's the Bud?  Where's the Bud?					KOREAN CLERK		  No mo' Bud.  You look what we have		  and buy.					DA MAYOR		  No more Bud.  What kind of joint is		  this?  How come no mo' Bud?  Doctor,		  this ain't Korea, China, or wherever		  you come from.  Get some Budweiser		  in this motherfucker.					KOREAN CLERK		  You buy 'nother beer.											    11.					DA MAYOR		  Alright.  Alright.  Y'know you're		  asking a lot to make a man change		  his beer, that's asking a lot,		  Doctor.EXT: MOTHER SISTER'S STOOP--DAYDa Mayor has his can of beer (not Budweiser) and the brownpaper bag is twisted into a knot at the bottom.  He stopsand takes a long swig.					MOTHER SISTER		  You ole drunk.  What did I tell ya		  about drinking in front of my stoop?		  Move on, you're blocking my view.Da Mayor lowers the can from his mouth and looks up at hisheckler.  It's obvious from the look on his face he's heardthis before.  Da Mayor contorts his face and stares at her.					MOTHER SISTER		  You ugly enough.  Don't stare at me.Da Mayor changes his face into a more grotesque look.					MOTHER SISTER		  The evil eye doesn't work on me.					DA MAYOR		  Mother Sister, you've been talkin'		  'bout me the last eighteen years.		  What have I ever done to you?					MOTHER SISTER		  You're a drunk fool.					DA MAYOR		  Besides that.  Da Mayor don't		  bother nobody.  Nobody don't bother		  Da Mayor but you.  Da Mayor just		  mind his business.  I love everybody.		  I even love you.					MOTHER SISTER		  Hold your tongue.  You don't have		  that much love.					DA MAYOR		  One day you'll be nice to me.  We		  might both be dead and buried, but		  you'll be nice.  At least civil.											    12.Da Mayor tips his beat-up hat to Mother Sister and takes afinal swig of beer just for her.INT: TINA'S APARTMENT--DAYAn elderly Puerto Rican woman, CARMEN, is telling off herdaughter TINA in Spanish.  Tina, having heard enough, closesthe door on her mother's ranting and raving.ANGLE--TINATina bends down and scoops her baby son HECTOR up from thebed and holds him for dear life to her breasts.  She talksto her son while walking around the room.					TINA		  Hector, I shouldn't be telling you		  this but you would find out sooner		  or later.  Ya father ain't no real		  father.  He's a bum, a two-bit bum		  in a hundred-dollar world.  Your		  father is to the curb.  You're		  smart.  I see that look on ya face.		  You're saying if he's such a bum		  why am I with him?  Good question.		  Like I said before, you're no dummy.		  He talked his way into my panties,		  I thought being a mother would make		  me happy, make me whole.  He's a		  mistake, but you are not.Tina kisses her son.  Tina is seventeen years old, anotherteenage parent.EXT: STREET CORNER--DAYEvery day on this corner, summer or winter, spring or fall,a small group of men meet.  They have no steady employment,nothing they can speak of; they do, however, have the giftof gab.  These man can talk, talk, and mo' talk, and when abottle is going round and they're feeling "nice," they getphilosophical.  These men become the great thinkers of theworld, with solutions to all its ills; like drugs, thehomeless, and AIDS.  They're called the Corner Men: SWEETDICK WILLIE, COCONUT SID, and ML.  All three are sitting infolding chairs up against a wall in the shade.					ML		  The way I see it, if this hot		  weather continues, it will surely		  melt the polar caps and the whole		  wide world--the parts that ain't		  water already--will be flooded.											    13.					COCONUT SID		  You a dumb-ass simple motherfucker.		  Where did you read that?					ML		  Don't worry about it.  But when it		  happens and I'm in my boat and ya		  black ass is drowning, don't ask me		  to throw you a lifesaver either.					SWEET DICK WILLIE		  Fool, you're thirty cents away from		  a quarter.  How you gonna get a boat?					ML		  Don't worry about it.					SWEET DICK WILLIE		  You're raggedy as a roach.  You eat		  the holes out of donuts.					ML		  I'll be back on my feet.  Soon		  enough.					SWEET DICK WILLIE		  So when is all this ice suppose to		  melt?INT: SAL'S FAMOUS PIZZERIA--DAYCustomers are in Sal's; it's lunchtime and it's fairly busy.Sal puts a hot slice down on the counter in front of BUGGIN'OUT, a b-boy.					SAL		  You paying now or on layaway?Buggin' Out looks at the slice.					BUGGIN' OUT		  How much?					SAL		  You come in here at least three		  times a day.  You a retard?  A buck		  fifty.					BUGGIN' OUT		  Damn, Sal, put some more cheese on		  that motherfucker.											    14.					SAL		  Extra cheese is two dollars.		  Y'know dat.					BUGGIN' OUT		  Two dollars!  Forget it!Buggin' Out slams his money down on the counter, takes hisslice and sits down.ANGLE--TABLEAll around Buggin' Out, peering down from the WALL OF FAME,are signed, framed, eight by ten glossies of famous ItalianAmericans.  WE SEE Joe DiMaggio, Rocky Marciano, Perry Como,Frank Sinatra, Luciano Pavarotti, Liza Minnelli, GovernorMario Cuomo, Al Pacino and, of course, how can we forgetSylvester Stallone as Rocky Balboa: THE ITALIAN STALLION,also RAMBO.CLOSE UP--BUGGIN' OUTHe looks at the pictures hovering above him.					BUGGIN' OUT		  Mookie.CLOSE UP--MOOKIE					MOOKIE		  What?CLOSE UP--BUGGIN' OUT					BUGGIN' OUT		  How come you ain't got no brothers		  up?CLOSE UP--MOOKIE					MOOKIE		  Ask Sal.ANGLE--PIZZERIA					BUGGIN' OUT		  Sal, how come you ain't got no		  brothers up on the wall here?					SAL		  You want brothers up on the Wall of		  Fame, you open up your own business,		  then you can do what you wanna do.		  My pizzeria, Italian Americans up		  on the wall.											    15.					VITO		  Take it easy, Pop.					SAL		  Don't start on me today.					BUGGIN' OUT		  Sal, that might be fine, you own		  this, but rarely do I see any		  Italian Americans eating in here.		  All I've ever seen is Black folks.		  So since we spend much money here,		  we do have some say.					SAL		  You a troublemaker?Pino walks over to Buggin' Out.					PINO		  You making trouble.					BUGGIN' OUT		  Put some brothers up on this Wall		  of Fame.  We want Malcolm X, Angela		  Davis, Michael Jordan tomorrow.Sal comes from behind the counter with his LouisvilleSlugger Mickey Mantle model baseball bat.  Vito is by hisside, but Mookie intercepts them, and takes Buggin' Outoutside.					SAL		  Don't come back, either.					BUGGIN' OUT		  Boycott Sal's.  Boycott Sal's.EXT: SAL'S FAMOUS PIZZERIA--DAY					MOOKIE		  Buggin' Out, I gotta work here.					BUGGIN' OUT		  I'm cool.  I'm cool.					MOOKIE		  Come back in a week, it will be		  squashed.They give each other five.											    16.INT: SAL'S FAMOUS PIZZERIA--DAYMookie enters.					SAL		  Mookie, if your friends can't		  behave, they're not welcome.					MOOKIE		  I got no say over people.					PINO		  You talk to 'em.					MOOKIE		  People are free to do what they		  wanna do.					SAL		  I know, this is America, but I		  don't want no trouble.EXT: STREET--DAYMookie walks down the block with pizza box in hand when hesees Da Mayor sitting on his stoop.					DA MAYOR		  Mookie.					MOOKIE		  Gotta go.					DA MAYOR		  C'mere, Doctor.Mookie turns around and goes back.					DA MAYOR		  Doctor, this is Da Mayor talkin'.					MOOKIE		  OK.  OK.					DA MAYOR		  Doctor, always try to do the right		  thing.					MOOKIE		  That's it?					DA MAYOR		  That's it.											    17.					MOOKIE		  I got it.INT: TENEMENT BUILDING--DAYMookie is hiking up a flight of stairs.ANGLE--STAIRCASEHe puts the pizza box down and takes a breather.CLOSE UP--MOOKIESweat drips off his face.ANGLE--MOOKIEHe bends down to pick up the pizza box and tackles the lastfew flights.CLOSE UP--DOORBELLMookie pushes the buzzer.ANGLE--DOORA young Puerto Rican woman opens the door.					NILDA		  I hope it's not cold.Mookie hands her the pizza.					MOOKIE		  No, it's not cold.  Twelve dollars		  for the pie.Nilda hands him a handful of singles.  Mookie looks at thecrumpled mess.  Nilda attempts to close the door, butMookie's foot says, "Hell no."					MOOKIE		  Hold it.  Let me count this first.First he straightens out the dollars, then counts the bills.					MOOKIE		  You're short.					NILDA		  I counted the twelve dollars myself.					MOOKIE		  Twelve is right, but no tip.											    18.					NILDA		  No tip.					MOOKIE		  Look, lady.  I carried your pizza		  up five flights of stairs and shit.		  The cheese didn't slide over to one		  side like it sometimes does with		  delivery people who don't care.  I		  do care.  May I get paid?Nilda looks at him and sees right away he's not goinganywhere.					NILDA		  Wait here.					MOOKIE		  I'll wait.Nilda goes into the apartment and we hear her talking inSpanish to a male.ANGLE--MOOKIEMookie bends down to tie his sneakers.ANGLE--DOORNilda reappears and holds out a lonely lone dollar for him.Mookie has her hold it out for awhile, then he takes it.					MOOKIE		  Gracias mucho.Nilda slams the door.					MOOKIE		  A dollar!  Cheap bastard!  Your		  pizza is gonna be fucked next time.EXT: MOTHER SISTER'S STOOP--DAYJade sits down next to Mother Sister on the stoop.					MOTHER SISTER		  Jade, you're late.					JADE		  I know, Mother Sister, but I'm here		  now.  Where's the stuff?Mother Sister hands her a bag that is at her side.											    19.					MOTHER SISTER		  Seen your brother, just walked by.Jade unwraps a head scarf from around Mother Sister's headand a full head of long black hair falls to her shoulders.					JADE		  This might take some time.					MOTHER SISTER		  I got nowhere to go.  We haven't		  had a good sit-down for a long while.Jade begins to part, grease, and comb out Mother Sister'shair.					MOTHER SISTER		  Tender-headed runs in my family.		  You tender-headed?					JADE		  Yeah, me too.					MOTHER SISTER		  That's why I don't fool with it.		  Only let you touch it...Ouch!					JADE		  Sorry, comb got caught.					MOTHER SISTER		  Be gentle, child.  Mother Sister is		  an old woman.					JADE		  How are you holding up in this		  weather?					MOTHER SISTER		  I'll do.					JADE		  I don't know why you still haven't		  bought an air conditioner.					MOTHER SISTER		  Don't like 'em.  A fan will do.ANGLE--DA MAYORDa Mayor stands in front of the stoop, he's smiling for days.											    20.					DA MAYOR		  I didn't know you had such beautiful		  hair.ANGLE--STOOP					MOTHER SISTER		  Fool, there's a lot in this world		  you don't know.CLOSE UP--DA MAYOR					DA MAYOR		  I'm not stopping.  I'm on my way.The Mayor tips his hat and heads up the block.ANGLE--STOOP					JADE		  You are too cruel to Da Mayor, it		  isn't right.					MOTHER SISTER		  I'm not studying no Mayor.  Besides,		  he reminds me of my least favorite		  peoples.  My tenants and my ex-		  husband--Goddamn-bless his soul.They both laugh.					MOTHER SISTER		  Number One: I got some jive, late-		  rent-paying trifling Negroes in		  this house.  Every year I keep		  threatening to sell it.					JADE		  And move to Long Island...					MOTHER SISTER		  And move to Long Island.  Number		  Two: my ex-husband lost all my		  property, all my money in his		  scheme to build a Black business		  empire.  Needless to say what		  happened, this house is it, all I		  got.  I'm too through with yar		  people.CLOSE UP--JADE					JADE		  Whew!											    21.She looks up at the white-hot sun.CLOSE UP--MOTHER SISTERShe does the same.X CLOSE UP--THE WHITE-HOT SUNHOT, HOTTER AND HOTTEST MONTAGERight now, folks, we're gonna suspend the narrative and showhow people are coping with the oppressive heat.People are taking cold showers.Sticking faces in ice-cold, water-filled sinks.Heads stuck in refrigerators.A wife tells her husband, "Hell no, I'm not cooking.  It'stoo hot.  The kitchen is closed."Men downing six-packs of ice-cold brew.Faces stuck directly in front of fans.A young kid cracks an egg on Sal's Cadillac.  The moment theegg hits the car hood it starts to cook.  The kid looksdirectly INTO THE CAMERA and smiles, then looks up to seeSal, mad as a motherfucker, chasing after him.And how can I forget the papers, the newspaper headlines.			  New York Post: "A SCORCHER"		    New York Daily News: "2 HOT 4 U?"		New York Newsday: "OH BOY!  BAKED APPLE"	    New York Times: "RECORD HEATWAVE HITS CITY"EXT: STREET--DAYCLOSE UP--JOHNNY PUMPPOW!  A powerful gush of water flies out RIGHT AT THE CAMERA.Ahmad has just turned on the johnny pump and the whitestream of water flies across the street.This attracts all the people of the block.  It's a chance tocool off and momentarily beat the killer heat.ANGLE--CEE AND PUNCHYThey both scrape beer cans on the sidewalk.											    22.ANGLE--ELLAShe stands with caution away from the fire hydrant.  Elladoes not want to get wet.ANGLE--CEE AND PUNCHYThey're still scraping away.ANGLE--STREETFolks, young and old, begin to get in the water and play.ANGLE--CEE AND PUNCHYBoth now have cans with the ends scraped away, and go to thejohnny pump.  Punchy bends down behind the hydrant andplaces the can over the water.  The can now directs thewater into giant streams.ANGLE--ELLAAhmad sneaks up behind Ella and picks her up.  She's kickingand screaming furiously.					ELLA		  Ahmad!  Put me down!  Put me down!		  I can't get wet!  I'm not playing!Ahmad is not having it.  He carries a kicking Ella into themiddle of the street in direct line of fire.					AHMAD		  Yo!					ELLA		  No!They both are hit with a blast of water and are soaked tothe bone.  Ella starts to punch Ahmad, and chases after him.ANGLE--STREETWe hear the familiar rap music of Radio Raheem's box.CLOSE--RADIO RAHEEMRadio Raheem is too cool.  By the way he's dressed, it couldbe fall, not the hottest day of the year.  But you couldnever tell it from him.  He's too cool.CLOSE--RADIO RAHEEM											    23.Raheem looks at Cee, he wants to get by and he doesn't wantto get wet either.  And if his box gets wet, somebody isgonna die.  Cee knows this too.ANGLE--JOHNNY PUMPCee stands in front of the hydrant, blocking the water soRadio Raheem can pass.ANGLE--RADIO RAHEEMHe slowly bops across the street as all eyes watch.  Whenhe's clear, Cee moves and the water gushes out again asfolks play.ANGLE--STREETWe hear a car horn blowing.  People move out of the way asthe vehicle speeds through the spray.ANGLE--WHITE CONVERTIBLEAn older man, CHARLIE, stops his white convertible and blowshis horn.					CHARLIE		  I'm not playing.  There's gonna be		  trouble if you fuck around.CLOSE--CEE AND PUNCHY					PUNCHY		  Go 'head.  You got it.  You got it.CLOSE--CHARLIE					CHARLIE		  This is an expensive car.CLOSE--CEE					CEE		  You won't get wet.ANGLE--HYDRANTBoth Punchy and Cee sit in front of the hydrant once again,blocking the water.ANGLE--WHITE CONVERTIBLEThe car cautiously eases forward.  Charlie doesn't trust Ceeand Punchy at all.											    24.CLOSE--CHARLIE					CHARLIE		  I'm warning you.CLOSE--CEE AND PUNCHY					PUNCHY		  C'mon.					CEE		  Hurry up.  We ain't got all day.ANGLE--STREETThe people all move to the car, for they know what is aboutto happen.ANGLE--HYDRANTCee and Punchy leap off the hydrant, unleashing a jet blastthat flies directly into Charlie's car.  The whole block isdying.ANGLE--STREETCharlie pulls his flooded car over to the curb, jumps out,and runs to get hold of Cee and Punchy.  Of course, he'sslow, as the kids turn into track stars and make like CarlLewis.ANGLE--STREETCharlie, a wet mess, tries to buy some sympathy from thefolks; none is to be bought.					CHARLIE		  I'm fucking soaked.  If I ever		  catch those fucks they'll be sorry.		  Cocksucking sonabitches!The ranting continues, and people laugh at him.					CHARLIE		  You people make me sick.A cop car screeches to a halt in front of the man.  Twoofficers, LONG and PONTE, get out.					CHARLIE		  Officers, I want an arrest made.		  Now.											    25.					OFFICER PONTE		  What happened?					CHARLIE		  Two Black kids soaked me and my car.		  It's fucking ruined.					OFFICER LONG		  Where are they?					CHARLIE		  Where are they?  What kind of		  fucking asshole question is that?		  They ran the fuck away.					OFFICER PONTE		  Do you wish to file a complaint?					CHARLIE		  A complaint.  I want those fucks		  locked under the jail.Officer Long goes into his car and gets a wrench.ANGLE--JOHNNY PUMPOfficer Long turns off the hydrant, then puts the cap back on.					OFFICER PONTE		  This hydrant better not come back		  on or there's gonna be hell to pay.					CHARLIE		  What about my car?  I want justice.Officer Long sides up to Da Mayor who's been looking on.					OFFICER LONG		  You know anything about this?Da Mayor is quiet.					CHARLIE		  He knows.  He's a witness.  They		  all know.  He saw the whole thing.Officer Ponte goes to Da Mayor's other side.					OFFICER LONG		  Who were the punks?					DA MAYOR		  Those who'll tell don't know.		  Those who know won't tell.											    26.					OFFICER PONTE		  A wise guy.Mookie emerges from the crowd and leads Da Mayor away fromthe interrogation.					MOOKIE		  Let's go, Mayor.					OFFICER LONG		  Keep this hydrant off.  You want to		  swim, go to Coney Island.					CHARLIE		  He's leaving?  What about me?					OFFICER PONTE		  I suggest you get in your car		  quick, before these people start to		  strip it clean.The man looks at the crowd of Blacks and Puerto Ricansaround him and he considers what he just heard.					OFFICER LONG		  Let's go, break it up.  Go back to		  your jobs.					OFFICER PONTE		  What jobs?Both cops laugh.ANGLE--STREETCharlie drives away, fuming.INT: ROOFTOP--DAYCee and Punchy look down from a roof on all the havoc andconfusion they've started.  Both laugh.INT: SAL'S FAMOUS PIZZERIA--DAYMookie enters.					SAL		  Mookie, what took you so long?  I		  got a business to run.					MOOKIE		  Run it then.											    27.					SAL		  Here, this goes to the radio station.He gives Mookie a bag full of food.					VITO		  Pop, I'm gonna go with Mookie.					SAL		  Good, make sure he don't jerk around.					PINO		  Yeah, hurry back, it's getting		  crowded.EXT: STREET--DAYVito and Mookie walk down the block.					VITO		  Mister SeÒor Love Daddy is cool.					MOOKIE		  Ya like him, huh?					VITO		  Yeah.					MOOKIE		  Y'know, Vito, I know Pino is ya		  brother and shit, but the next time		  he hits ya, the next time he		  touches ya, you should "house him."		  Kick his ass.					VITO		  I don't know.					MOOKIE		  If you don't make a stand, he's		  gonna be beating ya like a egg for		  the rest of your life.					VITO		  That's what you think?					MOOKIE		  That's what I think.					VITO		  I don't like to fight.											    28.					MOOKIE		  Do it this one time and he'll never		  touch you again.EXT: WE LOVE RADIO--DAYMookie and Vito wave at Mister SeÒor Love Daddy through thestorefront window and he buzzes them in.OMITINT: CONTROL BOOTH--DAYMookie and Vito very quietly walk in; the man is on the air.					MISTER SE—OR LOVE DADDY		  Peoples, my stomach's been grumbling		  but help has arrived.  My main man		  Mookie has saved the day, straight		  from Sal's Famous Pizzeria, down		  the block.  Come up to the mike,		  Mookie.Mookie goes to the mike.					MISTER SE—OR LOVE DADDY		  C'mon, don't be shy.  Mmm, smells		  good.  This is ya Love Daddy		  talkin' to ya, starvin' like Marvin.		  Say something, Mookie.					MOOKIE		  Mister SeÒor Love Daddy, I'd like		  to dedicate the next record to my		  heart, Tina.					MISTER SE—OR LOVE DADDY		  Alright.  Let me play this record		  while I go to work on my chicken		  Parmigiana hero with extra cheese		  and extra sauce.He hits the cart machine...					VO		  I just looove you so much Mister		  SeÒor Love Daddy.  WE LOVE RADIO,		  108 FM....then cues up the record.											    29.					MISTER SE—OR LOVE DADDY		  Here ya are.			    (he hands Mookie a			    twenty-dollar bill)		  Keep the change.					MOOKIE		  That's right on time.  This is my		  friend, Vito.  His pops is Sal.					MISTER SE—OR LOVE DADDY		  Tell ya father he makes the best		  heros in Brooklyn.					VITO		  I'll do that.					MOOKIE		  We're outta here.					MISTER SE—OR LOVE DADDY		  Thanks for stopping by.  WE LOVE		  Radio, 108 FM.EXT: STREET--DAYOn a stoop, a group of Puerto Ricans sits talking, drinkingcerveza frÌo, and playing dominoes.  One of their cars isparked near the stoop, and blasts salsa music.ANGLE--RADIO RAHEEMAs usual we hear the rap music of Radio Raheem, butunderneath the salsa music.  Radio Raheem does not like tobe bested; the salsa music from the parked car is giving himcompetition, this is no good.  Radio Raheem stands in frontof the stoop and raises his decibel level.ANGLE--STOOPThe Puerto Rican men look at him, then begin to yell at himin Spanish.  There is a standoff, the rap and salsa clashingin a deafening roar.  One of the men, STEVIE, gets off thestoop and goes to the car.ANGLE--CARStevie turns the car radio off.CLOSE--RADIO RAHEEMRadio Raheem smiles, nods, turns his box to a reasonablelistening level, and bops down the block.  Radio Raheemstill the loudest.  Radio Raheem still the king.											    30.					STEVIE		  You got it, bro.ANGLE--STOOPThe men curse in Spanish and shake their heads inbewilderment and Stevie turns the salsa back on.EXT: STREET--DAYVito and Mookie see Buggin' Out on their way back to Sal's.					MOOKIE		  You the man.					BUGGIN' OUT		  You the man.					MOOKIE		  No, you the man.					BUGGIN' OUT		  No.  I'm just a struggling Black		  man trying to keep my dick hard in		  a cruel and harsh world.Buggin' Out gives Mookie five and a menacing look at Vito.					MOOKIE		  Vito is down.EXT: STREET--DAYBuggin' Out is walking down the block when CLIFTON, ayuppie, accidentally bumps into him, stepping on his newsneakers.CLOSE--BUGGIN' OUTHe looks at his sneakers.CLOSE--SNEAKERSThere is a big black smudge on his new white unlaced AirJordans.ANGLE--BUGGIN' OUTHe runs down the block after Clifton.					BUGGIN' OUT		  Yo!Clifton turns around.											    31.					BUGGIN' OUT		  Yo!					CLIFTON		  Yes?					BUGGIN' OUT		  You almost knocked me down.  The		  word is "excuse me."					CLIFTON		  Excuse me.  I'm very sorry.					BUGGIN' OUT		  Not only did you knock me down, you		  stepped on my new white Air Jordans		  that I just bought and that's all		  you can say, "Excuse me?"This commotion has attracted a crowd, including Ahmad, Cee,Punchy, and Ella.					BUGGIN' OUT		  I'll fuck you up quick two times.HERE WE GO!					BUGGIN' OUT		  Who told you to step on my sneakers?		  Who told you to walk on my side of		  the block?  Who told you to be in		  my neighborhood?					CLIFTON		  I own a brownstone on this block.					BUGGIN' OUT		  Who told you to buy a brownstone on		  my block, in my neighborhood on my		  side of the street?The crowd likes that one and they laugh and egg him on.					BUGGIN' OUT		  What do you want to live in a Black		  neighborhood for?  Motherfuck		  gentrification.					CLIFTON		  I'm under the assumption that this		  is a free country and one can live		  where he pleases.											    32.					BUGGIN' OUT		  A free country?AWWW SHIT!  Why did he get Buggin' started?					BUGGIN' OUT		  I should fuck you up just for that		  stupid shit alone.Buggin' Out looks down at his marred Air Jordans.  Thecrowd, smelling blood, wants to see some.					AHMAD		  Your Jordans are dogged.					CEE		  You might as well throw 'em out.					PUNCHY		  They looked good before he messed		  them up.					ELLA		  You used to be so fine.					AHMAD		  How much did you pay for them?					CEE		  A hundred bucks.					AHMAD		  A hundred bucks!					BUGGIN' OUT		  You're lucky the Black man has a		  loving heart.  Next time you see me		  coming, cross the street quick.					AHMAD		  He's dissing you.					BUGGIN' OUT		  Damn, my brand-new Jordans.  You		  should buy me another pair.					CLIFTON		  I'm gonna leave now.					BUGGIN' OUT		  If I wasn't a righteous Black man		  you'd be in serious trouble.		  SERIOUS.											    33.The crowd gives their approval.					BUGGIN' OUT		  Move back to Connecticut.INT: SAL'S FAMOUS PIZZERIA--DAYMookie and Vito enter the shop.					SAL		  I should have Vito go with you all		  the time.					PINO		  Yeah, no more ninety-minute		  deliveries around the corner.					MOOKIE		  Pino, I work hard like everybody in		  here.					VITO		  He's right.					PINO		  C'mere.			    (Pino smacks his brother)		  Don't get too friendly with da Mook.					SAL		  That's gonna be the last time you		  hit Vito.					MOOKIE		  Smack him back.					PINO		  What?					MOOKIE		  Remember what I said.Vito stands frozen in front of his brother.					PINO		  Are you gonna listen to this Mook?		  Listen to him tell you to smack me?		  Your only brother?Vito walks away and Mookie is disgusted.					PINO		  I didn't think so.											    34.EXT: STREET--DAYOfficers Ponte and Long drive down the block and at thecorner they stop, glare at the Corner Men.CLOSE--OFFICER PONTECLOSE--SWEET DICK WILLIECLOSE--OFFICER LONGCLOSE--COCONUT SIDANGLE--POLICE CAR					OFFICER PONTE		  What a waste.ANGLE--CORNERSweet Dick, ML, and Coconut Sid stare right back at the cops.ANGLE--POLICE CARIt drives off.ANGLE--CORNER					COCONUT SID		  As I was saying before we were so		  rudely interrupted by the finest.					ML		  What was you saying?Coconut Sid blanks.					SWEET DICK WILLIE		  Motherfucker wasn't saying shit.					ML		  Look at that.					COCONUT SID		  Look at what?ML points across the street to the Korean fruit and vegetablestand.					ML		  It's a fucking shame.					SWEET DICK WILLIE		  What is?											    35.					ML		  Sweet Dick Willie.					SWEET DICK WILLIE		  That's my name.					ML		  Do I have to spell it out?					COCONUT SID		  Make it plain.					ML		  OK, but listen up.  I'm gonna break		  it down.					SWEET DICK WILLIE		  Let it be broke.					ML		  Can ya dig it?					SWEET DICK WILLIE		  It's dug.CLOSE--ML					ML		  Look at those Korean motherfuckers		  across the street.  I betcha they		  haven't been a year off da		  motherfucking boat before they		  opened up their own place.CLOSE--COCONUT SID					COCONUT SID		  It's been about a year.CLOSE--ML					ML		  A motherfucking year off the		  motherfucking boat and got a good		  business in our neighborhood		  occupying a building that had been		  boarded up for longer than I care		  to remember and I've been here a		  long time.CLOSE--SWEET DICK WILLIE					SWEET DICK WILLIE		  It has been a long time.											    36.CLOSE--COCONUT SID					COCONUT SID		  How long?CLOSE--ML					ML		  Too long!  Too long.  Now for the		  life of me, I haven't been able to		  figger this out.  Either dem		  Koreans are geniuses or we Blacks		  are dumb.This is truly a stupefying question and all three are silent.What is the answer?					COCONUT SID		  It's gotta be cuz we're Black.  No		  other explanation, nobody don't		  want the Black man to be about shit.					SWEET DICK WILLIE		  Old excuse.					ML		  I'll be one happy fool to see us		  have our own business right here.		  Yes, sir.  I'd be the first in line		  to spend the little money I got.Sweet Dick Willie gets up from his folding chair.					SWEET DICK WILLIE		  It's Miller time.  Let me go give		  these Koreans s'more business.					ML		  It's a motherfucking shame.					COCONUT SID		  Ain't that a bitch.EXT: STOOP--DAYDa Mayor sits on his stoop and a kid, EDDIE, runs by.					DA MAYOR		  Sonny!  Sonny!Eddie stops.					DA MAYOR		  Doctor, what's your name?											    37.					EDDIE		  Eddie Lovell.					DA MAYOR		  How old are you?					EDDIE		  Ten.					DA MAYOR		  What makes Sammy run?					EDDIE		  My name is Eddie.					DA MAYOR		  What makes Sammy run?					EDDIE		  I said my name is Eddie Lovell.					DA MAYOR		  Relax, Eddie, I want you to go to		  the corner store.  How much will it		  cost me?					EDDIE		  How would I know how much it's		  gonna cost if I don't know what I'm		  buying?					DA MAYOR		  Eddie, you're too smart for your		  own britches.  Listen to me.  How		  much do you want to run to the		  store for Da Mayor?					EDDIE		  Fifty cents.					DA MAYOR		  You got a deal.He gives Eddie some money.					DA MAYOR		  Git me a quart of beer, Budweiser,		  say it's for your father, if they		  bother you.Eddie runs down the block just as Ahmad, Cee, Punchy, andElla pass him.											    38.					AHMAD		  Who told him he was Da Mayor of		  this block?					CEE		  He's self-appointed.					ELLA		  Leave him alone.					PUNCHY		  Shut up.					DA MAYOR		  Go on now.  Leave me be.					AHMAD		  You walk up and down this block		  like you own it.					CEE		  Da Mayor.					PUNCHY		  You're old.					AHMAD		  A old drunk bum.Da Mayor stands up from his seat cushion on the stoop.					AHMAD		  What do you have to say?					DA MAYOR		  What do you know 'bout me?  Y'all		  can't even pee straight.  What do		  you know?  Until you have stood in		  the doorway and heard the hunger of		  your five children, unable to do a		  damn thing about it, you don't know		  shit.  You don't know my pain, you		  don't know me.  Don't call me a		  bum, don't call me a drunk, you		  don't know me, and it's		  disrespectful.  I know your parents		  raised you better.The teenagers look at Da Mayor.					ELLA		  He told you off.Da Mayor sits back down on his seat cushion on his stoop.											    39.INT: SAL'S FAMOUS PIZZERIA--DAYANGLE--PAY PHONE ON WALLMookie is on the phone.					MOOKIE		  I know I haven't seen you in four		  days.  I'm a working man.					TINA (VO)		  I work too, but I still make time.					MOOKIE		  Tina, what do you want me to do?					TINA (VO)		  I want you to spend some time with		  me.  I want you to try and make		  this relationship work.  If not,		  I'd rather not be bothered.					MOOKIE		  Alright.  Alright.  I'll be over		  there sometime today.					TINA (VO)		  When?					MOOKIE		  Before I get off work.					TINA (VO)		  Bring some ice cream, I'm burning		  up.  Do you love me?					MOOKIE		  Do I love you?CLOSE--SAL					SAL		  Mookie, get offa da phone.CLOSE--MOOKIE					MOOKIE		  Be off in a second.  Tina, I		  dedicated a record on Mister SeÒor		  Love Daddy's show to you.					TINA (VO)		  Big deal.											    40.CLOSE--SAL					SAL		  Mookie!  How is anybody gonna call		  in?CLOSE--MOOKIE					MOOKIE		  Big deal?  If that's not LOVE, I		  don't know what is.CLOSE--PINO					PINO		  You deaf or what?CLOSE--MOOKIE					MOOKIE		  Gotta go.  See ya soon.			    (he hangs up)		  Everybody happy now?The phone rings right away and Pino picks it up.ANGLE--PINO					PINO		  Sal's Famous Pizzeria, yeah, two		  large pizzas, pepperoni and		  anchovies, hold on...  See, Pop,		  Mookie fucking talking on the phone		  and people are trying to call in		  orders.  He's making us lose		  business.CLOSE--SAL					SAL		  Mookie, you're fucking up.					PINO		  Twenty minutes.			    (he hangs up the phone)		  How come you niggers are so stupid?CLOSE--MOOKIE					MOOKIE		  If ya see a nigger here, kick his		  ass.CLOSE--PINO											    41.					PINO		  Fuck you and stay off the phone.CLOSE--VITO					VITO		  Forget it, Mookie.ANGLE--PIZZERIA					MOOKIE		  Who's your favorite basketball		  player?					PINO		  Magic Johnson.					MOOKIE		  And not Larry Bird?  Who's your		  favorite movie star?					PINO		  Eddie Murphy.Mookie is smiling now.					MOOKIE		  Last question: Who's your favorite		  rock star?Pino doesn't answer, because he sees the trap he's alreadyfallen into.					MOOKIE		  Barry Manilow?Mookie and Vito laugh.					MOOKIE		  Pino, no joke.  C'mon, answer.					VITO		  It's Prince.  He's a Prince freak.					PINO		  Shut up.  The Boss!  Bruuucce!!!!					MOOKIE		  Sounds funny to me.  As much as you		  say nigger this and nigger that,		  all your favorite people are		  "niggers."											    42.					PINO		  It's different.  Magic, Eddie,		  Prince are not niggers, I mean, are		  not Black.  I mean, they're Black		  but not really Black.  They're more		  than Black.  It's different.With each word Pino is hanging himself even further.					MOOKIE		  Pino, I think secretly that you		  wish you were Black.  That's what I		  think.  Vito, what do you say?					PINO		  Y'know, I've been listening and		  reading 'bout Farrakhan, ya didn't		  know that, did you?					MOOKIE		  I didn't know you could read.					PINO		  Fuck you.  Anyway, Minister		  Farrakhan always talks about the		  so-called "day" when the Black man		  will rise.  "We will one day rule		  the earth as we did in our glorious		  past."  You really believe that shit?					MOOKIE		  It's e-vit-able.					PINO		  Keep dreaming.					MOOKIE		  Fuck you, fuck pizza, and fuck		  Frank Sinatra, too.					PINO		  Well, fuck you, too, and fuck		  Michael Jordan.								    CUT TO:RACIAL SLUR MONTAGEThe following will be a QUICK-CUTTING MONTAGE of racialslurs, with different ethnic groups pointing the finger atone another.  Each person looks directly INTO THE CAMERA.CLOSE--MOOKIE											    43.					MOOKIE		  Dago, wop, garlic-breath, guinea,		  pizza-slinging, spaghetti-bending,		  Vic Damone, Perry Como, Luciano		  Pavarotti, Sole Mio, nonsinging		  motherfucker.								    CUT TO:CLOSE--PINO					PINO		  You gold-teeth, gold-chain-wearing,		  fried-chicken-and-biscuit-eatin',		  monkey, ape, baboon, big thigh,		  fast-running, three-hundred-sixty-		  degree-basketball-dunking spade		  Moulan Yan.								    CUT TO:CLOSE--STEVIE					STEVIE		  You slant-eyed, me-no-speak-		  American, own every fruit and		  vegetable stand in New York,		  Reverend Moon, Summer Olympics '88,		  Korean kick-boxing bastard.								    CUT TO:CLOSE--OFFICER LONG					OFFICER LONG		  Goya bean-eating, fifteen in a car,		  thirty in an apartment, pointed		  shoes, red-wearing, Menudo, meda-		  meda Puerto Rican cocksucker.								    CUT TO:CLOSE--KOREAN CLERK					KOREAN CLERK		  It's cheap, I got a good price for		  you, Mayor Koch, "How I'm doing,"		  chocolate-egg-cream-drinking, bagel		  and lox, B'nai B'rith asshole.								    CUT TO:											    44.INT: WE LOVE RADIO STATION CONTROL ROOM--DAYCLOSE--MISTER SE—OR LOVE DADDY					MISTER SE—OR LOVE DADDY		  Yo!  Hold up!  Time out!  Time out!		  Y'all take a chill.  Ya need to		  cool that shit out... and that's		  the truth, Ruth.								    CUT TO:CLOSE--WHITE-HOT SUNINT: SAL'S FAMOUS PIZZERIA--DAYMookie picks up his two pizza pies for delivery.					MOOKIE		  Sal, can you do me a favor?					SAL		  Depends.					MOOKIE		  Can you pay me now?					SAL		  Can't do.					MOOKIE		  Sal, just this once, do me that		  solid.					SAL		  You know you don't get paid till we		  close tonight.  We're still open.					MOOKIE		  I would like to get paid now.					SAL		  Tonight, when we close.Mookie leaves.EXT: STREET--DAYMookie walks down the block.  The streets are filled withkids playing.  WE SEE stoop ball, double dutch, hand games,bike-riding, skateboarding, etc.ANGLE--MOOKIE											    45.Radio Raheem approaches Mookie.					MOOKIE		  Whaddup.  Money?					RADIO RAHEEM		  I was going to buy a slice.					MOOKIE		  I'll be back after I make this		  delivery.					RADIO RAHEEM		  On the rebound.Mookie stares at the gold "brass knuckles" rings RadioRaheem wears on each hand.  Spelled out across the rings arethe words "LOVE" on the right hand and "HATE" on the lefthand.					MOOKIE		  That's the dope.					RADIO RAHEEM		  I just copped them.  Let me tell		  you the story of Right-Hand--Left-		  Hand--the tale of Good and Evil.					MOOKIE		  I'm listening.					RADIO RAHEEM		  HATE!He thrusts up his left hand.					RADIO RAHEEM		  It was with this hand that Brother		  Cain iced his brother.  LOVE!He thrusts up his right hand.					RADIO RAHEEM		  See these fingers, they lead		  straight to the soul of man.  The		  right hand.  The hand of LOVE!Mookie is buggin'.					RADIO RAHEEM		  The story of Life is this...He locks his fingers and writhes, cracking the joints.											    46.					RADIO RAHEEM		  STATIC!  One hand is always fighting		  the other.  Left Hand Hate is		  kicking much ass and it looks like		  Right Hand Love is finished.  Hold		  up.  Stop the presses!  Love is		  coming back, yes, it's Love.  Love		  has won.  Left Hand Hate KO'ed by		  Love.Mookie doesn't know what to say, so he doesn't say anything.					RADIO RAHEEM		  Brother, Mookie, if I love you I		  love you, but if I hate you...					MOOKIE		  I understand.					RADIO RAHEEM		  I love you, my brother.					MOOKIE		  I love you, Black.INT: SAL'S FAMOUS PIZZERIA--DAYRadio Raheem enters Sal's with music blaring.					RADIO RAHEEM		  Two slices.					SAL		  No service till you turn dat shit		  off.					RADIO RAHEEM		  Two slices.					PINO		  Turn it off.					SAL		  Mister Radio Raheem, I can't even		  hear myself think.  You are		  disturbing me and you are disturbing		  my customers.Sal grabs his Mickey Mantle bat from underneath the counter.Everyone, Sal, Vito, Pino, Radio Raheem, and the customersare poised for something to jump off, STATIC.CLOSE--RADIO RAHEEM											    47.He smiles and turns off the beat.					RADIO RAHEEM		  Two slices, extra cheese.CLOSE--SALSal puts Mickey Mantle back into its place.					SAL		  When you come in Sal's Famous		  Pizzeria, no music.  No rap, no		  music.  Capisce?  Understand?...		  This is a place of business.  Extra		  cheese is two dollars.INT: TENEMENT HALLWAY--DAYMookie hands the pizzas over and takes the money and countsit.					MOOKIE		  Thanks.EXT: STREET--DAYMookie walks, says hello to the people he knows.EXT: STOOP--DAYMookie runs up stoop.INT: MOOKIE'S APARTMENT--DAYWe hear a key in the door, the lock turns and Mookie enters.					MOOKIE		  Jade.					JADE (OS)		  I'm in here.INT: JADE'S BEDROOM--DAYJade sits in a chair directly in front of an air conditionergoing full blast.					JADE		  How come you're not at Sal's?					MOOKIE		  I'm working.											    48.					JADE		  Is this another one of your patented		  two-hour lunches?					MOOKIE		  I just come home to take a quick		  shower.					JADE		  Sal's gonna be mad.					MOOKIE		  Later for Sal.  Y'know, sometimes I		  think you're more concerned with		  him than me.					JADE		  I think no such a thing.  Sal pays		  you, you should work.					MOOKIE		  Slavery days are over.  My name		  ain't Kunta Kinte.  Sis, I don't		  want to argue, stop pressing me.					JADE		  I just don't want you to lose the		  one job you've been able to keep,		  that's all.  I'm carrying you as it		  is.					MOOKIE		  Don't worry 'bout me.  I always get		  paid.					JADE		  Yeah, then ya should take better		  care of your responsibilities.					MOOKIE		  What responsibilities?					JADE		  I didn't stutter.  Take care of		  your responsibilities.  Y'know		  exactly what I'm talking about.INT: BATHROOM--DAYMookie turns on the shower and screams; the water is ice cold.EXT: MOTHER SISTER'S STOOP--DAYMother Sister sits in her window looking out at the block.											    49.EXT: DA MAYOR'S STOOP--DAYDa Mayor has fallen asleep sitting on his stoop.  His handsloosely hold a brown paper bag that is tightly twistedaround a beer can.EXT: CORNER--DAYSweet Dick, ML, and Coconut Sid each hold an umbrella forprotection from the hot and harsh rays.EXT: FIRE ESCAPE--DAYAhmad, Punchy, Cee, and Ella sit on a fire escape, trying tokeep still, trying to find a cool spot in the shade.  No onesays a word.INT: SAL'S FAMOUS PIZZERIA--DAYSal takes a seat at one of the tables.					SAL		  I'm beat.Pino sits down next to his father.					PINO		  Pop, I think we should sell this		  place, get outta here while we're		  still ahead...and alive.					SAL		  Since when do you know what's best		  for us?					PINO		  Couldn't we sell this and open up a		  new one in our own neighborhood?					SAL		  Too many pizzerias already there.					PINO		  Then we could try something else.					SAL		  We don't know nuthin' else.					PINO		  I'm sick of niggers, it's a bad		  neighborhood.  I don't like being		  around them, they're animals.											    50.					VITO		  Some are OK.					PINO		  My friends laugh at me all the		  time, laugh right in my face, tell		  me go feed the Moulies.					SAL		  Do your friends put money in your		  pocket?  Pay your rent?  Food on ya		  plate?Pino is quiet.					SAL		  I didn't think so.					PINO		  Pop, what else can I say?  I don't		  wanna be here, they don't want us		  here.  We should stay in our own		  neighborhood, stay in Bensonhurst.					SAL		  So what if this is a Black		  neighborhood, so what if we're a		  minority.  I've never had no		  trouble with dese people, don't		  want none either, so don't start		  none.  This is America.  Sal's		  Famous Pizzeria is here for good.		  You think you know it all?  Well,		  you don't.  I'm your father, you		  better remember that.INT: BATHROOM--DAYMookie pulls the shower curtain back and steps out.INT: MOOKIE'S ROOM--DAYMookie sits on his bed, still wet.ANGLE--JADE					JADE		  Hurry up and get dressed.					MOOKIE		  I'm coming.					JADE		  I'm going with you.											    51.BUGGIN' OUT BOYCOTT MONTAGEEXT: STREET--DAY					BUGGIN' OUT		  Da Mayor, we need your leadership.					DA MAYOR		  Doctor, what are you talkin' bout?					BUGGIN' OUT		  I'm organizing a boycott of Sal's		  Famous Pizzeria.					DA MAYOR		  Keep walkin', Doctor.  I don't want		  to hear none of your foolishness.								    CUT TO:CLOSE--CORNER MEN					ML		  No!					COCONUT SID		  No!					SWEET DICK WILLIE		  Hell no!  Goddamnit.  Sal ain't		  never done me no harm.  You either.								    CUT TO:CLOSE--BUGGIN' OUT					BUGGIN' OUT		  Would you like to sign a petition		  to boycott Sal's Famous Pizzeria.								    CUT TO:CLOSE--AHMAD, CEE, PUNCHY, and ELLAThey DOG him out (ADLIB)								    CUT TO:CLOSE--BUGGIN' OUT					BUGGIN' OUT		  I'll do it without your help.											    52.EXT: WE LOVE RADIO--DAYBuggin' Out waves at Mister SeÒor Love Daddy as he walks bythe storefront.INT: SAL'S FAMOUS PIZZERIA--DAYBuggin' Out sticks his head in and yells:					BUGGIN' OUT		  Sal, we're gonna boycott ya fat ass.Before Sal and his two sons can answer, Buggin' Out is gone.EXT: STREET--DAYBuggin' Out has one foot up on a fire hydrant and tries toclean his soiled Air Jordan.ANGLE--JADE AND MOOKIEJade and Mookie walk up to Buggin' Out.					BUGGIN' OUT		  It's so nice to see a family		  hanging out together.					MOOKIE		  We're not hanging out.  I'm being		  escorted back to work.					JADE		  That's not even true.  I just want		  a slice.					BUGGIN' OUT		  Jade, you don't know this, but I'm		  organizing a boycott of Sal's		  Famous Pizzeria.					JADE		  What did he do this time?					BUGGIN' OUT		  Y'know all those pictures he has		  hanging on the Wall of Fame?					JADE		  So?					BUGGIN' OUT		  Have you noticed something about		  them?											    53.					JADE		  No.					MOOKIE			    (interjects)		  Yo, I'm gone.					JADE		  I'll see ya there.					BUGGIN' OUT		  Peace.Mookie leaves.					BUGGIN' OUT		  Every single one of those pictures		  is somebody Italian.					JADE		  And?					BUGGIN' OUT		  And I--we--want some Black people up.					JADE		  Did you ask Sal?					BUGGIN' OUT		  Yeah, I asked him.  I don't want		  nobody in there, nobody spending		  good money in Sal's.  He should get		  no mo' money from the community		  till he puts some Black faces up on		  that motherfucking wall.Jade looks at Buggin' Out like "Are you serious?"					JADE		  Buggin' Out, I don't mean to be		  disrespectful, but you can really		  direct your energies in a more		  useful way.					BUGGIN' OUT		  So, in other words, you are not down.					JADE		  I'm down, but for a worthwhile cause.					BUGGIN' OUT		  Jade, I still love you.											    54.					JADE		  I still love you too.INT: SAL'S FAMOUS PIZZERIA--DAY					SAL		  Mookie, you are pushing it.  You're		  really pushing it.  I'm not paying		  you good money to fucking jerk me		  around.Mookie has nothing to say.					SAL		  You're gonna be in the street with		  the rest of your homeboys.					PINO		  'Bout time, Pop.ANGLE--DOORJade enters, and Sal looks up.  He stops blasting Mookie anda very noticeable change comes over him.					SAL		  Jade, we've been wondering when ya		  would pay us a visit.					JADE		  Hi, Sal, Pino, Vito.					JADE		  What's happening, Jade?					JADE		  Nuthin' really.  How are you		  treating my brother?					SAL		  The Mook?  Great.  Mookie's a good		  kid.					PINO		  Pop, stop lying.					SAL		  Shaddup!  Jade, what can I fix you?					JADE		  What's good?											    55.					SAL		  Everything, but for you I'm gonna		  make up something special.  Take a		  seat.  There, that's a clean table.Sal moves behind the counter and goes to work.  Pino andMookie look at each other in agreement, neither likes whathe has seen.  This happens to Sal every time Jade is inSal's Famous Pizzeria.ANGLE--TABLEVito sits down with Jade.					JADE		  You still letting Pino push you		  around?					VITO		  Who told you that?  He doesn't push		  me, who told you, Mookie tell you		  that?  I hold my own.					JADE		  Forget about it, Vito.  Forget I		  even brought it up.					VITO		  Pino picks on me, but I don't let		  him push me around.  Mookie tell		  you that?					JADE		  Alright already.EXT: ROOFTOP--DUSKThe once white-hot sun is now turning into a golden orangeglaze as it begins to set.  Ahmad, Cee, Punchy, and Elladance on the roof around a box that is turned into WE LOVE.Each one is trying to come up with some new moves, a newdance, and a name for it.EXT: STREET--DUSKRadio Raheem is walking down the block and there is somethingwrong, something is not quite right.  AHA!  His music is notloud; the rap song begins to drag and finally stopsaltogether.CLOSE--RADIO RAHEEMHe looks at his box and presses the battery level indicator.											    56.CLOSE--BATTERY LEVEL INDICATORThe needle doesn't move.  His batteries have had it.INT: FRUIT-N-VEG DELIGHT--DUSKCLOSE--RADIO RAHEEM					RADIO RAHEEM		  Twenty "D" Duracells.CLOSE--KOREAN CLERK					KOREAN CLERK		  Twenty "C" Duracells.CLOSE--RADIO RAHEEM					RADIO RAHEEM		  D, not C.CLOSE--KOREAN CLERK					KOREAN CLERK		  C Duracell.CLOSE--RADIO RAHEEM					RADIO RAHEEM		  D!  D!  D!  You dumb motherfucker.		  Learn how to speak English first.  D.Radio Raheem points to the D batteries behind the counter.CLOSE--KOREAN CLERK					KOREAN CLERK		  How many you say?CLOSE--RADIO RAHEEM					RADIO RAHEEM		  Twenty!  Motherfucker!  Twenty!CLOSE--KOREAN CLERK					KOREAN CLERK		  Motherfucker you.Radio Raheem has to laugh at that one.											    57.					RADIO RAHEEM		  Motherfucker you.  You're alright.		  You're alright.  Just gimme my		  twenty Duracells, please.EXT: FRUIT-N-VEG DELIGHT--DUSKDa Mayor is looking at a bunch of cut flowers when RadioRaheem comes out with batteries in hand--finally.EXT: MOTHER SISTER'S STOOP--DUSKANGLE--WINDOWMother Sister is sitting in her window as usual.ANGLE--STOOPDa Mayor walks up the stoop with a bunch of fresh-cutflowers in a discarded wine bottle for a vase.ANGLE--DA MAYORDa Mayor holds them out for Mother Sister, who does notacknowledge him at all.					DA MAYOR		  I'd thought you might like these...		  I guess not.Da Mayor takes a seat on the stoop and puts the flowers tohis face.					DA MAYOR		  Ain't nuthin' like the smell of		  fresh flowers.  Don't you agree,		  Miss Mother Sister?Mother Sister does not answer.  He puts the flowers down.					DA MAYOR		  Summertime, all ya can smell is the		  garbage.  Stink overpowers		  everything, especially soft sweet		  smells like flowers.He looks up at Mother Sister who immediately turns away.					DA MAYOR		  If you don't mind, I'm gonna set		  right here, catch a breeze or two,		  then be on my way.Da Mayor looks up at the setting sun.											    58.					DA MAYOR		  Thank the Lord, the sun is going		  down, it's hot as blazes.  Yes Jesus.CLOSE--SUNThe sun is an orange and purple glaze.EXT: STREET--DUSKRadio Raheem is back in action.  He's alive, he's bad and hegot his twenty "D" Duracell batteries, his box is kicking.ANGLE--CORNERRadio Raheem bops by Coconut Sid, ML, and Sweet Dick Willie.CLOSE--COCONUT SID, ML, and SWEET DICK WILLIEAll three shake their heads in bewilderment as Radio Raheemgoes by.					ML		  What can you say?					COCONUT SID		  I don't know how he does it.Sweet Dick Willie gets up from his chair and goes to thecorner, zips down his pants, and urinates.					SWEET DICK WILLIE		  ML?					ML		  What?					SWEET DICK WILLIE		  ML, hold this for me.Sweet Dick Willie and Coconut Sid laugh.					ML		  That's OK.  At least my moms didn't		  name me Sweet Dick Willie.Sweet Dick Willie zips up his pants and returns to his seat.					SWEET DICK WILLIE		  Why you gotta talk 'bout my moms?					ML		  Nobody talkin' 'bout ya moms.											    59.					SWEET DICK WILLIE		  I didn't say nobody, I said you.					ML		  Sweet Dick, I didn't mean it like		  that.					SWEET DICK WILLIE		  Yes you did.					COCONUT SID		  Squash it.					ML		  I just wanted to know who named ya		  Sweet Dick Willie?					SWEET DICK WILLIE		  It's just a name.					COCONUT SID		  And what does ML stand for?					ML		  ML stands for ML.  That's it.					SWEET DICK WILLIE		  Naw, that's some stupid shit.  Now		  you know how I got that name.					ML		  Negroes kill me, always holdin'		  onto, talkin' 'bout their dicks.					COCONUT SID		  I don't know 'bout you, but it's		  too hot to fuck.					SWEET DICK WILLIE		  Never too hot, never too cold for		  fucking.EXT: STREET--DUSKAn old Puerto Rican man rings a bell as he pushes a cart onwheels.  On the side of the cart is hand-lettered HELADO DECOCO, and a big block of ice rests on top surrounded bydifferent colored bottles of flavors.ANGLE--CARTA group of kids eagerly waits for the ices.  The man scrapesthe block of ice, puts the shavings in a paper cup, anddrowns it with syrup.											    60.ANGLE--DA MAYORDa Mayor is walking down the street.ANGLE--MISTER SOFTEE TRUCKWe hear the familiar tune from the Mister Softee truck as itcomes down the street.ANGLE--EDDIE LOVELLEddie, the young kid who earlier ran an errand for Da Mayor,looks up from the sidewalk where he's playing and runs outinto the street in pursuit of Mister Softee.					EDDIE		  Ice cream.  Ice cream.Eddie is running in pursuit of the truck, unaware of theoncoming speeding car.ANGLE--DA MAYORDa Mayor sees speeding car bearing down on Eddie.ANGLE--STREETDa Mayor runs across the street and knocks Eddie down, outof the way of the car.  Both are thrown as they are hit bythe reckless driver.CLOSE--EDDIE AND DA MAYOREddie is crying as Da Mayor picks him up.					DA MAYOR		  Doctor, you know better to run out		  in the street... Stop crying, son.ANGLE--STREETA crowd gathers.					DA MAYOR		  Doctor, there's nothing to cry		  about.  You're OK.A woman in her twenties, LOUISE, Eddie's mother, breaksthrough the crowd and hugs her baby.					LOUISE		  What's wrong?											    61.					EDDIE		  Mayor knocked me down.					LOUISE		  You should be ashamed of yourself.					DA MAYOR		  Ma'am, the boy is just scared to		  death.  What actually happened is		  that I was minding my business when		  I saw your son about to be run over.		  I ran into the street to save him		  and I had to knock him down to keep		  the both of us from getting hit.The crowd agrees "That's the way it happened," and Louisestands up.					LOUISE		  Eddie, is that the truth?Eddie is quiet.					LOUISE		  Eddie, you hear me talkin' to you?Eddie is still mum.					LOUISE		  I'm talkin' to you, boy.					DA MAYOR		  Miss, the boy is fine.WHAP!  Louise hits Eddie on da butt.  Eddie starts to dance,as his mother hits hard; she's heavy-handed.					LOUISE		  What I tell you 'bout lying?WHOP!					LOUISE		  What did I tell you 'bout playing		  in the street?WHAP!					EDDIE		  Mommy!  Mommy!  I'm sorry.  I'm		  sorry.WHOP!											    62.					LOUISE		  Get upstairs now.Eddie runs away.					LOUISE		  And when your father comes home,		  he's gonna wear ya little narrow		  behind out too.					DA MAYOR		  You didn't have to hit your son;		  he's scared to death as it was.					LOUISE		  I appreciate ya helping my Eddie.		  I truly do, but I'll have nobody		  question how I raise him, not even		  his Daddy.					DA MAYOR		  You're right.Louise goes away, probably to give her son another"whooping."  Da Mayor tips his hat to her.INT: SAL'S FAMOUS PIZZERIA--DUSKSal sits at a table talking to Jade as she finishes her"special" slice.					JADE		  Sal, that was delicious.					SAL		  Anytime.Vito, Pino, and Mookie look on, watching Sal have the timeof his life.					JADE		  Thanks.Jade gets up and Mookie helps her.					MOOKIE		  I'll see you out.					JADE		  See ya around.					SAL		  Don't wait too long to come back.											    63.EXT: SAL'S FAMOUS PIZZERIA--DUSKMookie takes Jade by the hand and pulls her out of view fromSal.ANGLE--MOOKIE AND JADE					MOOKIE		  Jade, I don't want you coming in		  here no mo'.					JADE		  Stop tripping.					MOOKIE		  No, you're tripping.  Don't come in		  Sal's.  Alright, read my lips.					JADE		  What are you so worked up about?					MOOKIE		  Over Sal, the way he talks and the		  way he looks at you.					JADE		  He's just being nice.					MOOKIE		  Nice!					JADE		  He's completely innocent.					MOOKIE		  Innocent!					JADE		  I didn't stutter.  You heard me.					MOOKIE		  You should see the way he looks at		  you.  All Sal wants to do is hide		  the salami.					JADE		  You are too crude.					MOOKIE		  I might be, but you're not welcome		  here.											    64.					JADE		  Stop trying to play big brother.		  I'm a grown woman.  You gotta lotta		  nerve.  Mookie, you can hardly pay		  your rent and you're gonna tell me		  what to do.  Come off it.					MOOKIE		  One has nuthin' to do with the other.					JADE		  Oh, it doesn't, huh!  You got your		  little 250 dollars a week plus		  tips...					MOOKIE		  I'm getting paid...					JADE		  ...peanuts.					MOOKIE		  Pretty soon I'll be making a move.					JADE		  I truly hope so.  I'm tired of		  supporting a grown man.INT: CONTROL BOOTH--DUSKCLOSE--MISTER SE—OR LOVE DADDY					MISTER SE—OR LOVE DADDY		  As the evening slowly falls upon us		  living here in Brooklyn, New York,		  this is ya Love Daddy rappin' to		  you.  Right now we're gonna open up		  the Love Lines.  Hello, you're on		  Love Daddy's Love Line.  No names,		  please.  Let's keep it anonymous.					FEMALE VOICE #1 (VO)		  Hi, Mister SeÒor Love Daddy.  I'd		  kiss your feet every morning,		  that's how much I love you.					MISTER SE—OR LOVE DADDY		  How nice of you.					FEMALE VOICE #2 (VO)		  I think you have the sexiest voice		  in the world.  All you have to do		  is talk.											    65.					MISTER SE—OR LOVE DADDY		  Love Line, you're on.					FEMALE VOICE #3 (VO)		  You give me fever.			    (she moans)					MISTER SE—OR LOVE DADDY		  She's feeling it.					FEMALE VOICE #4 (VO)		  Love Daddy, I'd work in Mickey D's		  24, 7, and 365 just to call you my		  own.  Give you all my money, honey.					MISTER SE—OR LOVE DADDY		  That was the last call for tonight		  on Mister SeÒor Love Daddy's Love		  Line.  I love you.  You I love.EXT: MOTHER SISTER'S STOOP--NIGHTDa Mayor is walking by Mother Sister in her window when shecalls him.CLOSE--MOTHER SISTER					MOTHER SISTER		  Mister Mayor, I saw what you did.ANGLE--DA MAYORDa Mayor stops and looks at her.  A smile comes to his face;after eighteen years has he finally broken down her defenses?CLOSE--MOTHER SISTER					MOTHER SISTER		  That was a foolish act, but it was		  brave.  That chile owes you his life.CLOSE--DA MAYOR					DA MAYOR		  I wasn't trying to be a hero.  I		  saw what was about to happen and I		  reacted, didn't even think.  If I		  did, I might not have done it in		  second thought.  Da Mayor is an old		  man, haven't run that fast in years.					(MORE)											    66.					DA MAYOR (CONT'D)		  I went from first to home on a bunt		  single, scored the winning run, the		  bottom of the ninth, two out,		  August 1, 1939, Snow Hill, Alabama.			    (he is warming up now)		  Maybe I should be heroic more often.CLOSE--MOTHER SISTER					MOTHER SISTER		  Maybe you shouldn't.  Don't get		  happy.  This changes nothing		  between you and me.  You did a good		  thing and Mother Sister wanted to		  thank you for it.ANGLE--STOOP					DA MAYOR		  I thank you.					MOTHER SISTER		  You're welcome.Da Mayor tips his hat.INT: SAL'S FAMOUS PIZZERIA--NIGHTMookie enters.					MOOKIE		  Sal, I don't care if you fire me		  this exact minute, leave my sister		  alone.					SAL		  Mookie, I don't know what you're		  talking about, plus I don't want to		  hear it.					MOOKIE		  Sal, just do me a favor, leave Jade		  alone.					SAL		  Here, you gotta delivery.Mookie takes the pie and looks at the address.					MOOKIE		  Is this the right name and address?											    67.					SAL		  Yeah, do you know 'em?					MOOKIE		  No, just checking.INT: HALLWAY--NIGHTMookie rings the bell and a fine Puerto Rican sister answersthe door.					MOOKIE		  Delivery from Sal's Famous Pizzeria.					TINA		  What took you so long?  Is it hot?					MOOKIE		  Hot.  Hot.					TINA		  Come in then.INT: TINA'S APARTMENT--NIGHTTina watches Mookie watch her.  When she's through watching,she takes the pizza from his hands and puts it on the floor.Mookie grabs her and starts to kiss.  Tina is Mookie'swoman, the one he's been on the phone with earlier.  We'veheard the voice and now SEE the person.					MOOKIE		  Tina, you are too slick.					TINA		  How else was I going to get you		  here?  I haven't seen you in a week.					MOOKIE		  I've been working hard, getting paid.					TINA		  Where's the ice cream?  The H‰agen-		  Dazs butter pecan?					MOOKIE		  Shit!  I forgot.					TINA		  Your memory is really getting bad.					MOOKIE		  I just forgot.											    68.					TINA		  And I really wanted some ice cream		  too.					MOOKIE		  I can run out and get it.					TINA		  No!  No!  You won't come back either.					MOOKIE		  I can't be staying long anyway.					TINA		  How long then?					MOOKIE		  Long enough for us to do the nasty.					TINA		  That's out.  No!  It's too hot!		  You think I'm gonna let you get		  some, put on your clothes, then run		  outta here and never see you again		  in who knows when?					MOOKIE		  A quickie is good every once in a		  blue moon.					TINA		  You a blue-moon fool.					MOOKIE		  Then we'll do something else.					TINA		  What else?					MOOKIE		  Trust me.					TINA		  Trust you?  Because of trusting you		  we have a son.  Remember your son?					MOOKIE		  Trust me.Mookie pushes Tina back into her bedroom.											    69.INT: TINA'S BEDROOM--NIGHTMookie sits Tina down on her futon bed, turns off thelights, and turns on WE LOVE RADIO as Mister SeÒor LoveDaddy serenades them with slow jams.					MOOKIE		  I'm gonna take off ya clothes.					TINA		  Mookie, I told you already it's too		  fucking hot to make love.					MOOKIE		  Why you gotta curse?					TINA		  I'm sorry, but no rawness is		  jumping off tonight.					MOOKIE		  No rawness.He laughs his sinister laugh.ANGLE--MOOKIE AND TINAMookie unsnaps her bra, then pulls her panties off.  Tina isnaked as a jaybird.					MOOKIE		  Tina, you're sweating.					TINA		  Of course I'm sweating.  I'm		  burning up.  It's hot, moron, only		  a hundred degrees in here.					MOOKIE		  Lie down, please.He gets up.INT: TINA'S KITCHENMookie walks into the kitchen and sees CARMEN, Tina'smother, fixing some food on the stove.					MOOKIE		  Hello, Mrs. Rampolla.Carmen stares at him, it's a look that would definitely stoptraffic, she mutters some Spanish and goes into her bedroom,slamming the door behind her.											    70.ANGLE--MOOKIEHe opens the refrigerator and takes out all the trays of ice.INT: TINA'S BEDROOM--NIGHTMookie sits down on the bed with a bowl filled with ice cubes.CLOSE--TINA'S FOREHEADMookie rubs an ice cube on her forehead.					TINA		  It's cold.					MOOKIE		  It's 'pose to be cold.					TINA		  Later for you.					MOOKIE		  Meda.  Meda.					TINA		  What?					MOOKIE		  Tina, you don't have a forehead,		  you got a eight-head.CLOSE--TINA'S NECKMookie rubs an ice cube on her neck.CLOSE--TINA'S LIPSMookie rubs an ice cube on her full moist lips, then puts itin her mouth.					MISTER SE—OR LOVE DADDY (VO)		  Yes, children, this is the Cool Out		  Corner.  We're slowing it down for		  all the lovers in the house.  I'll		  be giving you all the help you		  need, musically, that is.CLOSE--TINA'S THIGHSHe rubs an ice cube up and down her thighs.					MOOKIE (VO)		  Thank God for thighs.											    71.CLOSE--TINA'S BUTTOCKSHe rubs an ice cube on her round, firm buttocks.					MOOKIE (VO)		  Thank God for buttocks.CLOSE--TINA'S BREASTHe rubs an ice cube on her breast.					MOOKIE (VO)		  Thank God for the right nipple...		  Thank God for the left nipple...Both Tina and Mookie are dying.  Mookie now has an ice cubeon the left and right nipples and WE SEE before our very owneyes both get swollen, red, and erect.					TINA (VO)		  Feels good.					MOOKIE (VO)		  Yes, yes, Lord.  Isn't this better		  than Haagen-Dazs butter pecan ice		  cream?CLOSE--TINA'S MOUTHMookie kisses her.					MOOKIE		  I'll be back tonight.INT: SAL'S FAMOUS PIZZERIA--NIGHTOfficers Ponte and Long are awaiting their orders.					SAL		  It's almost ready.					OFFICER LONG		  What time you closing tonight?					SAL		  Ten.Sal goes over to the oven, takes out their food and wraps itup.					SAL		  Here you go.											    72.					OFFICER PONTE		  What do we owe you?					SAL		  Nine-fifty.					OFFICER PONTE		  Here.					SAL		  Thanks.  Enjoy.					OFFICER LONG		  Vito, Pino, see ya later.The officers leave just as Mookie enters.					MOOKIE		  Sal, if you want me to deliver any		  faster, get me a jet rocket or		  something, cuz I can't run with		  pizzas, all the cheese ends up on		  one side and shit.					SAL		  I didn't say nuthin'.  You must		  have a guilty conscience.  What are		  you guilty of?					MOOKIE		  I'm not guilty of nuthin'.					SAL		  You must be guilty of something or		  you would have never come in saying		  the things you said.					MOOKIE		  C'mon, Sal.					SAL		  Where we goin'?While Sal laughs at his corny joke, Pino pulls Vito into theback.INT: STOREROOM--NIGHT					PINO		  Vito, I want you to listen to me.		  I'm your brother.  I may smack you		  around once in awhile, boss you		  around, but I'm still your brother.											    73.					VITO		  I know this.					PINO		  I love you.					VITO		  I'm listening.					PINO		  Good.  I want you to listen.					VITO		  Jesus Christ on the cross, I said		  I'm listening.					PINO		  Good.  Vito, you trust that Mook		  too much.  So does Pop.					VITO		  Mookie's OK.					PINO		  You listening to me?					VITO		  Stop busting my balls.  I said I'm		  listening ten fucking times already.					PINO		  Mookie is not to be trusted.  No		  Moulan Yan can be trusted.  The		  first time you turn your back,		  boom, a knife right here.			    (Pino gestures)		  In the back.					VITO		  How do you know this?					PINO		  I know.					VITO		  You really think so?					PINO		  I know so.  He, them, they're not		  to be trusted.					VITO		  So what do you want me to do?											    74.					PINO		  Be on guard.  Mookie has Pop conned		  already, so we have to look out for		  him.					VITO		  I like Mookie a lot.					PINO		  And that's exactly what I'm talkin'		  'bout.					SAL (OS)		  Vito!  Pino!  Let's go.					PINO		  Be right there, Pop.  Listen to		  what I said.					VITO		  You don't listen to me, never have.		  Just run your big fucking mouth		  always playing big brother.  You		  don't listen, but Mookie does.HOT CITY NIGHT MONTAGETHE BLOCK.  WE'VE SEEN it at daytime, but now WE SEE it atnight.  Even though the white-hot sun is gone, nonethelessthe heat is still stifling.  And in a peculiar, funny sortof way, it's worse.  You expect it to be hot during thelight of day when the sun is beating down on the cement andtar, but at night it should be considerably cooler; well,not tonight, it's hot.  All the residents of The Block: theCorner Men, Mother Sister, Da Mayor, Jade, etc., all thepeople WE'VE SEEN throughout the day are now coping with thenight-time heat, plus it's humid as shit.  Everyone isoutside, sitting on stoops, on cars and you know the kidsare playing, running up and down the block.  Now it's thehottest night of the year.EXT: STREET--NIGHTBuggin' Out sits down on a car next to Radio Raheem; asusual, his box is blasting.					BUGGIN' OUT		  How you be?					RADIO RAHEEM		  I be.  I'm living large.					BUGGIN' OUT		  Is that the only tape you got?											    75.					RADIO RAHEEM		  You don't like Public Enemy?  It's		  the dope shit.					BUGGIN' OUT		  I like 'em, but you don't play		  anything else.					RADIO RAHEEM		  I don't like anything else.					BUGGIN' OUT		  Check this out.  Y'know Sal's.					RADIO RAHEEM		  Yeah, I know dat motherfucker.					BUGGIN' OUT		  I'm trying to organize a boycott of		  Sal's pizza joint.  Ya see what I'm		  saying?					RADIO RAHEEM		  I almost had to yoke him this		  afternoon.  Tell me, tell me, Radio		  Raheem, to turn my music down.		  Didn't even say please.  Who the		  fuck he think he is?  Don Corleone		  and shit.					BUGGIN' OUT		  He makes all his money off us Black		  people and I don't see nuthin' but		  Italians all up in there, Sylvester		  Stallone and motherfuckers.  Ya see		  what I'm saying, homeboy?					RADIO RAHEEM		  Talk to me.					BUGGIN' OUT		  We shouldn't buy a single slice,		  spend a single penny in that		  motherfucker till some people of		  color are put up in there.					RADIO RAHEEM		  That's what I'm talkin' 'bout.		  That's what I'm talkin' 'bout.					BUGGIN' OUT		  You got my back.											    76.					RADIO RAHEEM		  Ya back is got.					BUGGIN' OUT		  My brother.					RADIO RAHEEM		  My brother.INT: SAL'S FAMOUS PIZZERIA--NIGHTVito, Pino and Mookie are cleaning up.					MOOKIE		  Sal, it's almost quitting time so		  please start counting my pay.  I		  gotta get paid.Sal is looking into the cash register.					SAL		  We did good business today.  We got		  a good thing going.  Nothing like a		  family in business working together.		  One day the both of you will take		  over...and Mookie, there will		  always be a place for you at Sal's		  Famous Pizzeria.  Y'know, it should		  be Sal's and Sons Famous Pizzeria.ANGLE--VITO, PINO, AND MOOKIEAll three look at each other.  The horror is on their faces,with the prospect of working, slaving in Sal's and SonsFamous Pizzeria, trapped for the rest of their lives.  Isthis their future?  It's a frightening thought.ANGLE--DOORAhmad, Cee, Punchy, and Ella enter.					SAL		  We're about to close.					AHMAD		  Just four slices, regular slices.		  Please.  To go!					SAL		  OK, but that's it.  It's been a		  long day.Mookie goes over to the table where Ahmad, Cee, Punchy, andElla sit.											    77.					MOOKIE		  Look, I want you to get your		  slices, then outta here.  No		  playing around.					AHMAD		  You got it.					MOOKIE		  Good.  No joke.  We all wanna go		  home.OH NO!  We hear the dum-dum-dum of Radio Raheem's box.  Aseveryone turns their heads to the door, Buggin' Out andRadio Raheem are inside already.  We have never heard therap music as loud as it is now.  You have to scream to beheard and that's what they do.					SAL		  What did I tell ya 'bout dat noise?					BUGGIN' OUT		  What did I tell ya 'bout dem		  pictures?					SAL		  What da fuck!  Are you deaf?					BUGGIN' OUT		  No, are you?  We want some Black		  people up on the Wall of Fame.					SAL		  Turn that JUNGLE MUSIC off.  We		  ain't in Africa.Ahmad, Cee, Punchy, and Ella start to dance while Mookietakes a seat, the impartial observer that he is.					BUGGIN' OUT		  Why it gotta be about jungle music		  and Africa?					SAL		  It's about turning that shit off		  and getting the fuck outta my		  pizzeria.					PINO		  Radio Raheem.					RADIO RAHEEM		  Fuck you.											    78.					SAL		  What ever happened to nice music		  with words you can understand?					RADIO RAHEEM		  This is music.  My music.					VITO		  We're closed.					BUGGIN' OUT		  You're closed alright, till you get		  some Black people up on that wall.Sal grabs his Mickey Mantle bat from underneath the counterand brings it down on Radio Raheem's box, again and againand again.  The music stops.CLOSE--RADIO RAHEEM'S BOXRadio Raheem's pride and joy is smashed to smithereens.It's going to the junkyard quick.ANGLE--PIZZERIAThere is an eerie quiet as everyone is frozen, surprised bythe suddenness of Sal's action, the swings of his MickeyMantle bat.  All look at Radio Raheem and realize what isabout to happen.ANGLE--RADIO RAHEEMRadio Raheem screams, he goes crazy.					RADIO RAHEEM		  My music!Radio Raheem picks Sal up from behind the counter and startsto choke his ass.  Radio Raheem's prized possession--hisbox, the only thing he owned of value--his box, the onething that gave him any sense of worth--has been smashed tobits. (Radio Raheem, like many Black youth, is the victim ofmaterialism and a misplaced sense of values.) Now he doesn'tgive a fuck anymore.  He's gonna make Sal pay with his life.Vito and Pino jump on Radio Raheem, who only tightens hisgrip around Sal's neck.  Buggin' Out tries to help hisfriend.  Mookie just stands and watches as Ahmad, Cee,Punchy, and Ella cheerlead.											    79.EXT: SAL'S FAMOUS PIZZERIA--NIGHTThe tangled mass of choking, biting, kicking, screamingconfusion flies through the door of Sal's out onto thesidewalk.CLOSE--EDDIEThe kid yells:					EDDIE		  Fight!  Fight!								    CUT TO:CLOSE--DA MAYORHe looks up.								    CUT TO:CLOSE--MOTHER SISTERShe looks up.								    CUT TO:CLOSE--SWEET DICK WILLIEHe also looks up.ANGLE--STREETThe people on The Block run to Sal's Famous Pizzeria to seethe STATIC.ANGLE--SAL'S FAMOUS PIZZERIARadio Raheem, Buggin' Out, Sal, Vito, and Pino are stillentangled, rolling around on the sidewalk, but now before anentertained crowd of onlookers:ANGLE--DA MAYOR					DA MAYOR		  Break it up.  This is crazy.The fight continues.  Da Mayor is smart enough not to get inthe middle of this war.  We hear sirens, somebody has calledDA COPS.ANGLE--STREET											    80.The cop cars come right through the crowd, almost runningover some people.  The cops get out with nightsticks andguns drawn.  WE RECOGNIZE two of the faces, Officers Longand Ponte.  Any time there is a skirmish between a Black manand a white man, you can bet the house on who the copes aregonna go for.  You know the deal!  Buggin' Out is pulled offfirst, then Vito and Pino, but Radio Raheem is a crazed man.It takes all six cops to pull him off Sal, who is red as abeet from being choked.ANGLE--COPSHandcuffs are put on Buggin' Out as he watches the othercops put a choke hold on Radio Raheem to restrain him.ANGLE--RADIO RAHEEMRadio Raheem is still struggling, then he just stops, hisbody goes limp and he falls to the sidewalk like a fifty-pound bag of Idaho potatoes.ANGLE--STREETOfficers Long and Ponte kick him.					OFFICER LONG		  Get up!  Get up!Radio Raheem just lies there like a bump on a log.ANGLE--CROWDThe crowd stares at Radio Raheem's still body.  He'sunconscious or dead.CLOSE--OFFICER LONG					OFFICER LONG		  Quit faking.ANGLE--STREETThe officers all look at each other.  They know, they knowexactly what they've done.  The infamous Michael Stewartchoke hold.					OFFICER PONTE		  Let's get him outta here.The officers pick up Radio Raheem's limp body and throw himinto the back seat.  Buggin' Out is pushed into another car.The cop cars speed off; in their haste to beat it, they haveleft the crowd.  It's at this point the crowd becomes anangry mob.											    81.ANGLE--MOBThe mob looks at...ANGLE--MOB POVSal still on the sidewalk, being helped to his feet by Vitoand Pino, who are in bad shape themselves.ANGLE--MOBThe mood/tone of the mob is getting ugly.  Once again theyhave seen one of their own killed before their eyes at thehands of the cops.  We hear the murmurs of the folks gothrough the crowd.					VOICES OF MOB		  THEY KILLED HIM		  THEY KILLED RADIO RAHEEM		  IT'S MURDER		  DID IT AGAIN		  JUST LIKE THEY DID MICHAEL STEWART		  MURDER		  ELEANOR BUMPERS		  MURDER		  IT'S NOT SAFE		  NOT EVEN IN OUR OWN NEIGHBORHOOD		  IT'S NOT SAFE		  NEVER WAS		  NEVER WILL BEThe cops, in their haste to get Radio Raheem out of there,have left an angry mob of Black folks with a defenselessSal, Vito, and Pino.The mob looks at them.					VOICES OF MOB		  WON'T STAND FOR IT		  THE LAST TIME		  FUCKIN' COPS		  THE LAST TIME		  IT'S PLAIN AS DAY		  DIDN'T HAVE TO KILL THE BOYHIGH ANGLEMookie looks at the crowd and notices he's on the wrong side.He leaves Sal and his two sons.ANGLE--STREETDa Mayor walks in front of the crowd.											    82.					DA MAYOR		  Good people, let's all go home.		  Somebody's gonna get hurt.					CROWD (OS)		  Yeah, you!					DA MAYOR		  If we don't stop this now, we'll		  all regret it.  Sal and his two		  boys had nothing to do with what		  the police did.					CROWD (OS)		  Get out of the way, old man.  You a		  Tom anyway.					DA MAYOR		  Let 'em be.ANGLE--STREETMookie picks up a garbage can and dumps it out into thestreet.  He walks through the crowd, up to Da Mayor, Sal,Vito, and Pino.CLOSE--MOOKIEHe screams.					MOOKIE		  HATE!!!!SLOW MOTIONMookie hurls the garbage can through the plate glass windowof Sal's Famous Pizzeria.  That's it.  All hell breaks loose.The dam has been unplugged, broke.  The rage of a people hasbeen unleashed, a fury.  A lone garbage can thrown throughthe air has released a tidal wave of frustration.ANGLE--STREETDa Mayor pushes Sal, Vito, and Pino out of the way as themob storms into Sal's Famous Pizzeria.INT: SAL'S FAMOUS PIZZERIA--NIGHTThe people rush into Sal's Famous Pizzeria, tearing it up.CLOSE--CASH REGISTERThe cash register is opened.  WE SEE only coins, Sal has thepaper.											    83.EXT: DA MAYOR'S STOOP--NIGHTDa Mayor leads Sal, Vito, and Pino back to his stoop wherethey watch in horror.					SAL		  There it goes.  Why?					DA MAYOR		  You was there.  First white folks		  they saw.  You was there.					PINO		  Fuckin' niggers.INT: SAL'S FAMOUS PIZZERIA--NIGHTSomeone lights a match.  WHOOOSH!EXT: SAL'S FAMOUS PIZZERIA--NIGHTSal's Famous Pizzeria is going up in flames and now it's acarnival.					MOTHER SISTER		  Burn it down.  Burn it down.One might have thought that the elders--who through theyears have been broken down, whipped, their spirits crushed,beaten into submission--would be docile, strictly onlookers.That's not true except for Da Mayor.  The rest of the eldersare right up in it with the young people.INT: SAL'S FAMOUS PIZZERIA--NIGHTCLOSE--PHOTOS ON WALL OF FAMEThe photos of famous Italian-Americans are burning.EXT: FRUIT-N-VEG DELIGHT--NIGHTThe mob now moves across the street in front of the Koreanfruit and vegetable stand.  Sweet Dick Willie, Coconut Sid,and ML stand at the head of the mob.					ML		  It's your turn.CLOSE--KOREAN CLERKHe's scared to death, as the mob is poised to tear his placeup too.  The clerk wildly swings a broom to hold them off.											    84.					KOREAN CLERK		  Me no white.  Me no white.  Me		  Black.  Me Black.  Me Black.CLOSE--ML					ML		  Me Black.  Me Black.The mob starts to laugh; they feel for him.ANGLE--MOB					SWEET DICK WILLIE		  Korea man is OK.  Let's leave him		  alone.					ML		  Him no white.  Him no white.					COCONUT SID		  Him Black.  Him Black.EXT: DA MAYOR'S STOOP--NIGHTSal, Vito, and Pino look on as Sal's Famous Pizzeria goes upin smoke.								    DISSOLVE TO:CLOSE--VITO								    DISSOLVE TO:CLOSE--PINO								    DISSOLVE TO:CLOSE--SALEXT: STREET--NIGHTANGLE--STREETJade is running through the mob, looking for her brother.					JADE		  Mookie!  Mookie!ANGLE--MOOKIEMookie is running around with the rest of the mob.ANGLE--STREET											    85.The wail of fire trucks and police sirens is now added tothe night.EXT: SAL'S FAMOUS PIZZERIA--NIGHTThe mob moves back to in front of Sal's as the fire trucksand police, in full riot gear, pull up in the street behindthem.					POLICE LOUDSPEAKER (VO)		  Good people.  Please disperse.		  Please disperse.The firemen rush to hook up their hoses, the police forcethemselves between the crowd and the burning Sal's FamousPizzeria.					POLICE LOUDSPEAKER (VO)		  Please disperse!  Please disperse!The mob doesn't listen, they will not be moved.  The mobwill not be moved until they see Sal's Famous Pizzeria burnto the ground.ANGLE--SAL'S FAMOUS PIZZERIAThe firemen douse the pizzeria, trying desperately to stopthe fire from spreading into the adjoining buildings.					POLICE LOUDSPEAKER (VO)		  Good people, we're giving you one		  more warning.  Please go back home.CLOSE--MOOKIE					MOOKIE		  This is our home.CLOSE--MOTHER SISTER					MOTHER SISTER		  This is our neighborhood.ANGLE--MOBIt will take force to move this mass of people.					POLICE LOUDSPEAKER (VO)		  You've had your warning!POW!The hoses are turned on the mob.											    86.WE SEE Mookie, Mother Sister, Sweet Dick Willie, ML, CoconutSid, Jade, Ahmad, Cee, Punchy, and Ella, etc., go downbefore the powerful blast of the firehouse.Now we've come full circle.  We're back to Montgomery orBirmingham, Alabama.  The only thing missing is Sheriff BullConnor and the German shepherds.It would take force to move them and that's exactly what themob got.  People are trying to hold on to each other, cars,railings, anything to keep from being swept away.EXT: DA MAYOR'S STOOP--NIGHTDa Mayor, Sal, Vito, and Pino watch in disbelief.  It'sunbelievable what is happening before their eyes.								    CUT TO:THE STREET--NIGHTTHEIR POVPeople are screaming, kids and women are not being sparedfrom the brute force of the firehoses either.EXT: WE LOVE STOREFRONT--NIGHTWE SEE the reflection of the fire in the storefront windowas Mister SeÒor Love Daddy looks on.EXT: STREET--NIGHTANGLE--JADE AND MOTHER SISTERJade and Mother Sister try to hold on to a streetlamp as agush of water hits them; their grips loosens, the water istoo powerful, and they slide away down the block and DaMayor runs after them.INT: SAL'S FAMOUS PIZZERIA--NIGHTCLOSE--PHOTOSSome burnt photos on the floor.CLOSE--MICKEY MANTLE BATThe Mickey Mantle bat burns.CLOSE--RADIO RAHEEM'S BOXRadio Raheem's box has melted into a black mass of goo.CLOSER--RADIO RAHEEM'S BOX											    87.As WE MOVE IN TIGHTER ON the melted box, we begin to hearthe rap song that we've hear throughout.  All other sounddrops as the rap song gets louder and louder until it'sdeafening.ANGLE--SMILEYSmiley sits up from where he hid during the burning andlooting of Sal's Famous Pizzeria.  Smiley looks around andgoes directly to the smoldering Wall of Fame.  He standsthere.  Smiley pins one of his Malcolm X/Martin Luther King,Jr., cards to the Wall of Fame.CLOSE--PHOTOCLOSE--SMILEYWe're on Smiley's face and a smile slowly travels across.It's the first time Smiley has smiled in years and nobody isthere to see this event.FADE TO BLACKTHE MORNING AFTERFADE IN:EXT: THE STREET--TO INT: RADIO STATION STOREFRONT--DAYThe CAMERA, FROM HIGH ABOVE, CRANES DOWN ON The Block.  Thesidewalk is deserted, broken glass is everywhere, and itlooks exactly as how one expects it to look, the morningafter an uprising.The CAMERA NOW MOVES IN ON the WE LOVE storefront whereMister SeÒor Love Daddy is in his familiar place behind themike.					MISTER SE—OR LOVE DADDY		  My people.  My people.  What can I		  say?  Say what I can.  I saw it but		  I didn't believe it.  I didn't		  believe it what I saw.  Are we		  gonna live together?  Together are		  we gonna live?  This is ya Mister		  SeÒor Love Daddy here on WE LOVE		  RADIO, 108 FM on your dial, and		  that's the truth, Ruth.CLOSE--MISTER SE—OR LOVE DADDY											    88.					MISTER SE—OR LOVE DADDY		  Today's weather.			    (he yells)		  HOT!CLOSER--MISTER SE—OR LOVE DADDYHe screams:					MISTER SE—OR LOVE DADDY		  WAKE UP!								    CUT TO:INT: TINA'S BEDROOM--DAYMookie jumps out of her bed; Tina sleeps by his side andtheir son Hector is between them.					MISTER SE—OR LOVE DADDY (VO)		  WAKE UP!					MOOKIE		  Fuck!  My money!					TINA		  Where are you going?					MOOKIE		  To get my money.					TINA		  Mookie, you must think I'm stupid		  or something.  You're gonna run		  outta here and I won't see your		  black ass for another week.					MOOKIE		  Tina, it's not like that.Mookie is putting on his clothes.					TINA		  You don't care about me and you		  definately don't care 'bout your son.					MOOKIE		  Tina, I'll be right back.					TINA		  Be a man.					MOOKIE		  I am a man.											    89.					TINA		  Act like one then.  Be a man.					MOOKIE		  Later.					TINA		  You're to the curb.  You better		  step off.  Get a life.Mookie leaves.MOTHER SISTER'S BEDROOM--DAYDa Mayor wakes up in Mother Sister's big brass bed (she wasborn in it).  At first he has no idea where he's at, thensees Mother Sister sitting down across the room smiling athim.					MOTHER SISTER		  Good morning.					DA MAYOR		  Is it a good morning?					MOTHER SISTER		  Yes indeed.  You almost got yourself		  killed last night.					DA MAYOR		  I've done that before.Da Mayor gets up out of her big brass bed.					DA MAYOR		  Where did you sleep?					MOTHER SISTER		  I didn't.					DA MAYOR		  I hope the block is still standing.					MOTHER SISTER		  We're still standing.Da Mayor and Mother Sister both look out the parlor windowto see THE BLOCK and Mookie.EXT: SAL'S FAMOUS PIZZERIA--DAYMookie walks up to Sal's Famous Pizzeria as it stillsmoulders in the morning light.  Sal emerges from thewreckage; he looks like he might have slept there.											    90.					SAL		  Whatdafuck do you want?					MOOKIE		  I wants my money.  I wants to get		  paid.Sal looks at Mookie in disbelief.					SAL		  Mookie, I always liked you.  Not		  the smartest kid, but you're honest.		  Don't make me dislike you.					MOOKIE		  Sal, I want my money.					SAL		  Don't even ask about your money.		  Your money wouldn't even pay for		  that window you smashed.					MOOKIE		  Motherfuck a window, Radio Raheem		  is dead.					SAL		  You're right, a kid is dead, but		  Mook, this isn't the time.					MOOKIE		  Fuck dat.  The time is fuckin' now.		  Y'know I'm sorry 'bout Sal's Famous		  Pizzeria, but I gotta live, too. I		  gotta get paid.					SAL		  We both do.					MOOKIE		  We all know you're gonna get over		  with the insurance money anyway!		  Ya know da deal.					SAL		  Do we now?					MOOKIE		  Quit bullshitting.					SAL		  You don't know shit about shit.											    91.					MOOKIE		  I know I wants to get my money.Sal has had it.					SAL		  How much?  How much do I owe you?					MOOKIE		  My salary.  Two-fifty.Sal pulls out a wad and quickly peels off hundred dollarbills.					SAL		  One, two, three, four, five.Sal throws the "C" notes at Mookie, they hit him in thechest and fall to the sidewalk.					SAL		  Are you happy now?  That's five		  fucking hundred dollars.  You just		  got paid.  Mookie, you are a rich		  man, now ya life is set, you'll		  never have another worry, a care in		  the world.  Mookie, ya wealthy, a		  fuckin' Rockefeller.Mookie is stunned by Sal's outburst.  He picks up the bills.					SAL		  Ya just got paid, so leave me the		  fuck alone.					MOOKIE		  You only pay me two-fifty a week.			    (he throws two "C"			    notes back at him)		  I owe you fifty bucks.					SAL		  Keep it.					MOOKIE		  You keep it.					SAL		  Christmas came early.Both look at the two hundred-dollar bills on the sidewalkand refuse to pick them up.  It's a stalemate.											    92.					MOOKIE		  This is the hottest Christmas I've		  known.Mookie counts his money.					SAL		  It's supposed to be even hotter		  today.					MOOKIE		  You gonna open up another Sal's		  Famous Pizzeria?					SAL		  No.  What are you gonna do?					MOOKIE		  Make dat money.  Get paid.					SAL		  Yeah!...I'm goin' to the beach for		  the first day in fifteen years.		  Gonna take the day off and go to		  the beach.					MOOKIE		  I can dig it.  It's gonna be HOT as		  a motherfucker.					SAL		  Mookie?					MOOKIE		  Gotta go.					SAL		  C'mere, Doctor.Mookie turns around and goes back.					SAL		  Doctor, this is Sal talkin'.					MOOKIE		  OK.  OK.					SAL		  Doctor, always try to do the right		  thing.					MOOKIE		  That's it?											    93.					SAL		  That's it.Mookie thinks about it, looks at the two "C" notes stillsmiling up at him.  He quickly scoops them up.					MOOKIE		  I got it.EXT: STREET--DAYHIGH ANGLEAs Mookie turns and walks away, Sal goes back into Sal'sFamous Pizzeria to salvage what is salvageable, and TheBlock begins to awake from its slumber, ready to deal onceagain with the heat of the hottest day of the year.								    FADE OUT.ROLL CREDITS.</NOSCRIPT></TITLE><SCRIPT LANGUAGE="JavaScript"><!--Ad Bannerfunction popupPage() { var windowopts = "location=no,scrollbars=no,menubars=no,toolbars=no,resizable=yes,left= 50,top=50,width=490,height=130"; popup77344 = open('/prohost/banner.html',"MenuPopup",windowopts); popup77344.focus();}popupPage();//  Ad Banner--></script>

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+"E.T."Commentary by Richard MichaelsTITLES: "E.T. - THE EXTRA-TERRESTIAL"[The letters are in soft-purple against a black background. Purple istraditionally the color of that which is sacred.]EXT: NIGHT SKY: NIGHTThe black screen becomes a night sky. The camera angles lowers to show aforest against the night sky.EXT: LANDING SITE: NIGHTIn an opening in the forest stands a spacecraft. The view of the craft isobscured by tree branches. The atmosphere is misty, with blue lights comingfrom the spacecraft.[The opening scene is misty and diffused. This forces the audience to payclose attention to the images on the screen. The characters are not clearlyseen. This engages the audience, as they attempt to see what the aliensreally look like.]One creature walks up the gang blank and into the ship.INSERT: ALIEN HANDA strange hand, with two long and slender fingers protruding, move aside abranch that obstructs the view.[This concentrates the audience's attention. The creature going into theship is being observed by another creature. Who are they? What's going on?This is another technique that forces the audience to focus on the action.]INT: SPACECRAFT'S GREENHOUSE: NIGHTThe inside of the ship appears to be a greenhouse. There are sounds ofwater dripping. Cone shaped objects (possibly alien plants) sit among earthplants. Vapors flow up from the plants.[These images all appear non-threatening. The aliens are inferred to becollecting vegetation, and are thereby inferred to be harmless.][Like many of Spielberg's other films, the opening sequences contain almostno dialogue. The story is told without verbal exposition. He forces theaudience to become engaged in the storytelling process by giving them justbits of information that they have to piece together into the story. Hedoesn't insult their intelligence.]EXT: SPACECRAFT: NIGHTA group of the aliens work in front of the spacecraft. Suddenly, they heara dog howl, and they all stop working. Red lights begin to glow in theirchests. It appears as if their hearts have lit up at the sign of danger, asthe red glow seeps through their translucent skin. After a moment the redlights dim and they return to their work.[This sets up the prop of the red-lights signifying danger. These smallcreatures are endearing and non-threatening. They are like children, whichis immediate grounds for audience empathy. The thought that they may be indanger from wild creatures in the forest, also creates empathy for them.]EXT: FOREST: NIGHTA small fern grows on the forest floor. An alien hand, with two fingersprotruding, reaches out for the fern. The alien groans. A rabbit turns andlistens. The fingers dig up the plant as the rabbit watches. The alien thencarefully uproots the plant. A small wayward alien walks alone among thegigantic redwood trees. He's dwarfed by the huge trees.[The awesome towering trees psychologically creates audience empathy forthe creature. The audience identifies with him because they too feel smallwhen confronted by these trees.]EXT: HILLTOP: NIGHTThe creature stands alone on a hilltop as he stares down at the city lightsbelow. Suddenly he lets out a moan of fright. A truck, with headlightsglaring, pulls up next to him.[The quiet, peaceful alien is now in jeopardy.]The creature runs from the lights. Several other trucks with head- lightsglaring drive up. Smoke flows from their exhaust pipes. Men's legs are seenas they walk among the trucks. They step into a mud puddle as E.T. watchesfrom behind a shrub. A man with keys jangling from his waist walks past aheadlight. He carries a flashlight in his hands.[Keys have now become a prop which identifies the antagonist of the story:the faceless government agent. Like the antagonist of many other fantasyfilms, his face is not initially revealed in order to hold the audiencesattention.]The man with keys walks to a truck where he and two other men review a mapthat's placed on the hood of the truck. The man with keys holds theflashlight up and points it at the hood. E.T watches them from the bushes.[The fact that E.T. is observing the actions of the men also creates apsychological bond between the audience and him, since they are alsoobserving these characters.][While the audience doesn't actually see a map, they presume its existencegiven the actions of the characters. This style of story telling engagesthe audience, and gets them guessing about the characters' actions. Theythen create expectations, which are later often proved to be wrong. Thismakes the story both unpredictable and exciting.]EXT: SPACESHIP: NIGHTAn alien stands in front of a round light and transmits a homing signal,presumably to call the other aliens back to the ship.[These characters are all in jeopardy.]EXT: FOREST: NIGHTWhen E.T hears the sound, his red heart lights up. The homing signalreverberates in his chest.[This establishes that his heart is used as a communication device, i.e.,these aliens communicate with their hearts.]"Keys" hears this sound and quickly turns around. He points his flashlighttowards the sounds. The other men join him as they walk towards the sound.E.T. screams and runs away, which is indicated by the shaking bushes. Themen with flashlights chase after him.[So, like Dorothy in the WIZARD OF OZ, the opening scene has theprotagonist being pursued by an unknown antagonist.]EXT: SPACECRAFT: NIGHTThe lights dim on the footings of the spacecraft, presumably because thespacecraft is preparing to takeoff.[The protagonist has the added jeopardy of being abandoned.]EXT: FOREST: NIGHTE.T. screams as he races for the spacecraft. The glow from his red-heartreflects off the bushes as he runs towards the white light of thespacecraft.[The audience still hasn't seen the face of the protagonist.]EXT: SPACECRAFT: NIGHTA lone alien stands before a large round white light, as he signals for theother aliens to return to the ship.EXT: FOREST: NIGHTMen with flashlights run through the forest, as they pursue the red glowinglight racing towards the spacecraft. One of the pursuers is the man wearingthe keys on his waist.EXT: SPACECRAFT: NIGHTThe grated gangplank lifts up, blocking the entrance to the ship. Behindthe grate stands the alien against the large round white light. The redlight of the aliens heart lights up as he stands behind the barrier.[This image exhibits an obstacle to E.T. returning to his ship.]EXT: FOREST: NIGHTThe men reach the edge of the clearing and stop as they watch thespacecraft lift off.One red lighted heart races along an old country fence towards thedeparting spacecraft. Men with flashlights are still in pursuit. They stopat a wooden gate as they watch the spacecraft fly away.E.T., with face obstructed by a branch, and with red-heart aglow, watchesthe spacecraft fly away into the night. He utters a sorrowful moan.[He has been abandoned in a hostile alien world. This situation isguaranteed to generate audience empathy.]The men with flashlights pointed up towards the sky watch the space- craftfly away. They hear E.T.'s groan, and in unison point their flashlights inhis direction.[Not only is the small childlike creature abandoned, but he is still injeopardy of being captured by those who pursue him.][This is the inciting event in E.T.'s story: his spacecraft has desertedhim.]EXT: HILLTOP: NIGHTBelow lies the city, lit up against the dark night sky. E.T slowly makeshis way down the slope.Men with flashlights follow. They reach the hilltop, search the underbrushfor the alien, then start down the slope after him.[This concludes the prelude to the story. Both the protagonist andantagonist have been introduced, and audience empathy has been establishedfor the protagonist. The protagonist's primary objective is to survive andfind a way home, while the antagonist's primary objective is to capture thealien.]EXT: SUBURBAN HOUSE: NIGHT[This is an establishing shot.]INT: ELLIOTT'S HOUSE: NIGHTA group of boys are sitting around a table playing a DUNGEONS AND DRAGONSgame. One boy is on the telephone ordering a pizza. They throw wads ofpaper at each other as they play.Elliott, the youngest boy, sits behind the counter. He's separated from theother boys. After a few moments he yells that he's ready to play the game.[The character's positions are structured to emphasize Elliott's separationfrom the others.]One of the boys tells Elliott that he can't join when they are in themiddle of the game.[Audience empathy is generated for the young child who is being excludedfrom the game.]Elliott walks up to the table and yells at his brother, Mike. Michael saysthat Elliott has to ask Steve, who is the Game Master, and who has absolutepower.[The notion of "absolute power" is set up here, for a "payoff" later whenElliott uses it to keep Michael silent about E.T.][Elliott's objective here is to play the game, but also to be accepted bythe group and gain the respect of the older boys.]Steve tells Elliott that first he has to wait for the pizza, then when hebrings it back he can play. Steve gives him money for the pizza. Elliottpicks up his baseball and glove, then leaves the room.[The ball and glove are props that will be used in the story.][Elliott's sub-objective is to get the pizza. Once this is accomplished,he'll be able to play the game.]EXT: ELLIOTT'S HOUSE: NIGHTIt's a rainy, misty night. Elliott, with ball and glove in hand wait at thebottom of the driveway for the pizza. A car pulls up and parks in thedriveway. Elliott pays the driver, then takes the pizza box from him as thecar pulls out of the driveway.Elliott walks up the driveway and into the garage. He hears a noise in thebackyard, then calls out the name "HARVEY," presumably his dogs name.INT: ELLIOTT'S HOUSE: NIGHTElliott's mother wears an orange outfit as she works in the kitchen. Shebends over to put dishes into the dishwasher. When she does this one of theyoung boys reaches out to put his finger on her rear. Mike yells for him tostop. He pulls his finger away.INT: PATIO: NIGHTElliot walks past the ping pong table when he hears more noises in thebackyard. Again he calls out the name "Harvey."[This generates tension and suspense in the audience.]With the pizza box in hand, Elliot walks past the patio table and towardsthe shed in the backyard. A bright crescent moon hangs in the night sky.[This adds enchantment to the scene.]There is a mist in the air, and a bright light shines in the shed. Elliottplaces the pizza box on the ground as he approaches the shed. He's stillcarrying the baseball and glove as he stands in front of the shed'sentrance. He tosses the ball into the shed. After a few seconds the ball istossed back out at him and hits him on the foot.[This is the payoff to the setup of the baseball prop. This event surprisesboth Elliott and the audience.]Elliott becomes frightened, turns and steps on the pizza box as he runstowards the house.[This is the inciting event in Elliott's story: there is some creaturehiding out in his shed that will change his whole life.]INT: ELLIOTT'S HOUSE: NIGHTElliott's mother is talking to the boys when Elliott runs into the housescreaming that there's something in the tool shed. He tells them that itthrew a ball at him, but they continue to ignore him until he screams"QUIET!" "Nobody go out there," says Elliott. The boys immediately jump upfrom the table. Two boys grab kitchen knives as Michael tells his mother tostay inside. He and his friends will check it out. She yells at them to putthe knives back as she follows them outside.EXT: SHED: NIGHTThe light is still on in the shed.EXT: PATIO: NIGHTElliott's mother walks into the yard with a flashlight in her hand. She issurrounded by the boys as they approach the shed. The mother says thatthere's nothing in there as Michael walks through the entrance. Michaelbends down and finds tracks on the dirt floor. "The coyote's come backagain, Ma." he says. His mother becomes frightened and orders them all backinto the house.[Jeopardy is introduced into the situation. Even though the audience knowsthat it is probably the alien in the shed, the scene increases thetension.]On his way back to the house, Michael sees the pizza box. He bends down,opens the box, then takes out a piece. He's angry at Elliott. Elliott triesto explain that it was just an accident, but his brother is still angry.When the mother asks who ordered the pizza, Elliott points to one of Mike'sfriends. This makes the friend mad at Elliott. Elliot tries to persuade hismother that there is a creature in the shed, but she doesn't believe him.They walk into the house.[Empathy is generated for Elliott because the two boys are unfairly angryat him and his mother doesn't believe him.]INT: SHED: NIGHTThe alien's fingers point out into the shed entrance, then wrap around theside of the door. The sound of his heavy breathing is heard.[This establishes for the audience that he really is in the shed. They feelsorry for Elliott because he was telling the truth and no one believedhim.]INT: ELLIOTT'S BEDROOM: NIGHTThe clock on the end table indicates 2:00. Next to the clock is a pictureof a dog, presumably Harvey. This same dog lies asleep in the bed. He hearsa noise and picks up his head. He is in the lower half of a bunk bed. Onthe top bunk sits Elliott. He is awake as he listens to the noise outside.[Elliott's objective is to prove there's a creature in the shed.]EXT: BACKYARD: NIGHTElliott opens a gate and walks into the backyard. He carries a flashlightin his hand and shines it into the cornfield next to his house. He walksinto the field.EXT: CORNFIELD: NIGHTElliott walks into the cornfield. He whistles, and gets entangled in thecornstalks as he walks. He sees tracks in the dirt with his baseballnearby. He continues to walk through the field.[The stalks are obstacles that obstruct both his path and his vision. Italso clutters the visuals and forces the audience to pay closer attention.The suspense increases because they aren't sure whether he'll meet up withthe alien or the coyote.]Elliott pushes aside some stalks and shines the light into the face of E.T.Together, in unison, the scream. Elliot drops his light, then continues toscream as he looks around the field. E.T. cries out and runs away throughthe cornfield.[Their reactions upon seeing each other were identical. This is the firstinstance of a series of situations which will "merge" their characters tosuch an extent that whatever empathy the audience has for one they willalso have for the other.]EXT: BACKYARD: NIGHTElliott runs into his backyard. His play swings sway back and forth in theair, as if someone had just bumped into them. Two garbage pails fall overnear an open metal gate at the top of a stone stairway. The garbage rollsout of the cans and down the stone stairs. A red light by the gate lightsthe stone stairway.[The audience psychologically associates this red light with E.T.'s redlighted heart, and makes the inference that he had run up the staircase andout the gate.]Elliott has an expression of wonderment and gratification on his face as helooks up the staircase, for he has just established the existence of thecreature in the shed.]EXT: GARAGE: DAYElliott rides down the driveway on his bicycle. He next rides down a dirtroad that overlooks the suburban community.[Elliott's new objective is to locate the creature.]EXT: FOREST ROAD: DAYElliott holds a bag of candy in one hand as he pours some into the otherhand. He tosses candy onto the round as he walks through the woods callingout for the creature.In another part of the woods Elliott lays his bike down, then continues totoss candy and yell out "hello!" He sees a man on the road below andquickly hides behind a tree.["Keys," the faceless antagonist, is still pursuing the alien.]Elliott runs back to his bike, then rides down the forest road past a wirefence. The alien's fingers side down the side to the tree. He was watchingElliott.[Elliott is in jeopardy both from the faceless man and the faceless alien.]INT: ELLIOTT'S HOUSE: DAYElliott's mother sits at the tale with the dog, Harvey, at her side.Elliott, Michael and Gertie are eating supper.[This is a home without a father, which creates more empathy for theprotagonist.]Gertie asks Elliott what he's going as for Halloween. He's depressed, andreplies that he's not going. Mike mocks him by suggesting that he go as agoblin. Elliott snaps back, telling Mike to shut up. The mother tries toexplain that it's not that they don't believe him, but Elliott cries outthat the creature was real.[The audience also knows that the creature is real. This generates moreempathy for the protagonist, because he is mocked and not believed when heis expressing the truth.]Mike offers other suggestions: perhaps it was an iguana, a deformed child,or maybe an Elf or a Leprechaun. Elliott gets angry and shouts "It wasnothing like that, penis breath." Mary, his mother shouts at him to sitdown. Elliott responds with "Dad would believe me." Mary replies "Maybe youought to call your father and tell him about it." "I can't. He's in Mexicowith Sally" says Elliott. Both Mary and Mike are upset, while Gertie asks"Where's Mexico?" Mary excuses herself and leaves the table. She walks tothe window as Mike tells Elliott that he's going to kill him. "If you eversee it again, don't touch it. Just call me and we'll have someone come andtake it away," says Mary. "Like the dog catcher?" says Gertie. "But they'llgive it a lobotomy, or do experiments on it or something," says Elliott.[This sets up the audience's expectations about the harm that will befallthe alien when he is captured.]After a bit of dialogue concerning who should be doing the dishes, Maryleaves the room saying "He hates Mexico."[This scene explores the emotional relationships between the family membersin greater detail. Empathy is also generated for Mary who was abandoned byher husband. She is left with the responsibility of raising the childrenwhile he's traveling with his new girlfriend to Mexico, a country which hehates.]Elliott takes some dishes to the sink, turns on the faucet and gazes outthe kitchen window as water steams up from the sink.EXT: BACKYARD: NIGHTA crescent moon floats in the sky. A bright light is on in the shed. Infront of the shed Elliott lies inside a sleeping bag on a folding chairwith a flashlight in his hand. He hears the sound of feet walking in theunderbrush.Elliott sits up to see the alien standing in front of the shed. The aliengroans as Elliott freezes from fear in his chair. He tries to call out forhis mother, but can't get the words out of his mouth. He next tries to callMike, but fear makes him choke on his words.The alien approaches Elliott. The bright light from the shed makes itimpossible to see his face: only the outline of his form is visible. Thealien walks right up to the edge of the lawn chair.[The scene is filled with suspense because Elliott may be in jeopardy fromthe creature.]The alien slowly moves its hand over the chair, then drops candies onto theblanket. Elliott relaxes.[This non-verbal gesture by E.T. demonstrates that he is harmless. Thetension in the scene is thereby released. Elliott has achieved hisobjective: he established contact with the alien.]INT: ELLIOTT'S HOUSE: NIGHTElliott places candy on the carpet, then walks backwards down the hallwaytowards his room. E.T. walks up the stairs and reaches out for the candy,which he then takes into his hand and eats.[Elliott's new objective is to get the alien into his room. His mainobstacles are to somehow persuade the alien to come into the house, whilenot waking his family.][This scene also is a good example of how to structure a scene's beginning.In real life, the scene would have started in the backyard, tracked throughthe kitchen, the living room and then up the stairs. But since all of thatinformation would have been redundant, picking the action up from the topof the stairs was sufficient.]INT: ELLIOTT'S ROOM: NIGHTElliott places candy on the floor by the entrance to his room. A sign onhis door contains the word "ENTER." E.T picks up the candy.Elliott has run out of candy. He goes to his desk in search for more. Heopens some drawers, but doesn't find any. When he returns to the doorway,E.T. has already entered the room. E.T. pulls a box down from the table,then knocks a can filled with pens onto the floor. This makes a loud noise,and forces Elliott to quickly close the door to his room.[The audience still does not have a clear view of E.T.'s face nor body.This holds their attention during the scene. They are waiting for thatwonderful moment.]Elliott throws a blanket over E.T. as they stare at each other. E.T. isfinally revealed to the audience.Elliott moves his hand in front of his face, a gesture indicatingbewilderment. E.T. mimics this action.[This is the beginning of their efforts to communicate, but also the startof the audience emotionally identifying the two characters as one object ofempathy.]Elliott places his fingers to his lips to see if E.T. will respond in thesame manner, which he does. Elliott then places one finger to his ear,which E.T. also mimics. Elliott smiles, then holds his left hand up withall five fingers spread apart. E.T. raises his left hand with three fingersspread apart. Elliott closes his fingers until there is only one remainingup. E.T. does the same. They both wiggle this one finger. A poster on thewall between Elliott and E.T. has the word "SUPERSTAR" printed on it.[These actions help the audience to conceive of these two characters as"mirror images" of one another, worthy of equal empathy. It also bonds theyoung children in the audience to them, because the characters are speakingin a language they too can understand. All the children in the audiencehave just been through the experience of learning a language. They caneasily identify with the problems that that two characters in the story arehaving in communicating with each other. This forges a bond between thechildren and both Elliott and E.T. This also forms the basis for the repeatviewing of this film which was essential for its phenomenal box-officesuccess.]Suddenly, Elliott becomes tired and yawns, then sways as if in a trance. Heslowly walks backwards and sits down in a chair. Elliott seems asleep asthe camera moves up for a closeup of Elliott's face.[Presumably, E.T. has used his telepathic powers to place Elliott into atrance in order to merge their minds and feelings.][This is the end of the first act. Elliott has succeeded in gainingpossession of the dramatic objective E.T.), and has him in his room. ButE.T. has also taken possession of Elliott by merging their feelings, sothat they both become one protagonist. The second act will end when theyare both captured by the antagonist.]EXT: FOREST: DAYMist envelops the fence and gate in the section of the forest where E.Toriginally landed. Men with flashlights and floodlights search throughoutthe area. "Keys" walks into the forefront, holding a flashlight in hishand. He bends to the ground and finds some candy.[The objective of the faceless antagonist is to capture the alien. Thecandy is a prop that will lead them to Elliott's house just as Elliott usedthem to lead E.T. into his room. This scene shows that the protagonist isin jeopardy, because he is still being pursued.]INT: ELLIOTT'S ROOM: DAYElliott lies in bed with a thermometer in his mouth. His head rests on anorange pillow (same color as his mother's dress in the first scene) whilehis mother sits besides him. She takes out the thermometer, reads it, thensays "Okay, you're hot." She then leaves the room. Elliott quickly swings alamp back over his head and heats the thermometer. He also places a blueheating pad over his face, to heat himself. He then places the thermometerback into his mouth, swings the lamp away, and places the heating pad underthe covers as his mother enters the room. She opens his closet andseparates the hanging clothes as she walks into the closet. Elliott sits upin bed and intensely watches her.[Elliott's objective is to stay home from school in order to be with E.T.His obstacle is his mother, who wants him to go to school. To overcome thisobstacle he must persuade her that he's sick. A crisis occurs when sheenters the closet in which E.T. is hiding. This creates jeopardy for theprotagonist.]EXT: DRIVEWAY: DAYMike backs the car down the driveway.INTERCUT: ELLIOTT'S ROOMMary walks out of the closet carrying a blue sleeping bag. Elliott istense, then relieved, once he realizes that she didn't find E.T. He fallsback into bed.INTERCUT: DRIVEWAYMike backs the car over part of the lawn.[This scene functions not only as comic relief, but also as a set up forthe scene here Mike has to drive the van during E.T.'s escape sequence.This demonstrates both his incompetence, and that he is only allowed todrive the car backwards down the driveway.]INTERCUT: ELLIOTT'S ROOMMary covers Elliott with the blue sleeping bag as Elliott puts thethermometer back into his mouth (first backwards, then he corrects it).[Humor is generated because the audience knows that he is fooling hismother.]INTERCUT: DRIVEWAYMike continues to back the car down the driveway. He overshoots the edgeand goes out into the street. He then pulls forward across the sidewalk.INTERCUT: ELLIOTT'S ROOM"You were outside waiting for that thing?" says Mary. Elliott nods.[Elliott is covered in blue-white colors, which traditionally signifyinnocence, and which generates audience empathy for him.]She tells him not to watch TV, kisses him, then leaves the room. Elliottquickly closes the blinds.EXT: DRIVEWAY: DAYMary runs down the driveway towards the car. Gertie points out the patchesof lawn that Mike pulled onto the driveway as he was driving the car. Marypulls her into the car.INT: ELLIOTT'S ROOM: DAYElliott gestures for E.T. to walk out of the closet, which he does. He iswearing Elliott's robe. Elliott asks him if he talks.[Elliott's objective is to communicate with E.T., his obstacle is that E.T.does not speak the English language.]"Me Human. Boy. Elliott, Elliott, Elliott" says Elliott.E.T. turns away and walks towards the work table. Elliott picks up objects,such as a can of coke and toy soldiers, from the table then names them forE.T. Elliott points to the fish and explains how the fish eat the fishfood. He places a wooden toy shark into the fishbowl, then states that theshark eats the fish but nobody eats the shark.[In his effort to communicate with E.T., Elliott tries to teach him thelanguage by showing him objects that are used in everyday life. Thisprocess is similar to that experienced by the children and parents in theaudience everyday as they also learn and attempt to communicate with eachother. This type of scene solidifies the audience's emotional bonding withElliott and E.T.]E.T. takes a toy car into his mouth on chews on it.[Like many a child would.]Elliott takes this to mean that E.T. is hungry. Elliott tells E.T. to staywhere he is.[Elliott's new objective is to get food for E.T. and himself.]Elliott opens the door and Harvey tries to run into the room. E.T. groanswith fear and backs into a corner as Elliott pulls Harvey out of the room.[This introduces jeopardy into the scene, for Harvey could harm E.T.]INT: KITCHEN: DAYElliott, dressed only in white underwear, opens the refrigerator door andtakes out some food.INTERCUT: ELLIOTT'S ROOME.T. walks around the room.INTERCUT: KITCHENElliott opens up a jar of peanut butter.INTERCUT: ELLIOTT'S ROOME.T. touches a tennis racket.INTERCUT: KITCHENElliott picks up cheese and tomatoes.INTERCUT: ELLIOTT'S ROOME.T. picks up an umbrella.INTERCUT: KITCHENElliott takes a carton of milk out of the refrigerator.INTERCUT: ELLIOTT'S ROOME.T. accidentally opens up the umbrella.INTERCUT: KITCHENElliott screams with fright and drops the milk carton onto the floor.INTERCUT: ELLIOTT'S ROOME.T. screams with fright, drops the umbrella, then runs into the closet.[This further establishes the merging of E.T. and Elliott into one being.Elliott shares E.T.'s feelings and simultaneously experiences what heexperiences. The audience also experiences this surprise with them, whichfurther tightens the bonds.]Milk flows from the open carton onto the floor, as Elliott leans into theopen refrigerator. He clutches his chest and looks up towards the ceilingas he ponders his experience.INT: ELLIOTT'S ROOM: DAYElliott carries a plate of food into the room. He walks past the openumbrella and looks into the closet. Stuffed animals line the back of thecloset wall. E.T. pushes the animals forward. He was hiding behind them. Heis still shaking from the fright experience. "Are you okay? Too muchexcitement, huh? You want a coke?"[This is the resolution of the last scene sequence. We see both characters'reactions to the events that have occurred.]EXT: DRIVEWAY: DAYMichael runs up the driveway towards his house. He's wearing a red footballblazer.INT: ELLIOTT'S HOUSE: DAYMichael opens the front door and runs into the house. He takes off his redshirt to reveal the blue shirt he's wearing underneath. He picks up amagazine then opens the refrigerator. "Nothing but health shit," he says,as he takes out a can and shakes it.[The audience tenses up because jeopardy has just been introduced into thestory. They wonder what will happen when Mike discovers E.T. in Elliott'sbedroom.]INT: ELLIOTT'S ROOM: DAYElliott walks away from his closet and opens the door to his room. He tellsMike to come in. Both boys are dressed in blue and white colors. Mike callsElliott a faker, then starts to tell him about scores on an asteroid game,when Elliott interrupts, to tell him about the goblin. Michael makes fun ofElliott and his belief that the goblin has returned. But Elliott persists,and makes Mike promise to give Elliott "absolute power."[This is the payoff to the "absolute power" concept as set up during theDUNGEON AND DRAGONS scene.][Elliott's objective is to vindicate himself to his brother and sister byproving that "the Goblin-E.T." really does exist.]Ellott makes Mike close his eyes, then he retrieves E.T. from the closetand leads him to the center of the room. Mike has a silly grin on his faceas he opens his eyes and turns around to look at E.T. A sickening look ofterror comes over his face.Suddenly Gertie opens the door and walks into the room with her doll underher arm, saying "Elliott, look what I made for you." E.T. sees her thenstretches his neck to raise his head high. Gertie walks right up to him andscreams. E.T. screams back at her. Elliott screams for both of them tostop. Mike falls back against the wall and knocks down the bookcase. Theyall scream together. Elliott grabs Gertie's mouth and pushes her back toMike."Kids, I'm home," shouts Mary from downstairs.[Jeopardy! The mother, an adult, is about to discover E.T. Even though theyare terrified, the children all band together against the threat. They'drather sit in the closet with the "monster" than have their mother discoverhim.]Mike quickly shuts the door, then they all run to the closet. Gertiescreams again. Mike grabs her by the mouth and pulls her away as E.T. runsacross the room with his arms raised. Elliott shuts the closet door just ashis mother walks into his room. Mary notices the fallen bookcase. She looksaround and then comments, "This is no room, this is an accident." Elliottries to cover by saying he was "reorganizing."INT: CLOSET: DAYE.T.'s head appears among the stuffed animals. Mike has his hand overGertie's mouth as she tries to scream. Mary walks past the closet door.[This creates suspense in the audience: will E.T. be discovered by Mary?]Mary asks Elliot to keep an eye on Gertie while she takes a shower. Shekisses him on the head then leaves the room. Elliott opens the closet door.Michael, in awe with mouth open wide, watches as Elliott approaches E.T."Elliott," whispers Mike. "I'm keeping him," says Elliott.E.T. sits behind the stuffed animals as if he was one of them.[The use of stuffed animals as props around E.T helps to transfer positivefeelings that the audience has for them to E.T.]Gertie asks what it is as she and Michael approach E.T. Elliott tells herthat it won't hurt her. When asked if it's a boy or girl, Elliott repliesthat it's a boy. He then tells her that she can't tell Mom about thecreature. When asked why not, he explains that "grownups can't see him.Only little kids can see him." Gertie snaps back, "Give me a break."[The charm in Gertie's character lies in the contradictory attributes ofbeing a sophisticated child. Humor is generated by this incongruity.]Elliott then goes into his Dracula voice: "Then do you know what willhappen if you do tell?" He grabs Gertie's doll, tosses it to Mike and tellshim to "Do it!." Mike "tortures" the doll by twisting its arm. Gertie criesas she runs to it. E.T. watches the scene with wonderment in his eyes.Gertie finally promises not to tell about E.T. They all watch him as hestretches his neck and lifts up his head.EXT: COMMUNITY: DAYOn the hilltop overlooking the neighborhood stands a man with a camera ashe takes photos of the houses below. The man with keys on his waist walksinto the area, as other men comb the ground with electronic equipment.[Jeopardy is introduced in the scene in order to maintain tension in theaudience. The antagonist is getting closer to the home of the protagonist.]EXT: ELLIOTT`S HOUSE: NIGHT[This is an establishing shot.]INT: ELLIOTT`S HOUSE: NIGHTMary, carrying a yellow watering pail, walks across the room and waters alarge plant. Gertie pulls a little red wagon into the hallway. When askedby Mary what she's doing, Gertie replies that she's going to play inElliott's room. "Okay, don't let them torture you," says the mother. "Iwon't, Mary," replies Gertie.[This generates humor because the child deals with the mother as if theyare equals.]Gertie picks up a pot containing a sickly geranium plant and places it intothe wagon. The phone rings and Mary answers it off screen.[The plant becomes an important prop because in the story it will representthe health and well-being of E.T.]INT: ELLIOTT'S ROOM: NIGHTGertie knocks on the door. Mike lets her and Harvey into the room. Theywalk to the table where E.T. and Elliott are sitting. Gertie puts thesickly plant n the table. E.T. puts his finger into the plant. Elliottopens up an encyclopedia and points to California on a map of the UnitedStates. "We are here," Elliott says as E.T. munches on celery. Michaelhands Elliott a globe and tells him to use this instead of the map. Elliottpoints to the globe, then asks E.T. where he's from. E.T. points out thewindow.[Elliott's objective is to discover more about the alien.]Elliott opens the book to a page that has the map of a galaxy. He points tothe planet earth, touches the globe, then says "HOME, HOME." E.T. makes asoft noise that sounds similar to the word "home." Gertie watches him as hepicks up round objects and places them on the map: three small pieces offruit and two eggs. E.T.'s eyes concentrate on the table, which then startsto shake. The two eggs and three small pieces of fruit then lift off thetable and float in the air. The children watch with awe.[This introduction of "magical" powers that E.T. possesses was unexpectedand thereby helps to make the story unpredictable.]Elliott screams with fright and the floating objects drop to the floor. Hewalks to a lamp and stares into it. Mike asks what is wrong. "I don't know.Something scary," says Elliott as E.T. places his finger on Elliott'sshoulder.[Jeopardy is introduced into the scene with this comment. Yet it is notE.T. who is to be feared, as indicated by his comforting gesture of placinghis finger on Elliott's shoulder.]EXT: BACKYARD: NIGHTElliott runs by the shed, past a swaying swing, up the stairs to the redlamppost and to the wire gate. He strains to hear the sounds of mentalking.[The antagonist is getting closer to the home of the protagonist.]INT: ELLIOTT'S ROOM: NIGHTE.T. sits next to a lamp as he reads a child's ABC book. He sits next to aRaggedy Ann doll.][Another image of E.T. learning the language which helps to forge a bondbetween him and children in the audience. Good feelings for the doll arealso transferred to the alien.]On the floor next to E.T. is the pot containing the sickly flowers. Helooks at the flowers, makes a moaning sound, and suddenly they becomehealthy and transform into full bloom.[This establishes the magical healing powers of E.T.]EXT: ELLIOTT'S HOUSE: DAYElliott and Mike walk down the driveway. They are on their way to school.They discuss E.T., arguing about how smart he is.[This is just a transition scene.]EXT: STREET: DAYMike and Elliot walk towards a bus stop where a group of children arewaiting. Mike's friends torment Elliott about his "goblin."[This generates more audience empathy for Elliott, who is unfairly mockedby the ignorant boys. Elliott still has not earned the respect of Mike'sfriends, which is one of his dreams.]They finally get on the bus as Elliott walks away, followed by a prettyblonde girl who seems to have a crush on him. Michael appears worried as hesits on the bus among the other children who are throw- ing objects at eachother.INT: ELLIOTT'S HOUSE: DAYGertie stands on the stairway looking up, presumably thinking about E.T. inElliott's room. Mary comes running downstairs and tells Gertie that theyhave to get into the car, otherwise they'll be late. Suddenly, Mary hears anoise upstairs. She goes up to see what caused the sound.[Jeopardy: E.T. is in danger of being discovered by an adult. Theaudience's expectations were shaped in the earlier dinner scene, where Marytold the children she would call to have the creature taken away if he camearound the house again. This is what the audience expects her to do if shefinds E.T.]INT: ELLIOTT'S BEDROOM: DAYMary walks into the closet and looks around. The camera pans across thelarge faces of all the stuffed dolls: Raggedy Ann, a Bear, a Monkey, E.T.'sFace, a Lion, etc. Mary doesn't notice E.T., then closes the closet doorand leaves.[Humor is generated because of the incongruity of a living creature amongthe dolls, and the inability of Mary to distinguish between them. Thelaughter releases the tension that was created in the previous scene. Thisalso reinforces the audience's emotional ties to E.T., since he is so"doll-like."]INT: SCHOOL: DAYA teacher walks down the aisle and announces to the class that today theywill perform the frog dissection for which they have been preparing. As hepasses Elliott's desk, he starts to say "frogs similar to," then he noticesthe drawing of E.T. The teacher picks it up. Elliott turns to see thepretty blonde girl staring at him. Realizing she's been caught, she quicklyturns and looks away.[This attraction to Elliott is set up in order to payoff before the end ofthe school sequence.]INT: ELLIOTT'S ROOM: DAYE.T. opens the door to Elliott's room and walks out into the hallway.Harvey sees and quickly approaches.[Jeopardy: will the dog attack E.T.? At there last encounter E.T. wasfrightened by Harvey.]INTERCUT: CLASSROOMThe teacher continues his instructions, telling the students that thescalpel is very sharp, and that they should use discretion when cutting.There should be very little blood, and maybe a little body fluids.[This exposition of the plans sets up the audience's expectations, whichlater will not be fulfilled. This is a standard structure used to generatedexcitement and unpredictability in a story.]INT: KITCHEN: DAYE.T., wearing a blue-flannel shirt, walks into the kitchen with Harvey athis side. He opens the refrigerator. Harvey licks his lips as he watches inanticipation of getting something to eat. E.T. takes out a plasticcontainer of potato salad, opens it, then sticks his tongue into the salad.He hates the taste and throws it onto the floor. Harvey licks it up. E.T.then picks up a can of beer and drinks it as Harvey barks.INTERCUT: SCHOOLElliott sits at his desk as he listens to the teacher speak. Elliott burps.All the children in the classroom stare at him.[This again shows the merging of Elliott and E.T.]INTERCUT: KITCHENE.T., drunk, wobbles across the kitchen floor and walks into a counter.INTERCUT: SCHOOLElliott places his fingers to his head. He is also becoming drunk. Theteacher tells the class that in this bisection they should locate the heartand notice that it is still beating.[The red-lit heart is the most prominent feature of E.T. Having the teacherfocus on the frog's heart starts the identification in the audience's mindof the frogs and E.T.]INTERCUT: KITCHENE.T. turns and walks into another wall as Harvey continues to eat thepotato salad on the floor.INTERCUT: SCHOOLElliott, now drunk, slides down in his chair.INTERCUT: KITCHENE.T. turns, walks, then collapses head first onto the floor.INTERCUT: SCHOOLElliott slides under his desk and falls onto the floor. The teacher doesn'thear this because at that moment he pulls down a wall hanging whichcontains pictures of a frog's anatomy.INTERCUT: KITCHENE.T. opens another can of beer.INTERCUT: SCHOOLElliott pulls himself up off the floor with a drunken smile on his face.INTERCUT: KITCHENE.T. gulps down another can of beer.INTERCUT: SCHOOLElliott, drunk, sits at his desk. He turns and smiles at the pretty blondegirl across the aisle. She turns away from him with disgust.INTERCUT: LIVING ROOME.T. plays on the keys of a voice generating language game. He next pressesa button on a remote control which activates the TV set. A cartoon appearswith a cat getting its tail caught on fire. The cat screams and E.T reactswith horror. He throws the beer can at the TV set.[Laughter is generated, for while this under normal circumstances would beinappropriate behavior, he makes sense given E.T.'s point of view.]He then presses another button on the remote, and the image of a flyingplane appears on the screen. A spaceship next appears, and pulls the planeup towards it.INTERCUT: SCHOOLThe teacher carries a jar of cotton balls soaked in chloroform, which hedrops into the jars containing frogs. He tells the children to immediatelyput the lids on the jars. After telling the children that this won't hurtthe frogs, he places a cotton ball into the last two jars, one of whichbelongs to Elliott. Elliott doesn't place the cover on his jar, but insteadsadly watches as the frog tries to escape. Slowly he places to lid on it,as he gazes at the frog."Say hi. Can you talk? Can you talk? Can you say hi?" says Elliott.[Elliott is making an emotional identification of the frog with E.T. byattempting the same process of communication. The situation also createsexpectations in the audience that similar things will happen to E.T. oncehe is captured.]CLOSEUP: FROG'S FACECLOSEUP: E.T.'S FACE[A cinematic technique which reinforces the identification of the frog withE.T. This sets up the audience for E.T.'s operation. They expect the frogto die, and they project these expectations to E.T. later in the story.]INTERCUT: LIVING ROOME.T. has a hangover as he hiccups and puts his hand on his head. He thenpicks up the cartoon section of a newspaper. One cartoon strip has apicture of a communication device with a caption stating "HELP, HELP."On the TV monitor a woman is talking long distance n her telephone to herUncle Ralph in California. E.T. hears the sounds coming from the TV, thenturns to look at the monitor, where he sees a man talking into a phone inhis hand. The camera pans to a phone near E.T. A child in the TV programpicks up the phone, says hello to his uncle, then hangs up.[This generates laughter because it's inappropriate behavior to just sayhello, then hang up.]E.T. looks closer at the Buck Rogers cartoon. One cell has an image of aman in a spacesuit setting up a transmitter. The next cell has him saying"It works" as the communication device transmits "help, help!" E.T. liftsup his head from the newspaper.INTERCUT: SCHOOL"Save him" shouts Elliott. Elliott picks up his jar, unscrews the top, thenlets out his frog, screaming "Run for your life. Back to the forest! Run!"[Another merging of E.T. and Elliott's feelings and thoughts. E.T.presumably had the feeling of wanting to be saved by his friends, and thisfeeling prompted Elliott to cry out.]He next opens the jar of the girl besides him. Elliott struggles with onestudent, then proceeds to turn over many of the other jars as he frees thefrogs. Some of the other children also free their frogs.INTERCUT: LIVINGROOME.T. studies the electronic circuitry of the language game. Suddenly JohnWayne comes on the screen. E.T. is fascinated with his image. It's a scenefrom the movie "QUIET MAN." Maureen O'Sullivan huddles in a corner of theroom.INTERCUT: SCHOOLA pile of frogs gather at the feet of a terrified little girl with blondebraids. Elliott, drunk, staggers by her.INTERCUT: LIVINGROOME.T. continues to watch the TV monitor as the woman in the movie screams.INTERCUT: SCHOOLA blonde girl who has a crush on Elliott screams when a frog is placed onher shoes.INTERCUT: LIVINGROOMThe woman in the movie runs out the door. John Wayne grabs hold of her arm.INTERCUT: SCHOOLElliott grabs hold of the blonde girl as she runs out the door.INTERCUT: LIVINGROOMJohn Wayne pulls the woman back.INTERCUT: SCHOOLElliott pulls the blonde girl back.INTERCUT: LIVINGROOMJohn Wayne takes the woman into his arms.INTERCUT: SCHOOLElliott takes the blonde girl into his arms.INTERCUT: LIVINGROOMJohn Wayne kisses the woman.INTERCUT: SCHOOLElliott, too short to kiss her, stands on the back of a student who wascrawling on the floor after a frog. Elliott kisses the girl.INTERCUT: LIVINGROOME.T., filled with fascination, watches the TV monitor.INTERCUT: SCHOOLThe children's hands poke through the windows and free the frogs bythrowing them out onto the grass.[Elliott was able to accomplish his objective of freeing the frogs. Thissequence was structured to run in parallel in order to emphasize themerging of Elliott and E.T.]INT: LIVING ROOM: DAYA blanket containing aluminum foil, electrical toys and appliances ispulled across the floor.Mary opens the door and yells hello. Harvey runs tothe front door. E.T walks out from behind the TV and kicks beer cans acrossthe floor.[The alien quickly learns the appropriate behavior for drinking at home.]Mary, with her arms filled with grocery bags and clothes from the cleaners,walks into the kitchen. She is followed by Gertie, who sees E.T standingnear the refrigerator. Mary opens the refrigerator door, and knocks E.T. inthe head. He falls backwards onto the floor. Gertie helps E.T. up off thefloor. He walks past Mary as he goes back to the refrigerator. Mary stilldoesn't see him.[This increases the audience's tension. They are expecting E.T. to bediscovered by Mary, and they are expecting her to scream.]Gertie keeps telling her that she wants Mary to meet somebody, but Maryignores her as she talks about how much the price of food has gone up inone week. E.T. grabs a can of coffee from the kitchen table, then againwalks past Mary as she goes in the opposite direction. He goes back intothe TV room.[The laughter's produced by Mary's failure to see the reality of the alienwho's right under her nose.]Gertie is watching a language teaching program for children on the TV. Theprogram is teaching words that begin with the letter "B". The phone ringsas Mary accidentally kicks a can of beer across the floor. She answers thephone with the beer can in her hand. The person on the phone tells Marythat Elliott is intoxicated.Gertie, watching the TV monitor, responds to the program by practicing the"B" words. E.T. pokes his head up from behind the monitor and says"BBBBBBB." Gertie stares at him as he repeats the "B" sound, then lowershis head back down below the TV."You said 'B'," says Gertie. "B," repeats E.T. "You said 'B,' good," saysGertie. "B...GOOD," repeats E.T.[This is a set up for the closing communication between E.T. and Gertiebefore he flies away in the spacecraft. This is also the first moment thathe spoke an English word. Many children and parents in the audience canidentify with this moment, and the first moral precept usually taught to achild: be good.]Mary hangs up the phone and tells Gertie that she has to pick up Elliott.She asks Gertie to be a good girl. "Mommy, he can talk," says Gertie. "Ofcourse he can talk," says Mary, referring to the TV program.[The humor is generated from Mary's misunderstanding of Gertie'sstatement.]As Mary leaves, E.T. walks out from behind the TV. He walks to a phone andstares. "Phone," says Mary. "Phone," says E.T. E.T. presses the numbers ofthe phone. "You want to call somebody?" asks Gertie.[This establishes E.T.'s objective: to communicate with his fellowcreatures so that he can return home.]INT: HOUSE: DAYElliott walks up the stairs to his room. Mary's voice can be heard frombelow saying she refuses to pay for frogs.[This is a fine example of the point of attack for a scene: Instead ofshowing what would happen in real life (Mary's discussions with the teacherabout Elliott's behavior in the classroom), the scene picks up with what isimportant for the audience: Elliott's discovery that E.T. can now talk. Ascene showing Mary in school would be redundant and dramaticallyirrelevant.]Elliott is walking towards his room when he hears Gertie talking to E.T. inher room. He drops his bags on the floor, and quickly enters her room."Be good, be good," says Gertie as she closes the doors to her closet.Elliott pushes Gertie away from the closet and opens it. Inside is E.T.dressed up in girl clothes with a blonde wig on his head. He has a rabbitfur around his neck and wears a black hat with flowers.[This is completely inappropriate attire for an alien, whether male orfemale. The visual incongruity of E.T. in girl's clothes generates thelaughter.]"Oh God!" says Elliott. "Elliott," says E.T. "What?" says Elliott, not yetrealizing that it was E.T. who spoke. "Elliott, Elliott," repeats E.T. "Itaught him how to talk. He can talk now," says Gertie.[Elliott, with the help of Gertie and the TV program, has completed one ofElliott's objectives: communicating with E.T.]Gertie points out the things that E.T. has brought upstairs: electricaltoys and the plant. She wonders what he needs this for. E.T. holds thecartoon page of the newspaper out to Elliott. "E.T., can you say that? Canyou say E.T.?" asks Elliott. "E.T.," repeats E.T. Elliott laughs with joy.E.T keeps repeating his name as he turns and walks through the closet intoElliott's room."E.T., be good," says E.T. "Be good," I taught him that too," says Gertie.["Be good" is a fundamental value taught children, as basic as theprinciple "There's no place like home," taught in the WIZARD OF OZ.]"You should give him his dignity. This is the most ridiculous thing I'veever seen," says Elliott.E.T. hands Elliott the newspaper, and points to the Buck Rodgers comicstrip. He then says "PHONE". Elliott is amazed at this. E.T. walks into thecloset and says "HOME." Elliott confirms that this is E.T.'s home. E.T.then turns, walks to the window, points to the sky, and says "E.T. HOMEPHONE.""E.T. PHONE HOME" says Gertie. "E.T. PHONE HOME" says Elliott."He wants to call somebody," says Gertie.[This reconfirms E.T.'s objective.]Mike walks into the room and laughs at E.T.'s attire."E.T. Phone Home," says E.T."Oh my God, he's talking now," says Mike.E.T. once again points out the window and repeats that he wants to callhome."And they'll come?, says Elliott."Come?" responds E.T. "Home, home" he repeats.EXT: STREET: NIGHTA truck drives down the street. Inside a man with earphones listens to theconversations in the neighborhood homes, as he fine tunes his electroniceavesdropping equipment. He focuses in on Elliott's voice.[Jeopardy: the forces of the antagonist are getting closer and closer. Theyare now inside the privacy of the protagonist's home, listening to theirmost intimate conversations.]INT: GARAGE: NIGHTElliott, Mike and Harvey are in the garage searching for objects that E.T.could use in building his communications device. Elliott restates that hehas "absolute power" and that E.T. belongs to him.[Elliott's objective is to possess E.T., not set him free. Freeing the onehe loves is the lesson he will have to learn in this story.]EXT: STREET: NIGHTThe van containing electronic eavesdropping equipment drives past Elliott'shouse.[They are still in jeopardy: their actions and words are being monitored.]INT: GARAGE: DAYMike tells Elliott that E.T. doesn't look too good anymore."Don't say that, we're fine!" says Elliott."What's all this we stuff. You say we all the time now. Look Elliott,I think he might be getting sick," replies Michael.[This confirms Elliott's belief that he considers himself and E.T. to beone being. It also introduces further jeopardy for E.T. Besides beingtracked by the antagonist, he is also becoming sick.]INT: VAN: NIGHTThe man with the earphones is listening to Elliott and Michael'sconversation as they discuss E.T.'s sickness.INT: GARAGE: DAYMike tells Elliott to grab the fuzzbuster. Elliott pulls his father's blueshirt out from the shelf. They reminisce about the days when he used totake them to baseball games and the movies, where they would have baseballfights. Mike says that they'll do that again, but Elliott doesn't reallybelieve him. They each smell their father's shirt."Old Spice," says Mike."Sea Breeze," says Elliott.[Here a prop (their father's shirt) is used to reveal the emotionalrelationships between the two boys and their father. Audience empathy isgenerated for them because they have been abandoned by their father. Theaudience's anger is transferred from the father to the antagonist who iseavesdropping on this private intimate moment.]INT: VAN: NIGHTThe man in the van continues to listen to Elliott and Michael'sconversation. Only the listener's eye is clearly visible.[This is a cinematic technique to signify the "ever-watching eye" of thefaceless antagonist.]INT: GERTIE'S ROOM: NIGHTMary lies in bed next to Gertie as she reads her the Peter Pan story. Maryreads that Peter has defeated the Indians, but Wendy and the boys have beencaptured by the pirates. He vows to rescue her. E.T. watches them from thecloset.[Here the notion of "a rescue" is introduced, and visually associated withE.T. as he watches them from the closet. This is an emotional set up forthe audience, so that they will later be supportive of Elliott and theboy's efforts to rescue E.T.]Mary reads the section of the Peter Pan story where Tinker Bell becomespoisoned. Elliott comes into the closet, stands next to E.T., then closesthe door behind them."Tinkerbell swallows the draft as Peter's hand reaches for it," reads Mary."Why T, you have drunk my medicine."Elliott pulls E.T. away from the door, then shifts through a box of itemsthat he brought up from the garage. He cuts his finger on the blade of apower saw, then says "OUCH," as he holds his bleeding finger up into theair. E.T. points his own finger towards Elliott. E.T.'s finger glows like alaser light as he says "ouch." He then presses this lit finger on Elliott'scut and heals it.[This establishes the fundamental goodness and healing power of E.T.]E.T. opens the slit in the closet door and continues to watch Mary read toGertie the part where Tinker Bell is dying."She says she thinks she can get well again if children believe in fairies.Do you believe in fairies? Say quick that you believe.""I DO! I DO! I DO!" says Gertie."If you believe, clap your hands."Both Gertie and Mary clap their hands. Elliott places a blanket aroundE.T.'s shoulders and a scarf around his neck, as they listen to the rest ofthe story."Thank you, thank you. And now to rescue Wendy," reads Mary. Elliott placeshis arm around E.T.[The Peter Pan story is used to set up the audience's emotional reactionsto a fairy tale concerning near death and rescue. This emotional empathywill then be transferred to E.T., another "fairy-like creature" when hebecomes sick and is rescued. Just as the audience felt like clapping forTinker Bell, they will applaud the children's efforts to save E.T.]EXT: HOUSE: NIGHTExhaust flows from the tailpipe of a van. This is the same type ofpoisonous exhaust image that the audience saw when vans drove into theforest at the beginning of the movie.[Jeopardy: the forces of the antagonist are still nearby.]INT: BEDROOM: NIGHTElliott, dressed in white long-johns, sits on his bunkbed as he watchesE.T. Michael stands next to him. Elliott comments that E.T. is puttingtogether his instrument, while Mike fears that it might blow up the house.He also comments on the irregularity of E.T.'s breathing.[More jeopardy, both in Mike's fears of his family and home beingdestroyed, and in E.T.'s illness becoming progressively worse.]E.T places his communication device over the Buck Rodgers comic strip.[This movement establishes a mental association between the device and thespaceman's communication efforts in the comic strip.]Petals drop off the flower in the pot.[This represents E.T.'s failing health.]E.T. lifts up his head (which indicates he's using his telekinetic powers),then lifts part of his communication device into the air. He next lifts upthe umbrella and opens it. Both objects float in the air in front of him.[E.T's primary objective is to go home. To accomplish this he must create acommunication device. This is his sub-objective, which appears to becompleted. He next must activate this device from the landing site and callhome. The obstacles he has to overcome are Mary, the community, and thedistance to the forest. These obstacles will be confronted in the nextscenes.]INT: ELLIOTT'S ROOM: DAYPreparing for Halloween, Elliott paints his lips with makeup. He talks toGertie about her going out that night as a ghost. They review the eveningplans. She will meet them at the lookout.[This is an example of incomplete exposition which engages the audience.They only talk about part of the plan: the meeting at the lookout. Theydon't discuss anymore details, such as deceiving Mary into thinking thatGertie is with them instead of E.T. The partial information forces theaudience to stay involved with the action and to create their ownconjectures about what will happen.]INT: CLOSET: DAYMike helps Elliot put on his knapsack. Elliott then places a sheet overE.T.INT: STAIRCASE: DAYE.T., covered with a sheet and clown shoes, walks down the staircase. Theclown shoes cover his three-toed feet.INT: HOUSE: DAYMary walks through the house dressed in a tight fitting leopard skin dresswith facial makeup that makes her look like a cat. Mike tells his mother towait and not peek, as he and Elliott lead E.T. into the room. Finally, Maryturns and shrieks with glee. She runs to get a camera.[The tension in the situation is caused by their fear that E.T. will bediscovered by Mary. Mike and Elliott's objective is to get him out of thehouse undiscovered.]E.T. looks through holes cut out for his eyes and sees Michael with a fakebutcher knife through his head. He lights up his finger in an attempt toheal Mike's wound. Mike grab's E.T.'s hand and puts it back under thesheet. "Ouch, ouch" says E.T, as he tries once again to heal Mike. "It's afake knife, it's fake," says Mike.[Laughter is generated because while E.T.'s behavior would be appropriateif Mike was really wounded, it is inappropriate in this situation since theknife is fake.]Mary comes back with a camera and prepares to photograph them."You look great," says Mary."Thank you," says Mike."Thank you," says Elliott."Thank you," says E.T.Mary doesn't notice that E.T. has spoken.[Laughter is generated by the "rule of three" humor structure and Mary'signorance.]When Mary takes the photo, the flash shocks E.T. and knocks him onto thefloor. Mike and Elliott quickly pull him up before Mary notices and leadhim out of the house.[They succeed in their objective with the help of their "not so smart"mother.]EXT: STREET: DAYMary walks down the driveway as she orders them to be home no later thanone-hour after sundown. E.T., dressed in the sheet, turns and looks atMary, then continues down the driveway with Mike and Elliott.[This creates a "timelock", a sense of urgency, and the expectation of anupset mother if they haven't returned by the assigned time.]EXT: COMMUNITY: DAYEstablishing shot of the neighborhood. On a hilltop by a fence standsanother person in a white sheet (presumably Gertie). She kicks dirt at thebicycle near the fence.[This is the end objective of Mike, Elliot and E.T.: to connect up withGertie at the lookout. Their obstacle is to get E.T past all the childrenon the streets.]EXT: STREET: DAYThe sun is setting. Children in Halloween costumes walk through thestreets. E.T. walks between Mike and Elliott, as he watches the otherchildren parade by. One child dressed as YODA from RETURN OF THE JEDI walksby. E.T. turns and walks after him saying "HOME,HOME."[The laughter is obviously the result of E.T. misinterpreting the situationby believing that the child is another alien.]They walk towards the setting sun as Mike reminds Elliott that he must beback by one hour after sunset. Elliott promises to try, but he wants Miketo cover for him.[This creates jeopardy for the characters, because if they don't completetheir mission within the time frame, they will have trouble with Mary.]EXT: HILLTOP: DAYThe sun is setting as Mike, Elliott, and two small characters covered withsheets stand on the hilltop overlooking the city. Elliott asks Mike to helphim lift E.T. onto the bike. Mike does and then tells Elliott that theywill be waiting for him.[They have reached this objective. The next objective for Elliott and E.Tis to get to the landing site in the forest.]EXT: FOREST: DAYElliott, with E.T sitting in the front basket, rides his bicycle throughthe forest. The road becomes very bumpy. Elliott tells E.T. that they willhave to walk from there. Suddenly, E.T. takes control of the bike throughthe use of his telekinetic powers and speeds it forward. Eliott becomesfrightened as E.T. speeds the bike towards a cliff and then drives it overthe edge. E.T. then makes the bike up through the air.[The audience gulps from suspense and then goes into elation by thissurprising and magical turn of events.]They continue to fly over the tree tops. Elliott yells "Not so high, not sohigh."[E.T and Elliott both have white hoods over their heads, which furthervisually reinforces their identification.]They ride across the front of the moon, the guiding light of magic. Elliottlaughs with glee. When they start their descent he begs E.T. not to crash.They hit the ground. The bike turns over, and both E.T. and Elliott arethrown to the ground.INT: ELLIOTT'S HOUSE: NIGHTThe grandfather clock indicates 9:45. Mary watches the clock as she sits infront of lighted candles. The time has long passed when Elliott wassupposed to be home. The lighted candles give a church like effect as ifMary was praying for the safety of her children. She is upset that theyhaven't returned. She blows out the candles, then taps out another candlewith her wand.[There is jeopardy for the children as Mary and the audience wonder if theyare okay. Empathy is generated for Mary who is truly concerned for thesafety of her children.]EXT: FOREST: NIGHTThe sun has set. It's nighttime in the forest. E.T opens a box whichcontains the saw blade brought to him by Elliott. Elliott ties a rope up toa tree branch. He then opens the umbrella which is lined with aluminum foiland points it towards the star-filled sky. It will function as atransmitter. E.T. places a coat hanger with nails above the saw blade,plugs a cable into a battery, then activates the toy language teachingdevice.[They succeeded in completing their objective to reach the landing site.Their new objective is to communicate with E.T.'s fellow aliens in order toaccomplish E.T.'s primary objective, which is to return home.]INT: ELLIOTT'S HOUSE: NIGHTMary, still dressed in her leopard outfit, leaves the house. She is veryupset that her children have not yet returned home. She mumbles to herself,sticks the wand in her mouth, and shakes the car keys. She gets into thecar and mumbles that their father is going to hear about this one."Mexico!" she says. She drives down the driveway and into the street tosearch for her children.[This creates more empathy for Mary, who is very upset that her smallchildren are out this late. The parents in the audience can easily identifywith her. But the real function of this scene is to get her out of thehouse so that the antagonist can invade their home. She could have stayedinside, we never see her in the car searching for the children, and thenext time we do see her is by the refrigerator in the kitchen.]Men get out of a parked car as Mary drives away. They take suitcases out ofa second car, then walk up the driveway to Elliott's house.EXT: FOREST: NIGHTElliott watches the treetops sway. He scratches his face, as does E.T.Together they stare at the stars. The wind causes the branch to sway, whichthen pulls the rope, which, in turn, pulls a fork across the saw blade.This drags the nails in the hanger across the flat surface of the blade,and sends signals out into space. Elliott is overjoyed and shouts that itworks, while E.T. repeats the word "Home." Together they gaze up to thestars.[They have accomplished their objective of sending a message into space.Now, they wait to receive a signal back.]INT: ELLIOTT'S HOUSE: NIGHTThe light from a flashlight crosses in front of a pumpkin's face. Morelight floods through the slits of Gertie's door. A hand holding aflashlight opens Gertie's door, and shines the light into the face of ablack doll.[This has an irritating and frightening effect on anyone in the audiencewho has ever had the experience of having a light shined into their face.]Light from the flashlight searches around Gertie's room.INT: HALLWAY: NIGHTA pile of yellow electrical cord is stacked on the floor near a chair. Itslowly unwinds as it is pulled by someone in Elliott's room. The door toElliott's room is shut, with a poster sign hanging on it saying "DO NOTENTER." The silhouette of a man passes behind the door, as sounds of aGeiger counter filter into the air. Muffled voices are heard as the cord ispulled to its fullest extent. It forces a chair to slam against the wall.[This last action has a jarring effect on the audience. Emotionally, theaudience is outraged at the invasion of the children's rooms, and thiscreates hatred for the antagonist and his cohorts. They are still facelessso the audience can project the face of the persons they most hate ontothese characters. This personalizes the story for them and gets them moreintensely involved on an emotional basis. They also become intellectuallyinvolved, because the sounds of the Geiger counter and the extension of thecord to its maximum length forces them to infer that the antagonist hasfound E.T.'s "home" in the closet. This involves the audience in the storymuch more than if the filmmaker had shown the antagonist poking around inthe closet.]EXT: FOREST: NIGHT"We have to go now E.T. It's so late already," Elliott says as both he andE.T. sadly gaze into the sky.[Their objective of receiving a return signal has not been achieved. Theirsadness at failure creates empathy for them in the audience.]Elliott coughs from being out in the cold, damp air.[This is a setup for the later scenes when both Elliott and E.T. aredeathly ill.]Elliott repeats that they really have to go home, but E.T. ignores him andhas a sad expression on his face as he stares up to the sky. Elliott tellsthem that he has to give them some time. E.T. responds by saying "ouch,"signifying that he feels pain. A small fawn watches them from a distance.[The jeopardy in the scene is due to their being so late. Mary will be veryangry and they face the obstacle of getting E.T. back into the housewithout being discovered. The fawn generates feelings of sympathy in theaudience which is transferred to E.T. The audience also empathizes with thesadness they feel at failing to make contact. For now, supposedly, E.T.won't be able to go home.]"You could be happy here. I could take care of you," says Elliotttearfully. I wouldn't let anybody hurt you. We could grow up together,E.T."[Elliott states his primary objective: to always have E.T. with him.]"Home, Home," says E.T.[E.T. states his primary objective: to go home.]Elliott sits down and cries. E.T. touches one of his tears.[The audience empathizes with the sadness of both characters.]EXT: FOREST: NIGHTIt's morning. Elliott is asleep as he leans against a large rock. He iscovered with a blanket as the wet forest mist surrounds him. Next to himlies E.T.'s communication device.Elliott coughs, gets up, tugs on the rope which activates the device, thenlooks around for E.T. but can't find him.[The new objective: where is E.T. and what has happened to him? This isalso the new question that will maintain the audience's interest.]INT: ELLIOTT'S HOUSE: DAYMary opens the refrigerator door and puts back a carton of milk. Mike andGertie sit besides her. A policeman asks Mary how Elliott was dressed whenshe last saw him. Mary tells him that he was dressed as a hunchback. Thepoliceman, whose face is not shown (I suppose so that the audience willassociate him as "one of them"), asks Mary if there is any indication thathe might have run away? Were there any family problems or recent arguments?Mary explains that she and her husband had just separated and that this hasnot been easy on the kids."My father is in Mexico," says Gertie.[This scene generates empathy for the whole family.]Mary slams the refrigerator door shut, thereby revealing Elliott standingbehind it. White light floods onto him making him look ghastly. Mary hugshim as Mike and Gertie join them.[The audience is relieved and overjoyed with Elliott's safe return.]"Oh Elliott," she says as she hugs him. "Don't ever do this again, Elliott.You're so hot."Elliott is feverish from spending the night outside. Mary tells Gertie togo upstairs and draw him a bath. Mary walks over to the policeman (whoseface is still unseen) and thanks him for his concern.Elliott asks Mike if E.T. is in the house. Mike shakes his head, indicatingno. Elliot pleads with Mike to find him. He's somewhere in the forest nearthe bald spot.[This is the new objective: find E.T. and bring him back.]EXT: STREET: DAYMike rides the bicycle with the basket in front down the driveway and intothe street, past a car filled with waiting men. The car starts and followsMike. He looks behind and realizes that he is being pursued.[This is a standard chase scene, with a friend who is trying to save thelife of the protagonist being pursued. Both he and the protagonist are injeopardy. Mike's new sub-objective is to lose those who are following him.]Mike cuts through a backyard and into an alley behind some houses. The carfollows him. Mike then rides up an embankment and drives off in theopposite direction, leaving the car stranded behind.[He successfully accomplished his subobjective.]EXT: FOREST: DAYMike rides through the forest as he calls out E.T.'s name. He stops andsearches for E.T. Mike finds the abandoned communication device, then runsup a path and discovers E.T.'s white sheet hanging from the open gate.[The blue-orange colors of E.T.'s communication device are the same colorsthat Spielberg chose the logo of his production company, AMBLINENTERTAINMENT.][This is the same gate near the landing site that the characters ran pastin the opening sequence.]In another part of the forest, Mike rides his bike on a ridge above astream. E.T lies in the water below, is skin discolored to that of sicklywhite. Mike sees him, grabs the sheet, then runs down the embankment. Araccoon wanders near E.T. Mike shouts him away, then covers E.T. Mike hearsthe sounds of a helicopter above him and looks up at the sky.[Mike has achieved his objective: he has found E.T. But, danger hoversabove him in the unseen presence of the ever observing antagonist.]EXT: ELLIOTT'S HOUSE: DAYThe shadow of a man falls on the driveway. The sound of keys jangling isheard.[High jeopardy: the antagonist is about to invade the home of theprotagonist.]INT: ELLIOTT'S HOUSE: DAYMike is in the hallway as Mary walks up the stairs. She has a cup of coffeein her hand.[The cup is a prop which will be used to reveal Mary's emotions.]He wants her to come with him. He asks her if she remembers the goblin. Hetries to get her to make a promise, but she is annoyed with him.INT: BATHROOM: DAYMichael then opens the door to the bathroom. Elliott is sitting on thefloor as Gertie sits on the counter. They are both looking into thebathtub. Mary smiles as she walks into the bathroom with the cup of coffeein her hand. Then she sees E.T. on the floor. He is a sickly white. Heextends his arms out towards her. Mary is stunned, as she turns the cupover and coffee pours out onto the floor.[Here a character's non-verbal action with a prop reveals her trueemotional state. She has lost it.]"He's sick. I think we're dying," says Elliott. Mary covers her mouth. Miketries to tell her that E.T. won't harm them, but she orders him to takeGertie downstairs. Gertie cries that he's the man from the moon as Mikepicks her up and carries her downstairs.[Elliott, clothed only in white long-john underwear, is visually almostidentical to the ghastly white-colored E.T.]Mary picks up Elliott and carries him out of the room as E.T. groans andreaches out for them.[Mary's objective is to save her family from the alien in her home.]INT: ELLIOTT'S HOUSE: DAYMary carries Elliott down the stairs. He protests that she can't leave E.T.alone. Michael runs down the stairs with Gertie on his back. He opens thedoor, freezes, then backs away. Mary, with Elliott in her arms, approachesthe door and is confronted by a man in a spacesuit.Mary backs into the living room as the spaceman enters and reaches out forher. She goes in the opposite direction, only to run into another man in aspacesuit. She runs into the kitchen, followed by Mike carrying Gertie. Theare blocked by still another spaceman with outstretched arms. Mary and herchildren are backed into a corner. Another man in a spacesuit opens up thewindow blinds from the outside. Mary shouts "THIS IS MY HOME."EXT: STREET: DAYDawn. The sun rises as a line of men wearing helmets and uniforms march upthe street.INT: BATHROOM: DAYE.T., his skin discolored to a grey-white hue, lies on the floor as a manin a space suit enters the room. "Home," says E.T.[This is the end of act two. The antagonist and his forces have invaded thehome of the protagonist and taken them into possession. This terrifyinginvasion of the privacy of their home generates more empathy for Mary andher children.]EXT: STREET: DAYMen in helmets walk up a street as they push a large plastic tunnel. Policecars slowly drive up the street, as faceless men march to a drumbeat.[This is the beginning of the third act with the forces of the antagonistin complete control.]EXT: STREET: NIGHTMen with welding torches work on a truck. The plastic tunnel leads up thedriveway to Elliott's house. The faces of the men are still not shown. Theyare either wearing helmets or are silhouettes.CLOSEUPThe man with keys jangling on his side is putting on a pair of light-bluepants.INTERCUT: STREETMen are working outside. Large bright lights flood the area.INTERCUT: "KEYS"The man in the blue suit puts on a white pair of plastic gloves. Red andblack colors on his cuff are associated with his keys as ominous musicfills the soundtrack.[This is the only instance in this film where the traditional colors of theantagonist (red and black) are associated with the antagonist ("keys").Putting on a light-blue outfit starts the transformation of the antagonistinto a character worthy of audience empathy, for blue-white is thetraditional production design colors signifying "innocence."]The man in the light-blue suit gets up walks through the plastic tunneltowards Elliott's house. He exits the tunnel and walks into the house whichhas been completely enclosed by plastic.Finally, the antagonist's face is shown. His head is covered by a blue hoodwhile a light under his face mask accentuates his white shirt.Mary stands in the middle of the room with Gertie at her side. A doctorasks her questions about E.T., but Mary is more concerned with Elliott'sstate. A nurse cuts a lock from Gertie's hair (presumably for analysis),while both Elliott and E.T. can be seen on a video monitor. This nursewalks to Mike and cuts a piece of his hair while a doctor asks himquestions about E.T. A video monitor shows Elliott and E.T. "Elliott thinkshis thoughts," asks the doctor. "No, Elliott feels his feelings," answersMichael.[This is the first time in the film that the merging of Elliott and E.T.has been explicitly stated. Yet, this condition has been revealed to theaudience non-verbally throughout the story. The verbalization seemsredundant and not necessary, but does make sense as an explanatory commentto a character new to the story.]INT: CHAMBER: DAYA man stands in what appears to be a decontamination chamber.INTERCUT: MEDICAL INSTRUMENTSHands push buttons on electronic equipment used to gather medicalinformation about Elliott and E.T. Graphs representing E.T. and Elliott runin exact parallel.[This is another representation of the fact that E.T. and Elliott havemerged and are to be considered as one being.]INT: MEDICAL ROOM: DAYTwo people in white suits zip open a plastic covering and enter the roomwhere Elliot and E.T. are being examined.[The color white traditionally signifying purity. A transition in theaudience's emotional alliances is being manipulated at this stage of thestory. Their hatred will be transferred from "keys" who will become muchmore sympathetic to "death itself" which threatens the life of E.T. Itwould be too much to ask of the adult audience to remain sympathetic to theemotional pleadings of a child when space scientists are trying to save thelife of a sick alien.]"You're scaring him," cries Elliott, as the doctors examine both Elliottand E.T. as they lie on adjacent tables. E.T's head rests on a blue pieceof cloth."Leave him alone, leave him alone. I can take care of him," moans Elliott.[Which, of course, he can't. But this is something that both he, andprobably most of the children in the audience, really believe.]Elliott looks up into the face of "Keys," who says that he's been to theforest. He wants to know what the machine does. Elliott says that it's acommunication machine, and asks if it's still working. He then states that"He came to me. He came to me." "Keys" explains that he's been wishing forthis too, ever since he was ten years old. He doesn't want the alien todie. He asks what more can they do that they are not already doing.Elliott's image reflects in "Keys" face gear. Elliott tells him that E.T.was calling his people because he needs to go home.["Keys" is no longer the threat. He has been transformed into a friend whoalso wants to help the alien. A new antagonist must now be created in orderto maintain conflict in the story. In this scene DEATH will serve thatfunction. For the rest of the film the forces of the United StatesGovernment, who attempt to block E.T.'s escape, will function as theantagonist.]Another Doctor dressed in white enters the room and announces that E.T. hasDNA. Suddenly, a display screen shows a drop in E.T. and Elliott's graphs.One doctor says there's a drop in the creature's blood temperature, whileanother states that Elliott's condition is stabilizing: his blood pressureis coming back up.E.T. calls Elliott's name, and the medical personnel become aware that hecan talk. Elliott pleads with him to stay. E.T. repeats the words "stay,stay," then slowly turns his head away.Their graphs separate. One doctor announces that the boy is coming back,but they are losing E.T.INT: CLOSET: NIGHTMichael enters the closet space where E.T. stayed. He looks at the objects,including the cartoon page from the newspaper, then huddles down amongE.T.'s possessions.[These actions create more empathy for Michael who suffers at the thoughtof losing E.T.]The is a time transition, for Michael is asleep in E.T.'s space when themorning sun shines on his face. Michael wakes up, then watches the plant(which represents E.T.'s life force) wilt. He screams.INT: MEDICAL ROOM: DAY"E.T., don't go" screams Elliott.Doctors state that he has no blood pressure and there is no pulse orrespiration. A bell rings, which signifies a life and death situation.Doctors run into the room and tear down the plastic coverings surroundingE.T."Leave him alone. You're killing him," says Elliott. They wheel Elliott outof the room as he continues to scream. The medical staff frantically triesto revive E.T. They try electrical shocks, but that fails. Gertie holds herdoll as she watches. She reacts by jumping when the electrical shocks areapplied to E.T.[Showing one character's reactions to a situation help to create theintended reaction in the audience.]The doctors are losing him. Elliott watches and cries. Mary goes to him andthey hug each other. Gertie cries as she holds her doll. Mike walks intothe room, as "Keys" watches, then turns away.[This provides the audience with each character's reaction to the death ofE.T. This is a surprising event for the audience: the protagonist has died.Emotionally, it was designed to sadden the audience so that they willbecome overjoyed when he is brought back to life.]EXT: ELLIOTT'S HOUSE: DAYA white van awaits at the bottom of the driveway.[Previously, the vans and cars associated with the antagonist were of darkcolors. The color changes allows the filmmaker to use culturally determinedcolor associations to manipulate the audience's emotional responses.]Police and other officials walk past a white van, white truck, police carsand other white vehicles towards a tan colored car. Mike's friends sit ontheir bikes behind police barriers. They make comments that something hasjust happened inside the house.[This establishes the existence of Mike's friends who will play a crucialrole in the last chase scene.]INT: MEDICAL ROOM: DAYThe medical staff gives up on E.T. and decide to pack him in ice. Mikewatches as the staff of E.T. slowly walks away. "Keys" removes his headgearand walks to Elliott who is standing vigil over E.T.'s body. "Keys" thenapproaches E.T. Mike watches and cries as a man behind him removes hisheadgear. The faces of several medical attendants are shown.[This humanizes the forces of the antagonist and makes them much lessthreatening. That's why they had to be faceless for so long throughout thestory.]"Keys" kneels besides E.T. and with gloved hand closes his eyes. Mary holdsGertie. When Gerite asks if he's dead, Mary replies that she thinks so.Gertie then says she wishes him back.[The interchange between Gertie and Mary reminds the audience of the TinkerBell situation when Mary read to her from Peter Pan. Those same feelingsare reintroduced here: the clapping of hands to save the fairy and then thedesire to rescue the children. This is the payoff to the emotionalreactions set up in that earlier scene.]"Keys" looks up to see two attendants roll in a metal casing filled withice into which they will place E.T.'s body.Mary picks up Gertie and carries her out of the room. Medical techniciansprepare the casing as Elliott watches. Keys approaches Elliot and tells himthat they will be taking E.T. away. "They are just going to cut him allup," replies Elliott.[This is the payoff to the frog sequence. The audience believes thatElliott is correct, given the scientific mind as demonstrated by theteacher. They also now remember the joy they felt when Elliott freed thefrogs, and wish they could experience that again now.]"Do you want to spend some time alone with him?" asks "Keys," as he putshis arm around Elliott and walks him to the casing. He tells the medicalattendants to leave the room.[This generates empathy for "Keys" who is shown to be concerned forElliott's feelings.]The attendants walk out of the room past Michael who is watching Elliott."Keys" leaves Elliott alone with the body of E.T., which is covered in aplastic bag as it lies on dry ice. Elliott stares down at E.T."Look at what they've done to you. I'm so sorry. You must be dead. I... Ididn't know how to feel. I can't feel anything anymore. You've gonesomeplace else now. E.T., I love you."[Elliott wears a partially open white-jacket. He is framed within an ovalshaped glass.]Elliott places the cover down over E.T. and walks away from the oval glass.A red-light flashes from inside the casing, but Elliott doesn't notice thisas he walks away. He passes the pot of wilted flowers. The flowers slowlystart to regain strength. Elliott notices this, then quickly returns thecasing.[This is the payoff for the pot-of-wilted-flowers prop.]He opens the casing, sees the red-light flashing from E.T.'s heart, thenzips open the plastic bag. The alien looks up and says "E.T. phone home."Elliott screams with joy."Home, home, home, home," says E.T."Does this mean they are coming?" asks Elliott."Yes," answers E.T.[E.T. has finally succeeded in his objective of communicating home.]Elliott tells him to stay and shut up, as he places his hand over E.T.'smouth. Elliott zips him back up, then places a cloth over his flashingred-heart, as "KEYS" re-enters the room. Elliott slams down the cover."KEYS" pulls Elliott away from the case as two attendants prepare for itsremoval. Elliott cries out with feigned sorrow to conceal his glee when hesees the wilted flowers regain their health. The attendants lock the case.INT: DECONTAMINATION CHAMBER: DAYElliott tells Mike that E.T. is alive. Mike's also overjoyed. Mike andElliott rejoice as the wilted flowers continue to bloom.INT: ELLIOTT'S HOUSE: DAYMary is talking to "KEYS" as Gertie runs up with the pot of flowers in herhands. He asks Mary if the boys have gone because she's sup- posed to giveher a note when they have gone. Mary takes the note from Gertie and readsit.[This note provides the crisis to which Mary must react, yet the audienceis kept in suspense.]EXT: PLASTIC TUNNEL: DAYElliott runs down the tunnel past two men dressed in blue, then enters theback of the van. Elliott then pulls aside the white curtains that separatethe drivers compartment from the back of the van to reveal Michael in thedriver's seat. He to is wearing a blue jacket. Elliott yells at Mike fornot wearing his mask. Suddenly, a black official walks by the van, spotsMike in the driver's seat, and knocks on the window. He holds awalkie-talkie in his hand as he asks Mike who he is. Mike responds thathe's driving. The official tells Mike to open the door. When Mike looks toElliott for advice, Elliott tells him to drive away.[Elliott and Mike's objective is to escape with E.T.]A group of men approach the van. Mike screams that he's never drivenforward before, shifts into first gear, and drives away.[This is the payoff to the scene of Mike incompetently backing the car downthe driveway.]As Mike drives away he drags along the plastic tunnel with the two menstill inside. Mike briefly stops by his friends and tells them to meet himat the playground at the top of he hill. He then drives away, pursued by agroup of men. Mike's friends put on their hats and sun- glasses, and jointhe fray.[The chase is on. Suspense is created because the audience wonders whetherthey will get E.T. back to the forest before the are stopped. They faceimpossible odds, yet Mike's friends display loyalty as they join the fight.Mike and Elliott's first objective is to reach the park. Their majorobstacle is the men trying to capture them.]Mike drives the van down the street. The two men still in the plastictunnel try to climb back towards the van. Elliott starts to disconnect thetunnel by pulling out metal braces.[Jeopardy: If these men get into the van, they will overpower Elliott andMike, and prevent E.T. from getting home.]EXT: ELLIOTT'S HOUSE: DAYMary backs her car out of the garage. Gertie is sitting next to her in thefront seat holding onto the flower pot. "Keys" runs up to Mary and askswhere she's going. Gertie blunts out "to the spaceship."["Keys" now realizes that the aliens are returning for E.T. This is his"crisis" information, that spurns him into action.]EXT: STREET: DAYThe van continues down the road, still pulling the plastic tunnel behindit. The two men have almost made it to the back of the van as Elliott pullsout the final stake. He tosses it to one of the men. When Mike turns asharp corner the plastic tunnel disconnects, leaving the two men behind.[They have overcome their immediate obstacle. Humor is generated whenElliott tosses the nail to one of the men, because it is the reversal of alife saving situation. Instead of catching something (like a rope) thatwill save him, he catches the object that is his undoing.]EXT: STREET: DAYA convoy of police cars drive up a street.[The chase is still on. Even though one obstacle has been overcome, theantagonist brings more formidable forces into the fight. The protagonist isstill in jeopardy.]EXT: PARK: DAYThe white van drives up over the sidewalk and into the park. It swervesbetween the children's rides, then finally stops. Smoke pours out of thevan, whose back two doors are still open.[They have reached their sub-objective: the park where they are to meet upwith Mike's friends and continue on their bikes.]Mike's friends wait on their bikes. Between them they also have bikes forElliott and Mike. E.T. is revealed to the boys. He stands among the smokefrom the dry-ice with his red-heart light flashing. "Okay, he's a man fromouter space and we're taking him to his spaceship," says Elliott, nowdressed in blue pants, white shirt, and red jacket."Why can't he just beam up?" asks Greg."This is reality, Greg," says Elliott.[Of course, the joke is that it isn't reality. It is a fantasy movie with arealistic response to a fantastic situation. Right?][Elliott finally wins the respect and admiration of Mike's friends,something he's desired from his introduction scene when they wouldn't allowhim to play DUNGEONS & DRAGONS with them.]EXT: PARK: DAYMary, along with a crowd of plain clothes police, run towards the van."Don't shoot, they're only children," screams Mary.[This introduces a life and death jeopardy into the scene. It alsocharacterizes the forces of the antagonist as characters who would shootchildren.]They reach the back of the van only to find it empty.EXT: STREET: DAYElliott and friends ride down the street. E.T., covered with a whiteblanket, rides in Elliott's basket. Elliott, with the red hood over hishead, shouts that they are to ride to the forest.[To cloth a character in red is effective in chase scenes. This helps theaudience to visually pick out the scenes important character when the paceis fast and the action intense. Spielberg used this technique for Elliot inthis scene and for Marion in RAIDERS OF THE LOST ARK when she runs throughthe market chased by Arabs.]Cars chase them. Elliott rides up the alley and tells the others to followhim. Police cars encircle them and try to cut them off. The bikers turn offthe main road and ride into a dirt field. A tan car with "UNITED STATESGOVERNMENT" written on the driver's door rides parallel to the bikers.Two men ride inside the tan car. One speaks into the car radio saying thatthey'll get them at the bottom of the hill. The tan car pulls into the baseof the hill and stops. One man gets out and starts to climb up theembankment. The bikers almost run him over. They ride over the hood of thecar, then continue down the street, now pursued by a blue police car.The bikers cycle down a dirt road of a section of the community that isstill under development. E.T., with the white blanket covering his head,sits in the basket of Elliott's bike. A blue car trails them. The bikersdecide to split up. Two ride down an embankment. They are followed byanother police car. The bikers then escape from their pursuers by ridingdown steep embankments. The cars cannot follow and must stop on differentlevels. The bikers unite and ride away.[It seems that the chase is over and they have eluded the antagonist.]The biker's are overjoyed by their victory. One takes off his hat, waves itin the air, and shouts "We've made it!" Suddenly, he quickly ducks to avoidbeing grabbed by a man. A group of men continue the chase. Several carspull up ahead and form a blockade in the road.Elliott and E.T. ride forward. Horror grows on Elliott's face as he staresat the enemy in front of him.[This final confrontation between the protagonist (Elliott and E.T.) andthe antagonist.]The antagonist is explicitly revealed at this moment. On the side panel ofa car is a sign stating:                           FOR OFFICIAL USE ONLY                              U.S. GOVERNMENT                           INTERAGENCY MOTOR POOL                                    GSAThe shadow of a shotgun covers the sign. Next, two shotguns are raisedagainst E.T. and Elliott.Elliott shuts his eyes with fear. There is a closeup of E.T.'s face. Withshotguns drawn, government agents gesture for them to stop.[This is the life and death final moment before the climax. The audiencehas been set up to expect that the government agents would shoot at theprotagonist by Mary's comments in the park scene.]Suddenly, E.T. saves the day with his telekinetic powers. He lifts all ofthe bikers up into the air as they fly above the blockade.[The climax is over E.T. has saved himself and his friends]E.T. then flies the bikers over the housetops, and across the setting sun.Finally they float down onto a path in the forest.EXT: FOREST: DAYElliott has reached the landing site. He brushes the leaves away from theturntable of the communication device. A blue-light floods Elliott's face.He looks up into the, along with the other bikers. E.T., with red-hearthappily flashing, also gazes into the sky as his spaceship descends."Home," says E.T.The spaceship continues its descent as E.T.'s red-heart flutters. Thespaceship finally lands in a golden glowing light.A car pulls into the forest, and Gertie's voice can be heard pointing outthe location of the boys. The ramp to the spaceship lowers. Gertie runs upto Mike and E.T. She gives E.T. the plant and says that she just wanted tosay goodbye. Michael responds that E.T. doesn't know goodbye."Be good," says E.T."Yes," says Gertie, as she kisses him on the nose.Mike places his hand on E.T.'s head.[This is a basic gesture of trust. The fact that E.T. allows Mike to dothis indicates that he considers him a friend.]E.T. puts the plant on the ground, as Mary and "Keys" run up to the edge ofthe site. Mike picks up Gertie and carries her away as Elliott approachesE.T."Come," says E.T"Stay," says Elliott.[The two characters that had merged into one protagonist must split apartbecause they now have different primary objectives. E.T. want's to returnhome, and Elliott wants him to remain.]E.T. lifts his finger to his lips and says "ouch."[Of course, this indicates the pain he feels in their separation.]Elliott tearfully lifts his finger to his lips and says "ouch."[The symmetry of his movements indicate that in some sense, they still areone.]E.T. and Elliott hug each other as the are visually surrounded by blue andwhite lights. Then Elliott and Mary exchange glances as Mike and Gertiestand by and watch. E.T. lifts his finger to Elliott's forehead. It lightsup, then he says: "I'll be right here."[The resolution of the dilemma. Though E.T. leaves, he will still remain,perhaps telepathically, or perhaps only within Elliott's thoughts.]"Bye," says Elliott..E.T. picks up the potted plant and carries it up the gangplank. Elliottwatches from below as Harvey starts up the plank, then returns to Elliott'sside.[E.T. leaves with what he really came for, a sample of the earth'svegetative life form. But now he has much more in the flowers that willserve as a memorial of all that he has experienced with his new friends.]The gangplank lifts up and separates E.T. from Elliott. The ships circularentrance closes. The spaceship lifts off. Elliott watches it float up intothe sky. It then speeds away, leaving an orange-blue rainbow behind againstthe blue-morning sky.[Orange and blue were also the colors of E.T.'s makeshift communicationdevice as found by Mike in the forest.]Mary watches and laughs with happiness. The other boys also watch, as Mikeholds Gertie in his arms. The film ends with a shot of Elliott gazing upinto the sky.THE END

unformated_scripts/Script_Edward Scissorhands.txt

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+Edward Sissorhands				OLD KIM		Snuggle in, sweetie. It's cold out there.						GRANDDAUGHTER		Why is it snowing, grandma? Where does it come 		from?						OLD KIM		Oh, that's a long story, sweetheart.						GRANDDAUGHTER		I want to hear.						OLD KIM		Oh, not tonight. Go to sleep.						GRANDDAUGHTER		I'm not sleepy. Tell me, please.						OLD KIM		Well, all right. Let's see. I guess it would 		have to start with scissors.						GRANDDAUGHTER		Scissors?						OLD KIM		Well, there are all kinds of scissors. And once 		there was even a man who had scissors for 		hands.						GRANDDAUGHTER		A man?						OLD KIM		Yes.						GRANDDAUGHTER		Hands, scissors?						OLD KIM		No, scissorhands. You know the mansion on top 		of the mountain?						GRANDDAUGHTER		It's haunted.						OLD KIM		Well, a long time ago, an inventor lived in 		that mansion. He made many things, I suppose. 		He also created a man. He gave him inside, a 		heart, a brain, everything. Well, almost 		everything. You see, the inventor was very old. 		He died before he got to finish the man he 		invented. So the man was left by himself, 		incomplete and all alone.						GRANDDAUGHTER		He didn't have a name?						OLD KIM		Of course, he had a name. His name was Edward.						PEG		Avon calling.						HELEN		Weren't you just here?						PEG		No, not since last season. Today I've come to 		show you our exquisite new line of soft colors 		in shadows, blushes and lipstick. Everything 		you need to accent and highlight your changing 		looks.						HELEN		My changing looks? That's good.			(Helen chuckles)						PEG		Well, it goes that saying and I also have a 		complete selection of your old favorites, those 		tried-and-true products we've all come to 		depend on year-in and year-out.						HELEN		Come on, Peg. I never buy anything from you. 		You know that?						PEG		I know. Bye, Helen.						REPAIRMAN		You know, you didn't have to call me, ma'am. 		You could have taken care of this by yourself.						JOYCE		I could? I don't think so.						REPAIRMAN		Yeah, you see, it's easy. The food trap's 		clogged. That's all. You see this bolt here? 		You just unscrew this. OK? And out she pops.						JOYCE		You know, on TV they say you repairmen are 		lonely bunch of people. Housewives get lonely 		too. Although you may not realize it since they 		haven't made a commercial on the subject.						REPAIRMAN		And then you just take this and put it back in 		here nice and easy. Be careful not to force it, 		because it fits in there by itself. And then 		you just screw this back on.			(The bell rings.)						JOYCE		On no! Who could that be? Will you excuse me 		for a moment? Now. Don't go anywhere. I'll be 		right back. This is fascinating. I wouldn't 		want to miss a moment of it.						PEG		Good morning, Joyce. Avon calling.						JOYCE		Why! Peg. Have you gone blind? Can't you see 		there's a vehicle in my driveway?						PEG		Oh, yes.						JOYCE		Well, I'm surprised you don't realize that 		means I'm busy. 			(Joyce shuts the door with a 			bang.)						PEG		Okay. Now, we should decide on lipsticks. Okay, 		dear, what one did you like best? There was the 		Winsome Wahini which looked charming on you. Or 		the Bahenie Bliss.						A GIRL		I like them both.						PEG		Well, great.						A GIRL		You don't actually think I have any money, do 		you?			(Peg gets in her car.)						CHILDREN		Ding, dong, the Avon lady.						PEG		It's just not my day.			(Disappointed Peg sees a mansion 			through her rearview mirror and 			drives to the place. She is 			attracted by the beautiful garden 			there and enters the mansion.)						PEG		Oh, my goodness.						PEG		Oh, it's so beautiful. Hello?			(Birds flying)		Hello? Avon calling, oh my. Hello, I'm Peg 		Boggs. I'm your local Avon representative. 		Hello. I'm sorry to barge in like this. But you 		don't have any reason to be afraid. This is 		some huge house, isn't it? Thank goodness for 		those aerobics classes.			(Snipping)						PEG		Hello. Hello. Why are you hiding back there? 		You don't have to hide from me. I'm Peg Boggs. 		I'm your local Avon representative and I'm as 		harmless as cherry pie. 			(Peg sees Edward's scissorhands.)		Oh my! I can see that I've disturbed you. How 		stupid of me! I'll just be going now.						EDWARD		Don't go.						PEG		Oh my! What happened to you?						EDWARD		I'm not finished.						PEG		Uh, put those down. Don't come any closer. Just 		please... Those are your hands? Those are your 		hands. What happened to you? Where are your 		parents? Hum... Your mother? Your father?						EDWARD		He didn't wake up.						PEG		Are you alone? Do you live up here all by 		yourself? What happened to your face? Hum, you 		know, I won't hurt you. But at the very least 		let me give you a good astringent and this will 		help to prevent infection. What's your name?						EDWARD		Edward.						PEG		Edward? I think you should just come home with 		me.			(Peg takes Edward to her home)						PEG		Oh!						EDWARD		I'm-I'm sorry.						PEG		No, Don't be. You go ahead and look you have 		every reason to be excited.						PEG		Oh! Are you ok?						EDWARD		Are you ok?			(Ring)						HELEN		Hello.						MARGIE		Hi, it's Margie. Listen, I was standing outside 		talking to Carol and Peg drove by, she had 		somebody in the car.						HELEN		Did you get a good look?						MARGIE		No, did she say anything to you, about having 		guest?						HELEN		She didn't say anything. She rang my doorbell 		early this morning.						MARGIE		No, ok, I'll meet you on the corner. Right, 		Bye.			(Birds signal)						HELEN		Oh, damn!						PEG		Here we go, dear. This is our house. And you 		can just go right in and make yourself right at 		home. OK? And just, well have something to eat 		or drink, whatever you... Here, dear. Here 		you... This is the front door here, Here we go, 		right in here.			(A woman talks on the phone)						A WOMAN		Joyce, I just saw this strange guy drop in with 		Peg. I didn't get a very good look at him. He 		looked kind of pale. Okay, I'll be right there. 		Don't do anything without me. Okay? Bye.						JOYCE		Yes, I'll be right there.						PEG		Here we are. So, oh, this is the living room 		and back here, the bedrooms. You want to see 		the pictures? All right. Well, this is my 		husband, Bill. He's a bowling champion. Do you 		know what bowling is? Bowling? Well, here they 		are down at the lake, fishing. I think Kevin 		looks a little glum Because they didn't catch 		anything that day. And here's my daughter, Kim. 		All dressed up the junior prom. She's a senior 		now. I can't believe it. She's camping in the 		mountains with some friends, but she'll be back 		in a few days and you can meet her then. Isn't 		she beautiful? That's my family. Now, go on, 		dear. I'll show you the rest of the house. Then 		you can just freshen up and make yourself at 		home. Okay? That's the kitchen over there. You 		help yourself to anything you want to eat or 		drink. Those are grapes. Back here are the 		bedrooms. Let me get you some towels, then I 		will see what we can find to wear. You know 		what? I think I have some of Bill's old clothes 		in here. This is perfect. Here. These should 		just fit you. 			(The phone rings.)		Oh, no, no. Don't be alarmed. That's just a 		phone. Now you can go in Kim's room and put 		these on. I'll be right with you.						PEG		No, no, scissors. That's right. Well, he was 		born up there or something. Have you seen him 		before? No, I don't think he's been off the 		grounds before today. You're kidding. How did 		you get together with him? I have to go. I'll 		talk to you later Margie, Bye-bye.			(to Edward)		I'm sorry Edward, I didn't... oh, dear. May I 		help you with this?						EDWARD		Thank you.						PEG		There you go. Oh, dear, you've cut your face. 		Let me get this right off. Does that hurt? 		Okay. No, good. Now let's get you dressed. 		Okay. There we go. Very fine. You look fine, 		just fine. Come on, we can't wait for you. 		You've got rollers in your damn hair.						PEG		Okay. Now what did I do with my sci... Edward, 		um, would you. Thank you. I have a doctor 		friend who I think could help you.						EDWARD		Really?						PEG		Yes, I can help with the scars. I just want to 		consult the Avon handbook before doing 		anything.						PEG		Kevin, it's not polite to stare. Think how it 		would make you feel if somebody were staring at 		you.						KEVIN		I wouldn't care.						PEG		Well, I would, so don't do it!						BILL		This must be quite a change for you, Ed.						PEG		I think he prefers Edward.						BILL		Sure. So what have you been doing up there in 		that big old place? I bet the view must be 		spectacular, Ed.						PEG		I was just...						BILL		See all the way to the ocean?						EDWARD		Sometimes.						PEG		Bill, could I have the salt and pepper? Thank 		you.						KEVIN		Man, those things are cool. You know I bet 		they're razor sharp. One karate chop to a guy's 		neck...						PEG		Would you like some butter for your bread?						PEG		Great.						EDWARD		Thank you.						KEVIN		Can I bring him to show and tell on Monday?						PEG		I've had enough.						PEG			(to Edward)		You think you can sleep? Things feel strange 		now, but soon you'll feel right at home. Good 		night.			(Peg tries to cover Edward's 			scars.)						PEG		The light concealing cream goes on first, then 		you blend and blend and blend. Blending is the 		secret. More concealing for you? But you 		complexion is so fair. Now this has a touch of 		lavender in it. Give it a try here. Close 		enough. OK. This should do the trick here. I 		have another idea. We'll cover up the scars and 		start with a completely smooth surface. Don't 		eat this stuff!  Sports announcements on 						RADIO		Hartely into the windup and the strike one 		pitch. Swung on and missed strike two. If it's 		a hit, the club has 12 hits. But they still 		have 11 on the scoreboard and it's 3-1. 0 and 2 		the count to Warren. Now they change it to 12 		hits.						BILL		Turn it up, Kevin. I can't hear it. Kevin! No, 		make it louder. Sports announcements on 						RADIO		Hartely's strike two pitch is hammered.						KEVIN		You hear that, Mr. Boggs?						BILL		No, make it louder.  Sports announcements on 						RADIO		It's going way back. It's gone. It's out of 		here. It is history.						KEVIN		Dad, look!  Sports announcements on 						RADIO		A grand slam for Martinez to make it a five-run 		inning and blow this game to pieces.						BILL		I'll be darned.						PEG		They filled the whole tape.			(Peg listens to the recorded 			phones.)						RECORDED VOICES		What's going on over there, Peg. Call me....Hi, 		it's Margie. Who is he? Call me. Oh, by the 		way, here it's pouring rain in the mountains. 		You think the kids are okay?...Hi, there, 		darling. The gals are all in a tizzy about your 		secret visitor. You can't keep him a secret 		forever.						BILL		Boy, it's just wonderful, Ed. My god, you, you 		have the whole family in there, don't you?						KEVIN		Edward, come here.			(Kevin cleans Edward's 			scissorhands with water.)						BILL		No, no, no. That's a terrible idea, son. Go to 		the garage and get the oil can. We don't want 		him rusting up on this now, do we?						PEG		Edward, you did us? Oh, Bill. It's us.						BILL		Yes, it is.						PEG		Oh, Edward.			(Esmeralda comes near.)						ESMERALDA		It's not heaven he's from. It's straight from 		the stinking flames of hell. The power of satan 		is in him. I can feel it. God, you have the 		poor sheep strayed so far from the path.						EDWARD		We are not sheep.						ESMERALDA		Don't come near me.						BILL		That's right. Go on. Get out of here. Run!						PEG		Edward, don't you listen to her.						BILL		Don't worry about her, Edward. She's just an 		old lonely loony. That's all.			(Women knock on the door.)						WOMEN		Hi!						JOYCE		You are all hiding in there like a bunch of old 		hermit crabs.						PEG		Hi, Joyce. Hi!						JOYCE		Shame on you, keeping your unusual guest all to 		yourself. We think that's mighty selfish of 		you.						PEG		No, it, it's... things have just been a little 		hectic around here. That's all.						JOYCE		Oh, that was so sweet of you to want to correct 		the situation. What time does the barbecue 		begin?						PEG		Barbecue?						JOYCE		Well, you intend to show your guest hospitality 		by introducing him to your friends, don't you?						ANOTHER WOMAN		I'll bring coleslaw.						JOYCE		And I will bring the ambrosia salad. What time 		was it that you said?						PEG		What time? Ah... bill.						JOYCE		About five?						ESMERALDA		He has been sent first to tempt you. But it's 		not too late. You must push him from you. Expel 		him. Trample down the perversion of nature.						JOYCE		Did you hear that? He's the perversion of 		nature. Wow, isn't that exciting? See you 		later. Bye bye.						PEG		I've always said that you really can't have a 		picnic or a barbecue without deviled eggs. 		They're just the best. They make the thing. Oh, 		dear. Edward. That's wonderful. I didn't know 		you chopped all those things. What a really 		big...			(Peg notices a cut on his face.)		Oh, all right now. It's just a nick. There's no 		need to be nervous, dear. You know, Esmeralda 		won't be here and the rest of neighbors there 		are really very nice. There's no need to be 		nervous. They are so eager to meet you. You 		just have to be yourself.						EDWARD		Myself?						PEG		That's right. Just your own sweet self.						KEVIN		Hey, play scissors, paper, stone with us.						EDWARD		Play scissors what?						NEIGHBOR		I got a doctor friend might be able to help 		you. Aren't they most incredible?						PEG		He did them just like that.						TINKA		This afternoon?						AT THE PARTY		Hi, Mike. How are you doing? Hello, Jack. Hey, 		kid. Hey, Hi. George Morroe! Whoa! That's a 		heck of handshake. Uh, Harry! Harry! I saw you 		on the golf course. You got a dozen of the 		melons...						PEG			(to Edward)		Are you ok?  Do you want something to eat?  Are 		you hungry? Do you want a cracker?						MARGIE		He's so... different completely different, No 		kidding mysterious.						JOYCE		Do you imagine those hands are hot or cold? 		Just think what a single snip could do.						HELEN		Or undo.						GEORGE			(to Edward)		Eddie.  The guys and I were talking, we'd like 		want to invite you to our card game on Friday 		night. Would you like that? Only thing is, you 		can't cut.						AN OLD MAN		I have my own infirmity. Never did me a bit of 		harm. Took some shrapnel during the war and 		ever since then I can't feel a thing. Not a 		damn thing. Listen Don't you ever let anybody 		tell you you have a handicap.						JOYCE		Who's handicapped? My goodness! Don't be 		ridiculous. You're not handicapped. You're... 		What do they call that? Exceptional. My name's 		Joyce. And I noticed that you have not tasted 		any of the ambrosia salad that I made 		especially for you. Allow me. 			(Joyce helps Edward to eat.)						WOMAN 1		You must try this.			(Many women flock to him)						MARGE			(to Edward)		You must try this.  It's my mother's recipe. 		Let him chew, for heaven sakes with your green 		thumb. I could use your help.						HOUSEWIFE		Me, too. There you go.						WOMAN 2		I want a row of angels.						JOYCE		Sorry, ladies. But he's promised to come to my 		house first.						WOMAN 3		One more.						JOYCE		Haven't you, Eddie?						EDWARD		I did?						BILL		Okay, everybody. Grab your plates. Soup's on.						EDWARD		I thought it was shish kebab.						BILL		What?						EDWARD		I thought it was shish kebab.						BILL		Yeah, it, it is shish kebab. It was a figure of 		speech, Ed. You got to learn not to take things 		so literally.			(On hearing that, Edward looks 			back the time the inventor taught 			him the etiquette.)						INVENTOR		Let us pretend we're in the drawing room, and 		the hostess is serving tea "Now, many numerous 		little questions confront us" "Should the man 		rise" "When he accepts his cup of tea?" "May 		lump sugar be taken with the things?"						EDWARD		Hmm, no.						INVENTOR		Is it good form to accept a second cup? "Now, 		should the napkin be entirely unfolded." Oh 		should the center crease. Be allowed to remain? 		It is so easy to commit embarrassing 		blunders. "But etiquette humiliation and		discomfort. Mmm yes, boring. Let us switch to, 		Um... To some poetry, Hmm?" "There was an old 		man from the cape." "Who made himself there, 		but they keep such a beautiful shape." That's 		right. Go ahead, smile. It's funny. That's 		right.						DENNY		Okay, guys, we're home. shh.						KIM		I can't believe. Everything's still sopping.						TEENAGE GIRL		I can't wait to take a shower.						SUZANNE		And wash off the mildew.						JIM		If my parents set the alarm, I'm screwed I'll 		sleep in the yard... again.						KIM		I told you to call to say we're coming back 		early.						DENNY		Did you?						SUZANNE		He'd rather complain.						JIM		How else can I be the center of the attention? 		You didn't call your parents.						KIM		They don't run their house like a police 		station. Bye. Thanks for driving, Denny. See 		you later.						JIM		See you later. Bye.						KIM		Don't forget your arm.						JIM		Oh, yeah.						DENNY		Come on, Jim let's go.						KIM		Bill! There's somebody in my room. Go. Look. A 		murderer with an axe. He did try to even kill 		me.						BILL		It's all right. It's all right. 			( to Kevin)		Go back to bed. It's only Edward.			(to Edward)		This way.						PEG		Honey, that was Edward.						KIM		Who is he? What are you talking about?						PEG		Edward's come to live with us. There's nothing 		to be upset about. No, no. It's okay.						BILL		We'll have you a setup here in a minute. Up 		with your feet. A queen-size bed here. How do 		you like that? It's all made up and everything. 		There you go. What's the matter? What's wrong? 		She gets you nervous? You've been closed up in 		a way in that castle too long.  You don't know 		anything about the wonderful world of teen-age 		girls. They're all crazy. Here some. Straighten 		that out.						EDWARD		What is it?						BILL		Lemonade. I don't know what it is. They reach a 		certain age. They develop these gland things. 		Their bodies swell up. They go crazy.						EDWARD		Glands?						BILL		yeah, glands. I try not to think about it			(Edward drinks lemonade.)		Good. Isn't it?			(Peg calms down Kim.)						PEG		Now you stay in Kevin's room tonight. Tomorrow 		we'll fix your room right.						KIM		Mom, why did you have to bring him in here?						PEG		Oh, honey, I couldn't have left him there all 		alone. You would have done the same thing.						KIM		Why does he have to stay here?						PEG		Oh, my goodness, Kim. I'm surprised at you. He 		can't help the way he is. Have a little 		sympathy.						KIM		I do have a little sympathy.						PEG		Then let's just say hello and later you can 		come downstairs and shake his hand.						KIM		Shake his hand?						PEG		Well, not literally. Goodness, you scared him 		half to death.						KIM		I scared him to death?						PEG		Hi, Bill. I just wanted you two to have a 		proper introduction. Edward, this is our 		daughter Kim.  Kim, this is Edward who's going 		to live with us.						KIM		Hi! 			(Edward falls on the floor.)						JOYCE			(to Edward)		Eddie. Thirsty? 			(to Kisses)		Kisses, Hush up. Quiet now. I can hardly hear 		myself think. Momma's precious little baby 		girl.			(to Edward)		Wouldn't you like a nice cool glass of 		lemonade?						EDWARD		Lemonade?			(Vomits)			(Bell rings)						KEVIN		One chop to guy's neck. And it's all over. 		They're the sharpest things in the world. They 		can hack through anything. And...						KIM		I think they look weird. They give me the 		creeps.						A GIRL		You should see the clown in front of Ms. 		Peter's yard.						EDWARD		Kim!						KIM		Oh, no!						A GIRL		That's him?						JIM		He's calling you, Kim.						KIM		Stop it.						A WOMAN		Edward, you forgot your cookies.						JIM		Don't worry, Eddie. She's waiting for you.						A GIRL		Let's go.						PEG		Bill, you know what Edward told me? He had 		lunch at Jackie's today.						BILL		Really?						PEG		She's just had her kitchen completely redone.						BILL		I'll be darned.						PEG		New paint, new cabinets, new floors, new 		microwave, new Sonnet dishwasher.						BILL		Yeah, isn't that wonderful?						PEG		Isn't that something? Jim, didn't you tell me 		your mom had her kitchen done too?						JIM		Yeah, my dad bought himself a bunch of new 		toys. Big screen TV, CD players, VCR with four 		heads.						PEG		My goodness sake! I wonder what it's like to be 		that rich.						JIM		No, they keep things pretty much locked up. My 		father has his own room for his stuff to make 		sure I can't get and use it. He's so cheap he 		won't help me buy my own car.						BILL		Well, he probably wants you to pay for it 		yourself. I agree with him. It builds 		character. You'll appreciate it more. Speaking 		of money, I understand you are not charging for 		gardening, Edward?						PEG		Now, Bill. Margie made him cookies today.						BILL		Sweetheart, you can't buy the necessities of 		life with cookies. You can't buy car with 		cookies. Am I right, Jim?						JIM		Ah, that's true, sir. You can't.			(Edward gives a piece of meat to 			Kim's friend.)						A GIRL		I can't eat that. He used his hands. I don't 		think it's sanitary.			(Edward passes the piece to Kim 			but drops it in her lap by 			mistake.)						EDWARD		I'm sorry.						PEG		Honey, you want me to help you clean that up?						KIM		No, that's okay. I'll be right back. 			(Edward begins styling women's 			hair and becomes famous.)						HOUSEWIFE		This can't possibly be my Alexis.			(to Edward)		She looks so beautiful. Look at you. She's 		gorgeous. Thank you.						PEG		It won't be long. She has just to decide on the 		style, and then it will be fine. She just has 		to decide what style she wants.						JOYCE		I was hoping for something big and bouffant. 		Kind of like mine. Don't you worry , Kisses. 		You'll be so pretty. Eddie, is there anything 		you can't do? You take my breath away. I swear. 		Look at this. Have you ever cut a woman's hair? 		Would you cut mine? That was the single most 		thrilling experience of my whole life.						PEG		We're getting the head of the company.						KIM		I'm home.						PEG		Hi, honey. We're in here.						KIM		Hi! What did you do to your hair?						PEG		Edward cut it. Isn't it wild? 			(on telephone)		Hello. Oh, I can't believe I'm talking to you 		in person. This is such an honor. Yes. He's 		right here. Great. So then you know all about 		it. Aha. That's exactly what I've been using. 		Well, I've had a little trouble getting it to 		the right consistency. Yeah, right. just a 		little. I'll try that. Well, what imaginative 		suggestions! I sure will. Thank you so much. 		Bye bye.			(to Edward)		No wonder she's the head of the company. You 		know, she started out as a sales representative 		just like me. I've always wanted to talk to her 		but until now I never had a reason. Thanks, 		Edward.						EDWARD		She had some ideas?						PEG		You bet she did.			(At the Airport)						MARGIE		I'll get that.						MARGIE		Edward! We're here. Come on. Let's get you 		sharpened up.						JIM		You got it?						KIM		No, I can't believe this. 			(Kim sees Edward coming.)		Do you have a key?						EDWARD		No.						KIM		I could have sworn I put it in here somewhere.						JIM		Well, we're stranded. 			(Edward opens the locked door with 			his scissorhands.)						KIM		Wow! Thanks.						JIM		Ed, what a guy! Good job. Hey, you didn't break 		it or scratch it or anything. Hey, be a pal and 		yell when Peg pulls in, huh?						TV HOST		Quite a story, yes? Any questions for Edward? 		Yeah, get way over. Stand right up.						WOMAN 1		What's been the best part of your new life here 		in town?						EDWARD		The friends I've made.						TV HOST		Any other questions?						WOMAN 2		Have you ever thought of having corrective 		surgery or prosthetics? I know a doctor that 		might be able to help you.						EDWARD		I'd like to meet him.						TV HOST		We'll give that name after the show. Thank you 		very much. That's very nice. Anyone else? Yes, 		stand right up.						WOMAN 3		But if you had regular hands you'd be like 		everyone else.						EDWARD		Yes, I know.						TV HOST		I think he'd like that.						WOMAN 4		Then no one would think you're special. You 		wouldn't be on TV or anything.						PEG		No matter what, Edward will always special.						TV HOST		More questions? Stand right up.						WOMAN 5		Your work is so interesting distinctive and 		unique. Do you have plans to open your own 		beauty salon?						TV HOST		There's an idea. Anyone else? Yeah.						WOMAN 6		Do you have a girl friend? Ahh.			(Living room in Peg's)						JIM		Sure, he does. Right, Kim?						KIM		Now you got him started.						JIM		Knock it off, bubble- butt.						KEVIN		You did it.						JIM		So?			(On the TV Show)						TV HOST		How about it? Is there some special lady in 		your life?						TV HOST		Uh, everything's all right. He'll take a break 		and we'll be right back after these messages.						KIM		Why are you laughing? He got hurt.						JIM		It was a little shock. Ha! Ha! Ha!						KIM		A little shock?						JIM		I wish we'd been taping that. I'd give my left 		nut to see that again.			(Edward in beauty salon)						JOYCE		Aren't you excited? Oh, this is just so 		thrilling. Wait till I show it to you. It's 		just perfect. It's just what we've been looking 		for. I want to call it "Shear Heaven." Here we 		are. No, all along here I'm going to put a row 		of new mirrors. Back up here a whole row of new 		cosmetics.			(TV 1/4å)		All along this row here.						EDWARD		Peg could sell cosmetics.						JOYCE		Sure. This is where I stand when I greet the 		customers. Back in here is what I really want 		to show you. This is the storeroom for 		supplies. What I need from you today is to help 		me make a decision. Don't, that's dangerous. 		You just sit down right there. I have some 		smocks. Would you like me to model them? This 		is my favorite because it's yellow. And what 		it's for is to catch itchy little trimming that 		fall down your neck. Then there's this old 		purple one, you know, you kind of drape around 		you like this.						EDWARD		I like that one.						JOYCE		You're trembling. So am I. I've been waiting 		for this moment for so long. Edward! Edward, 		you come back here! You can't do that!			(In the Restaurant)						BILL		Veloro. Veloro. Sweetheart. That hangs on the 		dash board.						PEG		I've never seen that.						EDWARD		Sorry I'm late.						PEG		Hi, Edward. Sorry. We had to go ahead without 		you. Here you go.						BILL		So, Edward, did you have a productive day?						EDWARD		Mrs. Monroe showed me where the salon is going 		to be. You could have a cosmetic counter.						PEG		Wouldn't that be great?						BILL		Great.						EDWARD		And then she showed me the back room where she 		took all of her clothes off.						BILL		Edward. I can't tell you how thrilled I am.  		I'm just as pleased as Punch. This whole beauty 		parlor, that's what's going to teach you 		volumes. There's nothing like running your own 		business. I've never done it myself, but from 		what I gather it's the greatest satisfaction a 		working man can have. So I guess the bank is 		going to be your next step, huh?						EDWARD		The bank?						BILL		Yeah, take out a loan. Get yourself started. 		Nothing to worry about. With your talent and 		reputation, it's going to be a snap. Now.						BANK CLERK		No credit, no record of jobs you've held, no 		savings, no personal investment, no social 		security number. You may as well not even 		exist. There is no collateral.						PEG		You know. We already have a second on the 		house, but don't the testimonials make a 		difference?  Did you see here, the mayor's wife 		can't wait to become a client?						BANK CLERK		We simply can't do it. Now get yourself a 		social security card. Establish credit and buy 		yourself a car. You have the side to advantage. 		You can get one of those handicapped placards. 		No problem. Park anywhere you like.						PEG		I can't believe it. Really, it's just an 		outrage. Don't you worry. This isn't the end of 		it. We'll get your money somewhere.						KIM		But that's breaking and entering.						JIM		Look. My parents have insurance up the rear. 		Okay? And all it will cost them is a little 		hassle. That's about it. In a week my dad will 		have new and better everything.						KIM		We can't.						JIM		Look. There's a guy who will give us cash for 		the stuff.						KIM		Jim, I don't want to.						JIM		Well, do you want to ride around in a van like 		Denny's, and we could be by ourselves whenever 		we like? With a mattress in the back?						KIM		Why can't you just do it?						JIM		Because my father keeps the damn room locked, 		and we need Edward to get us in.						KIM		Why can't you take the key like when he's 		sleeping or something?						JIM		Look, you don't understand, everything he 		handcuffs or ties will do anything for you.						KIM		What do you mean?  That's not true.						JIM		Oh, no? Why don't you ask him?						KIM		That's not fair.						JIM		What's fair got to do with it? There isn't any 		other way.						KIM		There got to be.						JIM		Look. I've racked my brain. Don't you want us 		to have our own van?						KIM		Yeah.  Jim, the lights are on.						JIM		Those go on automatically. They've gone for the 		weekend. I told you. That's right.						DENNY		This burglar scared.						KIM		You turned off the alarm. Am I right?						JIM		Yes, everything, come on. Let's go. Come on.						KIM		I can't believe this is happening.						A GIRL		Are you sure he doesn't know this is Jim's 		house?						KIM		He's never been here.						EDWARD		This person stole from you?						JIM		Keep your voice down. I told you he stole it. 		Right? Come on. Let's go.						EDWARD		His parents will make him give it back.						JIM		Listen, I've already tried that. The guy's 		parents are like he is. Okay? Now, you told Kim 		you'd do this. Well, come on. Let's go. Come 		on. Come on. Come on.			(Edward picks the lock and the 			door opens, but when he steps into 			the room the alarm works and the 			door shuts.)						JIM		The bastard had it wired separately. Come on.						KIM		No, Jim. We can't just leave him here.						POLICEMAN		We know you're in there.						OFFICER ALLEN		We're in the process of deactivating the system 		so that you can come out.						KIM		Denny, turn around!						JIM		No way!						KIM		Jim, it's your house. They can't arrest you for 		setting off your own alarm. We'll just tell 		them we were breaking in.						JIM		I'm not going back there. Okay?						KIM		We have to go back.						JIM		No, because my father will prosecute.						KIM		His own son?						JIM		Especially his own son. If Edward tells, I'll 		kill him.						KIM		Denny, turn around.						JIM		No.						KIM		Turn around. We have to.						OFFICER ALLEN		Put your hands high in the air so we can see 		them. Put your hands up!						POLICEMAN			(to Allen)		He's got something in his hands. Looks like 		knives.						OFFICER ALLEN		Drop your weapon I repeat. Drop your weapon. 		I'll ask you one more time and this is your 		last warning. Drop your weapon. If you fail to 		do so, we'll have to open fire. Don't make us 		do that, please. Drop your weapons. Drop them. 		Now. Looks like we got a psycho. Prepare to 		fire. 			(Neighbors gather and ask not to 			fire.)						A WOMAN		Please. We know him.						OFFICER ALLEN		Alright, cuff him.			(At police station)						PEG		But can we see him now?						POLICEMAN		We'll have to hold him overnight for 		observation.						PEG		He has to stay in prison all night?						POLICEMAN		Pick him up in the morning.			(criminal investigation section in 			police station)						PEG		Oh, Edward. Hello Edward, dear. I blame myself.						BILL			(to Edward)		What in god's name was going through your mind, 		son?						PEG		Why don't I set a better example? You saw how I 		envied Jim's parents, their money.						BILL		What were you going to do with that stuff?						PEG		Oh, I blithely say, "We'll get money for the 		salon somehow." But I never meant stealing. 		Stealing's not the way to get it. Stealing's 		not the way to get anything.						BILL		Except trouble. And you're in a heap of that.						PEG		Why ever did you do this?						OFFICER ALLEN		Will he be okay, Doc?						PSYCHOLOGIST		The years in spent isolation have not equipped 		him with the tools necessary to judge right 		from wrong. He's had no context. He's been 		completely without guidance. Furthermore his 		work, the garden sculptures, hair styles, and 		so forth. Indicate that he's a highly 		imaginative.						OFFICER ALLEN		Character.						PSYCHOLOGIST		It seems clear that his awareness of what we 		call reality is radically underdeveloped.						OFFICER ALLEN		But will he be all right out there?						PSYCHOLOGIST		Oh, yeah. He'll be fine.						OFFICER ALLEN			(to Edward)		Listen. It could keep me up all night worrying 		about you. Watch yourself.			(roadside)						MARGIE		I heard this noise and ran out in my bathrobe.						JOYCE		All along I felt in my gut. There was something 		wrong with him.						MARGIE		It could have been my house.						HELEN		It could have been any of our houses.						ESMERALDA		I warned you, didn't I? I saw the sign of satan 		on him.  You didn't heed my warning. but now 		you will because now you see it too.			(Reporters approach Edward and 			Peg.)						PEG		Edward. You stay here.						REPORTER		What do you say in your defense?						EDWARD		Nothing.						PEG		He didn't want to talk.						REPORTER		You have to say something.						PEG		He can't talk right now.						REPORTER		No comments? No remarks?						REPORTER			(to Edward)		So were you set up? What was going through your 		mind? One comment.						PEG		We have to get in the house. We don't want to 		talk to you. We'll talk to you later.						REPORTER		One comment.						PEG		Well, for goodness sakes, Lois, I'll see you at 		our Christmas party. Before I get you here for 		your haircut. Of course, we'll have it this 		year. Why wouldn't we have it this year? Well, 		you may think that, but you're wrong.						KIM		You're here. They didn't hurt you, did they? 		Were you scared? I tried to make Jim go back, 		but you can't make Jim do anything. Thank you 		for not telling them about me.						EDWARD		You are welcome.						KIM		It must have been awful when they told you 		whose house it was.						EDWARD		I know it was Jim's house.						KIM		You did?						EDWARD		Yes.						KIM		Well, then why did you do it?						EDWARD		Because you asked me to.			(Jim called out for Kim.)						KIM		Don't.						JIM		What's the matter with you? When you are going 		to stop? I did what I could. My old man think 		he's retarded, otherwise he'd still be in jail. 		What more do you want from me?						KIM		You could tell the truth.						JIM		So could do. You were there, too.						KIM		It wasn't my idea. You know I didn't want to do 		it.						JIM		But you did do it. I don't get why you give 		such a shit anyway.						BILL		Well, we are going to try to help you find a 		way to replace the drapes and the towels, but 		our confidence in you, Edward, is not going to 		be so easy to replace.						KIM		Dad!						BILL		Okay, a little ethics. You are walking down the 		street. You find a suitcase full of money. 		There's nobody around. No human person is in 		evidence. What do you do? A		You keep the money. B		You use it to buy gifts for your friends and 		your loved ones. C		You give it to the poor. D		You turn it into the police.						KIM		That is really stupid.						PEG		Kim!						KEVIN		I keep the money.						PEG		Simmer down.						BILL		Edward?						KIM		Hey, how about after dinner we go down to the 		bowling alley? That will be fun.						PEG		You are not seeing Jim tonight?						KIM		No.						KEVIN		You know we had a cool show-and-tell today. 		This kid brought in a box of baby possums, 10. 		maybe 12. Totally naked. No hair at all.						PEG		Honey, this is fascinating. but I don't think 		your father's finished yet.						BILL		Thank you, dear. Edward, we are waiting.						EDWARD		Give it to my loved ones?						PEG		Oh, Edward, it does seem that that's what you 		should do, bit it's not.						KEVIN		You dope, everybody knows he's supposed to give 		it to the police.						BILL		Good thinking, Kevin.						KIM		Well, think about it, you guys, I mean, that's 		the nicer thing to do. That's what I would do.						BILL		We're trying to make things easier for him, so 		let's cut the comedy for a little while.						KIM		I am being serious. It's a nicer thing to do.						BILL		We're not talking nice. We're talking right and 		wrong.						KIM		Shut up.						PEG		Oh, goodness sake, no wonder poor Edward can't 		learn right from wrong living in his family.			(Margie and women on the phone.)						WOMAN 1		Did you hear what he did to Peg's curtains?						MARGIE		It is unbelievable that they're having their 		Christmas party anyway. Are you going?						WOMAN 1		Oh, I don't think so.						MARGIE		He practically raped Joyce, you know 		threatening her with those knives? It's a 		miracle she escaped.						HELEN		I don't have anything against Bill and Peg, 		but...						JOYCE		I know, I know. They've got that teenage 		daughter in the house. Oh, those poor things 		after what happened to me can you imagine?						HELEN		What do you say to Peg about the Christmas 		party?						MARGIE		I said I hoped. We'd make it.						HELEN		I lied, too.			(Peg's living room)						PEG		Edward, do you want to give me that new 		haircut?						EDWARD		Again?						PEG		yes, sure.						PEG		It makes me proud to have you as my own 		personal hairdresser.						KEVIN		Hi, honey. honey.						EDWARD		Kevin, you want to play scissors-paper-stone?						KEVIN		No.						EDWARD		No, why?						KEVIN		It's boring. I'm tired of always winning.						PEG		Other people's feelings?						KEVIN		I'll be outside.						PEG		A few manners? Just never you mind. Just you 		cut away. Cut away. It needs something else. 		What do you think, honey?						KIM		More bells?						PEG		More bells. Okay.						KIM		Mom, do you really think that we should be 		having this party?						PEG		Of course I think we should be having this 		party. Of course I do. I mean as just what we 		need is just to calm things down and then 		everything will just go back to normal. Do you 		have any more bells, honey?			(Kim goes out into the garden and 			sees Edward sculpture an ice mass. 			When he sculptures it, snowflakes 			begin to fall, and Kim dances in 			the snow. After he finishes it, he 			cuts her hand by accident. Then Jim 			shows up.)						JIM		Get the hell out of here. Get the hell out! Go. 		Freak!						BILL		Edward, where are you going?						KIM		Where is he?						JIM		He tried to hurt you.						KIM		No, he did not and you know it.						JIM		Are you nuts? I just saw him.						KIM		Jim. I don't love you any more. I just want you 		to go. Okay? Just go!						JIM		Are you serious? I'm going to lose you to that? 		He isn't even human.						KIM		Just get out of here. Okay? Just go! Dad, did 		you see where Edward went?						BILL		Well. I don't know. He just walked down the 		street.						KIM		Well, we have to go find him, mom?						PEG		You...your father will find him this minute.						BILL		All in the house. I'll take care of it. I'll go 		find him.						HELEN		Edward! I'm calling the police!						PEG		All that blood, sweetie, and it's just a little 		cut.			(doorbell chimes.)						POLICE		Hello, I'm here to see the man with the hands.						PEG		Oh... Uh...						POLICE		He's not here. Thank you.						PEG		Oh, dear.						MARGIE		Helen, did you actually see him?						HELEN		Yes, look.						ESMERALDA		You see, I told you he was a demon.						MARGIE		Oh, don't start that stuff again.						POLICE		I'm looking for the man with scissors.						WOMEN		He went that way. You have to do something 		about that.						POLICE		All right, calm down, go on home. We'll handle. 		Just go home.						HELEN		He's a de... a demon.						WOMEN		You've got to do something! All right, Let's 		see. If he's at our house come on, oh...						PEG		I'm sure your father will find him soon.						KIM		What time is it?						PEG		It's almost eight thirty. Great party, huh?						KIM		Where are they? God. I hope he's okay!						PEG		So do I, honey. You know, when I brought Edward 		down here to live with us, I really didn't 		think things through. And I didn't think about 		what could happen to him, or to us, or to the 		neighborhood. You know, I think that maybe it 		might be best if he goes back up there. Because 		at least there he's safe, and we'd just go back 		to normal.						BILL		Now I got up by the Wiggmans, but I didn't see 		him anywhere.						PEG		Oh, dear. Oh, just... Well, let's get in the 		car and go look for him.						BILL		Where's Kevin now?						PEG		He's Max'es.						BILL		Where do you think you're going, young lady?						KIM		With you guys.						BILL		No, you're staying here in case somebody shows 		up!						PEG		We'll be right back, dear.						EDWARD		Police!			(On seeing a police car Edward 			goes back to Peg's)						KIM		Edward?						EDWARD		Are you okay?						KIM		Yes, are you okay?						EDWARD		Where's everybody?						KIM		Out looking for you. Hold me.						EDWARD		I can't.			(Kim holds Edward and Edward 			reflects about the inventor.)						INVENTOR		I know it's a little early for Christmas, 		Edward, but I have a present for you.			(Kevin comes out of his friend's 			house.)			(Jim talks with his friend.)						JIM		Forget holding her hand. Picture the damage he 		could do other places.						JIM'S FRIEND		Yeah, that's sick. I feel like I'm coming to 		pass out, or puke or something.						JIM		Later, first take me to her house.						JIM'S FRIEND		Come on, don't make me drive.						JIM		Just do it!						JIM'S FRIEND		Jesus, maybe she was right about you.						JIM		Just drive.						JIM'S FRIEND		Relax.						KEVIN		See you tomorrow. Call me, Right?						A MAN		Have they caught him yet?						KEVIN		Who?						A MAN		Him, that cripple. Let me know when they do. 		Let us all you know, okay? Like a good boy.			(The car driven by Denny comes 			close to run over Kevin. Edward who 			sees it saves Kevin but many people 			mistakenly think that Edward tries 			to kill Kevin. Kim tells Edward to 			run, and he runs away. People 			follow him to the castle.)						EDWARD		Oh! Are you ok? oh! owh!						KEVIN		Help! Edward help!						EDWARD		I'm your friend.						KEVIN		Stop! Don't! Stop! Get away, now! Somebody help 		us! Help!						PEOPLE 1		What are you doing? Get away! 						PEOPLE 2		Get the police!						PEOPLE 3		Somebody call the police! Hey						KIM		Let go of me! Why? Kevin!						PEG AND BILL		Kevin! Kevin! Edward! Get away. What happened? 		Edward! Go home! Go home!						PEOPLE		Somebody call the police! Aah! 						KIM		Jim, stop it. Get off him!			(Siren)						KIM		Run.						PEG		Kevin's all right! It was just the tiniest 		scratch! He's gone! Let's not bother him, all 		right? Let just leave him alone!			(Gunshots)						POLICE		Go on, run.						PEOPLE		What happened? Did you get him? Ok, Is he dead?						POLICE		It's all over, go on home. There's nothing more 		to see. What happened out there? It's all over!						PEOPLE		I want some answers. Where is he?						PEOPLE		Get back here! I want to ask you something. Do 		you see him? Wait! I want to ask you... He's in 		that car. Look at that.						JOYCE		I don't believe it. They don't have him. I'm 		going! No! That's not a good idea!						EDWARD		They are coming? Did I hurt Kevin?						KIM		No, he's okay. He said he was just scared. 		Edward, I was so afraid. I thought you were 		dead.						JIM		I didn't.			(Jim fires at Edward and Kim tries 			to stop him. In their fight, Edward 			kills Jim, and then says good-by to 			Kim.)						KIM		Jim. Stop! Stop it, or I'll kill you myself.						JIM		Hey! I said stay away from her!			(Neighbor's voice)						EDWARD		Goodbye!						KIM		I love you.						A MAN		Is he in there?						KIM		He's dead. The roof caved in on him. They 		killed each other. You can see for yourselves. 			(She raises a pair of scissors.)						OLD KIM		She never saw him again. Not after that night.						GRANDDAUGHTER		How do you know?						OLD KIM		Because I was there.						GRANDDAUGHTER		You could have gone up there. You still could 		go.						OLD KIM		No, sweetheart. I'm an old woman now. I would 		rather want him remember me the way as I was.						GRANDDAUGHTER		How do you know he's still alive.						OLD KIM		I don't know. Not for sure. But I believe he 		is. You see, before he came down here, it never 		snowed. And afterwards it did. If he weren't up 		there now, I don't think it would be snowing. 		Sometimes you can still catch me dancing in it.		

unformated_scripts/Script_El Mariachi.txt

@@ -0,0 +1,2192 @@
+El Mariachi 
+
+
+
+by Robert Rodriguez 
+
+
+
+
+
+
+FADE IN: 
+
+
+EXT. A JAIL IN MEXICO - DAY 
+
+It's an early Friday morning and a patrol car drives up an unpaved road and parks next to a gutted police car on cinder blocks. The camera pans with the OFFICER as he exits his car and walks up to a ramp leading to the babay blue JAIL HOUSE. He is carrying a greasy bag of fast food. 
+
+
+INT. JAIL LOBBY - DAY 
+
+The Officer enters the lobby, tosses the bag of food to his PARTNER who is sitting at a desk. He grabs a tin cup and walks over to barred entrance to Block A. Twenty or so CRIMINALS, from drunks to drug dealers are sleeping peacefully in their cell on Block A. The Officer rattles the tin cup between the entrance bar. 
+
+
+INT. JAIL CELLS - DAY 
+
+The inmates stir, rubbing their dirty faces and trying to sit up. The camera dollies slowly down the narrow hallway of the block which has three cells: Two small ones side by side, and one bigger cell that faces the block entrance. The sound of scribbling and business dealing can be heard from inside the cell. It is AZUL jottin ginto a business ledger while chatting on his cellular phone. His cell is equipped with a small desk and a refridgerator. He hangs up the phone and continues writing. 
+
+
+INT. JAIL LOBBY - DAY 
+
+The Officer with the tin cup sits in a couch across from his partner, who is now eating, and reads a magazine. 
+
+
+INT. JAIL CELLS - DAY 
+
+Azul picks up his phone and makes another call. He talks business. In the other cell, prisoners are getting up and looking around. Azul hangs up the phone and writes. 
+
+
+EXT. EL MOCO'S RANCH - DAY 
+
+A gorgeous, bikini-clad BABE struts slowly into a tighly framed glamour shot. She pauses, takes a deep breath, then dives a 'perfect ten' dive into a house-side moat. She swims long, slow motion strokes around the moat as the camera tracks alonside her, lovingly admiring her tan lines and hydrodynamic build. She slides out of the water and walks up a cobble stone walk, dripping as she passes a seated GENTLEMAN in a white suit. His face is unrevealed. As she enters the house, he sets his drink down by a phone. He lifts up the receiver and dials. 
+
+
+INT. JAIL CELLS - DAY 
+
+Azul's phone rings. He looks up at it, startled, as if no one has ever called him before. He glances at his watch, and then back at the phone, hesitating to answer it. He looks around the cell block as if someone might be playing a trick on him. Finally he answers it, pausing before saying hello. It is El Moco. 
+
+MOCO (V.O.) 
+Good morning, Azul. Do you know who this is? 
+
+AZUL 
+(into phone) 
+Moco... What the hell do you want after all these years? 
+
+
+EXT. EL MOCO'S RANCH - DAY 
+
+MOCO is sitting on his porch drinking tequila. 
+
+MOCO 
+(into phone) 
+We've got a lot to talk about. I'm just a few town away with a whole new gang. I heard you were nearby so I thought I'd give you a call, amigo. 
+
+AZUL (V.O) 
+That's sweet of you, asshole. I don't suppose you could get me out of there, and then maybe hand me over my share of money. 
+
+MOCO 
+(into phone) 
+Yes, I figured you'd want your money, my friend. That is why I have called you. I heard you were getting out soon, and figured I should deal with our situation. But do you really need me to help you get out? From what I hear, you're running quite a business out of your cell with a phone and some loyal men. It keeps you well protected I hear. Not a bad idea. I may try that myself sometime. 
+
+AZUL (V.O.) 
+I could stay in here and earn peanuts compared to what you owe me if I were to get out. So, yes, I want you to help me... my friend. 
+
+MOCO 
+(into phone) 
+Soon my friend, soon. I'm sending you some people in a few days to get you. 
+
+AZUL (V.O.) 
+Really? Well, that's more like it. Just like the Moco I used to know. 
+
+Azul is walking towards his window at the sound of a truck racing in. 
+
+MOCO 
+(into phone) 
+Just hang in there my friend. I won't forget that you have been a big part of our success. What's wrong. 
+
+
+EXT. JAIL - DAY 
+
+A large truck drives up to the jail, parking beside the police car. Two tall, well-dressed MEN step out. They reach into the cab and pull out machine guns. They walk briskly towards the jail. 
+
+
+INT. AZUL IN JAIL CELL - DAY 
+
+Azul walks to his toilet and stands on it to see out his barred window. 
+
+AZUL 
+(into phone) 
+There's something going on outside. Is this a double surprise? Are you getting me out today, Moco? 
+
+There is no response from Moco. 
+
+
+INT. JAIL - DAY 
+
+The Guard reading the magazine stands when he sees someone approaching the door. 
+
+
+EXT. JAIL - DAY 
+
+Close tracking shot of guns as Tall Men open the door and enter the jail. 
+
+
+INT. AZUL IN JAIL CELL - DAY 
+
+Azul looks out of the jail cell suspiciously. Peering down the hall, he sees the guys with the guns. He hides behind the wall, peering out to see what happens next. 
+
+
+INT. JAIL LOBBY - DAY 
+
+The Tall Men walk right up to the guard, and hand him a huge wad of money. The Guard tosses the money to his partner (still eating), then turns to unlock the block entrance bars. 
+
+
+INT. AZUL IN JAIL CELL - DAY 
+
+Azul puts the receiver back up to his mouth. 
+
+AZUL 
+(into phone) 
+There are two men here with guns. Did you send them? 
+
+
+EXT. EL MOCO'S RANCH - DAY 
+
+Moco, glancing at his watch, hangs up. 
+
+
+INT. AZUL IN JAIL CELL - DAY 
+
+Azul hangs up the phone and kicks his Bodyguard awake. The Bodyguard gets up and peers out the bars as Azul hides in a corner. 
+
+
+INT. TALL MEN IN HALL - DAY 
+
+The Tall Men walk steady and alert, ready to kill. They enter Azul's block and scope out the cells. 
+
+The Bodyguard, seeing the tall men, retrieves his shotgun from under his mattress and grabs his machete from under the sink. He stands ready to fight. 
+
+The Tall Men move slowly towards the big cell, somewhat cautious. They see the Bodyguard a second too late, for he sticks the shotgun between the bars, and shoots one of them before they can react. The shot one stumbles back into his buddy's arms. Azul's Bodyguard, amused by all this, opens his cell door effortlessly, and walks out as if to greet them. The Tall Men hear the sound of the other cells opening, so they turn around. The other prisoners on the block begin exiting their cells, carrying guns and Molotov cocktails. The Tall Man drops his gun. Finally, Azul exits his cell carrying his phone. The Bodyguard forces the Tall Men into an empty cell, closing and locking the door. 
+
+Azul presses the #-button on his phone. Moco's phone number is automatically redialed. 
+
+Moco answers. 
+
+AZUL 
+(into phone) 
+I'm still here, Moco. And so are your little friends. But not for long. They have something they want to scream to you. Listen close, because you're going to repeat it to me when I come to visit you. 
+
+
+INT. TALL MEN IN CELL - DAY 
+
+The cellmates throw their Molotov cocktails into the cell. Moco hears the men screaming as they burn to death. Azul is holding the phone at arm's length into the cell. 
+
+
+INT. JAIL LOBBY - DAY 
+
+The Guards exchange glances when they hear the screaming, they smile and shrug, then go back to what they were doing. As Azul and his Bodyguards exit the block, the Guard with the magazine stands up as if to stop them, but Azul tosses him a wad of money and the guard sits back down to count it. 
+
+
+EXT. JAIL - DAY 
+
+A blue truck races towards the jail. 
+
+Azul exits the jail carrying a shotgun. His Bodyguards get inside the Tall Men's truck and start it. Azul waits patiently for his blue truck. 
+
+As the blue truck pulls up, two little rat-like VATOS exit the blue truck, one handing Azul a guitar case. Azul tosses it onto the hood. The Bodyguards wave as they drive away. Azul waves back. He opens the case, revealing an arsenal of weaponry. Azul notices one piece is missing. One Rat quickly pulls the missing weapon from his jacket and replaces it in the case. Azul is unamused. He grabs his MAC-10 machine gun from the guitar case and aims it at the thieving Rat's head. 
+
+Suddenly, the Guard bolts out the jail waving the wad of money, as if complaining. 
+
+Azul turns his MAC-10 onto the Guard instead. A few blasts later Azul and his rats pack up and go as the Guard twitches helplessly on the ground, still clutching the money in his bloody hand. 
+
+
+CREDIT SEQUENCE 
+
+EXT. AZUL / MARIACHI ON HIGHWAY - DAY 
+
+The blue truck barels down the highway and the camera pans with the truck as it passes a hitchhiker, MARIACHI, standing in the sun with a thumb in the air. The truck passes him up so he continues walking. Mariachi is carrying a guitar case in one hand and a black jacket in the other. He is wearing a white T-shirt, black pants. The camera pans to a sign that reads "ACUÑA 18 miles". 
+
+
+EXT. MAIN STREET - DAY 
+
+Mariachi is walking around downtown Acuña. He notices a bar across the street and, liking the way it looks, he puts on his jacket and crosses over to it. He stops to read a sign on the building that says "MEMBERS AND NON-MEMBERS ONLY". He prays silently to himself before confidently walking inside. 
+
+
+INT. CORONA CLUB - DAY 
+
+Mariachi enters the club, greeting the PATRONS as ge makes his way to the bar. No one seems to greet him back. He sits on a barstool near some OTHER DRINKERS, laying his guitar case down lovingly beneath his stool. He looks around the place, as if sizing it up. 
+
+BARTENDER 
+What do you want to drink? 
+
+MARIACHI 
+Refresco. 
+
+The other drinkers stare at him. 
+
+Glancing around the room, Mariachi notices a small, table-shaped object draped with a cloth in one corner of the room. 
+
+Sitting directly behind him are four mean-looking dudes. Mariachi is served his drink. 
+
+MARIACHI 
+No hay musica? 
+
+BARTENDER 
+(cleaning a glass) 
+Why? 
+
+MARIACHI 
+I'm a mariachi. A good one. I play beautiful ballads, old classic ballads, on an old-fashioned guitar. 
+
+BARTENDER 
+So what? 
+
+MARIACHI 
+I could add a little class to this place. I work for fairly cheap, I live mostly off tips. But I need steady work, and I can guarantee bringing in more customers. 
+
+BARTENDER 
+(nodding) 
+Tell me, why would I need one little guitar player when I've already got a full band? 
+
+Mariachi gives him a silent "what" look. 
+
+The BARTENDER motions to a YOUNG MAN sitting near the small draped table. 
+
+The Young Man removes the drape revealing a keyboard. Puts on his mariachi hat, dips his fingers into his shot glass and rubs his fingers together (as if warming up for the big show). He hits a few switches in EXTREME CLOSEUP as... 
+
+... Mariachi adjusts himself to the seat. 
+
+The Young Men gently taps one switch and the keyboard sounds like an accordion, pulsing out a beat. He then presses another switch and a horn section swells to a crescendo and waltzes the familiar riffs. He adds the string and horns accents by banging on the keys. He sounds awful. 
+
+Mariachi grimaces slightly then turns back to the Bartender who seems to enjoy it. 
+
+The Keyboard Mariachi finishes his song, sits back down. 
+
+BARTENDER 
+(nodding with satisfaction) 
+There you see? Either I can pay one guy to sound like a full mariachi band... 
+
+Mariachi picks up his guitar and lays some money next to his full drink. He looks disappointed. 
+
+BARTENDER 
+... or I could spend the same money only get one little guitar player... Understand? 
+
+MARIACHI 
+(walking away) 
+Thank you, sir. 
+
+BARTENDER 
+You want to earn a living? Get a real musical instrument. 
+
+The Bartender picks up the bottle of soda pop Mariachis left behind and offers it to the other men on the table. They say no, pay, and leave. The Bartender offers it to the MEAN DUDES at the table. 
+
+They all shake their heads no. 
+
+The Bartender shrugs and dumps it. 
+
+
+EXT. CORONA CLUB - DAY 
+
+Mariachi walks out and looks up and down the street. He decides to walk south. 
+
+As he walks down the sidewalk, the camera pans into a CLOSEUP of another guitar case that is moving towards the Corona Club. The camera falls back a little revealing the backside of Azul, dressed also in black. Azul walks into the bar. 
+
+
+INT. CORONA CLUB - DAY 
+
+Azul enters the bar, notices to his left the table with the four mean-looking Dudes, drinking and eating chips and salsa. 
+
+The oldest one, with his back to Azul, takes a sip from his mixed drink, then stands and excuses himself to the restroom. 
+
+
+INT. BATHROOM - OLD MEAN DUDE - DAY 
+
+The Old Mean Dude walks into the first stall and sits down. 
+
+
+INT. CORONA CLUB - AZUL - DAY 
+
+The three remaining Dudes notice Azul's guitar case. So does the Bartender. They all look at each other and laugh. 
+
+BARTENDER 
+(laughing and rolling his eyes) 
+What the hell is this, mariachi day? There is no work for you here! 
+
+Azul walks the mean Dude's table. Their laughing quiets down a bit as Azul stands before them. The Bartender stops smiling. 
+
+AZUL 
+Bartender... one beer. 
+
+The Bartender nods and grabs a frosty glass. He begins to fill up at the tap. 
+
+AZUL 
+(without looking at him) 
+In a bottle, wey. 
+
+Bartender stops filling the beer, stares at the half-full glass for a moment, then drinks the beer. 
+
+Azul is staring at the three Mean Dudes. They stare back. 
+
+The Bartender slaps the unopened bottle down at the counter. 
+
+BARTENDER 
+Ready. 
+
+Azul doesn't pay attention to him. 
+
+AZUL 
+I'm looking for an old friend of mine. His name is... Moco. Do you know where I can find him. 
+
+MAIN MEAN DUDE 
+You can sometimes find him here. He owns this place. 
+
+AZUL 
+So you know him? 
+
+MAIN MEAN DUDE 
+We work for him. 
+
+AZUL 
+That's too bad. 
+
+Azul turns to the mean Dude sitting to his left, and places the guitar in his hands. The Mean Dude is confused. 
+
+AZUL 
+Hold it please. 
+
+Azul opens the case and pulls out the MAC-10. The other two Mean Dudes are already reaching for their pistols. 
+
+The Bartender ducks beneath the counter. 
+
+Azul fires a million bullets into two of the Mean Dudes, (the other is holding the case in shock). Their chests explode, causing neat little dollops of flesh and blood fly everywhere. The Mean Dude holding the guitar case is frozen with fear. He manages to look up at Azul, who is watching the Mean Dudes die a slow, bloody death. The barrel of the MAC-10 is smoking. Azul turns slowly to the Mean Dude holding the case. Azul aims his MAC-10 in the Dude's face. Still frozen holding the case, he spends his last moments looking down the gun's barrel. 
+
+
+INT. BATHROOM - DAY 
+
+The shots caused Old Mean Dude to peer out from his stall as the toilet paper fell to the ground and started to roll across the floor. He now watches it roll as more shots ring out. He pulls up his pants and and walks toward the door slowly. He is sweating profusely. He slowly picks up the toilet paper, plotting his next move. It grows silent... He takes a deep breath and rushes out the door. 
+
+
+INT. CORONA CLUB MAIN ROOM - DAY 
+
+The Old Dude bursts into the room with a roll of toilet paper in his hand, and a sheet of sweat sliding down his face. 
+
+The Bartender rises up from behind the counter. 
+
+The camera dollies slowly by the dead Dudes. Their blood-bathed faces twisted into odd shapes and expressions. The camera continues to dolly to the one dead Dude still holding the guitar case. His face is a bloody pulp. The camera stops dollying to the old Dude's mixed drink. A hand is stirring it with a straw. The camera pans up the arm to reveal Azul, standing expressionless with his gun sling over his shoulder. 
+
+Shot at 16fps the Old Dude quickly drops the toilet paper and runs back inside the bathroom. 
+
+Azul turns to his guitar case and carefully chooses another weapon. He grabs the drink and tosses a napkin over his arm like a waiter, then casually follows the Old Dude into the bathroom. 
+
+The Bartenders glance at each other. One pours a shot glass full of tequila and raises it to his lips to drink it. Shots ring out and the Bartender spills the drink over himself. 
+
+Without warning Azul bursts from the bathroom and walks calmly to his case. He replaces the weapon, picks up the case and leaves. 
+
+A few seconds pass before the bartender grabs the phone and furiously dials. 
+
+BARTENDER 
+(into phone) 
+Get me Moco!!! 
+
+The door bursts open as Azul reenters, storming to the bar. 
+
+The Bartender is so petrified he doesn't think to drop the phone. 
+
+Azul walks right up to the Bartender. 
+
+The Bartender shuts his eyes. The sound of the beer bottle popping open canbe heard, along with the sound of thirsty guzzling. The Bartender opens his eyes to Azul. 
+
+CLOSEUP of the empty bottle slamming to the counter. 
+
+The Bartender glances down at the bottle. 
+
+CLOSEUP of Azul tossing a few coins near the bottle as payment. Azul leaves. 
+
+A few seconds pass as the Bartender is standing there. You hear Moco yelling into the receiver asking what's going on. 
+
+
+EXT. MOCO'S RANCH - DAY 
+
+Moco is on the porch trying to get the Bartender to answer him. 
+
+MOCO 
+(into phone) 
+WHAT'S GOING ON OVER THERE, ANSWER ME!!! 
+
+
+INT. CORONA CLUB - BARTENDER - DAY 
+
+You hear Moco's voice through the phone. The camera dollies into the Bartender as he screams into the receiver. 
+
+The camera dollies in to the corpses... 
+
+
+EXT. CORONA CLUB - AZUL - DAY 
+
+... and finally a low outdoor frontal tracking shot of Azul walking away smiling as the image fades out. 
+
+
+EXT. HOTEL COAHUILA - DAY 
+
+Low angle of Hotel Coahuila sign. MEAN DUDE #5 enters the frame as his beeper goes off. He runs into the Hotel Coahuila. 
+
+
+INT. HOTEL COAHUILA LOBBY - DAY 
+
+Mean Dude #5 enters the lobby where an OLD CLERK is sitting at the counter reading a yellowed newspaper. There is a pit bull on the floor beside him. 
+
+MEAN DUDE #5 
+Da me telefono. 
+
+VIEJO CLERK 
+(without looking) 
+Take it. 
+
+Mean Dude #5 grabs the phone and dials Moco's number. He glances down at the PIT BULL lying on the floor. 
+
+MEAN DUDE #5 
+Pit bull? 
+
+VIEJO CLERK 
+Yeah, pit bull. 
+
+The line is picked up and Mean Dude talks into the phone. He pulls out a piece of paper from his coat pocket and places it on the counter. He begins jotting down four names. He then slowly crosses their names out. 
+
+MEAN DUDE #5 
+(into phone) 
+Dead? 
+
+The Viejo Clerk glances up from his paper. The Pit Bull also glances up. 
+
+MEAN DUDE #5 
+(into phone) 
+All of them? How long ago? OK, What does this guy look like? 
+
+Clerk goes back to reading his paper. Pit Bull is still paying attention, though. 
+
+
+EXT. HOTEL CAOHUILA - MARIACHI - DAY 
+
+Same low-angle shot of the outdoor sign displaying the name Hotel Coahuila. Mariachi walks into frame, and pulls out his wallet. Mariachi pulls out a few measly bucks then seems to be considering what to do next. 
+
+
+INT. HOTEL COAHUILA LOBBY - DAY 
+
+An inside shot looking out of the front glass reveals Mariachi looking at his wallet as Mean Dude talks to the phone. No one notices him. 
+
+MEAN DUDE #5 
+(into phone) 
+... carries a guitar case... And what was he wearing?... all black... 
+
+The Pit Bull turns and looks out of the window. Seeing Mariachi, he gets up and walks to it. 
+
+
+EXT. HOTEL COAHUILA - MARIACHI - DAY 
+
+Mariachi is putting his last few dollars back into his wallet. As he is walking away he notices the Pit Bull and he bends down for a closer look. 
+
+MEAN DUDE #5 
+(into phone) 
+Don't worry, Moco. We'll find him, and we'll mess him up real good. 
+(ad lib) 
+
+
+EXT. HOTEL COAHUILA - DAY 
+
+Low shot with long lens at full zoom of Mariachi tapping on glass. 
+
+CLOSEUP of dog responing. 
+
+CLOSEUP of Mariachi tapping. 
+
+
+INT. HOTEL COAHUILA LOBBY - DAY 
+
+Mean Dude hangsup the phone. He writes a few more things. He turns to leave. 
+
+MEAN DUDE #5 
+Gracias señor... 
+
+As he passes the camera you can see Mariachi still playing with the dog. Inside view CLOSEUP of Mariachi tapping on glass. 
+
+VIEJO CLERK 
+Callate, hombre!!! 
+
+
+SLOW MOTION SEQUENCE (?) 
+
+Mariachi looks up at the Clerk, then stands. 
+
+The Mean Dude turns around and looks and looks at the Clerk. Clerk turns to look at Mean Dude, who is walking back to the counter. 
+
+Mariachi picks his guitar from the ground. He is in full view, but no one is looking at him. 
+
+MEAN DUDE #5 
+Viejo, if you see anyone new in town, carrying a guitar case, dressed in black... you can call this number, OK? 
+
+Mean Dude writes down a phone number and the description of Azul on a little card. 
+
+VIEJO CLERK 
+(nodding sarcastically) 
+And if I don't call, you'll kill me... 
+
+MEAN DUDE 
+(handing him the card) 
+No. I won't kill you... he will... 
+
+The sarcastic smile fades from the old man. Mean Dude walks away. The old man reads the card, then glances out the window. Mariachi is gone. 
+
+
+MARIACHI / MEAN DUDE #5 OUTSIDE HOTEL 
+
+Mariachi is turning a corner just as Mean Dude #5 exits the hotel. The Mean Dude walks off in the other direction. 
+
+
+EXT. BOYSTOWN SALOON DOMINO'S - DAY 
+
+Mariachi enters Domino's bar. DOMINO is waiting on a few bar bums that are nursing their jaws. Mariachi sits with them, asks for a refresco, He gets looks again. Domino serves him and he asks to see the owner. She says he's looking at the owner. He then asks her for work as a mariachi. She says she has no money to pay him. He looks arund the classy joint and knows she's lying (it turns out to be true, she has no money). When he asks how a girl can take care of herself in a town like this she stuffs a gun barrel in his mouth. He nurses his jaw, pays and leaves, as the others laugh. 
+
+
+MARIACHI CHECKS IN TO HOTEL - DAY 
+
+Mariachi enters the run-down lobby of the motel. The Viejo Clerk at the counter is reading his yellowed newspaper. Mariachi sees the Pit Bull laying by the counter. 
+
+MARIACHI 
+Pit bull. 
+
+VIEJO CLERK 
+Yeah, pit bull. 
+
+MARIACHI 
+I need a cheap room for a week, and I'd prefer to pay you in a few days, after I've found some work. 
+
+VIEJO CLERK 
+Sí, later... 
+
+MARIACHI 
+Thank you... 
+
+The Old Man hands Mariachi a key for the second floor. 
+
+MARIACHI 
+Thank you, friend. 
+
+As Mariachi walks away, the Clerk notices the guitar case and black clothes and he rereads the card Mean Dude left him. 
+
+VIEJO CLERK 
+(different tone of voice) 
+Uh, excuse me señor? I forgot, I need a small deposit... 
+
+Mariachi stops in his tracks. He turns back to the Clerk slowly... thinking. 
+
+MARIACHI 
+(walking back slowly) 
+You can trust me. 
+
+VIEJO CLERK 
+I am very sorry, señor. But... how much can you spare? 
+
+The dog is watching the event. 
+
+MARIACHI 
+(disappointed) 
+I've only got a few pesos... I plan on finding work in town. 
+
+VIEJO CLERK 
+(grabbing money) 
+Oh, that's enough for now, sir, thank you and... enjoy your stay. 
+
+The Clerk deposits the money, slams the register shut, and continues reading his yellow paper. Confused, Mariachi pockets his empty wallet and turns to find his room. The Clerk peeks over his paper, eyeing the guitar case as Mariachi goes. He hears the sound of Mariachi's footsteps trailing off. The old man drops the paper and bolts silently to the phone as he dials El Moco's phone number... 
+
+
+INT. MARIACHI'S HOTEL ROOM - DAY 
+
+Mariachi opens his room, tosses his guitar onto the bed and hangs his jacket in the closet. He has only his white T-shirt underneath. He glances above the bed to a plaque bearing a mace and two crossed swords. He checks out the shower and washes his face in the sink. He sits down on his bed. A few seconds later he drops back and lays there a minute before kicking the door shut. He tries to sleep. 
+
+
+INT. HOTEL COAHUILA LOBBY - DAY 
+
+The Old Clerk is talking on the phone to the bad guys. He hangs up the phone, then reaches into the back of his counter for a gun. He places it on the counter and covers it with his newspaper and continues reading. 
+
+
+INT. MARIACHI'S HOTEL ROOM - DAY 
+
+Top shot of Mariachi sleeping. A shot of the mace on the wall. 
+
+CUT TO: 
+
+
+DREAM IN BOYSTOWN - DAY (5.7 KINOPIC LENS) 
+
+Mariachi is suddenly sleeping in the dirt. Same top shot as in the hotel. He opens his eyes, then groggily he sits up. 
+
+ESTABLISHING SHOT of Mariachi sitting in the middle of a ghost town. He stands up. 
+
+VARIOUS SHOTS of the empty town with nothing and nobody. 
+
+Medium shot dolly into Mariachi as he stands, turns and sees a BOY bouncing a ball in slow motion. The Boy stops short, holding the ball tight against the chest. Mariachi glances around to maybe spot more people, before concentrating on the Boy. 
+
+The Boy places the ball carefully on the ground, then gently rolls it to Mariachi. 
+
+Tracking shot of the ball rolling to Mariachi. The ball sounds like a speeding truck. Mariachi smiles at the boy. 
+
+CLOSEUP of the ball rolling. 
+
+CLOSEUP of the Boy smiling. 
+
+Mariachi bends to get the ball which makes the sound of a screeching truck as it hits Mariachi's foot. Mariachi notices that it's a man's severed head. 
+
+
+INT. MARIACHI'S HOTEL ROOM - DAY 
+
+Mariachi bolts up in bed. 
+
+
+EXT. HOTEL COAHUILA - MEAN DUDES #5, 6, 7, 8 & 9 - DAY 
+
+The Mean Dudes jump out of their truck and rush into the hotel, guns drawn. 
+
+
+INT. HOTEL COAHUILA LOBBY - DAY 
+
+The men burst into the lobby and the old men tells them the room number. They run out into the courtyard with the old man following. The Pit Bull is uninterested in the action. 
+
+
+EXT. COURTYARD IN HOTEL COAHUILA - DAY 
+
+The Mean Dudes run up the courtyard stairs and kick open the first door they come to and start blasting into the room. Screams are heard. The men stand back, and finally look down the steps at the Viejo Clerk who is waving his arms frantically. 
+
+VIEJO CLERK 
+127!!! Cuarto 127, pendejos!!! 
+
+They run to the room numbered 127 and cautiously stalk towards it as they reload their guns. 
+
+
+INT. MARIACHI'S HOTEL ROOM - DAY 
+
+Mariachi is sitting on his bed listening to all this. He bolts to the restroom and turns to the shower. 
+
+
+EXT. HOTEL COURTYARD - DAY 
+
+Shot of men still stalking, cocking pistols. 
+
+POV shot of what men see, as camera nears the door. 
+
+
+INT. MARIACHI'S HOTEL ROOM - DAY 
+
+Mariachi rushes out of the bathroom towards the door. 
+
+
+MARIACHI'S POV 
+
+As camera nears the door, doorknob starts to move. Remembering that he never locked the door, he jumps to the side of the door as... 
+
+
+EXT. HOTEL COURTYARD - DAY 
+
+Men kick open the door and burst into the room. 
+
+
+INT. MARIACHI'S HOTEL ROOM - DAY 
+
+Low-angle shot as men burst in. There is no one in the room. Mean Dude #5 hears the shower and motions to keep it down and stalk quietly... They rush into the bathroom and start blasting. 
+
+Mariachi slips out from behind the door and runs out. 
+
+
+EXT. HOTEL COURTYARD - DAY 
+
+Mariachi runs out of the room and jumps off the stairwell onto the courtyard in front of the Clerk. 
+
+MARIACHI 
+(pointing to his room) 
+Cuidado, viejo! 
+
+Mariachi darts out into the lobby. The old man watches him go then turns his attention back to Mariachi's room. 
+
+VIEJO CLERK 
+(pointing in Mariachi's direction) 
+Pendejos!!! 
+
+
+INT. HOTEL COAHUILA LOBBY - DAY 
+
+The dog watches as Mariachi tosses his keys into the cubby hole where they belong. Mariachi then jumps over the counter, banging keys on the register to get it open. 
+
+
+EXT. HOTEL COURTYARD - DAY 
+
+The Mean Dudes run out of Mariachi's room, dart down the stairs, passing the old man who is telling them where to go. 
+
+
+INT. HOTEL COAHUILA LOBBY - DAY 
+
+Mariachi, unable to open the register, jumps over the counter. 
+
+CLOSEUP of his feet as he lands, causing the register to burst open. 
+
+Mariachi truns for a second to ponder gettin ghis money or risking dying, but then he checks to turn and run. Two seconds later the Mean Dudes run in, one jumps over the counter to see if he's there. 
+
+
+EXT. HOTEL COAHUILA - DAY 
+
+Mariachi runs atop the Mean Dudes' parked truck then jumps into the bed of a passing truck. Mean Dudes run outside. The Dudes hve their hands up as if they don't know what to look for. 
+
+MEAN DUDE #5 
+He wears black! 
+
+Shots of lots of people walking around, wearing black items. 
+
+
+EXT. DOWN THE BLOCK - DAY 
+
+The truck turns a corner and the driver halts, comes out with a gun and tell Mariachi to get the hell out of his truck. Mariachi leaps out. He is about to continue running, but he stops, clenches his fists, and turns slowly as the camera dollies into his face. 
+
+
+INT. MARIACHI'S HOTEL ROOM - DAY 
+
+Camera dollies into the guitar case on Mariachi's bed. 
+
+
+EXT. DOWN THE BLOCK - DAY 
+
+Mariachi runs back in the direction of the hotel, but as he turns the corner he has to slow down for the Mean Dudes are everywhere. Each one has his gun out and is looking around for the man in black. Mariachi walks slowly, whistling and nodding to everyone as they pass. A few look suspiciously at him but continue searching. Mariachi ducks inside the hotel. 
+
+
+INT. HOTEL COAHUILA LOBBY - DAY 
+
+Mariachi enters the lobby and winks at the old Clerk who is standing over his open register in shock. His eyes widen when he sees Mariachi. He runs out of the hotel. 
+
+VIEJO CLERK 
+(screaming, pointing inside) 
+PENDEJOS!!! 
+
+
+INT. MARIACHI'S HOTEL ROOM - DAY 
+
+Mariachi rushes in, grabs his jacket and puts it on. He grabs his guitar case and squeezes it tight, his eyes shut. Slow dolly into him, as his eyes open. 
+
+CLOSEUP of plague on wall with mace and swords. He grabs the mace, swining it around a few times. He feels secure, now. He turns to leave. 
+
+
+EXT. HOTEL COURTYARD - DAY 
+
+Mariachi rushes out the door, he looks down and sees the Mean Dudes entering the courtyard. He ducks his head back just as they look up to see him. Mariachi runs up a smal flight of steps, where he then tosses his guitar onto a balcony, which he then jumps over to himself. 
+
+The men rush up the steps shooting at the balcony. Bullets narrowly miss Mariachi as he climbs over the balcony to safety. 
+
+
+INT. HOTEL HALLWAY - DAY 
+
+Mariachi dashes down the hallway out onto a balcony. He sees no way down. 
+
+
+EXT. COURTYARD BALCONY - DAY 
+
+The Mean Dudes are climbing over the balcony like spiders. Mariachi runs back and slams his guitar into the first guy to make it over the balcony. His dummy falls down the stairs and over the narrow railing. The Dude splats on the ground in gruesome CLOSEUP. 
+
+The old man looks over at him as he dies, then turns back as if nothing happened. Mariachi bolts back down the hill. 
+
+
+EXT. FRONT BALCONY - HOTEL COAHUILA - DAY 
+
+Mariachi is looking down the balcony trying to find a way to escape. Mariachi looks behind him. 
+
+
+INT. HOTEL HALLWAY - DAY 
+
+Mean Dudes barrel down the hallway reloading the guns. 
+
+
+EXT. FRONT BALCONY - HOTEL COAHUILA - DAY 
+
+Mariachi flings his mace over an electric cable, then stands on the balcony lip, placing his guitar between his legs. 
+
+
+EXT. STREET SHOT OUTSIDE HOTEL - DAY 
+
+Mariachi is sliding down the cable and turns back to see Mean Dudes firing guns at him. Bus stops in traffic and Mariachi grabs his guitar and jumps onto the hood of the bus. 
+
+
+EXT. STREET - DAY 
+
+Mariachi jumps onto another car and then down into the street. 
+
+Mean Dudes exit the hotel and chase him on foot while a few get in the truck and chase him. The truck takes a short cut. 
+
+Mariachi is running through the sidewalks and streets in front os curioso shops, jumping small carts and children and cars to escape the two men behind him. He enters a small cutoff where the truck tries to stop him by heading off. The bad guys stick their heads and guns out of their windows and laugh as they ready to shoot him. Mariachi, though, already having built momentum, runs right up the front of the trucks as the guys try to shoot him but not succeed in only shooting each other as he runs up and over the cab, into the bed, and onto the street. He swings his guitar case into another guy's groin and grabs is gun, reaiming it to shoot Mean Dude #5. Mariachi shoots him in the arm, and Mean Dude #5 drops his gun and cowers away in pain. Mariachi then turns the guy's gun on him and shoots him in the chest. Mariachi grabs his case and as Mean Dude #5 turns to get s look at him, all he sees is the case coming into his face. Mariachi heads back for Domino's. 
+
+
+INT. BOYSTOWN SALOON DOMINO'S - DAY 
+
+Mariachi stumbles through city streets, pausing against a telephone pole as he gazes at Domino's Saloon across the street. 
+
+Mariachi stumbles across, almost getting hit by a few cars, and drags himself into the saloon. 
+
+
+INT. AMADEUS - DAY 
+
+Mariachi staggers into Amadeus and washes his face in a fountain by the door. He makes his way to the bar as a patron pays and leaves. 
+
+DOMINO 
+What happened to you, Mariachi? Too much refresco? 
+
+MARIACHI 
+I just killed four guys. 
+
+Domino turns around and looks at Mariachi, wondering hard is he's joking. He lifts up a bloody hand, grabs a napkin, and then seems to ask permission with his eyes before wiping his hands clean. 
+
+DOMINO 
+Is it true? 
+
+Mariachi nods an ashamed yes. 
+
+Domino reaches for her gun under the counter. 
+
+The camera is on Mariachi when she brings it out and points at him. 
+
+MARIACHI 
+(exhausted) 
+Wait a minute... what's your name? 
+
+DOMINO 
+Domino. 
+
+MARIACHI 
+Wait a minute, Domino! It was self-defense. 
+
+She cocks the pistol. 
+
+MARIACHI 
+(frantic) 
+I'm new in town. I don't know everyone!!! I have no friends here... and no enemies. 
+
+DOMINO 
+(lowering the gun a bit) 
+Thieves? 
+
+MARIACHI 
+(nodding) 
+No way. They were well-dressed men. I checked into the cheapest hotel in town, no money, nothing of value, except this guitar and maybe this coat, which they could have taken when I left my room, but they didn't. They were only interested in killing me. 
+
+DOMINO 
+(lifting the gun back up) 
+So why do you come here? You want to get me killed? 
+
+MARIACHI 
+I need a place to stay until I figure this out. They've got me mixed up with someone else. 
+
+DOMINO 
+And you've never seen them before? Not even in another town? 
+
+MARIACHI 
+(long pause) 
+Are you saying they followed me, a mariachi, here? What for? 
+
+DOMINO 
+Maybe they hate your music. 
+
+Mariachi stares at her expressionless. She stares back at him. 
+
+DOMINO 
+Maybe you were singing in another town, they hated your voice, and now they're trying to kill you. 
+
+MARIACHI 
+Are you serious? 
+
+DOMINO 
+(nodding) 
+Yes. 
+
+She laughes. 
+
+MARIACHI 
+Are you going to help me, or am I gonna have to die on your porch? 
+
+DOMINO 
+I have a room upstairs. My room. Don't touch anything. I'll be up after awhile and we can call a friend of mine. 
+
+Mariachi shakes her hand. 
+
+MARIACHI 
+Thank you. I'll never forget this. 
+
+He tries to kiss her hand. She slides it away and effortlessly slaps him. 
+
+DOMINO 
+This way. 
+
+He follows her to a doorway revealing an unlit staircase. When he enters, the darkness swallows him as she shuts the door behind him. 
+
+
+INT. UPSTAIRS DOMINO'S LOFT - DAY 
+
+Mariachi enters a roomy, luxurious apartment above the main bar. There is a free-standing porcelain tub in the center of the room. Mariachi places his guitar halfway between the entrance and the tub. The camera is tracking backwards with him as he walks, making th room look endless. He removes his jacket as he makes his way to the tub. He drops his jacket onto the floor and gently climbs into the tub. The camera faces him as he settles back. The camera slowly dollies into him as he lays back, crosses his fingers, and gives a relaxed smile. 
+
+
+INT. AMADEUS - DAY 
+
+Domino is washing a glass. She the then remembers she has the gun in her waist belt, so she removes it and sticks it back under the counter. Wounded Mean Dude #5 comes in limping. She takes out a towel and drops it on the counter. 
+
+MEAN DUDE #5 
+Good morning, Domino. 
+
+DOMINO 
+What happened? 
+
+MEAN DUDE #5 
+Give me the phone. I have to call Moco. 
+
+She brings up the phone and sets it down where the cloth was. He picks up the cloth and wraps his arm with it. 
+
+MEAN DUDE #5 
+It's not as bad as it looks. Domino, has anyone come through here? A stranger, maybe? 
+
+DOMINO 
+This is a boder town. I get strangers all the time. 
+
+MEAN DUDE #5 
+Dressed all in black, carrying a guitar case? 
+
+DOMINO 
+No. 
+
+MEAN DUDE #5 
+Well, he shot me... and has killed ten of Moco's men... all in one day. 
+
+Domino looks a little upset. She slides the phone towards him a bit. 
+
+DOMINO 
+Aren't you gonna call your boss? 
+
+MEAN DUDE #5 
+(nodding) 
+I have to tell Moco that he got away again... So, you better give me a drink first. 
+
+Domino smiles and pours him half a beer mug with tequila. He laughs and drinks. As he's dialing, the camera is on Domino as she cleans up a few things, every once in a while glancing upstairs. 
+
+MEAN DUDE #5 
+(into phone) 
+Moco, he got away. Shot me in the arm. Killed La Palma. Pepino, Sunday. This guy is one slick maricon. Yeah. Also, I didn't get a look at him. So, unless he's still carrying that guitar around and hasn't changed clothes, I won't even spot him, and I don't think he'll be that obvious... 
+
+MOCO (V.O.) 
+Don't worry. If there's one thing I know, it's that he'll always wear black and he'll always carry that guitar with him. It's his signature. Besides, that's not a guitar he's carrying. It's a guitar case full of weapons. Find him. 
+
+Mean Dude hangs up and puts his head in his hands. 
+
+DOMINO 
+Que paso? 
+
+MEAN DUDE #5 
+I screwed up. The guy left his guitar case in the hotel room. We chased him out, but he came back for the case. 
+
+DOMINO 
+Maybe he loves his guitar. It's probably an antique. 
+
+MEAN DUDE #5 
+It wasn't a guitar. It was a guitar case full of weapons that he uses on his victims. Adios, I'm gonna take a nap. And thanks for the drink. 
+
+Mean Dude #5 stumbles as he tries to stand. 
+
+MEAN DUDE #5 
+If you see this guy, call us. 
+
+He is about to walk off with the bloody towel and he turns back pointing at it. She waves her hand at him, as if granting him permission to take it. She cleans his glass, and when he is gone she slams the glass down and runs for the stairs. A few seconds later she comes back into the bar, grabs the gun from under the counter and calls her assistant to watch the bar. He sees the gun and wonders what she's up to. She storms upstairs. 
+
+
+INT. DOMINO'S LOFT - DAY 
+
+Domino opens the door abruptly and finds Mariachi taking a bath. He bolts upright, pulls a towel up from the floor and sits frozen waiting for Domino's next move. She laughs and walks to the counter. 
+
+DOMINO 
+(friendly) 
+I thought I told you not to touch anything. 
+
+MARIACHI 
+Sorry. I needed to relax. I can... 
+
+DOMINO 
+(smiling) 
+No, it's alright, Finish up. Do you want shampoo? 
+
+MARIACHI 
+(laying back, closed eyes) 
+Yes, please. 
+
+Domino tunrs to a counter and her smile fades. She looks like she wants to rip Mariachi's throat out with her teeth. She puts the gun down on the counter. She finds an omnious-looking knife and then grabs a bottle of shampoo. She walks over to him, then pulls the knife up to his throat with one hand while grabbing his hair with the other. He opens his eyes wide. The shampoo hits the floor and begins to roll. 
+
+DOMINO 
+Who are you?! 
+
+MARIACHI 
+(choking) 
+I'm a musician! 
+
+The shampoo bottle rolls into the guitar case and stops. Domino sees this, and with her foot reaches out and pulls the case toward her. 
+
+DOMINO 
+What do you have in here? GUNS? KNIVES? 
+
+Mariachi tries to catch his breath, pausing before answering her as if wondering if all this is really happening. 
+
+MARIACHI 
+No! My guitar! 
+
+Domino slides her foot out of her shoe, and unsnaps one of the latches with her toe. 
+
+DOMINO 
+We'll see... 
+
+She unsnaps another. The latches snap loud and echo in the quiet room. Mariachi gasps as she tightens her grip. 
+
+DOMINO 
+You're very modest, Mariachi... 
+
+She squeezes his hair and unsnaps another latch. 
+
+DOMINO 
+(through gritted teeth) 
+You told me you killed four men, when you really killed seven. Or were they still breathing even you shot out their hearts? 
+
+Another latch snaps. 
+
+MARIACHI 
+(groing dizzy) 
+I'm a mariachi... 
+
+SNAP! 
+
+MARIACHI 
+... not a murderer... 
+
+SNAP! 
+
+DOMINO 
+Aren't you going to watch? 
+
+She lifts the lid with her foot. It seems an eternity before the case is fully open. Domino is looking into the case, but Mariachi is not. He knows what's in there. 
+
+MARIACHI 
+I told you... I am a musician. 
+
+Slow dolly into the case, which contains a white, well-kept classical guitar. Domino is seeing it, and for a moment she almost believes he is telling the truth. 
+
+She rushes to it, grabs the guitar and tosses it to Mariachi. He catches it, choking after she releases the blade. She is on the other side of the tub, now. She jams the knife down between Mariachi's legs. Mariachi's eyes bug. 
+
+DOMINO 
+Play it. 
+
+MARIACHI 
+(still choking) 
+W...w...what? 
+
+Domino shoves the knife in deeper and Mariachi grimaces horribly. 
+
+DOMINO 
+Play it, damnit, play something sweet!!! 
+
+Mariachi is sweating and his face is extremely red. He pauses for a long time before plucking an odd note. She squints as if she's caught him. But he eventually starts picking out a sweet little melody. 
+
+DOMINO 
+(growing impatient) 
+SING! 
+
+Mariachi starts to sing but chokes on the words. He starts over, playing a "Rancho Grande" sounding song with his own made up words. 
+
+MARIACHI 
+(in a high sweet voice) 
+What is this place? 
+That treats me like a murderer? 
+They've all got their heads up their butts... 
+Even this beautiful girl, 
+With a knife to my balls, 
+Should I kiss her or hit her... 
+Or both? 
+
+He finishes his song, bowing and thanking his imaginary audience. Domino is smiling. She pulls the knife slowly out of the water and wipes it off on her apron. 
+
+DOMINO 
+You're a mariachi, all right. And a good one. 
+
+Mariachi bows a solemn thank you. 
+
+MARIACHI 
+I think this is the best I've ever played. You... inspired me. 
+
+CLOSEUP of the knife. 
+
+She laughs. 
+
+MARIACHI 
+Hire me. 
+
+Domino looks at him with a silent "what?". 
+
+MARIACHI 
+I'm good. Hire me to play in your bar. I'll work mostly from tips. But, I need steady work. 
+
+DOMINO 
+I couldn't pay you. I have no money. 
+
+MARIACHI 
+This fancy place and you have no money? 
+
+DOMINO 
+It's the truth. 
+
+MARIACHI 
+I'll work for room and board, then. Please, I'm desperate. 
+
+DOMINO 
+(thinking) 
+Will I have to keep a knife at your balls to get you to play like that? 
+
+MARIACHI 
+(smiling) 
+Not if you're paying me room and board. Please... until I find a permanent job. 
+
+DOMINO 
+(thinking) 
+You won't find a permanent job in this town... but OK. 
+
+She gets up slowly, and turns to leave. Mariachi settles back, smiling triumphantly. Suddenly she darts around and slams the knife between his legs again with a furious look on her face. He bolts up out of this triumphant daze with a look of complete shock. She loosens up and laughs. 
+
+DOMINO 
+You're going to need a better sense of humor than that, if you're gonna work for me, kid. 
+
+She flings her knife aside. It sticks into a wall. She shrugs, smiles a beautiful smile, turns, and goes downstairs. Mariachi settles back down, closing his eyes. The knife slips out of the wall and clangs to the ground. Mariachi jumps again, rolls his eyes, and sinks underwater as the picture fades. 
+
+
+INT. AMADEUS - EVENING 
+
+Mariachi plays in Amadeus. 
+
+
+INT. AZUL'S HIDEOUT - DAY 
+
+Camera tracks past a pool table where TWO RATS are playing nine ball. They make a few shots, then the phone rings. The camera continues to track past a small table where Azul's guitar case lies open. Weapons adorn it, with each knife, each gun in its pocket, in its own place. The camera continues tracking to a dresser on which sits Azul's cellular phone. A delicate female hand lifts the receiver. The camera is now positioned above the bed as the GIRL answers the phone. 
+
+GIRL #1 
+(into phone) 
+Yes? One moment please... 
+
+He rolls over and wakes a GIRL sleeping beside her. Girl #2 takes the phone and passes it to a third GIRL as Girl #2 tries to wake Azul (he is sleeping between Girls #2 and #3.). 
+
+Girl #3 has the phone to her ear as if listening for background conversation. 
+
+The two Rats playing pool are staring longingly at the three Girls in Azul's bed. They look hungry and deprived. One hits the other, signaling it's his shot. While one shoots, the other watches. 
+
+Azul awakens and grabs the phone. 
+
+AZUL 
+(into phone) 
+Yeah. 
+
+
+EXT. MOCO'S RANCH - DAY 
+
+Moco is sitting in his pool. A swimming WAITER is bringing him drinks. 
+
+MOCO 
+(into phone) 
+Amigo! I'm glad I've reached you! You've not answered all day. Killing ten of my men must have been very time consuming! 
+
+AZUL 
+(into phone) 
+Six. 
+
+MOCO 
+(into phone) 
+What? 
+
+AZUL 
+(into phone) 
+I've only killed six! You were always bad at maths, Moco. I guess that's why you never paid me half of the money. You thought it all belonged to you. 
+
+MOCO 
+(into phone) 
+I knew half was yours... I got greedy, my friend. It's my nature. But you!!! You are modest! You've killed ten of my men!! I know, because I'm having them buried in my yard right now. With my dogs and cats. 
+
+AZUL 
+(counting on his fingers, into phone) 
+I killed six. But don't bother counting so soon. The number will triple by tomorrow. 
+
+MOCO 
+(into phone) 
+I'm sorry things turned out this way. My friend. I got greedy. I should never have tried to kill you. It would have been cheaper for me to pay you. Now I've got to find ten new men. 
+
+AZUL 
+(into phone) 
+Six. 
+
+MOCO 
+(into phone) 
+Ten. 
+
+AZUL 
+(into phone) 
+I tell you what. You give me my money, and I won't kill any more of your men... And I won't kill you. 
+
+MOCO 
+(takes a sip, into phone) 
+No, it's too late for that. We're going to have to see this through. 
+
+AZUL 
+(into phone) 
+Just like the Moco I used to know. Still wearing white? 
+
+MOCO 
+(looking down at his clothes, into phone) 
+What do you think? 
+
+AZUL 
+(into phone) 
+I think you should change clothes. I'd hate to ruin a white suit with your stupid blood. 
+
+Azul hangs up. He gets dressed and leaves. The little Rats are about to follow, but one Rat walks over to get one look at the girls. The girls tease him, and when he tries to advance them, they pull guns and laugh as the Rat runs away. 
+
+
+INT. AMADEUS - DAY 
+
+Domino walks by with a trash can. Mariachi is sitting on a barstool. 
+
+MARIACHI 
+I need to get my money back from that hotel. I'll be right back. 
+
+DOMINO 
+Are you crazy? If you go anywhere with that jacket and that case you could be killed. Leave that stuff here. 
+
+Mariachi gets up and is about to get his guitar case from under the stool. 
+
+Mariachi leaves it under the stool and takes off the jacket. 
+
+MARIACHI 
+I never go anywhere without it. Take care of it. 
+
+Mariachi leaves. Domino drops the trash can and tells her assistant to watch the bar. She heads for the staircase. 
+
+
+INT. DOMINO'S LOFT - DAY 
+
+Domino walks out onto her balcony, peering down into the street. 
+
+POV shot of Mariachi walking through the street. 
+
+Domino turns and walks to the phone. She dials a number by heart and sits in a plush chair. 
+
+
+EXT. MOCO'S RANCH - DAY 
+
+Moco answers the phone. Towel around his neck, wet hair. 
+
+
+INT. DOMINO'S LOFT - DAY 
+
+DOMINO 
+(dolly in slow, into phone) 
+Hi. It's Domino. 
+
+MOCO 
+(into phone) 
+I know who it is... 
+Dolly into Moco. 
+INT. HOTEL COAHUILA - DAY 
+
+The Clerk is reading a paper. He hears a noise and pulls it aside. Mariachi is standing at the counter smiling. The Clerk jumps in his seat, then after a few frozen seconds he sets down his paper and reaches for Mariachi's old room key. 
+
+Mariachi shakes his head "no", points to the register, and makes the money sign with his hand. The Clerk slowly moves over to the register. He depresses a few keys to open it. It won't open. He makes a gesture like it's stuck or something (he is not very convincing). He tries again and again; each time pretending to get more impatient.Mariachi glances down at the Pit Bull. The Pit Bull is eyeing Mariachi. Mariachi points to the Clerk as if he has an inside joke with the dog ("this guy..."). Mariachi climbs over the counter and stands next to the Clerk. The Clerk things Mariachi is a lunatic. Mariachi holds up a finger as if cueing the Clerk for a demonstration. Mariachi then leaps over the counter landing firmly back on the other side of the counter. 
+
+CLOSEUP of his feet landing hard, just as before. 
+
+The register opens. Mariachi shrugs, smiles, and reaches into the register, taking his money out himself. He counts it. After a brief consideration, he decides to leave the old man a tip. Mariachi waves a "good-bye" wave and dances out. The old man, still standing there with his arms outstretched as if he was robbed, dashes to the phone and calls Moco's men. 
+
+
+INT. AMADEUS - DAY 
+
+The bar Assistant is cleaning the bar. He walks over to grab a few glasses and when he returns, Azul is sitting at the barstool Mariachi was on earlier. The Assistant looks around, wondering where Azul appeared from. 
+
+ASSISTANT 
+Can I get something to drink or eat? 
+
+AZUL 
+One beer. 
+
+The Assistant grabs a mug and starts to fill it at the tap. He fills it halfway when... 
+
+AZUL 
+In a bottle, wey. 
+
+ASSISTANT 
+(laughs) 
+Sorry. 
+
+He grabs a bottle and hands it to Azul, then lifts the mug, toasts and drinks it straight down. 
+
+Azul drinks his straight down, too. 
+
+AZUL 
+(looking around) 
+Isn't there a girl that works here? 
+
+ASSISTANT 
+Yeah, she owns the place. 
+
+AZUL 
+(heading a few bills to the Assistant) 
+She owns it, now? Then she is Moco's girl? 
+
+ASSISTANT 
+(looking around) 
+So-so. She's onto this new musician. 
+
+Azul takes out a few more bills and hands them to the Assistant, and begins to stand up. 
+
+AZUL 
+Thank you. 
+
+
+EXT. STREET - DAY 
+
+Mariachi is out on the streets, returning to Domino's. 
+
+
+EXT. BOYSTOWN SALOON - DAY 
+
+As he crosses the street he notices Azul leaving the saloon with a guitar case. Mariachi runs into the saloon. 
+
+
+INT. AMADEUS - DAY 
+
+Mariachi runs inside and checks to see if his case is still there. Domino comes downstairs. 
+
+MARIACHI 
+I just saw a guy with a guitar case like mine. It's him they want. 
+
+DOMINO 
+(to Assistant) 
+Did he say anything? 
+
+ASSISTANT 
+(nodding) 
+No, he just ordered a drink. 
+
+MARIACHI 
+I don't look anything like him... 
+
+
+EXT. STREET - DAY 
+
+Azul is walking to his truck when he turns to a corner and Mean Dude #4 sticks his gun in his face. Two more guns appear, pointed at the back of his head. 
+
+MEAN DUDE #10 
+Is this the guy? 
+
+MEAN DUDE #5 
+I'm not sure... 
+
+
+EXT. DOWN THE STREET - DAY 
+
+The two Rats are in the blue truck half a block away. One hits the other to look at what's happening to Azul. 
+
+POV of Rats seeing Azul with three guys around him with guns. They look at each other, start the truck and speed away. 
+
+
+EXT. STREET - DAY 
+
+MEAN DUDE #5 
+What's in the case? 
+
+AZUL 
+My guitar. 
+
+MEAN DUDE #5 
+Yeah? You're one of those old-time mariachis, huh? 
+
+AZUL 
+(pause) 
+Yes. 
+
+MEAN DUDE #5 
+OK, let's take a look. 
+
+Mean Dude #4 takes the case and lays it flat in Azul's palms. 
+
+MEAN DUDE #5 
+If it's a guitar like you say it is, we'll never bother you again... 
+
+Mean Dude #4 unsnaps two of the latches, SNAP SNAP. 
+
+MEAN DUDE #5 
+If it's not... 
+
+He unsnaps three more... SNAP... SNAP... SNAP! 
+
+MEAN DUDE #5 
+... then we'll spray paint this street with your brains. 
+
+He points the gun deep into Azul's face and cocks it. Azul closes his eyes. Mean Dude #5 lifts the lid. Azul hears a faint strumming sound, followed by the sound of the Mean Dude slamming the case shut. Azul opens his eyes. The Mean Dude resnaps the latches. SNAP... SNAP... SNAP-SNAP-SNAP!!! 
+
+MEAN DUDE #5 
+(walking away) 
+Sorry.... 
+
+They walk away leaving Azul wondering what happened. 
+
+
+INT. AMADEUS - DAY 
+
+Domino, Mariachi, and Assistant are standing at the bar. 
+
+DOMINO 
+Look, as long as you don't carry the case around, they'll leave you alone. It's that guy they're after. 
+
+MARIACHI 
+(putting on his coat) 
+I better put this upstairs... 
+
+He grabs the case and begins to take it to the stairs, but he pauses for it feels different to him. He slowly looks down at it. 
+
+
+EXT. STREET - DAY 
+
+Azul watches the Mean Dudes go and when tey turn the corner he puts the case on the ground to open it. 
+
+
+EXT. AROUND THE CORNER - DAY 
+
+The Mean Dudes are rounding the corner, but Mean Dude #5, who is last, snaps his fingers and motions to the others to keep quiet and to watch Azul 
+
+
+INT. AMADEUS - DAY 
+
+Mariachi shakes the case, and puts it on the counter as if to open it... but he doesn't need to check it. He knows it's not his guitar. 
+
+DOMINO 
+What's wrong? 
+
+Mariachi looks at her startled, then runs out of the bar with the case. 
+
+
+EXT. AROUND THE CORNER - DAY 
+
+Mean Dudes are watching Azul unsnap his case. 
+
+
+EXT. STREET - DAY 
+
+Azul opens the lid, revealing Mariachi's guitar. 
+
+
+EXT. AROUND THE CORNER - DAY 
+
+MEAN DUDE #5 
+That's him... 
+
+The Mean Dudes start walking towards Azul as the camera tracks back with them. Azul slams the case shut, wondering what the hell is going on. He looks up and notices the Mean Dudes walking towards him. He stands up and slowly walks in the other direction. 
+
+
+EXT. A BLOCK AWAY - DAY 
+
+Mariachi is running through the streets and onto the sidewalk. 
+
+
+EXT. STREET - DAY 
+
+The bad guys are pulling out their weapons. 
+
+Mariachi bolts around the corner. Now everyone is on the same sidewalk. Mariachi and Azul are on each end of the street with the Mean Dudes in between them. 
+
+Azul turns and sees Mariachi with his guitar case. Mean Dude #5 turns and sees Mariachi, too. 
+
+MEAN DUDE #5 
+That's him... 
+
+The two other Mean Dudes exchange glances. Mean Dude #5 stalks after Mariachi, so the other two follow. Mariachi looks to Azul for help. Azul tips the imaginary hat to Mariachi and walks away. 
+
+
+EXT. ANOTHER STREET - DAY 
+
+Mariachi runs through the street almost getting hit. Bullets are flying as the Mean Dudes are firing at him as they run. 
+
+
+EXT. DEAD END - DAY 
+
+Mariachi leaps up over a few cars and ends up in a dead end. He turns around, drops the case on the ground and opens it. A million weapons seem to stare back at him when he opens it. He is frantic. He grabs a small gun, shakes it in his hand, doesn't like the feel. He tosses it back in. 
+
+
+EXT. STREET - DAY 
+
+The Mean Dudes are barreling down the street. One turns towards the dead end. 
+
+
+EXT. DEAD END - DAY 
+
+Mariachi pulls out the MAC-10 and blasts the first Mean Dude he sees. He grabs the case and runs out into the street, jumping onto a truck and blasting the other Mean Dude from up there. He sees Mean Dude #5 run away. 
+
+Mariachi comes off the truck and walks through the streets in slow motion. Peolple are staring at him as if he was Azul the killer. Mariachi walks straight to the bar. A BOY is bouncing a ball on one of the sidewalks. 
+
+
+INT. AZUL'S HIDEOUT - DAY 
+
+The camera dollies past the vacant pool table, and over to a Rat sitting in a chair, drinking a beer. The other Rat is pacing back and forth in front of the sitting Rat. Azul enters the room. Throwing his guitar case onto the pool table as a grand entrance gesture. The sitting Rat stands beside the pacing Rat. 
+
+RAT #1 
+I'm sorry we left... 
+
+RAT #2 
+... We didn't know what to do... 
+
+RAT #1 
+... We figured you could defend yourself!!! 
+
+Rat #2 nods in agreement. Azul unsnaps one of the latches. SNAP! 
+
+AZUL 
+You thought I could defend myself... 
+
+SNAP! SNAP! 
+
+AZUL 
+... against three armed men... 
+
+SNAP! 
+
+AZUL 
+... using this? 
+
+He opens the case and the guitar sparkles at them. The Rats exchange glances. They look at the guitar then back at Azul. 
+
+AZUL 
+My case got switched with some maricon mariachi! 
+
+RAT #1 
+Where is this mariachi? 
+
+AZUL 
+He's dead by now... So, I want you to go look for my case. 
+
+The two Rats are about to leave. 
+
+AZUL 
+Leave me a wepon. 
+
+Both Rats take out their guns. Azul takes Rat #2's gun. 
+
+AZUL 
+That was disloyal of you to leave me out there. You should be as loyal to me as you are to each other. 
+
+The Rats exchange glances, then aim their eyes back to the floor. Azul turns to Rat #2. 
+
+AZUL 
+Are you loyal? 
+
+RAT #2 
+(after glancing at Rat #1) 
+Yes. 
+
+AZUL 
+(to Rat #1) 
+Are you loyal? 
+
+RAT #2 
+Yes. 
+
+Azul gestures to Rat #2. 
+
+AZUL 
+Then shoot him. 
+
+Rat #1 turns to Rat #2 who is in shock. 
+
+AZUL 
+You are loyal, are you not? SHOOT HIM. Or I shoot you. 
+
+Azul aims his gun at Rat #1, who immediately aims his gun at Rat #2. Rat #2 is sweating bullets. Rat #1 puts his gun down. 
+
+RAT #1 
+I can't. 
+
+AZUL 
+Why not? 
+
+RAT #1 
+You said we should be as loyal to you as we are to each other. I couldn't shoot him, for that would be as disloyal as shooting you. 
+
+Rat #2 glances back and forth between Rat #1 and Azul. 
+
+AZUL 
+Very good. Now go find my case. 
+
+Azul puts his gun down and motions the rats to leave. They leave. When they exit, Rat #1 turns to Rat #2 and snaps his fingers. Rat #2 shakes his hand. They leave. 
+
+
+INT. DOMINO'S LOFT - NIGHT 
+
+Domino is dabbing hydrogen peroxide onto a cotton swab. She applies it to Mariachi's body scars on his back. Mariachi has his eyes closed. He washes the blood from his face. 
+
+MARIACHI 
+Where were you when he came into the bar? 
+
+DOMINO 
+I was on the phone, talking to a friend that knows what's going on. 
+
+MARIACHI 
+Did you mention me? 
+
+DOMINO 
+No... He told me the man in black is Azul. 
+
+MARIACHI 
+If his name is Azul, why doesn't he wear blue? 
+
+DOMINO 
+I don't know... Anyway, he's killing the men of the town drug dealer. The dealer's name is Mauricio. But he's known as Moco. 
+
+MARIACHI 
+And Moco is sending these men to find Azul. So, why do they chase me? 
+
+DOMINO 
+They have never seen Azul... only Moco knows him. My friend says the description Moco gave his men was that he wears black, and carries a guitar case. Sounds like you, no? 
+
+MARIACHI 
+Couldn't you tell your friend that there are two people like that in his town? One is a killer, and one is a mariachi. 
+
+DOMINO 
+Only special people can talk to Moco. Besides, you've killed a few of his men, now. Your best option is to keep out of sight, stop wearing black, and to hide that stupid case until this is all over. 
+
+
+EXT. MOCO'S RANCH - DAY 
+
+Mean Dude #5 comes in and approaches Moco. 
+
+MEAN DUDE #5 
+He got away... but I got a good look at him. 
+
+Moco takes out a cigarette and puts it in his mouth. 
+
+MEAN DUDE #5 
+Coca, Caca, Beto were killed. 
+
+Moco takes out a match. 
+
+MEAN DUDE #5 
+He won't get away again, Moco. I promise. 
+
+Moco lights his match across Mean Dude #5's face and lights his cigarette. Mean Dude #5 walks away, as Moco flicks his match at him in slow motion. 
+
+
+INT. DOMINO'S LOFT - NIGHT 
+
+Mariachi is about to lay on the floor. She tosses him a blanket. 
+
+MARIACHI 
+Are you always closed Monday nights, or did you close since I can't play my guitar tonight? 
+
+DOMINO 
+Mondays are my day off. Want to play a game? 
+
+MARIACHI 
+Sure. 
+
+The phone rings. Domino gets up to answer it. Mariachi reaches under his blanket for a small mirror and combs his hair, putting spit in his hair to slick it down. He quickly stashes the mirror. 
+
+DOMINO 
+(into phone) 
+Hello? 
+
+MOCO 
+(into phone) 
+Come see me. 
+
+DOMINO 
+(into phone) 
+I can't. 
+
+MOCO 
+(into phone) 
+Please. 
+
+Moco is sitting at a table playing cards. 
+
+DOMINO 
+(into phone) 
+I don't feel well. I've got to go. 
+
+MOCO 
+(into phone) 
+Have you ridden the bike? 
+
+DOMINO 
+(into phone) 
+No... I've got to go... 
+
+She hangs up. 
+
+MARIACHI 
+Boyfriend. 
+
+DOMINO 
+(quiet as if thinking) 
+No... 
+
+MARIACHI 
+I can't figure out something. You tell me you're poor. Poor family. Yet you've got this place. 
+
+DOMINO 
+(sighing) 
+This place is a gift. 
+
+MARIACHI 
+From who? 
+
+DOMINO 
+From Mauricio. 
+
+MARIACHI 
+From EL MOCO? The man trying to kill me? 
+
+DOMINO 
+He's not trying to kill you, his man had you confused with Azul. 
+
+MARIACHI 
+Same thing. 
+
+DOMINO 
+Look, you now how if you want to impress a girl, you send her flowers, candy, jewelry until you win her love? 
+
+MARIACHI 
+Yes. 
+
+DOMINO 
+If one present doesn't work, you keep sending bigger and better things until you win her or you're broke? 
+
+MARIACHI 
+Correct... 
+
+DOMINO 
+Well, Mauricio sent me flowers, then jewelry, then he gave me a job at his saloon, then he gave me the whole saloon... etc. 
+
+MARIACHI 
+He's still giving you things? 
+
+DOMINO 
+He'll never run out of money. 
+
+MARIACHI 
+And you accept it all? What's the last thing he sent you? 
+
+Domino walks over to the counter and picks up a key. 
+
+DOMINO 
+A motorcycle. 
+
+Mariachi laughs. 
+
+DOMINO 
+He wants me to ride out to his ranch when I've decided to be his. He thinks he's close to having me. 
+
+MARIACHI 
+Is he? 
+
+DOMINO 
+(pause) 
+He was. 
+
+She sits next to Mariachi. 
+
+DOMINO 
+Not anymore. 
+
+They kiss. She gets up and is about to turn off the lights. 
+
+MARIACHI 
+So, you really are from a poor family. 
+
+CLICK! 
+
+DOMINO 
+(in the dark) 
+I remember when I was growing up, we were so poor, that my brothers and sisters and I all slept on the same blanket stretched out across the floor. We had to sleep in a circle, with our fingers in each other's ears, to keep the bugs from crawling into them. 
+
+MARIACHI 
+(after a pause) 
+Ay, wey... 
+
+Domino laughs. 
+
+
+INT. AMADEUS - DAY 
+
+Domino hands Mariachi a wad of money. 
+
+Mariachi sees the money and looks up at her bewildered. 
+
+DOMINO 
+Here's a little bit I've saved. I want you to go get a new guitar. 
+
+Mariachi starts to put up his hand as if to refuse it. 
+
+DOMINO 
+Take it, stupid. I'm not saying go by the best one, just a temporary one so you can play again tonight. 
+
+Mariachi stops and thinks... He looks up at her questioningly, then he shrugs an "OK" and grabs the money and jogs out excitedly. Domino is smiling. 
+
+
+EXT. STREET - DAY 
+
+Mariachi walks down the sidewalk, passing curioso shops. The camera is low and zoomed in all the way. Mariachi stops by one of the window that has a guitar in the glass. He pulls his money and counts it. He stops after he notices someone's reflection in the window. He turns around and sees it is Mean Dude #5 right across the street. He meets up with another Mean Dude. They are standing right behind Mariachi. Mariachi is pretending to still look at the window. The Mean Dudes walk past Mariachi so Mariachi walks in the opposite direction. Mean Dude #5 stops and then turns around slowly. Far zoomed shot of Mariachi walking down the street with guys behind him. They start after him. 
+
+MEAN DUDE #5 
+That's him... 
+
+Tracking shot following Mariachi. 
+
+Tracking shot in front of Mean Dudes walking at Mariachi. 
+
+Mean Dude #5 pulls out a small walkie-talkie and calls his buddy in the truck a block away. 
+
+MEAN DUDE #5 
+(into walkie-talkie) 
+Loco, he's headed your way... black pants, white shirt. 
+
+
+IN A TRUCK DOWN THE STREET 
+
+LOCO starts the truck and starts driving slowly across the street. As he turns on the corner, Mariachi sees the truck and casually climbs inside and hides in the back. Mean Dude #5 turns the corner when whispers into walkie-talkie. 
+
+MEAN DUDE #5 
+(into walkie-talkie) 
+Where did he go, Loco? 
+
+LOCO 
+(laughs, into walkie-talkie) 
+He got in my truck. 
+
+Mean Dude #5 laughs. 
+
+MEAN DUDE #5 
+(into walkie-talkie) 
+Take him around the block. 
+
+Mean Dude #5 taps his buddy and they start running down the block. 
+
+Mariachi is in back the truck searching for a weapon. The truck stops. Mariachi rolls to the side and gently lifts his head. 
+
+POV Mariachi sees the two Mean Dudes walking at him. Mariachi turns and Loco is there to knock him in the face with the rifle butt. Mariachi falls into truck, blood trickling from his dizzying head. He tries to get up a bit, but Loco is in the truck now, and slams the rifle down into his face hard... Blackout. 
+
+
+DUSTY ROAD TO MOCO'S 
+
+Mariachi is unconcious in the back of Loco's truck. Mean Dude #5 and other Mean Dudes are riding in back with Mariachi. 
+
+
+EXT. ROAD TO MOCO'S - DAY 
+
+The above scene intercuts back and forth with the arrival of Loco. Loco arrives at the gate, Mean Dude #5 opens the gate, they drive through. The truck is facing Moco so he can't see Mariachi yet. Mean Dude #5 closes the gate and walks over to the truck, opens the back door, and calls Moco over. Moco walks over to the truck and looks inside. 
+
+
+EXT. TRUCK - DAY 
+
+Mariachi is laying there unconcious, Moco puts his arm around Mean Dude #5, who is looking very proud, and Moco pulls out a cigarette and a match. 
+
+MOCO 
+That's not him. 
+
+Moco strikes the match behind Mean Dude #5's head. Mean Dude #5 stops smiling. 
+
+
+INT. AMADEUS - DAY 
+
+Domino is waiting on customers. She glances at her watch. A few seconds later she glances at it again. She looks very worried. 
+
+
+INT. AZUL'S HIDEOUT - DAY 
+
+Azul's Rats burst into the hideout. FOUR GIRLS pop up over the partition with guns. The Rats stop in their tracks. The girls sigh a "oh, it's them" sigh and slink back to bed. Top shot of them trying to wake Azul. Azul wakes up and looks over the partition. 
+
+AZUL 
+Where's my case? 
+
+RAT #1 
+We couldn't find it. 
+
+RAT #2 
+We heard they caught you and were taking you to Moco's ranch. 
+
+RAT #1 
+... so we came to see if it was true. 
+
+Azul thinks a moment. He stands up. 
+
+AZUL 
+They caught the mariachi. 
+
+Azul dresses, smiling... 
+
+
+INT. MOCO'S RANCH - DAY 
+
+Mariachi is in a holding cell at the ranch. He twitches, finally waking up. 
+
+He sees a GUARD outside and finds a way to escape. 
+
+He grabs the guard's assault rifle and turns a corner. Two men grab him. He slams the butt of the rifle, knocking the wind and teeth out of BAD GUY #1, then he kicks down and breaks the shin bone of BAD GUY #2 who screams out in agony. Mariachi silences him by karate punching his throat. The Bad Guy gurgles and hits the ground. 
+
+Angle from the ground as Mariachi smashes the guy with is gun. 
+
+He crawls up a wall, trying to escape as quietly as he can. He sees TWO MORE MEN running towards him since they heard some noise. Mariachi aims his assault rifle at the blue Chevy parked behind him. He fires and it explodes. 
+
+Mariachi jumps Loco, gets him to drive him to the saloon. He also takes Loco's money. 
+
+
+EXT. BOYSTOWN SALOON - DAY 
+
+Azul walks into frame, looks around then proceeds into the bar. 
+
+
+INT. AMADEUS - DAY 
+
+Azul goes inside and finds Domino tending the bar. 
+
+DOMINO 
+What can I get you? 
+
+AZUL 
+One beer. 
+
+She grabs a bottle and slams it down on the counter unopened. He eyes her admirably and then pops the top with one hand. 
+
+He guzzles the drink, slamming it down empty. 
+
+DOMINO 
+Anything else? 
+
+AZUL 
+(nodding) 
+My guitar case. 
+
+DOMINO 
+Where's Mariachi? 
+
+AZUL 
+Where's my case? 
+
+DOMINO 
+Upstairs. 
+
+AZUL 
+Get it. 
+
+Domino grabs another beer for him and runs to get the case. 
+
+(In between this time, Mariachi escapes with Loco.) 
+
+She returns, slamming it to the floor. 
+
+AZUL 
+If you want your mariachi back, come with me. 
+
+DOMINO 
+Why will you help me? 
+
+AZUL 
+Because you know where Moco's ranch is... I don't. 
+
+Domino calls her Assistant. 
+
+AZUL 
+You help me, I'll help you. 
+
+DOMINO 
+Let's go. 
+
+They leave. The Assistant tends to the bar. 
+
+
+ROAD TO MOCO'S 
+
+They drive out to Moco's ranch in Azul's truck. Little do they know, they passed Loco's truck with Mariachi crouched in the passenger seat. He gets up after the truck passes. Mariachi didn't know it was Domino in Azul's truck or he could have turned around and kept her from going to Moco's ranch. 
+
+They arrive at the gate and het out of the truck. 
+
+DOMINO 
+(over the gate) 
+Mauricio!! 
+
+Azul grabs Domino and points a gun to her head. He whispers to her... 
+
+AZUL 
+Play along... 
+
+He kicks at the gate. 
+
+AZUL 
+Open the gate or she's dead! 
+
+The gate opens and we see Moco standing at a three-quarter stance, flanked with his men on both sides. Azul drags Domino in and faces her at Moco with a gun to her head. 
+
+MOCO 
+(to Domino) 
+I'm sorry he used you to get to me, Domino. 
+
+Azul cocks the pistol. 
+
+MOCO 
+Azul, let her go and you'll get your money. 
+
+AZUL 
+Moco, give me my money or I ruin your clothes with her blood. 
+
+Moco signals his men to get the money. 
+
+DOMINO 
+What have you done with Mariachi? 
+
+MOCO 
+Who? 
+
+DOMINO 
+The musician your men confused with Azul. 
+
+MOCO 
+(staring at her) 
+So that's why you were busy that night... 
+
+Azul is glancing between Domino and Moco. 
+
+MOCO 
+... you had that little monkey climbing all over you. 
+
+AZUL 
+Give me my money or I kill her NOW!!! 
+
+MOCO 
+After all I've done for you, this is how you treat me? 
+
+DOMINO 
+I never asked you for anything until now. Let Mariachi go. 
+
+Azul is anxious now. 
+
+AZUL 
+I swear I'll kill her! 
+
+MOCO 
+No you won't. I will. 
+
+Moco pulls out his gun and shoots her in the heart. She falls limp in Azul's arms. Azul tries hold her up, but she's dead. Azul rests her on the ground, looking down at her, wondering why it's all come to this. 
+
+AZUL 
+All I wanted was my rightful share. But you've got to kill everybody. 
+
+MOCO 
+You feel sorry for her, don't you? See, that's why you can't ever be as big as me. 
+
+Azul slowly looks at Moco. 
+
+MOCO 
+(aiming gun) 
+Because you have too much heart. 
+
+Moco shoots Azul in the heart. Azul had his hands to his side, and now he falls to his knees. Moco shoots him again, and Azul dies next to Domino. 
+
+Mean Dude #5 is exchanging glances with the others. No one seems to be on Moco's side. 
+
+
+EXT. NEAR SALOON - DAY 
+
+Mariachi is still in Loco's truck. 
+
+MARIACHI 
+Stop here. 
+
+Loco stops the truck and Mariachi gets out. Loco drives back when Mariachi motions for him to leave. Mariachi watches him go then dashes around the corner to the saloon. 
+
+
+INT. AMADEUS - DAY 
+
+Mariachi runs into the bar... 
+
+MARIACHI 
+Domino!!! We're leaving!!! Right now!!! 
+
+The Assistant rushes over to Mariachi. 
+
+ASSISTANT 
+She's gone. 
+
+MARIACHI 
+Where is she? 
+
+ASSISTANT 
+Looking for you. 
+
+Mariachi is about to race upstairs. 
+
+ASSISTANT 
+She gave the case back to that guy. She left with him to find you. 
+
+Mariachi tries to make sense of it all for a minute before grabbing the gun from under the counter and rushing upstairs. 
+
+
+INT. DOMINO'S LOFT - DAY 
+
+Mariachi grabs the key to the motorcycle and runs out. The motorcycle burns down the road. 
+
+
+MARIACHI ON THE ROAD TO MOCO'S 
+
+Mariachi barrels down the road on the motorcycle. 
+
+
+EXT. MOCO'S RANCH - DAY 
+
+Moco is walking away from the bodies. 
+
+MOCO 
+Bring that musician out here so he can be reunited with my Domino. 
+
+Some men go to check. 
+
+Cut back and forth with Mariachi coming. 
+
+MEN 
+He's gone, sir. 
+
+MOCO 
+Find him!! 
+
+Mariachi rides through the semi-open gate... stopping at the bodies. He dismounts the bike and holds Domino. 
+
+He has the gun in the back of his pants. You can see it while his back is to the camera and men are approaching him. Moco comes for the show. 
+
+MOCO 
+(good shot) 
+So you're the little mariachi that came to town, killed my men, and stole my girl... 
+
+Mariachi slowly lifts his eyes to Moco. 
+
+MOCO 
+You are very talented. 
+
+Mariachi stands, hands up. 
+
+MOCO 
+I bet you play the guitarra real well, huh? 
+
+Mariachi says nothing. 
+
+MOCO 
+(raising gun) 
+Not anymore. 
+
+Moco fires into Mariachi's left hand. Mariachi grimaces, crumbling to the floor. He keeps a tight grip on his hand. When he opens his hand to see the damage, the camera can see right through his hand for a reverse shot of his face through the hole. 
+
+MOCO 
+Now get the hell off my property and take your hand with you!!! 
+
+Moco is laughing and looking at his men for support, but no one else laughs. Mariachi tries to stand, but he falls back. When he rises again he has the gun in his hand. He shoots Moco in the chest. Moco falls back and hits the ground hard. He gasps for air... 
+
+Moco's men gather around him. Mean Dude #5 crouches down to check Moco's throat pulse. Moco's dead. Mean Dude #5 strikes a match across Moco's face and lights up a cigarette. He turns and walks away. The others follow. 
+
+Mariachi wraps a tourniquet on his arm, kisses Domino, opens Azul's case, sees the weapons, and rides off with it. 
+
+
+MARIACHI ON THE ROAD 
+
+He looks back at the town behind him, then places his hand on the motorcycle to drive off. We notice the metal brace on his hand. 
+
+Mariachi rides into the sunset road. He speeds pas a sign: "ACUÑA 18 miles" 
+
+"Coming soon 
+EL MARIACHI II" 
+
+FADE OUT 
+
+
+
+THE END

unformated_scripts/Script_Escape From New York.txt

@@ -0,0 +1 @@
+John Carpenter's Escape From New Yorkwritten by John Carpenter and Nick Castletranscript by Anjela F. Conner------------------------------------------------------------------------FADE INCARD -- 1988FADE IN SECOND CARD -- The Crime Rate in the United States Rises FourHundred Percent.VOICEIn 1988, the crime rate in the United States rises four hundred percent.GRAPHIC -- Line-graphic of New York, MANHATTAN ISLAND highlighted.VOICEThe once-great city of New York becomes the one maximum-security prisonfor the entire country.GRAPHIC -- MANHATTAN ISLAND lights up.  The word "Prison" is added.VOICEA fifty-foot containment wall is erected along the New Jersey shoreline,across the Harlem river, and down along the Brooklyn shoreline.  Itcompletely surrounds Manhattan Island.GRAPHIC -- The containment wall is added to the line graphic with thetag "Containment Wall".VOICEAll bridges and waterways are mined.GRAPHIC -- Dots symbolizing the bridges and waterways blink on and off.VOICEThe United States Police Force, like an army, is encamped around theisland.GRAPHIC -- Arrows symbolizing the police force are added.  TAG -- Statueof Liberty Island Security Control.VOICEThere are no guards inside the prison: only prisoners and the worldsthey have made.NEW GRAPHIC -- Outline drawing of New York.VOICEThe rules are simple.  Once you go in, you don't come out.GRAPHIC -- Outline drawing of the Statue of Liberty and the shorelineare added.CARD -- 1997FADE IN SECOND CARD -- NOWFADE OUT 1997EXT. STATUE OF LIBERTY SECURITY CONTROL -- NIGHT.A Jeep pulls up outside the base.  It comes to a stop and the driverpulls out a walkie-talkie.DRIVERThis is Gotham 4, North Bay, Station 17.  I have an escape in progress.An object in mid-bay moving toward the wall.TILT UP -- WALLEXT. CLOSE UP -- SIGN "New York Maximum Security Penitentiary ManhattanIsland"CONTINUED TILT UP -- EXT. WALL -- NIGHTTwo guards watch for the escapees in question.EXT. MANHATTAN ISLAND -- NIGHTA helicopter flies over the bay towards Manhattan Island.EXT. BOAT -- NIGHTThe two escapees paddle, trying to get across the bay.EXT. HELICOPTER -- NIGHTThe search light WHITES OUT THE SCREENEXT. BOAT -- NIGHTThe two escapees continue paddling.  THEY'VE BEEN CAUGHT.HELICOPTER PILOTYou have 10 seconds.  Turn around.  Start back to the island.INT. HELICOPTER -- NIGHTThe pilot targets the boat on a computer screen in front of him.EXT. BOAT -- NIGHTTwo shots are fired directly in front of the escapees as a warning.They ignore them and continue paddling away from the island.INT. HELICOPTER -- NIGHTEXT. CLOSE UP -- PILOT'S HANDThe pilot FIRES AGAIN.EXT. BOAT -- NIGHTThe boat EXPLODES.EXT. HELICOPTER -- NIGHTFollowing the helicopter as it returns to the base.EXT. BASE -- NIGHTRehme walks back to the main base, pulling out his walkie-talkie on theway.REHMEGotham 4, confirm the kill.HELICOPTER PILOTCircled the base.  Over.REHMESecurity, this is Rehme.  We have confirmation from Gotham 4.  We have akill in midharbor.  South of the battery.  Two in the water dead.SECURITYTwo confirmed.REHMEVery well.EXT. BASE -- NIGHTRehme walks into a building labeled "LIBERTY ISLAND SECURITY CONTROL andpicks up a phone.REHMEAir traffic, this is Rehme . . .EXT. AIR TRAFFIC -- NIGHTThe helicopter lands.  In the background, a BUS FULL OF PRISONERS comesup.EXT. BUS -- NIGHTS.D. "SNAKE" PLISSKEN gets off the bus, looks around, and is escorted bythree guards into the base.  He looks like the essence of cool.  Hishair is long, wavy, and ratty, he lost his left eye somewhere along theline, and he's got a two-day beard thing going on.  He's wearing a blackspandex/kevlar type shirt with zippers across the shoulders, and a pairof camouflage pants with lots of pockets.  His jacket is a brown leatherjacket that has seen far better days, and he's wearing a pair ofhandcuffs that have, instead of the links we're used to, a straightmetal bar between them.  He's not resisting anything, but the police arenot taking any chances.INT. BASE -- NIGHTPlissken and the guards follow a winding stairway down to the mainfloor.VOICEAttention.  You are now entering the debarkation area.  No talking.  Nosmoking.   The next scheduled departure to the prison is in two hours.You now have the option to terminate and be cremated on the premises.If you elect this option, notify the duty sergeant in your processingarea.INT. BASE -- NIGHTEXT. CLOSE UP ON SIGN -- "No talking.  No smoking.  Follow the ORANGEline."EXT. CLOSE UP ON SNAKE.  He is not impressed.STEADICAM VIEW OF THE HALL, SNAKE'S P.O.V. Guards, guards, more guards.Who cares.As Snake rounds the corner:O.S. GUARDHold it.Snake stops, turns, directs an impertinent glance at the speaker.  He'sstill not impressed by any of this.FADE OUT.------------------------------------------------------------------------FADE IN.EXT. BASE -- NIGHTRehme waits as a limo pulls up.  Out steps BOB HAUK.REHMEWe've got a small jet in trouble, over restricted air space.HAUKWhere is it?REHMESeven miles out and closing.The two of them walk AWAY.INT. BASE -- NIGHTHauk and Rehme walk down the stairs.  They turn TOWARD US and walk intothe AIR TRAFFIC ROOM.  Dozens of men sit in front of radar transmissionscreens, wearing headsets and working.   Following Hauk and Rehme intothe room:INT. AIR TRAFFIC ROOM -- NIGHTREHMEWe've been on the board for the last twenty minutes.  We haven't beenable to reach them.  There was a transmission ten minutes ago.  Heidentified as "David 14."  Then all of a sudden he was cut off.Hauk and Rehme stand behind a CONTROLLER.CONTROLLERDavid 14, acknowledge.  David 14, we are sending Air Rescue.  Squawk7700, contact on 121.5.(to Hauk and Rehme)There's still no reply.(to his headset)Bayonne.  I have a mayday in restricted space.O.S. CONTROLLERNew York, I have it.Hauk pulls Rehme aside.HAUKWho is it?REHMEI don't know.HAUKYou have the code?REHMEThere's no David 14 on the computer.HAUKUnlisted?REHMEUnregistered code.  We telexed Washington.  Still waiting for a reply.CONTROLLERI think I've got him, sir.Hauk and Rehme walk back over to the controller.  He patches a voice-over through.REBEL VOICEIt's too late, assholes.  All your imperialist weapons and lies can'tsave him now.  We're going down.  We're going to crash.CONTROLLERDavid 14, acknowledge!CODEMANThe code's coming in, sir.Hauk and Rehme dash over to the codeman.  He shows them a display."Aircraft Identified.  Code: David14.  Decode: AIR FORCE ONE.""Air Force One" blinks as Hauk and Rehme look at each other in shock.EXT. PLANE -- NIGHTThe plane is flying over New York.INT. COCKPIT -- NIGHTThe REBEL has killed the pilot and copilot and is working on her own.REBELTell this to the workers when they ask where your leader went . . .She pulls out a slip of PAPER and proceeds to read.REBELWe, the soldiers of the national liberation front of America, in thename of the workers and all the oppressed of this imperialist countryhave struck a fatal blow to the racist police stick!INT. PLANE -- NIGHTA secret service AGENT taps on the door with his rifle as the rebelcontinues.REBELWhat better revolutionary example than to let the president perish inthe inhuman dungeon of his own imperialist prison?The agent runs back down the plane to the President and his advisers.AGENT(to 2ND AGENT)Unlock the pod!2ND AGENT immediately runs off.PAN LEFT TO PRESIDENT.AGENTShe's bolted the door.PRESIDENTCan't you shoot off the lock?AGENTNo, sir, she's pressurized the cabin.PRESIDENTHow about lifting the door off of the hinges?AGENTNo, sir.EXT. CLOSE UP -- The President's wrist as he handcuffs his briefcase toit.PRESIDENTGet me to the pod.The President and all his advisors stand up and move to the back of theplane.INT. POD ROOM -- NIGHTThe pod opens.  An expert attaches a locating device to the President'swrist.EXPERTSir, this is a locating device to trace you if you become separated fromthe pod.  I'm activating it now.SCREENS on the pod begin to light up as the President gets into the pod.He pushes a few buttons.PRESIDENTGod save me and watch over you all.EXT. BASE -- NIGHTA guard watches as Air Force One descends into New York.INT. BASE -- NIGHTRehme and Hauk watch a computer simulation of the plane.VOICEComputer simulation tracking Air Force One.EXT. NEW YORK -- NIGHTThe plane goes down.INT. BASE -- NIGHTEXT. CLOSE UP -- MONITORSAs the plane smashes into a building, a red dot drops through thebuilding.  It's the pod.O.S. MANIt's down!HAUKIt's the escape pod.REHME40 degrees, 50 yards from impact.HAUKI'm going in.EXT. BASE -- NIGHTHelicopters prepare for, and execute, launch, and fly into New York.  Aguard watches them.INT. BASE -- NIGHTRehme watches monitors as Hauk talks.HAUK1-W-Larry.  Over the battery.  We're moving down.  Direct sight ahead.EXT. NEW YORK -- NIGHTThe helicopters land.  A swarm of policemen run out, and Hauk hangsback.  He follows with a second swarm.  The first swarm assumes adefensive position near the pod.  Hauk examines the pod.  It'sdefinitely empty, and the rest of the jet is surrounded in flames.An odd LAUGH from nowhere.WEIRDO walks out of the darkness.  He nods his head to Hauk.WEIRDOYou touch me... he dies.  If you're not in the air in thirty seconds...he dies.  You come back in... he dies.Weirdo takes a package out of his shirt and unwraps it to reveal thePresident's middle finger, complete with ring.WEIRDOTwenty seconds.HAUKI'm ready to talk.WEIRDONineteen.  Eighteen.HAUKWhat do you want?WEIRDOSeventeen.  Sixteen.HAUKLet's go.  Let's go!Weirdo grins in triumph as the police force swarms back to thehelicopters and hauls ass out of New York.INT. BASE -- NIGHTRehme stands behind a desk, talking on the phone.  Hauk is in theforeground, looking pensive.REHMEYes, he's right here, Mr. Vice President.Hauk picks up a phone.HAUKThis is Bob Hauk.  ...We can't.  If we move in with choppers, they'llkill him.  We're lucky if he's not dead already... They don't wantanything yet.  By the time they figure out what they want, it'll be toolate.REHMETell him we have to go with your plan now.Hauk waves him off.HAUKWe can't wait until tomorrow.  If we have to move in and take theisland, it's a last resort.  It's 8:45.  I want permission to try arescue.  Thank you.INT. HAUK'S OFFICE -- NIGHTHauk calmly arms a .45 pistol.  He looks up from his desk.HAUKAll right.OVERPROTECTIVE SECURITY GUARDHe's dangerous, sir.HAUK(with quiet confidence)I know.  I'll be OK.HAUK'S P.O.V.We see the silhouette of an unmistakable figure.  It's Snake Plisskenall right, live and in the flesh.  The guards leave.  Snake walks intoHauk's office and sits down in the chair across from Hauk.  He raiseshis cuffed hands to Hauk as if to say "Take these off me, asshole," buthe doesn't actually say anything.  Hauk shakes his head.HAUKI'm not a fool, Plissken.SNAKE(coooooool)Call me Snake.Hauk puts on his glasses and proceeds to read a file.HAUKS.D. Plissken.  American Lieutenant.  Special Forces Unit, Black Flight.Two Purple Hearts, Leningrad and Siberia.  Youngest man to be decoratedby the President.  You robbed the federal reserve depository.  Lifesentence, New York Maximum Security Penitentiary. I'm ready to kick yourass out of the world, War Hero.Snake could not care less.  He reaches forward with his still-cuffedright hand, picks up a cigarette, picks up a match with his left hand,strikes the match and takes a drag from his cigarette.  He lets out acalm breath and says:SNAKEWho are you?HAUKHauk.  Police Commissioner.SNAKEBob Hauk...HAUKSpecial Forces Unit.  Texas Thunder.  We heard of you, too, Plissken.SNAKEWhy are we talking?HAUKI have a deal for you.  You'll receive full pardon for every criminalact committed in the United States.Hauk shows Snake the pardon.  Snake's eye lights up.  This is somethinghe wants.  He's interested now, and can't hide it.HAUK(pressing his advantage)There was an accident about an hour ago.  A small jet went down insideNew York City.  The President was on board.SNAKE(re-establishing control over the conversation)President of what?HAUKThat's not funny, Plissken.  (beat)  You go in, find the President andbring him out in 24 hours, and you're a free man.We sense amusement from Snake.  This is not the first time thegovernment has asked him for a favor.  But he's not a soldier or a "WarHero" anymore.  He knows they need him more than he needs their pardon.He's holding the cards now, and he knows it.SNAKETwenty-four hours, huh?HAUKI'm making you an offer.SNAKEBullshit.HAUKStraight just like I said.SNAKEI'll think about it.HAUKNo time.  Give me an answer.Snake turns away.  Hauk is pushing way too hard, and Snake is determinedto be in the driver's seat.SNAKEGet a new president.HAUKWe're still at war, Plissken.  We need him alive.SNAKEI don't give a fuck about your war... or your president.HAUKIs that your answer?SNAKEI'm thinking about it.HAUKThink hard.Snake pauses to take a draw on his cigarette.  Next question:SNAKEWhy me?HAUKYou flew the Gullfire over Leningrad.  You know how to get in quiet.You're all I've got.SNAKEI guess I go in one way or the other.  Doesn't mean shit to me.  Give methe paper.HAUKWhen you come out.SNAKEBefore.HAUKI told you I wasn't a fool, Plissken.SNAKECall me Snake.INT. WEAPONS ROOM -- NIGHTRehme talks as we PAN ACROSS a table full of weapons.  We see two guns,a belt, grenades, several pouches full of various stuff, a flashlight, aUzi, throwing stars, and more.  Snake surveys them with a coolexpression.REHMESome of them have cars.  They took old junkers that were left behind andconverted them to steam.  We think they may also have a gasoline sourcein there, and power.  Greenhouses, rigged up generators.  Some areashave streetlights. The crazies.  Live in the subways.  Complete controlof the underground.  They're night raiders.Snake's not into this.  He'll figure it out when he gets there.  Hepicks up a bracelet with an eagle on it.HAUKTracer.  Sends a radio signal for fifteen minutes.  You push it, we cantrack you on radar.  Just like Leningrad.  But they added something.  Asafety catch.Snake pushes the safety catch.  Simple enough.  And yes, there's thebutton.  This is familiar.  He smiles.INT. HALL -- NIGHTSnake has his jacket slung over his shoulder now.  He walks down thehall to the medical room with Hauk.  Rehme has disappeared.SNAKEWhere am I landing?HAUKTop of the world trade center.  Only place you can land.  They won't seeit, and you can take off from a free fall.  On the roof there's aservice elevator.  It's still operational.  We use it to infiltrate theprison.  There's a power box.  It'll activate the elevator down tofifty.  From there on downyou walk.Snake shrugs on his jacket.  He knows Hauk is just trying to assert hisauthority, and it's not working very well.HAUKYou can locate the President by his vital signs bracelet, on his wrist.It sends out a sig pulse.  Use this.He hands Snake a homing device.HAUKHoming device.  Shows directions and distance.INT. MEDICAL ROOM -- NIGHTSnake and Hauk walk into the room.  They're met by a young medic.HAUKStrong antitoxin.  Stops bacteria and viral-proofs you for 24 hours.Snake braces himself against a table.  The medic is holding aninjection-type tech gizmo.MEDICTake off the jacket.SNAKEI'll be OK.HAUKLet's go, Plissken.Snake shrugs off his jacket, disoriented by the place.  He's nervous.His hackles are up.SNAKEI don't like needles.Hauk straps a timer gauge onto Snake's left hand.  He activates it andthe time blinks on.  It's counting down as we speak.HAUKTwenty-two hours, twenty-nine minutes, fifty-seven seconds...SNAKEWe talked about twenty-four.HAUKIn twenty-two hours the Hartford Summit meeting will be over.  China andthe Soviet Union will go back home.  The president was on his way to thesummit when his plane went down.Snake snorts.HAUKHe has a briefcase attached to his wrist.  The tape recording inside hasto reach Hartford in 22 hours.SNAKEWhat's on it?HAUKYou know anything about nuclear fusion?Snake turns away.  No.  Nuclear fusion is not his area of expertise.HAUKIt's about the survival of the human race, Plissken.  Something youdon't give a shit about.Hauk steps aside.  The medic swabs Snake's neck on both sides.MEDICI'm going to inject you.  It'll sting for a second or two...He raises a couple of hypos and injects Snake with them.  Snake jumps alittle; clearly, this is not one of the world's most pleasant things.HAUKThat's it, Plissken.Snake gets off the table.  The medic turns around.MEDICTell him.SNAKETell me what?Hauk thinks he's got him this time.  Snake doesn't like that.HAUKThat idea you had about turning the Gullfire around 180 degrees andflying off to Canada.Hauk shakes his head.  Snake puts his jacket down and turns to themedic.SNAKEWhat did you do to me, asshole?HAUKMy idea, Plissken.  Something we've been fooling around with.  Twomicroscopic capsules lodged in your arteries.  They're already startingto dissolve.  In twenty-two hours, the cores will completely dissolve.Inside the cores are that heat-sensitive charge.  Not a large explosive.About the size of a pinhead.  Just big enough to --(he gestures)open up both your arteries.  I'd say you'd be dead in ten or fifteenseconds --Hauk stops talking because Snake has grabbed him by the throat.SNAKETAKE THEM OUT NOW.MEDICThey're protected by the cores.  Fifteen minutes before the last hour isup we can neutralize the charge with X-rays.Snake lets go of Hauk to look at his watch.  22:57:38.  37.  36.  Thisis his life he's watching tick away.HAUKWe'll burn out the charges IF you have the President.SNAKEWhat if I'm a little late?HAUKNo more Hartford Summit.  And no more Snake Plissken.SNAKEWhen I get back I'm going to kill you.HAUKThe Gullfire's waiting.EXT. RUNWAY -- NIGHTSnake pulls up in a Jeep.  He walks up to the tiny plane called theGullfire.  Two guards stand by to make sure he just gets in the planeand does his job.  He throws his cigarette out onto the runway andcloses the overhead window.INT. GULLFIRE -- NIGHTSnake turns on his monitors.SNAKEI'm ready.HAUK21 hours.SNAKESuppose he's dead, Hauk.  If I come back without him, you'll burn thesethings out?INT. BASE --- NIGHTHauk and Rehme exchange a glance; Hauk's been expecting this question tocome up.HAUKGet them both back, Plissken.INT. GULLFIRE -- NIGHTSnake doesn't like the response, but figures he can't do anything aboutit.HAUKRemember, once inside you're on your own.SNAKEOh, you mean I can't count on you?HAUKNo.SNAKEGood.EXT. RUNWAY -- NIGHTA larger plane hauls the Gullfire into the air; the Gullfire isessentially a big hang glider.INT. BASE -- NIGHTHauk checks Snake's life clock, "Master Life Clock".20:17:43... 42... 41....INT. GULLFIRE -- NIGHTSnake's watch reads 20:17:40... 39... 38... 37... 36... 35...He starts controlling the plane.  He flips the tracer open and hits thebutton, testing it.INT. BASE -- NIGHTThe master life clock shows the test confirmation.COMPUTERTracer test confirmed at 20 hours, 17 minutes, 30 seconds.Hauk, Rehme and the Vice President nod with relief.EXT. NEW YORK -- NIGHTSnake takes the plane in.INT. GULLFIRE -- NIGHTSnake looks over his monitors.  He sees New York coming up.INT. BASE -- NIGHTHauk waits at his microphone.HAUKAre you picking up the target blip?INT. GULLFIRE -- NIGHTSNAKERight on course.EXT. NEW YORK -- NIGHTThe plane aims for the World Trade Center.INT. GULLFIRE -- NIGHTSNAKEIt's been a while . . .The plane is aiming right at a building.HAUKHow's your altitude?Snake calmly angles the plane up.INT. BASE -- NIGHTHAUKPlissken?  Plissken?  Plissken, what are you doing?INT. GULLFIRE -- NIGHTSNAKEPlaying with myself.  I'm going in.Snake targets the World Trade Center.  He checks his instruments.EXT. WORLD TRADE CENTER -- NIGHTThe plane comes down.  It hits hard.  Snake puts on the brakes, adds agrappling hook, and finally comes to a stop right at the edge.INT. BASE -- NIGHTHAUKPlissken?  Plissken?EXT. WORLD TRADE CENTER -- NIGHTSnake walks over to the elevator.  He uses the power box to get theelevator started.  He looks around, and the doors open.  He gets in theelevator.  The doors close.INT. BASE -- NIGHTSnake's voice comes through the radio.SNAKEI'm inside the World Trade Center on the 50th floor.  Just likeLeningrad, Hauk.HAUKIs the glider intact?INT. WORLD TRADE CENTER -- NIGHTSnake stands with his walkie-talkie in the middle of the graffiti-covered building.SNAKEYeah, but taking off is for shit.  I'll work it out.HAUKYou'll have to use the east stairwell.  It'll take you a little while toget to ground level.Snake checks his life clock.  19:22:44. 43. 42.HAUKCall me when you get outside.Snake puts his walkie-talkie away as someone runs past.  He doesn'tnotice.  He walks on.FADE OUT.------------------------------------------------------------------------FADE IN.EXT. NEW YORK -- NIGHTSnake walks along with his tracer.  He goes through alleys and streets.He draws his gun as he walks by a group of people.  He's armed and readyto fight.EXT. PLANE CRASH -- NIGHTThe plane is still burning.  Smoke is coming from everywhere.  The planeis severed in the middle.  The crash is very impressive.  Snake walksand notices a few people go by.  He pulls out his walkie-talkie.SNAKEI'm at the plane.  Nobody else made it, Hauk.Something beeps.  His tracer.SNAKEWait a minute.He looks at his tracer.  A small red dot lights up in the southeastcorner.SNAKEI've got his pulse.  Right up ahead, moving northwest.He puts away his walkie-talkie and checks his life clock.  18:50:18.17.  16.DISSOLVE TO:Images.  Snake holding the tracer.  He gets closer and comes up to abuilding, formerly a theater.  He walks in.INT. THEATER -- NIGHTThe pulse keeps getting stronger.  Snake walks in.  He holds his gun atthe ready.  There's a truly horrible musical going on.INT. STAGE -- NIGHTACTORSThis is hell!  This is hate!  (etc.)Snake looks around.  No sign of the president, but there is a CABBIEenjoying the show.  Time to move on.  He enters against his betterjudgment, but he's just passing through, so that's OK.INT. STAIRWELL -- NIGHTSnake keeps moving, but there's a noise.  He turns around, aiming hisgun.  Cabbie holds up his hands.CABBIEHey!  You're Snake Plissken, ain't you?SNAKEWhat do you want?CABBIENothin'.Snake lowers his gun.CABBIEI thought you were dead!Snake moves on.CABBIEHey!  You don't want to walk around down there, Snake!INT. BASEMENT -- NIGHTThe signal from the tracer keeps getting closer and closer.  Snake walkspast a gang beating up and stripping a semi-conscious girl.  He doesn'ttake much notice.  He keeps going.  He sees a BUM sitting by a fire.BUMHi, Chief.  Nice night.  Nice boots.  Niiiiice boots.  Hey.A guy tries to sneak up behind Snake.  Snake knocks him out and pointshis gun at the bum.BUMEasy now, chief.  I'm walking.  I'm walking.The bum walks away.  Snake keeps going.  A man beats up another man at asink.  The beatee is wearing the President's life tracer.  Snake kicksthe beater and knocks him out.SNAKEMr. President . . .The man wearing the life tracer looks up and smiles.  He's a DRUNK.DRUNKI'm the President?  Sure, I'm the President.  If I knew where I got thisthing --(indicates the tracer)I'd be the President.SNAKEWhere did you get it?DRUNKI woke up, and there it was, just like a miracle . . .Snake slams the tracer against the sink.INT. BASE -- NIGHTThe President's life signs all fail.OFFICIALOh my god . . .MEDICIt . . . It may be just an impact on the mechanism itself . . .INT. BASEMENT -- NIGHTSnake pulls up his walkie-talkie.SNAKEHauk?!INT. BASE -- NIGHTHAUKI'm right here, Plissken.SNAKEI don't know who you assholes are looking at, but it's NOT thePresident.INT. BASEMENT -- NIGHTSnake holds the walkie-talkie up to the drunk.DRUNK(to the tune of Joy to the World)Hail to the chief . . . La la la la la la . . .SNAKEAll right, get your machine ready.  I'm coming out.INT. BASE -- NIGHTHAUK18 hours, Plissken.INT. BASEMENT -- NIGHTSNAKEListen to me, Hauk.  The President is DEAD, you got that?  Somebody'shad him for dinner!INT. BASE -- NIGHTHAUKPlissken, if you get back in that glider I'll shoot you down.  You climbout, I'll burn you off the wall.  You understand that, Plissken?INT. BASEMENT -- NIGHTSnake stares at his walkie-talkie.SNAKEA little human compassion . . .EXT. NEW YORK -- NIGHTSnake walks on.  He's in an area with streetlights.  He keeps going.EXT. POD -- NIGHTSnake stares at the pod.  No clues.  He looks around.  Nothing.  As hecomes back up, he sets up a chair and sits down heavily.  He touches hisneck.  It's like he can feel the cores dissolving.A crazy walks past, bangs on manhole covers.  Snake doesn't know whathe's doing, but he doesn't like it.  Especially not when the manholecovers start to rise up.  He runs off.EXT. CHOCK FULL OF NUTS -- NIGHTSnake finds the restaurant, and runs inside.  No one follows.INT. CHOCK FULL OF NUTS -- NIGHTSnake backs into a corner.  The floor is weak and starts to go out fromunder him once.  He gets into the shadows.  There's someone there.GIRL IN CHOCK FULL O' NUTSYou a cop?Snake levels his gun at her.SNAKENo . . .GIRL IN CHOCK FULL O' NUTSYou've got a gun.  You got a smoke?Snake tosses her his cigarettes.  She lights one.SNAKEKeep your hand over it.GIRL IN CHOCK FULL O' NUTSIt's all right if we're quiet.  They won't hear us.(reacting to the cigarette)Hey, this is a real one.  You just get in?SNAKEWhat's going on out there?GIRL IN CHOCK FULL O' NUTSCrazies.  It's the end of the month.  They're out of food.SNAKEDo you live here?GIRL IN CHOCK FULL O' NUTSSkulls?  You kidding?  I'm with the Turks now.  I just got caught in thestreet after dark and now I'm stuck here all night.SNAKEA plane crashed seven hours ago.  Did you see it?GIRL IN CHOCK FULL O' NUTSNo.SNAKEShit.GIRL IN CHOCK FULL O' NUTSYou're a cop.SNAKEI'm an asshole.GIRL IN CHOCK FULL O' NUTSHey, wait a minute.  I know who you are.  Yeah!  But I heard you weredead.SNAKEI am.GIRL IN CHOCK FULL O' NUTSWow, Snake Plissken.  All right!  What you doing in here with a gun,Snake?SNAKELooking for somebody.GIRL IN CHOCK FULL O' NUTSWho?SNAKEThe President.GIRL IN CHOCK FULL O' NUTSCome on!  He really here?SNAKESomewhere.GIRL IN CHOCK FULL O' NUTSWhen you find him, are you gonna take him out?SNAKEMm-hm.GIRL IN CHOCK FULL O' NUTSTake me out with you, Snake.SNAKEWhy?GIRL IN CHOCK FULL O' NUTSI can think of lots of reasons why . . .She makes a move to kiss him, but there's a noise.  They split up, butshe gets sucked through the floor.  Snake tries to save her, but it'stoo late.  He gets the hell out of there.INT. BUILDING -- NIGHT, EXT. NEW YORK -- NIGHT, EXT. ALLEYS -- NIGHTSnake runs through the building, breaks a window, and climbs up a fireescape to get to a new floor.  He breaks a window to get in, then pullsa cabinet in front of the window.  He shoots through the cabinet,causing some crazy to scream.  He busts down a door, shoots open part ofa wall, busts through that, climbs out a window, and climbs down atelephone pole.  He then climbs up a wall.  On the way he drops hiswalkie-talkie.  He runs down an alley, and as he does, Cabbie pulls up.CABBIEWhere you goin', buddy?Snake points his gun at Cabbie.  He looks behind him, then gets in thecab.INT. CAB -- NIGHTSnake notices a tape player which is playing the theme from "AmericanBandstand."CABBIEBad neighborhood, Snake!  You don't want to be walking from the Boweryto 42nd street at night!  I've been driving a cab here for 30 years andI'm telling you, you don't walk around here at night!  Yes, sir!They'll kill you and strip you in ten seconds flat.  Usually I'm notdown around here myself, but I wanted to catch that show.Cabbie lights a rag stuffed down the neck of a bottle which is full ofgasoline.CABBIEThis stuff is like gold around here, you know.EXT. CAB -- NIGHTCabbie throws the bottle into the alley, where it explodes.INT. CAB -- NIGHTCABBIEHey, Snake, when'd you get in?  I didn't even know they caught you.(laughs)Ohhh, Snake Plissken in my cab.  Wait'll I tell Eddie!  Hey, hang on,Snake.EXT. CAB -- NIGHTCabbie makes a sharp turn.INT. CAB -- NIGHTCABBIEHey, what were you doing back there, Snake?SNAKELooking for somebody.CABBIEWell, why didn't you ask me?  Hell, I know everybody in this town.  Yes,sir.  I've been driving this cab for thirty years, this very same cab.Snake points his gun at Cabbie.SNAKEI'm GONNA ask you.  Now where's the President?CABBIEThe Duke's got him!  Everyone knows the Duke's got him!  You don't haveto put a gun to my head.  I'll tell you!SNAKEWho's the Duke?CABBIEThe DUKE!  The Duke of New York!  A-Number-1!  The big man, that's who!SNAKEI want to meet this Duke.CABBIEYou can't meet the Duke, are you crazy?  Nobody wants to meet the Duke!You meet him once and then you're dead!Snake points the gun more insistently.  Tough.EXT. BRAIN'S BUILDING -- NIGHTCabbie parks the cab and he and Snake walk up to Brain's building.CABBIEI hate to leave her on the street.  Usually I don't leave her alone atall.  But you're a special case, Snake.He and Snake walk up to the door.  Cabbie knocks on the door with hisshoe.CABBIEIt's OK, Snake.  It's a better neighborhood.  You can relax.Relax?  Snake checks his life clock.  17:40:46. 45. 44.  Relax, my ass.SNAKEThanks.CABBIEBoy, they got a great place here.  Like a fortress!SNAKEThey?From the inside, someone answers.MAGGIEWho is it?CABBIEIt's me!MAGGIEWho's me?CABBIECabbie!MAGGIEWhat do you want?CABBIESomebody wants to see Brain, it's important --MAGGIENo way, Cabbie --CABBIENo, it's Snake!  Snake Plissken!Maggie opens the door.  She stands there and surveys the pair.MAGGIEYOU'RE Plissken?CABBIEHe wants to see Brain.MAGGIEWhy?SNAKEI want to meet the Duke.Snake and Maggie exchange a glance.  She leads them in.INT. BRAIN'S -- NIGHTCABBIEHey, what do you think of this place, Snake?  It used to be a publiclibrary.  Oh, that Brain, he's the greatest!  Mr. Fabulous!  Duke loveshim.SNAKE(gesturing at Maggie)Who's that?CABBIEThat's Maggie.  Brain's squeeze.  The Duke gave him to Brain just tokeep him happy . . . see what I mean?Snake can tell that Maggie's more than just Brain's squeeze; she's hisbodyguard, too.  She looks like she'd be willing to kill to protectBrain.MAGGIEHeard you were dead.INT. BRAIN'S ROOM -- NIGHTCABBIEBrain?  Brain!  I brought somebody to see you!Snake looks at Brain.  He knows this guy.SNAKEHarold Helman.Brain puts down his book and stands up.BRAINSnake?MAGGIE"Harold"?SNAKEWhere you been, Harold?  It's been a long time.MAGGIEYou never told me you knew Snake Plissken, Brain.CABBIEIsn't that great?  Hey, Brain, I could use some gas if you can sparesome . . .No one pays attention.  Snake advances on Brain.  Brain sits down.SNAKEI'm glad you remember me.  Yeah.  A man should remember his past.Kansas City, four years ago.  You ran out on me.  You left me sittingthere.BRAINYou were late.SNAKEWe were buddies, Harold.  You, me, and Fresno Bob.  You know what theydid to Bob?His face changes.  He suddenly kicks Brain's chair into the wall andpoints his gun.Maggie draws a knife and starts advancing on Snake.SNAKEYou want to see him sprayed all over that map, baby?(to Brain)Where's the President?!BRAINSwear to god, Snake, I don't know --SNAKEDon't fuck with me!BRAINWhy do you want to know?SNAKEI want him.BRAINWorking for the man now, huh?SNAKEThen I'll just beat it out of your squeeze --BRAINMm-hm.  Maggie doesn't know EXACTLY where he is and unless you knowEXACTLY PRECISELY where he is you'll never find him.Snake takes his gun away.  He contemplates Brain.SNAKEListen, I'll take you out of here.  Yeah.  Jet glider just a couple ofblocks down the street.  And all you gotta do is get me to him.Everyone realizes the importance of this.CABBIENo kidding?  On the level?  Will you take me, too?BRAINWe've got to deal somewhere else.SNAKENo glider.MAGGIEWe've got the President.  And the Duke's taking everybody out of here.SNAKENever happen.  See, I know something you and the Duke don't know.  We'veonly got so long before Mr. President don't mean a whole lot.BRAINYou're lying.MAGGIEMaybe he's not . . .BRAINI know him!  Look at his face, he's lying!SNAKERight, Harold.  I'm lying.  So I might as well have some fun and keeplooking by myself.He cocks his gun and points it at Brain again.MAGGIEBrain --SNAKETalk to him, baby --MAGGIEBrain, he'll kill us both if you don't tell him --CABBIE(panicking)Brain, you've got to tell him!MAGGIE(panicking)Brain, you've got to tell him --CABBIE(panicked)Tell him, tell him, tell him --BRAINALL RIGHT!!!Snake lowers the gun.SNAKEYou always were smart, Harold.BRAINJust one thing right now.  Don't call me "Harold."EXT. BUILDING -- NIGHTSnake, Maggie, Cabbie and Brain all walk out.SNAKESo you work for this Duke, huh?BRAINYeah.  Make gas for him.  Figure out things for him.SNAKELike what?BRAIN(showing off)Like how to get across the 69th street bridge -- it's mined, but I knowwhere they're planted.MAGGIEWe got a diagram from a guy that got all the way across . . . beforethey shot the poor bastard.BRAINWe got a crew up there now clearing the way across the first barricade.CABBIEWhat a sight, Snake!  The whole camp rolling right across the bridge andthe President right out front!  Oh, that would have been so fine . . .MAGGIE(ironically)Yeah, it would have been . . .CABBIEYeah, but we're going with Snake now.The three of them cross into the street.  Cabbie panics.CABBIEThat's the Duke!  I know the sound of his engines.  Don't cross the Duke-- everybody knows that.We get one glimpse of the Duke's car.  Then we realize that Cabbie isgone and his cab is racing away.MAGGIECabbie, you slime!The Duke's car heads right for us.MAGGIENo, Brain!The two of them run off.  After a while, Snake follows.  The three ofthem hide.  The Duke's car is an old Chrysler with chandeliers suspendedover the headlights.  It's in a caravan of three, leading the way.  Afourth car comes up later.  The Duke is sitting in the passenger seat ofa car with Weirdo in the back.  The Duke gets out of the car, Weirdo athis side.  The Duke is wearing a cowboy hat, sunglasses, a snazzyjacket, bluejeans, and boots.  He looks TOUGH.  He sends Weirdo to knockon the door.MAGGIEHe's looking for you, Brain.SNAKEWhat does he want?BRAINHe wants my diagram of the bridge.  When he finds out I'm with you he'sgoing to want my life!  Shit, Plissken, I knew I shouldn't have listenedto you --SNAKEWe've got to get to the President NOW, while he's busy.BRAINForget it, he's on the other side of town and we got no wheels.  Thedeal is off --SNAKEJust calm down.EXT. CAR -- NIGHTA lone man sits, looking bored.  Snake subtly goes up to him, knocks himout, and gets him out of the car.  He briefly considers shooting the guyon the hood of the car.  Instead, the guy on the hood of the car walksaround.  Snake knocks him out a second alter and then drives to getBrain and Maggie.  He knocks the other guy out of the car.BRAIN(panicked)I think they saw us!  Turn left, turn left here!INT. CAR -- NIGHTMAGGIEBrain, this is Broadway.BRAINI know, I know, the Duke'll take Seventh Avenue, Broadway is fiveminutes --MAGGIENo!!!BRAINYes!!!  Just keep driving!SNAKEWhat's wrong with Broadway?EXT. BROADWAY -- NIGHTSNAKE(to the car)Come on sweetheart . . .People start throwing bricks.  Snake hands his gun to Brain, who passesit to Maggie, holding it like a dead rat (or like a macho guy would holda purse).  Snake drives as fast as he can, gunning off the bystander whogets on the car.  A bystander grabs Brain.BRAINMaggie!Maggie protects him.  She shoots the people grabbing at him.  Snakeangles the car through a pile of scrap metal and drives away.  He glaresat Brain.  Everyone seems visibly shaken.SNAKEHold on.Snake backs the car through a bunch of piled cars.  He takes off, thecar a bit worse for wear but at least they got away from the crowd onBroadway.EXT. TRAINS -- NIGHTBrain points to the cars as Snake watches.BRAINHe'll be in the third car from the end, by the last campfire.Snake looks around.  The Duke's caravan passes.  There are more carsthan there were before.BRAINIt's all right.  He's got to go in the front way.  It'll take him fiveminutes.  If you're not back to the car in four minutes you're on yourown.SNAKEWhen we get there, Harold, you just keep talking.They drive off.  Snake gets to the trains.  No one notices.  Maggie andBrain get out of the car and Snake ducks into the train car.BRAINHi, guys.  Hi . . . how's it going?  Cooled off a little, huh?HEAD DUDEWhat do you want, Brain?BRAINDuke told us to wait inside.  He's on his way here now.HEAD DUDEHe didn't say nothing to us about it.BRAINWell, you can't expect him to tell everybody in the joint, now can you?That's why he's the Duke.The camera angles back to show Snake walking on top of the railroadcars.  He hasn't found the President yet. But he doesn't have time towonder if Brain double-crossed him.HEAD DUDEWhy don't we wait outside here for him?BRAINWhy don't we wait inside for him?HEAD DUDE'Cause I got orders, that's why.BRAINWhat are your specific orders, by the way?HEAD DUDESpecific orders, Brain, was for me not to let no one go inside.BRAINHow's the President holding up, by the way?  Any political discussionyou've had with him?INT. PRESIDENT'S TRAIN CAR -- NIGHTTwo guards sit with the President, talking.  The first guard is by thePresident.  The second is looking out the window.SECOND GUARDThat Brain is a real pain in the ass.  He's always sniffing around likea dog.FIRST GUARDHe comes up with the gas.The second guard looks out the window.  Snake grabs him by the neck, andbreaks it.  The first guard doesn't notice, but the President does, andthat tips off the guard.FIRST GUARDWhat are you looking at?He turns and Snake throws a star at him.  It lodges right in his brain,but not fast enough.  Snake is hit in the leg with a crossbow arrow.Snake limps over to the President and starts uncuffing him.  Thepresident still has the briefcase.  This is it, this is the big time.Snake keeps calm.PRESIDENTAre you from the outside?SNAKEStop shaking.PRESIDENTI can't!  Who are you?SNAKEHauk sent me.  We've got to move fast.PRESIDENTMove fast?  You're goddamned right I'll move fast.SNAKEQuiet!Snake limps away, President in the lead.EXT. TRAIN -- NIGHTSnake and the President keep moving.  Suddenly, Snake gets jumped.  Tenguys surround him and the President, and though Snake fights well, it'snot well enough.  Brain comes out with Maggie.BRAINThey got him.  Now watch him.The Duke steps out from the car, followed by Weirdo.DUKEFriend of yours, Brain?BRAINHe had a gun on me, Duke, there was nothing I could do.DUKE(not believing it for a second)Uh-huh.Weirdo points accusingly as he and Duke walk away.BRAINMaggie . . .Duke walks up to Snake.  Snake isn't giving in even though he's prettysure he's beat.DUKEWho are you?Snake doesn't answer.  Duke grabs the arrow still lodged in his rightleg and pulls on it.  Snake writhes in agony.DUKEI said who are you?BRAINSnake Plissken, Duke.  The Man sent him in here.  Something's going down. . . we need him.Duke recognizes the name.  He is impressed.  He lets go of the arrow.Snake hates him more than ever.DUKESnaaaaaake Plissken.  I've heard of you.He raises a crowbar over his head and smacks Snake with it, knocking himout.DUKEI heard you were dead.EXT. NEW YORK -- NIGHTA helicopter flies over the city.INT. HELICOPTER -- NIGHTThe pilot looks at a grid-view of New York.SURVEILLANCE 4This is surveillance 4 to security control.  Nothing on the infraredbody scan.  Nothing in the searchlight. There aren't any fires on thestreet.  Nobody moving down here.INT. BASE -- NIGHTHauk, Rehme and the Vice President wait.SURVEILLANCE 5Surveillance 5 . . . security control . . . negative on infrared bodyscan . . . no movement in the searchlight . . . nothing strange going ondown there.They look at the Master Life Clock.  12:27:39.  38. Where's Plissken?INT. ROOM -- DAYPlissken lies unconscious on a bed, crossbow pointed at his head.  Threeguards are at the ready.INT. BASE -- DAYVICE PRESIDENTWe've got to go in now.HAUKWe hold.VICE PRESIDENTYou're countermanding my orders, Hauk.HAUKThis is my prison, I'll give the orders.VICE PRESIDENTI override all that!HAUKJust try.EXT. NEW YORK -- DAYUnbelievable smog.  Helicopters fly.SURVEILLANCE ?...still negative on the scan.SURVEILLANCE 4This is Surveillance 4 to Security Control.  Nothing on the infraredbody scan.  Negative on the sweep.EXT. WALL -- DAYHauk stands on the wall, listening.SURVEILLANCE 10Surveillance 10.  Still negative on the scan.SURVEILLANCE 5Surveillance 5 still negative.SURVEILLANCE 4This is Surveillance 4 to Security Control.  Nothing on the infraredbody scan.  Negative...INT. ROOM -- DAYSnake begins to come to.  We hear gunshots and cheering.  The guards goto announce Snake's consciousness.INT. HANGAR -- DAYBrain and Maggie move to the center of the gunshots and cheeringINT. TARGET PRACTICE -- DAYThe Duke sits firing with Plissken's gun at the President, whosebriefcase is still chained to his arm.INT. ROOM -- DAYSnake sits up.  There are LOTS of crossbows aimed at him.GUARDDon't move, Snake.Snake turns to face him.  He stands up.  We see for the first timeexactly why he's called "Snake" Plissken.  There's a snake tattooed onhis stomach.  The snake's tail disappears into his pants, but we have agood idea of where it leads and what it becomes.  Ah ha.Snake's life clock is gone.  He has no idea how much time he's got.Shit.INT. TARGET PRACTICE -- DAYDUKEI want that diagram, Brain.BRAINOh. It's at my place, Duke.  Duke, that Plissken said something about atime limit.DUKEWhat time limit?BRAIN(gesturing at President)On him.DUKEThat's a lot of crap.(to the President)What did I teach you?PRESIDENT(weakly)You... You are... the Duke of New... New York... You're... A-Number-One.DUKEI can't hear you.PRESIDENTYOU ARE... THE DUKE OF NEW YORK... YOU'RE A-NUMBER-ONE!DUKE(to Brain)Get me the diagram.BRAINDuke... Don't kill Plissken.  We need him.The Duke points the gun at Brain, but doesn't even give him a glance.DUKEGet moving, Brain.Brain moves, and Weirdo laughs that odd laugh.  The Duke fires at thePresident's briefcase.  Papers and a tape fall out.  Weirdo looks downand kicks the tape away.  He picks it up and holds it to his ear, thenputs it in his pocket.  Guards come and unstrap the President.  The Dukehas decided to take Snake a bit more seriously than he had.Which is not saying much.EXT. NEW YORK -- LATE AFTERNOONHelicopters fly above ground.  A group stands with a car, gesturingwildly.INT. HELICOPTER -- LATE AFTERNOONPILOTPeople out below in the park.  Can you see them?INT. BASE -- LATE AFTERNOONPILOTSurveillance 2 to Security Control.  We're getting that readout, mostlyin the infrared.Hauk and Rehme immediately check out the monitor.  At least something'sgoing on.PILOTWe have a visual sighting on it.  It's a crowd of prisoners in CentralPark.  They're waving at us.  Signaling us in the food drop area.They're waving us down.EXT. CENTRAL PARK -- LATE AFTERNOONThe prisoners wave the helicopters down.  A group of guards lands andruns over to the station wagon.  They get the briefcase which has beensawed off the President's handcuffs.INT. ROOM -- LATE AFTERNOONSnake is awake and surrounded by guards.  The cheers are louder.INT. BRAIN'S -- LATE AFTERNOONMaggie walks across the room, loading a gun.  It's one of Snake's.BRAINI still can't figure out whether that son of a bitch Plissken wastelling the truth or not.  God, I hate that guy.Brain stands in front of his maps.MAGGIEHe got in somehow.BRAINYeah, yeah, but how?  You gotta land the glider and take off.(he gestures at the map)You can't do it in Central Park, there's too many trees.  PortAuthority's too low to the ground.  Unless it was some...(he gets it... they don't call him "Brain" for nothing)Someplace high up.  World Trade Center.  That's it.  There we go.  TheWorld Trade Center.  And it's gonna be a hell of a lot easier for me totake off than it was for him to land.INT. BASE -- LATE AFTERNOONHauk reads the note left in the briefcase.HAUK"Amnesty for all prisoners in New York City in exchange for President.69th Street Bridge tomorrow, 12 Noon.  No bullshit or he's dead."VICE PRESIDENTWhere's the tape?HAUKNot here.He reaches inside and removes a pair of goggles.REHMEThey're Plissken's.Yeah, they were on the table.  He never did use them, though, and onlyhalf of them is necessary in his case anyway.VICE PRESIDENTSo much for your man, Hauk?Hauk hesitates.  This is the last thing he wants.HAUKWarm up the choppers.  We're moving in.EXT. BASE -- SUNSETHelicopters prepare for takeoff.INT. BASE -- SUNSETHauk sits at the microphone.HAUKPlissken?The master life clock reads 1:56:38. 37. 36,INT. ROOM -- SUNSETSnake slowly gets to his feet.  He's still groggy, but it's time for himto move.GUARDCome on, get up!Snake limps through a hallway and into a stadium.INT. STADIUM -- SUNSETBoos greet Snake as he walks in.  In the center of the room is afighting ring.  Snake climbs in, not without effort.  A huge andextremely ugly man climbs into the ring, amid loud cheers.  Snakenotices that the huge ugly dude is wearing his life clock.  In thebalcony above is the Duke.  The Duke stands up and raises his arms, andeveryone gets silent.DUKEThey sent in their best man.  And when we roll down the 69th streetbridge tomorrow on our way to freedom, we're gonna have their best manleading the way.  From the neck up.The crowd cheers.DUKEOn the hood of my car!More cheers.DUKELet's do it!Ugly and Snake take bats.  They circle each other.  Ugly strikes atSnake.  Snake ricochets off the ring.  He rolls around, fighting for hislife.INT. BUILDING -- SUNSETBrain and Maggie walk around.  They knock on a door and Weirdo answers.He's wearing Cabbie's hat.WEIRDOHello.BRAINWhere'd you get the hat?WEIRDOGot it from Cabbie.BRAINYeah?WEIRDOTraded him.BRAINFor what?WEIRDOWhat are you so nervous about?BRAINI'm here to see the President.WEIRDOWho says?BRAINThe Duke.WEIRDONo he doesn't.BRAINWell... I'll have to tell him you said that.Weirdo doesn't really believe it.  If it's not true, so what?But if it IS true, the Duke will have him tortured to death.WEIRDOWait a minute.  Why?BRAINHe's got something hidden in his clothing.  The Duke wants it.WEIRDOWhat?BRAINI'll show you.WEIRDOYou'll tell me.BRAINCyanide capsules.  The Duke don't want a dead president.Brain pushes his way in.INT. ROOM -- SUNSETBRAINGentlemen.  Mr. President.Weirdo lets the door slide closed.  Brain starts checking thePresident's clothes.  The President has been dressed in a wig and tiedto a chair with an American Flag on it.WEIRDOCyanide?BRAINYeah.  He might try to take it tomorrow.Weirdo walks up to Brain.WEIRDOThat's bullshit.  You're not supposed to be in here, Brain --Brain stabs Weirdo, who dies with a gasp.  Maggie dispatches of thethree guards.  She smiles.  Brain unties the President's hand.  ThePresident snatches off the wig in a rage.INT. TOURNAMENT -- SUNSETSnake notices a guard wearing the eagle tracer.  A trash can lid and abat with spikes on it is handed to him.  The next round begins.EXT. HOUSE -- EVENINGBrain, the President, and Maggie sneak out.  A guy in a cowboy hatnotices.INT. TOURNAMENT -- EVENINGUgly and Snake keep fighting.  Snake is not doing very well.  But he'scatching up.  As Ugly tries to hit him, he nails Ugly in the groin, thenin the back of the head.  The crowd begins cheering "SNAKE!  SNAKE!"The Duke can't believe it.  Snake runs to the guard with the tracer andactivates it.INT. BASE -- EVENINGThe Master Life Clock begins blinking "Tracer Status: ACTIVATED."COMPUTERTracer activated at one hour, thirty-five minutes, twenty-seven seconds.Rehme jumps out of his seat.REHMEHauk!!INT. TOURNAMENT -- EVENINGSnake limps around, getting his stuff back together.  He looks at hislife clock.  1:34:54.  53.  He doesn't have much time.The guy in the cowboy hat runs up to the Duke and yells for attention.Duke immediately gets up and leaves, as do his hangers-on.GUY IN COWBOY HATLISTEN!!!  LISTEN!!!  LISTEN!!!The crowd shuts up.GUY IN COWBOY HATTHE PRESIDENT'S GONE!  BRAIN TOOK HIM!The crowd rushes out.  Snake limps out of the ring and runs off as fastas he can.EXT. BASE -- EVENINGRehme catches up to Hauk at the last second.  Hauk has been stalling.REHME(shouting over noise)Hauk!  Plissken's tracer!Hauk runs up to the head helicopter pilot.HAUKGet on the radio!  Keep them down!  Nobody move!INT. BASE -- EVENINGTwo monitors show Snake's tracer.REHMEHe's approaching the World Trade Center.HAUKI knew that son of a bitch was alive.REHMEHe's inside.INT. WORLD TRADE CENTER -- EVENINGSnake limps around.  He notices a cab.  Fifty flights of stairs withhis leg shot to hell.  He hesitates only for a second, then starts up.INT. BASE -- EVENINGThe Vice President, Hauk and Rehme all stand, staring at the monitors.VICE PRESIDENTIt's gone.HAUKThe signal only lasts for 15 minutes.  Download the choppers.  We're ina standby situation.Rehme runs off.VICE PRESIDENTAnybody could have pushed that button.HAUKOnly Plissken knew there was a safety catch.  Now we'll give him alittle more time, just to make sure.The master clock shows 59:44. 43.EXT. WORLD TRADE CENTER -- NIGHTSnake gets out of the elevator.  Maggie, Brain, and the President alltake cover behind a chimney and try to get a gang to stop chopping downthe glider.  It doesn't work.  The glider floats away.BRAINGoddamned redskins!  They're savages, Mr. President!Snake runs to get them.  They get in the elevator.INT. WORLD TRADE CENTER -- NIGHTSnake has the President by the arm and is leading everyone out.BRAINListen, Snake, I swear to god, I thought you were dead --SNAKEYeah, you and everybody else.He grabs Brain by the tie and aims the gun at his head.SNAKEThat's your car in the lobby?  The keys!  Quick!  Quick!  Diagram of thebridge!  Hey, hey, hey --Snake takes all the abovementioned items.BRAINI'm the only one who knows how to read that, Snake --SNAKEStay out of my way, Harold.BRAINBesides, you can't read and drive at the same time.  You need us!Snake is tired.  He's pissed.  He's got half an hour to live if that.He doesn't have time for Brain's shit, and he lets him know it.SNAKEYou shouldn't have double-crossed me again, Brain.  Come on, let's go --He suddenly notices there's nothing on the end of the President's chain.He holds it in front of the President's face.PRESIDENTThey sawed it off...SNAKEThe tape?PRESIDENTGone... I don't know where...BRAINI do.Snake shoots him a look.  Bullshit, his eyes say, but maybe Brain istelling the truth.  Maybe.BRAINSwear to god, Snake, I know where it is.  Just take us to the car andI'll take you right to it.SNAKEShit...He tosses the diagram of the bridge to Brain.  They go down the stairs.Snake's in bad shape, but it's everyone else who's complaining.MAGGIEDon't talk.  Breathe.PRESIDENTCome on, come on, we're wasting time!Snake gets into the car.  It won't start.BRAINWhat's wrong?SNAKEDead, Harold.BRAINWhat?!Snake hands the keys to Brain.SNAKEHere, take these.Snake looks under the hood.  There's a man with a crossbow pointedstraight at him.  Shit.  They've been caught.  Again.DUKECar trouble?Snake looks over the hood.  There's the Duke.  With a dozen guards.Brain steps out.BRAINHi, Duke.DUKEThis whole deal of yours is over, Snake.  You and Brain just say good-bye to each other.The Duke turns away and loses aim of his gun for a moment.  At thatmoment, Snake pulls a gun and fires at the steam vent.  At the sametime, Maggie slams the hood shut on the guard with the crossbow.  Steamflies everywhere, enough for cover.  The four of them run for it.  TheDuke runs after them.EXT. NEW YORK -- NIGHTA cab pulls up.  Its radio is playing "American Bandstand".  Guess who'sdriving?  You got it!The group of four runs up to the cab.  Snake runs around and makesCabbie scoot over.  He wants to drive.  Cabbie looks shocked.PRESIDENTGO, GO!The Duke and his followers arrive too late.INT. CAB -- NIGHTBRAIN(trying to explain the map)...and then there's three more...Snake waves him off.  Cabbie's trying to make conversation.MAGGIEThey're behind us --BRAINThey come in groups of threes!Snake pops the American Bandstand tape out of the tape player and putsit in his pocket.SNAKEWhere's the tape, Brain?CABBIEWhat tape?SNAKEWhere is it?BRAINTape...PRESIDENTThe tape from the briefcase!CABBIEOh, that tape!He pulls it out of his pocket.CABBIEHere it is!Cabbie hands it to Snake.  Brain laughs, trying to cover his ass.BRAINYou traded away your hat for it!CABBIEHow'd you know?BRAINSee, see!Snake pops it into the deck.  It begins spewing out information.  It'sthe right one.  He slips it into his pocket.PRESIDENTHere, give me that tape!HA!  No way!SNAKENot just yet.Snake checks his life clock.  23:20. 19. 18. 17.  Didn't that guy say 15minutes before the last hour was up?  But Hauk said they'd been playingwith this, so the 15 minutes was built in already.  Still, 23 minutes.That's cutting it pretty fucking close.EXT. CAB -- NIGHTSnake races as fast as the cab can go.INT. CAB -- NIGHTSnake checks to make sure they're not being followed too closely.They're not.  The Duke is behind, but he's FAR behind.CABBIEEasy... easy!BRAINGo for it, Snake!EXT. 69TH STREET BRIDGE -- NIGHTSnake jumps the car over the first obstacle.  Cabbie looks like he'shaving a heart attack.Snake swerves on Brain's direction.  So far so good.  A mine goes off,but it's behind them.The Duke goes forward.  He's going by the seat of his pants.  But heknows the general direction of how Snake went.  A mine goes off behindhim, too.INT. CAB -- NIGHTBrain reads the map.  Cabbie continues to freak out.CABBIEYou've got to slow down a little, Snake...BRAINI think there are three mines ahead, Snake.MAGGIEYou think?!EXT. 69TH STREET BRIDGE -- NIGHTThe Duke continues in pursuit.INT. CAB -- NIGHTBRAINStay left, stay left, stay left, and then jog right when I tell you.CABBIEYou're pushing her too hard, Snake.BRAINOK, OK, NOW!EXT. 69TH STREET BRIDGE -- NIGHTThe cab explodes, being cut right in half.  Everyone makes it exceptCabbie.  Cabbie had been driving that very same cab for thirty years.He died with it.The President, Snake, Maggie and Brain all keep going on foot.BRAINI said JOG RIGHT!... you asshole.Brain leads the way as they keep crossing the bridge.BRAINStay to the right, stay to the right, now jog left.  Hold it, left...left... LEFT, DAMMIT!The other three go right.  Brain goes left and a mine explodes underhim.  Maggie walks up to the body in shock.  Snake limps up to her.MAGGIEBrain...SNAKEKeep moving...The Duke's car is coming.  Snake checks his life clockSNAKEMaggie... he's dead.  Come on.Maggie calmly holds out her hand.  Snake smiles and hands her his gun.His grin grows.  It's one of respect for what she's about to do.  Heruns off after the President.Maggie walks around to Brain, then steps in front of him.  She pointsthe gun at the Duke's car.  The first three shots don't connect.  Thefourth nails the headlight, and then the Duke runs her over.  He keepsgoing.INT. BASE -- NIGHTRehme runs up to Hauk and the Vice President.REHMEStation 19!  They spotted two cars on the 69th street bridge.HAUKIs it Plissken?REHMETaxicab and a Cadillac.  Taxi hit a mine.  There's four people on foot.VICE PRESIDENTFourteen minutes...HAUKGet a jeep with a winch over there fast.He pulls out a phone.HAUKStrombaerden!  Get over to Station 19.  They're coming across thebridge.EXT. 69TH STREET BRIDGE -- NIGHTThe President and Snake run on.EXT. WALL -- NIGHTA jeep pulls up.  Rehme's voice comes up over the loudspeaker.  Theguards on the jeep ready the winch.REHME This is Rehme, Security Control.  We are in a standby situation.Repeat.  We are in a standby situation.  All helicopters, down.  Wallguard, do not fire on prisoners.  Repeat, do not fire on prisoners.  Allvehicles, stand by.  Repeat, stand by.EXT. 69TH STREET BRIDGE -- NIGHTSnake and the President are close enough to the wall to hear all this.EXT. WALL -- NIGHTThe wall guards grab the rope and prepare to lower it for the Presidentand Snake.EXT. 69TH STREET BRIDGE -- NIGHTSnake pushes the President up to the wall.  The winch comes down andSnake helps the President into it first.  The President goes up andover.  Snake's life clock reads 1:32.  But he doesn't have time to watchseconds tick away because the Duke is right behind him firing at him.Snake ducks for cover.  The wall guards die.  The winch comes downagain, and the Duke sees it.  He starts toward it.  Snake tackles himand beats him up, dazing him but not knocking him out.  He grabs thewinch.EXT. WALL -- NIGHTA hand stops the winch from moving.EXT. 69TH STREET BRIDGE -- NIGHTSnake comes to a stop.  He panics and starts pulling on the winch line.The Duke comes to and stands up.  But he can't get anywhere because thePresident has found a machine gun and is now firing away.  He is veryaccurate.  He nails the Duke right away but keeps firing.PRESIDENT(manic voice)Yeah, hey, Number One!  You're the Duke!  You're the Duke!The President calms down somewhat.PRESIDENTYou're... the Duke... You're A-Number-One.The President starts the winch again.  Snake climbs up and gets over asfast as he can without injuring himself.EXT. WALL -- NIGHTHauk and the medic pull up with the machine.  Hauk interrupts the medic.HAUKThe tape, Plissken.Snake reaches into his pocket, grabs the tape, and hands it to Hauk.  Heis furious.  As soon as Hauk has the tape, he lets the medic come back.He holds up two medal pads to Snake's neck.  They buzz, they buzzlouder, and then he takes them away.MEDICThat's it.Snake continues to pant and fume.  He stares at them, then lifts hiswrist to look at his life clock.  2 seconds.  One second.Beep.Nothing.Snake lowers his wrist.EXT. PRESIDENT'S PRESS CONFERENCE SITE -- NIGHTA jeep pulls Rehme up.  He jogs to the President, who is being shavedand prepared for broadcast.REHMEI radioed ahead, Mr. President.  They know the situation.  They'rewaiting for your broadcast.PRESIDENTYeah.Snake approaches.  The President nods.PRESIDENTOh, it's all right.Snake walks up and looks the President straight in the eye.PRESIDENTI, uh... I want to thank you.  Anything you want... you just name it.SNAKEJust a moment of your time.AIDEThree minutes, sir.PRESIDENTYes?SNAKEWe did get you out.  A lot of people died in the process.  I justwondered how you felt about it.PRESIDENTI want to thank them.  This nation appreciates their sacrifice.The President is full of shit after all.  Snake has reason for hiscynicism.  The President is uncomfortable with Snake's glare and itshows.PRESIDENTLook, uh, I'm on the air in...(questioning his aide)Two and a half minutes?AIDEYes, sir.Snake lights a cigarette and walks away.  Rehme watches.EXT. BASE -- NIGHTSnake walks away.  Hauk stands nearby.  Snake stops in his tracks.HAUKYou going to kill me now, Snake?SNAKEI'm too tired.  Maybe later.HAUKI've got another deal for you.  I want you to think it over while you'reresting.  I want to give you a job.  We'd make one hell of a team,Snake.SNAKE(glaring)The name's Plissken.He limps away.EXT. PRESIDENT'S PRESS CONFERENCE SITE -- NIGHTThe President looks suitably freshened up.  He's even smiling a little.AIDEYou're on camera, Mr. President.PRESIDENTGood evening.  Although I shall not be present at this historic summitmeeting, I present this, in the hope that our great nations may learn tolive in peace.He pops in the tape and presses the "PLAY" button......and out comes "American Bandstand".The President's face goes slack.  His career's over.EXT. BASE -- NIGHTSnake keeps limping.  He pulls a tape out of his pocket, yanks themagnetic tape out, winds it around his hand, rips it to shreds, andthrows the tape away.FADE OUT.

unformated_scripts/Script_Evil Dead.txt

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+BOOK OF THE DEAD "The Ultimate Experience In Grueling Terror" By Sam Raimi10/13/79SCENE CODINGInterior - IExterior - EDay - DNight - NTwilight - TLOCATION CODINGCAR - CarB - BridgeCAB - Surrounding area outside cabinW - WoodsM.R. - Main RoomD.R. - Dining RoomK - KitchenC - CellarW.S. - Work ShedL.B. - Linda's BedroomS.B. - Shelly's BedroomC.B. - Cheryl's BedroomB.T.R- BathroomEXAMPLE12 ID - D.R.TRANSLATIONScene #12, Interior, Day, Dining Room1 ED - W Something evil is lurking deep withing the wooded moun- tains of Tennessee, and the camera takes its point of view. Rising from a swampy bog, the mud slides from view allowing it to see early morning mist hanging about the forest. Creeping silently past trees, gliding over small shrubs, it moves onward through the woods until a mammoth oak rests directly in its path. The tree is uprooted by this unseen force, and falls with a deafening crash.2 ED - CAR Near by, a stretch of highway curves along the base of a mountain. The road winds off into oblivion beyond other peaks. From behind view, the rumble of an engine can be heard. It is a large logging truck headed south. Moving away, the truck becomes smaller until finally it disap- pears in the distance. From where the truck emerged, a dilapidated gold 1973 Oldsmobile comes into view.3 ID - CAR Inside, five people can be seen. They are couples ASHLY and LINDA, SCOTT and SHELLY, and CHERYL, ASHLY's sister. Both SCOTT and SHELLY wear "Michigan State" T-shirts, and are students along with the others at that univer- sity. SCOTT is driving and SHELLY sits next to him up front. ASHLY, LINDA and CHERYL are in back. They listen to an old "Baby Moses And The Thrillers" song on the radio, and SHELLY is slapping the dash board as if it were a drum. SHELLY (Singing with the music)... Together, forever... SCOTT Ash, where are we? ASHLY I'll tell ya in a second. Now we're still on seventy-five just past the county border...4 ED - W Once again, the camera takes the point of view of the dark and brooding force which stops atop a forest ridge to peer downward. Its view focuses upon the 1973 Olds- mobile speeding along the narrow highway below.5 ID - CAR ASHLY traces a route on the map with his finger. ASHLY ...Which would put us...which would put us... SCOTT Jesus Christ, just tell us already will ya? ASHLY zeroes in on the map with his finger. ASHLY ...Right... SCOTT is growing impatient. ASHLY ...Right... SCOTT Yes? ASHLY Here! Suddenly, the radio stops, and the steering wheel jerks from SCOTT's hand.6 ED - CAR The car screetches out of control into the opposite lane. A large oncoming tanker truck with its horn screaming races toward the car on a collision coarse.7 ID - CAR SHELLY Scotty, watch out!8 ED - CAR The truck races closer.9 ID - CAR Their steering wheel is locked. ASHLY Turn!10 ED - CAR At the last possible instant, SCOTT's wheel again can be controlled, and the car swerves sharply back into its own lane.11 ED - CAR The truck speeds harmlessly past them.12 ID - CAR ASHLY Damn it Scott, what the hell was that? You trying to kill us? SCOTT Don't yell at me, it's your lousy steering wheel. The damn thing jerked right out of my hand. ASHLY I can't understand it. I just had this thing in for a tune-up. SHELLY Radio's dead too, ace. ASHLY And I just had 'em tune up the whole thing yesterday. SCOTT Well, then take it back 'cause the damn thing don't work. Only thing that works on the whole car is the lousy horn. SCOTT honks the horn.13 ED - CAR Several local MEN walking down the highway respond to the horn by waving.14 ID - CAR SCOTT yells out the window at them. SCOTT Aw, go to hell, I'm not waving at ya! He looks in the rear view mirror. The MEN are still wav- ing in the distance. SCOTT turns back to drive. SCOTT Jesus Christ. SHELLY turns around in the front seat and holds up a pint of Scotch. SHELLY Well, I'd like to make a toast. To Scott who almost killed us. SCOTT Aw, eat shit and die will ya? SHELLY and the others laugh. SHELLY Okay, okay- then to a wild week-end in a wonderful cabin with good friends, (She glances at SCOTT) provided we live that long. SHELLY cooly drinks from the Scotch and passes the bottle back to ASHLY and LINDA. ASHLY pours LINDA a drink in the bottle cap and keeps the bottle. They raise their drinks. ASHLY and LINDA ...With good friends. They toast, drink and react to the strong liquor. ASHLY tries to hide his reaction to the Scotch in front of LINDA, since SHELLY had reacted so calmly. ASHLY passes the bottle to CHERYL who stops him with a polite "No, thank you," then back up front to SCOTT. LINDA Hey Scotty, what's this place like anyway? SCOTT Well, the guy that's renting it says it's an old place, little run down, but it's right up in the mountains- totally secluded. (He takes a drink from the bottle) Best part is, we get it so cheap. LINDA Why are we getting it so cheap? SCOTT I don't know, might be in real bad shape. CHERYL You mean nobody's seen this place yet? SCOTT Not yet. ASHLY Might not be too bad. LINDA No... ASHLY Actually, it might be very nice. LINDA Yeah... SHELLY It's probably a real pit. CHERYL I can't believe that we're renting a place for a week-end that nobody's seen. SCOTT (Mumbling to himself) Jesus Christ, not this again... CHERYL (Turning to ASHLY) You know, mom and dad would never let us go up to a place like this if they knew- ASHLY -Which is exactly why they don't know. I'll tell you who I am gonna call. The guys that fixed up this car.15 ED - CAR The car approaches an exit along the highway.16 ID - CAR ASHLY glances at the map again. ASHLY Hey, I think this is where we get off.17 ED - CAR The car turns off the main highway and follows several back roads until it approaches a narrow dirt lane that winds upward along a twin set of mountains.18 ID - CAR SCOTT glances up to the peaks. SCOTT These mountains seem familiar. LINDA What do they remind you of? Some- thing majestic? Adventure? SCOTT Yeah, more like adventure. LINDA Any adventure in particular? SCOTT Shelly's sweater. ASHLY and SCOTT laugh out loud. LINDA laughs quietly, and CHERYL lets out an embarassed giggle to herself. SHELLY (Teasing) Oooh, you're gonna get it Scotty, when you least expect it, you're gonna get it good.19 ED - B Finally, the car arrives at a wooden bridge extending over a great chasm. Carefully, the vehicle crosses.20 ED - CAB It is late afternoon when they eventually arrive at their destination. The small wooden cabin is surrounded by thick dark woods. SCOTT shuts off the car but it contin- ues to sputter and backfire.21 ID - CAR ASHLY reacts to his car. ASHLY I...I sent 'em a check for the tune-up. but I'm just not paying for it. LINDA This place is perfect. CHERYL The woods come awfully close to the house don't they? SCOTT So what's wrong with the woods, they can't bite ya. CHERYL It's just a little claustrophobic that's all. LINDA Well, I think it's beautiful. SHELLY Me too, it's gonna be a bomb week- end.22 ED - CAB SCOTT moves to the front door of the cabin where he finds a small ring of keys concealed on the shelf above the door. ASHLY unloads the car to the others. SCOTT It's supposed to be one of these on here. After trying several keys, he is able to unlock the door.23 ID - M.R. The interior of the cabin is completely dark. SCOTT opens the door and stands silhouetted in the doorway for a moment, then enters to find the light switch. The illumination reveals floors, walls, and ceilings made of cedar. There are two small bedrooms, a kitchen, and the main room which contains a stone fireplace set into the wall. An old grandfather clock stands silently in one corner, partially hidden in the shadows. A door in the rear of the cabin leads to a small work shed containing a work bench and an assortment of tools upon the wall. Located centrally in the main room is a trap door leading to the cellar. This catches SCOTT's eye. SCOTT Hey, this place has a dungeon. CHERYL puts down a case of art supplies, and moves over to SCOTT by the trap door. He unlocks a chain securing the trap door with one of his keys and hands the ring to SHELLY. SCOTT Put these back will you? SHELLY leaves with the keys, and SCOTT tries to open the hatch but cannot. SCOTT They nailed it shut. CHERYL Good, I don't like cellars. Probably just some garbage down there anyways. SCOTT Cheryl, they don't nail garbage in cellars. I mean it's not going to try and get out or anything. CHERYL Well, what's down there? SCOTT Well, could be any number of things. Old baseball cards, mushrooms, dead bodies- LINDA Hey, look at this! LINDA is standing in the corner next to the old grand- father clock. She repositions a balance weight, and it begins to tick. LINDA Ta daaaaaa! The others applaud and whistle. LINDA smiles.24 ET - CAB The cabin is seen from the outside. Twilight has come.25 IT - M.R. CHERYL sits alone in the living room near the window. She is drawing sketches of the old clock. As she works, the ticking stops unexpectedly. CHERYL puts down her pencil and looks up to the clock. It stands silently in the cor- ner with its hands frozen in position. There is a rust- ling from the woods. CHERYL looks out the window but can see only the trees. Something is moving outside, yet re- mains hidden within the forest. A gust of wind fills the room. CHERYL glances down at her hand. It turns a pale white and begins to shake and jerk about uncontrollably. She stares on incredulously as her hand, guided by some unseen force picks up the pencil and begins to sketch a figure upon her pad. The wind gales through the open window but dies down slowly as her hand completes the drawing. Whatever was at the edge of the woods has now retreated further into them. Her hand loses the pale cast and is now under control once more. CHERYL picks up her pad of paper. The likeness of a book with some form of ancient writing on its cover has been sketched. She looks to the woods which are now silent. A snapping of wood is heard from the cellar. CHERYL quickly turns to the trap door still nailed shut in the floor. Pos- sibly just a mouse, but she fixes her gaze upon it. Another sound, almost like faint breathing comes from the cellar.26 IT - K/M.R. ASHLY and LINDA enter from the kitchen. ASHLY is drink- ing a beer and moves over to CHERYL. He stands between her and the trap door. ASHLY What're you drawing Cheryl? He picks up the piece of paper. LINDA looks over his shoulder to glance at it. CHERYL I...I don't know. ASHLY Is it a bible? CHERYL No, no it's no bible. (She glances again at the cellar, knowing some- thing is down there) I don't know what it is. LINDA Well, this one of the clock's not bad. LINDA picks up the sketch and walks over to the clock with it a few steps away. She stands comparing it to the real thing with her back to CHERYL and ASHLY. She is only a few inches from the trap door, and CHERYL wants to call out in warning when ASHLY kneels in front of her to speak secretly. ASHLY (In a whisper) I got it right here. He taps something in his shirt pocket. CHERYL is looking past him paying no attention. She watches only LINDA's feet, waiting for whatever is in the cellar to grab them. LINDA looks at the drawing in comparison. LINDA Cheryl, this is really good. I like how you did the numbers in that wood- ish style. ASHLY produces a small box from his shirt and opens it quickly to show CHERYL. It contains a gold pendant on a necklace. LINDA takes a step closer to the clock. She is now standing almost upon the trap door. Although nailed shut, it opens slightly, pulling the nails with it. CHERYL gasps. ASHLY is pleased with her response. ASHLY (Still in a whisper) I knew you'd like it. Quickly, he places it back in his shirt and touches his lips with a finger to indicate the secrecy of his sup- rise. LINDA returns with the sketch and places it back on CHERYL's small drawing table. LINDA It's really good Cheryl. Very close to the origional. CHERYL (In a relieved whisper) Yes, very close. LINDA I'm gonna check dinner. LINDA returns to the kitchen and ASHLY turns to CHERYL. ASHLY You better get washed up. I'll see ya in there. He winks, then follows LINDA into the kitchen. CHERYL again looks at the cellar. Slowly, from her point of view, the camera moves in toward the trap door, wait- ing...waiting.27 IT - K A blender screams as it mixes up a drink in the kitchen. SHELLY shuts it off and carries it to the dining room.28 IT - D.R. She joins the others who are now seated at the dinner table and serves the mixture. SCOTT sits between LINDA and CHERYL. He leans over to CHERYL. SCOTT (In a whisper) Dead bodies in the cellar, dead bodies in the cellar... CHERYL Will you stop it? LINDA Scott, leave her alone will ya? SCOTT turns toward LINDA. SCOTT Will you relax, I'm just kidding around. She can take a joke- He stops talking as he hears the trickling of water. He turns to see CHERYL finish pouring a glass of water in his lap. The others laugh. SCOTT is silent for a moment, then begins chuckling to himself. He turns to CHERYL. SCOTT (Jokingly) I'll get ya. With a napkin, he blots the water from his pants. SCOTT I'll get ya for this Cheryl. ASHLY stands with his drink and raises the glass. ASHLY I'd like to make a toast for all here this evening. As a greek friend of mine once said, "Nis-hat-nis-fert- dis-ruben-tu-tar-im." LINDA Which means? SCOTT Party down! The laughter is stifled by a loud snap and cracking of wood heard from the main room. SCOTT What the hell... All stand from the table and hurry to the main room.29 IN - M.R. The nails that held down the trap door have been ripped out, and although still in tact, the hatch is wide open. They stand silently in front of it, looking blank as to what could have done this. CHERYL is slighly more nervous than the others. ASHLY is the first to speak. ASHLY (Slowly) What is this? SCOTT Whatever it is, it's still down there. CHERYL I don't like cellars, let's close it up. (She does not want to deal with it) It's probably just some animal. SCOTT An animal?! An an...ha-ha-ha-ha-ha- that's the stupidest thing I ever heard in my life. Jesus Christ. SCOTT locates a flashlight and peers into the hole. He traces the old wooden steps into darkness with his light. LINDA Maybe it is just some animal. SCOTT Yeah, probably right. It's probably just some animal. Uh...Cheryl, why don't you make sure. He hands the flashlight to CHERYL who quickly gives it back. CHERYL Scotty, I'm not going down there! SCOTT Okay, okay you cowards, I'll go. LINDA Scotty don't. You're crazy if you go down there. Why don't you wait until morning. SCOTT Look, I'll be all right. SHELLY What melodrama! What courage! A kiss my brave hero. SCOTT kisses SHELLY and with flashlight in hand, he descends the narrow steps into the cellars blackness. SHELLY I, your virgin queen eagerly await the precious moment when you will ascend. SCOTT Virgin queen?! Ha-ha-ha-ha-ha- He disappears below the floor. SHELLY, CHERYL, LINDA and ASHLY wait above. ASHLY (Calling down) Hey Scott, see any- thing? There is no answer. ASHLY Hey Scott!...Scott! SHELLY He's just kidding around. There is silence. SHELLY Isn't he? No sounds come from the cellar. ASHLY Linda, get me a flashlight. LINDA That's the only one we brought up. ASHLY spots a lantern on the fireplace mantle. ASHLY Then get that lantern. LINDA brings it over. ASHLY opens the kerosene valve, lights the wick, and descends into the basement.30 IN - C Down below, ASHLY moves quietly past the old stone walls and wooden beams which support the main floor above. In front of him stands an old door which leads to another section of the cellar. Cautiously, he moves toward it. Before he can touch it, the door swings open slowly with a moan. ASHLY moves through the doorway and deeper into the cellar. Condensation from water pipes above turn the cellar into an echo chamber as drips fall into shallow pools on the dirt floor below. As ASHLY scans with his light, he spots a shadow move out the corner of his eye. ASHLY Scott? ASHLY breaks into a cold sweat as he moves away from the area where the shadow passed. He backs sqarely into a pair of arms which grab him. ASHLY Ahhhhhhh! It is only SCOTT behind him. ASHLY What the hell are you doing down here, jerkin' off? How come you didn't answer me? SCOTT When? ASHLY Just now, I mean upstairs. SCOTT I didn't hear you. ASHLY Oh well, did you find anything? SCOTT Uh-uh. ASHLY What's this? SCOTT sweeps his light to another corner and reveals several items atop a small table. Beneath a dusty cloth, he finds a book which appears to be covered in some sort of animal hide, with an ancient form of writing on the cover. Along with this book, SCOTT and ASHLY uncover a reel to reel tape recorder, an ancient dagger, and other parapanalia including a box of rifle shells.31 EN - CAB It is evening as darkness surrounds the small cabin.32 IN - M.R. The group sits huddled around the fireplace talking quietly about school. The same bottle of Scotch is passed around. ASHLY is rewinding the tape recorder, and once this is done, he turns it on. The voice of an old man is heard. ASHLY turns to the others who are talking. ASHLY Shhh, listen to this. VOICE My name is Julian Knowby. I am a pro- fessor of ancient Egyptian mythology in Dextin university's ancient history department... ASHLY This is the tape I found downstairs. VOICE (Continuing)...I am recording this entry from a small cabin in the south- ern mountains of Tennessee. Here, I am staying with my wife for a few weeks so that I may continue my research un- disturbed. Since May, a group of assoc- iate professors and myself have been excavating the ruins of Ca'n Dar. I believe I have made an important find in that area, and thus the reason for this log. With it, I can keep an ac- curate record of translations from my latest find; the first of six, the others still lost, volumes of ancient Sumarian burial practices and rites. Basically, it is a book of do's and don'ts dealing with the deceased en- titled "Naturan Demanto" roughly trans- lated "Book Of The Dead." It is bound in human flesh, and inked with blood of the deceased... SCOTT Jeez, I'd hate to find out what they used for pens. VOICE (Continuing)...This particular volume deals with demons and demon resurrect- ion. These are of the Katardi family, meaning those forces believed to inhab- it the jungles and woods of man's do- main. The first few pages that I have translated warn that these demons are dangerous, everpresent, and exist primarily through this book. As legend has it, only the sacred high priests of the Ca'n Dar tribe could posess these books, for they alone could properly control the resurrected de- mons. It is only through the act of reciting the resurrection passage that these demons would be able to posess the living. For many years, it was thought that this legend- CHERYL turns off the machine at this point. SCOTT Hey, what'd you do that for? It was just getting good. CHERYL I just don't want to hear any more that's all. SCOTT (Singing) Cheryl's scared, Cheryl's scared. ASHLY Scott, leave her alone will ya? SCOTT Jesus Christ. He moves to the tape recorder and fast forewards it for a bit then stops. SCOTT She's acting like a baby- it's no big deal. He turns the machine on. The passage continues. VOICE Tantir-ah-mis-trobeen-ha-zar-ta33 EN - CAB As the tape plays, all natural sounds from the forest die out, and the autumn colors in the trees fade to a gloomy grey.34 IN - M.R. VOICE Tantir-man-ov-mis-hazen-sober. All eyes except CHERYL's turn to the window.35 EN - CAB Outside, clouds roll in from the east, thunder booms in the distance, and as the wind picks up, it begins to rain.36 IN - M.R. VOICE Kanda!37 EN - CAB A section of ground deep within the woods begins to crack, and opens. Smoke seeps out from within, as if some evil force was now being unleashed.38 IN - M.R. CHERYL (In a whisper) Shut it off. VOICE Kanda!39 EN - CAB The winds howl, and blackbirds fly from their nests, screaming.40 IN - M.R. CHERYL (Louder now) Shut it off. ASHLY, hearing her for the first time, turns from the window to CHERYL. She is overwhealmed with fear. VOICE Kanda!41 EN - CAB A bolt of lightning strikes very near and its thunder crash is deafening.42 IN - M.R. CHERYL can no longer control herself. She screams and covers her ears. CHERYL Shut it offffff! The window shatters when a branch from a nearby tree tears through it. ASHLY runs to the tape recorder and turns it off. CHERYL is crying now, and runs to her room. ASHLY turns to SCOTT. ASHLY Scott, you knew not to play it, I mean...I mean you knew it was upset- ting her. You just don't know when you're carrying something too far. SCOTT (To SHELLY) C'mon. (Back to ASHLY) Big deal, it's just a joke, shit. SCOTT and SHELLY head for their bedroom. SCOTT mumbles to himself along the way. SCOTT You'd think she's three years old or something. SCOTT slams the door behind him. ASHLY sighs. He moves to the broken window and reaches through it to close the outside shutters. LINDA He's really been bothering you hasn't he? ASHLY walks to a chair near the other window. ASHLY No. It's not Scott. Scotty's okay. It's just that ever since we came up here, things have been a little too tense. (He sits) All these crazy things going on. And look at that window- we're gonna have to pay for that window now. LINDA It'll be better tomorrow. Things'll smooth out, you'll see. ASHLY I hope so. He looks at LINDA lovingly for a long moment. ASHLY What'ya say we stay up for a while and listen to the storm. LINDA Deal. Lemme check on Cheryl. I'll be right back. From across the room, she is seen opening CHERYL's door a crack. LINDA asks if she is all right, and gets a muffled reply. In the foreground, ASHLY removes the small box he showed to CHERYL earlier and places it in his hand. He glances behind to LINDA. She closes CHERYL's door and walks back to find ASHLY sound asleep with the box in his hand. She reaches for the box and ASHLY opens his eyes to watch. LINDA looks at him, but his eyes are closed again in time to still appear fast asleep. LINDA turns her attention back to the box. ASHLY watches again wide-eyed as she removes it from his hand. Quickly, LINDA turns to him but as expected, ASHLY is sleeping like a baby. She begins to turn back toward the box and ASHLY opens his eyes, but LINDA turns back again in time to catch him with his eyes wide open. LINDA Ah ha! ASHLY (Laughing) Stealing from the blind eh? It's for you. LINDA begins to open the box. LINDA It better be good. The gold necklace is revealed inside. LINDA Oh Ash, it's beautiful. LINDA kisses ASHLY. He removes the necklace from the box and holds it around her neck. ASHLY (Fastening it around her neck) I was going to give it to you before we left, but things got so hectic, this is the first chance I've had. Do you like it? LINDA moves to a mirror. LINDA It's beautiful. I really love it. (She turns to ASHLY) I'll never take it off.43 EN - CAB Lightning strikes as something in the woods examines the small cottage. Through the outside window, ASHLY and LINDA can be seen embracing. This force watching them moves around the house to another window. The silhouette of SCOTT and SHELLY undressing can be seen. The force continues around and arrives at CHERYL's window. Inside, she brushes her hair in front of the mirror for a moment, then sets down her brush and moves to the window. She stops to uncrumple the sketch drawn earlier, looks at it, then out to the dark woods.44 IN - C.B. CHERYL can faintly hear some kind of sound. It is the same sound she had heard earlier from the cellar. A noise almost like that of something breathing.45 EN - CAB The evil entity rounds the corner of the cabin as CHERYL walks through the rooms to the front door. She can be seen stepping out the door. It closes behind her. Wind shaking the tree branches sends dead leaves fluttering about. CHERYL (Calling to the woods) Is anybody out there? There is no answer. CHERYL steps away from the cottage toward the woods.46 EN - W The breeze animates her nightgown and it too seems alive. CHERYL stops. CHERYL I know someone's out there...I heard you...I heard you in the cellar. Suddenly, CHERYL becomes chilled. She folds her arms around herself and stands at the woods edge, listening. There is only darkness and sounds of the evening wind blowing through the trees. CHERYL steps into the forest a few feet then stops. A cry deep within the woods can be heard. She freezes. Whispering in the distance grows somewhat louder and a soft wail is heard- like that of something long since dead, dredged up to roam the earth again. CHERYL is about to turn back toward the cabin when a rustling comes from a group of trees about twenty yards behind her. She stops. No sound. Nothing moves. Several yards to her left a twig snaps suddenly. She turns but there is silence again. The winds die down, leaving a deathly stillness throughout the woods. Then, all at once, the entire forest becomes alive in a flurry of chaotic noises and movement. Snake-like vines wrap around her ankles and slither up her legs. Tree branches near by begin to claw and rake at her. The force is now moving through the woods toward her. CHERYL is able to break the vines and run toward the cabin. She emerges from the woods and into the clearing. The force is still following.47 EN - CAB CHERYL reaches the cabin door but it is locked. She begins pounding upon the door. CHERYL Help, help, let me in. Open the door! The evil entity now emerges from the woods. CHERYL Ashly! Linda! Open up! CHERYL spots the small key ring above the door where SHELLY had returned them earlier. One by one, she fran- tically jams one key after another into the lock, but still cannot find the right one. The force comes closer with each key. CHERYL Please, someone please! Help me, help meeeee! The evil entity is almost upon her, but her actions are so frantic that the ring falls to the ground. She bends down to pick them up, but a hand grabs her arm. It is SCOTT who has opened the door from the inside. She pushes him in the door and slams it tightly.48 IN - M.R. SCOTT What the hell happ- CHERYL (In hysterics) It...it tried to kill me. I, I heard a noise and...and I ran and the trees...the trees! SCOTT What are you- He is cut off by ASHLY approaching with the others. ASHLY Cheryl what's wrong with you? Did something in the woods do this to you? CHERYL No, no, no...the woods themselves- The trees- they're alive... She hugs ASHLY tightly and cries in hysterical sobs. CHERYL They're alive... LINDA Ash, why don't I take her into the bedroom so she can lie down a little- CHERYL (Cutting her off) -I'm not lying down! I'm not staying here. We're leaving this place, we're leaving this place right now! SCOTT Wait a minute, I'm sure as hell not going anywhere. SHELLY Cheryl- ASHLY Cheryl, there's nothing out there. Trees do not attack people. CHERYL Ashly, will you drive me into town or not? ASHLY (Looking at his watch) Right Now? (He realizes how desperate she is) Sure, sure I'll drive you into town. But if you'll just listen to what you're saying, you- CHERYL I don't care how it sounds. I want to leave this minute. You can bring back my things when you go. ASHLY Okay- if you don't want to stay, I can't make you. LINDA puts a coat around CHERYL as ASHLY helps her to the door.49 EN - CAB ASHLY and CHERYL move to the car. ASHLY helps CHERYL in then then gets in the drivers side.50 IN - CAR CHERYL I'll stay some place in town tonight. ASHLY tries to start the car. There is no response. CHERYL becomes somewhat worried. ASHLY tries again. The car will not turn over. A look of dread comes across CHERYL's face.51 EN - CAB SCOTT and the others join the two outside.52 IN - CAR CHERYL It's not gonna start. ASHLY again tries the engine. CHERYL I know it's not gonna start. It's not gonna let us leave. ASHLY keys the engine and it turns over this time, start- ing up with a roar. ASHLY, worried by CHERYL's condition glances over to her. Confused and upset, CHERYL turns away from ASHLY and looks out her window. They drive off into the night through the wooded mountains toward town. ASHLY glances at CHERYL who is studying the forest in- tensely for any sign of movement. The concern for his sister is made obvious by the expression on his face. Their car approaches the narrow bridge area and slows down. CHERYL Why are you slowing down? ASHLY brings the car to a halt. CHERYL What is this? ASHLY's gaze is fixed directly ahead, and his mouth opens slowly. He flips on the high beams which stab through the evening mist.53 EN - B The bridge over the chasm has been torn away. CHERYL is silent as ASHLY walks to the ravine's edge to examine any remains.54 IN - CAR CHERYL (Mumbling to herself) No, no, no, no, no...it's not going to let us leave, it's not going to let us go...it's not gonna let us gooooo!55 EN - CAB An axe is raised into the air, then brought down smash- ing upon a log, splitting it in two. SCOTT is chopping wood outside the cabin. Behind him, through a window, CHERYL sits with a cup of tea in her hand watching him. SCOTT sets his axe down, gathers the wood and moves away. CHERYL shifts her gaze from SCOTT to the woods beyond. The camera moves in toward CHERYL then past her to SHELLY and LINDA who can be seen playing cards on the floor. ASHLY is seated near the fireplace with the tape recorder in front of him. He plugs an earphone in so only he can hear it. SCOTT enters the cabin and passes in front of ASHLY to drop his wood to one side of the fireplace. He throws a log in, and heads back outside.56 IN - M.R. From inside, LINDA speaks. LINDA Cheryl, wanna play some cards? CHERYL (Turning with a smile) Uh-uh. CHERYL turns to face the window again. LINDA Hey, tomorrow morning, we'll find some way around that cliff into town okay? CHERYL Okay. Outside the window, SCOTT chops more wood for the nights fire. ASHLY turns on the tape recorder to listen with the ear plug. VOICE March 12th. Suzanne came after me and almost murdered me. My own wife. At first I thought it was a mental or physical disorder because of what had happened to her eyes, but I was only fooling myself. I knew what it was. Outside the window, SCOTT continues to chop and gather wood. SHELLY, still engaged in cards with LINDA, holds up one in particular. SHELLY Okay, guess this card. LINDA How am I going to know what card that is? SHELLY Guess, I'm going to see if you're psychic. The card is a two of clubs. LINDA Okaaaay...is it a queen? SHELLY Right! LINDA Really? SHELLY Yeah. LINDA Hey Ash, I guessed the card right. ASHLY (indifferently) Truly amazing Linda. He is listening intently to the log as it continues. VOICE Three days have passed since that thing has been down there. I was hop- ing to weaken it without food or water. Nothing worked. Finally, in desperation I dragged her out to the shed and dismembered her so that what- ever it was could not get up again. SHELLY Cheryl, did you see that? CHERYL remains with her back to them staring out the window. SHELLY Try this one. She removes a nine of clubs from the deck and holds it up. LINDA Okay, lemme think, uh... She puts her hands to her head in a curved funnel form- ation as if to direct her thoughts to the card. LINDA ...Um, it's a seven. SHELLY Oh my God, what suit? LINDA Diamonds, no wait! I mean hearts! SHELLY That's right- seven of hearts! LINDA Hey Ash, did you see that? I guessed two cards in a row. ASHLY (Still not paying attention) How do you do it Linda? He is concentrating on the tape. VOICE This is when I saw the dark figures moving about in the woods. I should have never tampered with the "Book Of The Dead." I now know that what- ever it is I have resurrected through this book, is coming for me. LINDA You know, I always thought I had some sort of extra sense. You know, like e.s.p or something. SHELLY What's this one? She holds up the queen of spades. LINDA Another seven! SHELLY I don't believe it! CHERYL (Still looking outside) Queen of spades. SHELLY looks at her card then back to CHERYL. She holds up another card. CHERYL Four of hearts. The card is a four of hearts. SHELLY bites her lip in fear and reaches for another card. ASHLY and LINDA listen in silence. CHERYL Eight of spades. SHELLY picks up the card. CHERYL is correct again. CHERYL Two of spades- jack of diamonds- jack of clubs- Faster and faster she calls them off. Even before SHELLY can flip them to keep up. Suddenly, CHERYL turns toward the group. Her eyes are bone white. SHELLY's deck of cards slip from her hand and scatter across the floor. CHERYL's body is hoisted up to its feet and jerked about like a white-eyed marionette. She speaks in a voice un- like her own. CHERYL Why have you disturbed our sleep, awakened us from our ancient slum- ber? You will die. Like the others before you. We will take you one by one. All of you ha-ha-ha-ha-ha- She screams in a low gruff voice and collapses to the floor. ASHLY Oh my God, Shelly, get Scott in here! SHELLY does not respond. ASHLY Hurry! She exits through the front door. LINDA moves to CHERYL and lifts her head gently. CHERYL appears unconcious but behind her, she reaches for a pen. LINDA Did you see her eyes? I'm scared. What's wrong with her? ASHLY begins to speak when SCOTT and SHELLY enter. SCOTT What happened to her? CHERYL's hand clutches the pen tightly. LINDA Look at her eyes. SCOTT's hand reaches for CHERYL's eyes to inspect them, but they blink open. The pen in her hand races upward, then slashes down, ripping into LINDA's achilles tendon. LINDA screams fiercely and with a blur, the bloodied pen is raised again. ASHLY grabs CHERYL's arm stopping her, but with a powerful swipe, she swings her remaining arm at LINDA who is sent sprawling across the cabin floor. CHERYL then clutches ASHLY and, almost lifting him, sends his body reeling across the room into a book- case which topples over, trapping him beneath its weight. SHELLY stands screaming as CHERYL now advances toward ASHLY's face with the bloody pen. He struggles to pull himself out but cannot. CHERYL is almost upon him when SCOTT grabs her from behind. Effortlessly, she tosses him off and moves toward ASHLY again. SCOTT climbs to his feet and grabs the axe. CHERYL raises the pen above ASHLY's face, and SCOTT gives her a sharp jab in the jaw with the wooden handle. CHERYL stumbles past LINDA and falls backwards, head first into the cellar. She begins to climb out but SCOTT slams the trap door shut upon her hand. It won't close. CHERYL starts to push the trap door open from below. SCOTT climbs on top and is almost thrown off until he viciuosly rams the butt of his axe down upon her protruding hand. Demented screams and moans are heard from below as CHERYL's hand is finally pulled back and SCOTT manages to secure the chain across the hatch.57 IN - LB Later that evening, LINDA is seen in her bed, sleeping. ASHLY covers her with a blanket, kisses her, and walks to the door, closing it quietly behind him.58 IN - M.R. ASHLY joins SCOTT and SHELLY who sit near the fire in the main room. From the cellar, strange moans, sobs and laughter emerge, then horrible rasping sounds from CHERYL's breathing. Through the next sequence of dialogue, her breathing becomes louder then somewhat quiet. SCOTT She'll be okay Ash, she just took a bad bump. ASHLY (Quietly) Yeah. SCOTT and SHELLY listen to the strange noises from below as ASHLY looks out the window to the woods beyond. ASHLY We've still got a few hours before morning. SHELLY I don't know if I can wait that long. SCOTT You have to. We all have to. Then, once it's light out, we'll try to find a way to get around that chasm. SHELLY (Covering her ears) Why does she keep making those horrible noises? ASHLY I don't know. SHELLY And what about her eyes? ASHLY and SCOTT are quiet. SHELLY What about her eyes? (Desperately) For God's sake what happened to her eyes?! CHERYL patiently sits in the cellars darkness with a streak of light across her eyes from the crack in the trap door. Her head is slightly tilted as she watches and listens to what is said above. From her point of view we hear SCOTT speak to SHELLY. SCOTT Everything's gonna be all right. CHERYL's lips part slightly and a thick blackish yellow liquid drools out between her teeth. She grins.59 EN - CAB Outside, the forest is very dark. The unseen force moves from the wooded area, pushing over small trees and shrubs as it advances. The cottage comes into view and the evil entity glides up to it. The figure of a girl in the cabin window can be seen looking out. The force stops and moves behind a bush.60 IN - M.R. Inside, SHELLY is studying the woods. SHELLY Scotty, I...I think there's some- thing out there. SCOTT joins her at the window and looks out.61 EN - CAB From within the woods, this force watches SCOTT peer out, but he can see nothing. Through the window he says some- thing to reassure SHELLY and moves away.62 IN - M.R. Inside, SCOTT can be heard in mid sentence. SCOTT ...Is to get some rest. Ash and I can stay up with Cheryl. SHELLY Okay. SCOTT Everything's gonna be okay. Come morning- you'll see. SHELLY heads to her bedroom. SCOTT walks back to the fireplace and sits. He slices twigs from a branch with the Sumarian dagger and tosses them into the fire. ASHLY glances at the Book Of The Dead, then to the old clock. It stands silent.63 EN - CAB Again, the evil entity watches from outside. It sees SHELLY leave one room and turn the lights on in another. She begins to undress near the window. The force now moves from behind its cover and rushes at tremendous speed to SHELLY who is looking out her bedroom window. She sees it and sheer terror covers her face as a scream stifles itself in her throat, but it is too late.64 IN - M.R. A noise is heard from SHELLY's bedroom. SCOTT drops the small stick he was whittling and looks up. He places the dagger on the floor and walks toward SHELLY's room. SCOTT Shelly, are you okay? She does not answer. SCOTT approaches her door and turns to ASHLY. SCOTT Keep an eye on Cheryl for a minute.65 IN - S.B. SCOTT enters the darkness of her room and sees nothing amidst the shadows. SCOTT Shelly? He looks over to her window. It is open, and wind blows upon the curtains.66 IN - S. BATH SCOTT steps into SHELLY's bathroom and sees that the shower curtain is drawn. Cautiously, he moves up to it. SCOTT Shelly? He pulls the curtain back to reveal an empty tub. SCOTT turns back to the bedroom when SHELLY steps into the doorway, posessed. With a scream, she latches upon SCOTT. Her eyes have gone bone white and she claws at SCOTT's face and clothes with her nails.67 IN - S.B. Screaming, SCOTT stumbles through her bedroom with SHELLY still upon him biting at his throat.68 IN - M.R. They stagger into the main room where SCOTT manages to knock SHELLY off himself and into the fireplace. She remains motionless as her head smolders upon the hot coals. SCOTT rushes to her, grabs an arm and pulls her out. SHELLY's face and hair on one side of her head are seared and blackened. She blinks her eyes open, turns her charred head to SCOTT, and speaks in a rasp. SHELLY Thank you. I don't know what I would have done if I had remained on the hot coals burning my pretty flesh. You have pretty skin- give it to us! Cackling, SHELLY clutches SCOTT's neck and begins throttl- ing the life out of him with a vice-like grip. He tries to break the hold but cannot. ASHLY also tries but with a backhand blow, SHELLY knocks him into a cabinet, smash- ing it to bits. A garbled cry for help escapes from SCOTT's frothing mouth. SHELLY reaches down, picks up the Sumarian dagger, and holding SCOTT by his throat with one hand, she raises the dagger with the other. ASHLY, slightly injured, crawls to his feet. SCOTT grabs her raised arm and although choking, swings his camping knife from its side sheath and slices deep into SHELLY's raised wrist, almost severing it. A murky black ooze pumps from the wound. She emits an ear splitting- howl and tightens her grip on SCOTT's throat. He drops the hunting knife. ASHLY watches terrified, unable to move as SHELLY raises her dangling hand (Still clutching the dagger) to her mouth and bites it off. The useless part falls to the floor with the dagger still firmly in its fist. SCOTT, now almost dead, grabs her severed hand clutching the dagger and in a last attempt, swings it around ramming the blade into her spine. SHELLY screetches along with CHERYL in the cellar, the old grandfather clock gongs and lightning strikes all at the same instant. SHELLY reaches around with her remaining arm to clutch at the severed hand and knife protruding from her own back. A thick black ooze pours from the wound as she bends backward screaming. ASHLY stands in horror, clutching the axe, unable to move. Black ooze runs from SHELLY's mouth as her body writhes about spasmatically upon the floor. Gradually, the move- ments cease and she is dead. As SCOTT slowly stands to his feet, SHELLY's arm grabs his leg. SCOTT Ahhhhhhh! Some force reanimates her, even though the body is dead. ASHLY No...no...no... SCOTT Hit her! SHELLY's body is hoisted up, jerking about to its feet, and laughing madly. SCOTT Hit it! SCOTT screams this as he backs toward ASHLY who stands with the axe, paralyzed. Gurgling black ooze, SHELLY advances toward them with one remaining arm. SCOTT grabs the axe from ASHLY, pushes him away and slams it into her. Lightning flashes, thunder booms, and CHERYL screams from the cellar. SCOTT brings his axe down again and again in a frenzy. Then, after the final chop, there is silence. SHELLY's body remains on the floor for quite some time- until ASHLY can cope with the fact that she is dead and something must be done. ASHLY Uh...Scott. SCOTT Yeah. ASHLY What is uh...what are we gonna do? SCOTT Bury her. ASHLY You...can't bury Shelly. She's a friend of ours isn't she? SCOTT Ash, she's dead. ASHLY moves away from SCOTT. SCOTT Shelly's dead. We're gonna bury her now. ASHLY bites his lip and looks about blankly.69 EN - CAB Finally, the body is dragged outside and buried near the work shed. Harsh floodlights from the house make the task look very stark and barren.70 IN - M.R. SCOTT and ASHLY return inside. ASHLY heads to LINDA's room to check in on her.71 IN - L.B. He peers in to see LINDA sleeping peacefully.72 IN - M.R. ASHLY quietly returns to the main room. SCOTT is load- ing new batteries into a flashlight. SCOTT I saw an old hiking trail when we were driving up here. Now I don't know if it goes all the way around that gorge- ASHLY -Or if it's even still in tact. SCOTT Or if it's even still in tact. But uh, I guess I'll find out. Take good care of Linda. ASHLY I will. Do you have everything? SCOTT (Putting on a small back pack) Yeah- all set. ASHLY Listen...Scotty...I'm sorry about falling apart like that when- SCOTT Don't bother, really. He steps out the door. SCOTT If I find a way out of here, I'll mark it and then come back. Then if I'm not back here in a few hours... if for some reason...well, if I don't come back, grab Linda, leg and all, and just get her the hell out of here. They shake hands. ASHLY You're a good man. SCOTT Good, I'm the best.73 EN - CAB ASHLY smiles a good-bye to SCOTT and watches him move off into the night. He lingers for a moment by SHELLY's grave, then slowly disappears into the woods.74 IN - M.R. ASHLY closes the door and turns back to the main room. He sees CHERYL's eyes through the crack in the cellar. She has been watching all of this through a space be- tween the trap door and floor. ASHLY walks past her to LINDA's room.75 IN - L.B. He opens the door and a crack of light falls across her. LINDA wakes up. LINDA Who's there? Ash? ASHLY It's me Linda. LINDA Ash, I had a bad dream about Linda. ASHLY You did baby? LINDA Yeah. She's all right isn't she? ASHLY Yeah. Fine. LINDA Is Shelly okay too Ash? ASHLY can no longer hide his fear and anxiety. He speaks in a whisper so as not to let his voice quiver. ASHLY Yeah, sure. She's sleeping that's all. LINDA Ash, I love you. (She turns over) ASHLY Get some rest. ASHLY closes the door behind him and the fear from a few hours ago engulfs him once more.76 IN - M.R. ASHLY moves into the main room and stops dead in his tracks when a voice in the cellar speaks. CHERYL You lied to her. You lied to Linda. Shelly's not sleeping. She's dead. Don't you know the difference? You killed her. You and Scott cut her up with the axe. She's dead ha-ha-ha-ha- ha-ha- ASHLY picks up the axe and slams it down upon the trap door. CHERYL is silent from below for a moment, then the hatch opens an inch or so. (The length of the chain securing it) CHEYL's white eyes can be seen again. CHERYL Ha-ha-ha-ha-ha-ha- ASHLY takes the axe and steps outside.77 EN - CAB He begins to chop wood, taking out his emotions upon the logs with each blow. SHELLY's blood can still be seen on the blade of the axe.78 IN - M.R. From her dungeon, CHERYL watches ASHLY chop wood in the window. The shadow of his axe rising then striking is seen over her white eyes.79 EN - CAB Exhausted, ASHLY puts down the axe. He looks off into the woods but there is no sign of SCOTT. He returns to the cabin.80 IN - M.R. CHERYL begins her taunting again. CHERYL Soon all of you will be like me and then who will lock you in the cellar? Ha-ha-ha-ha-ha- CHERYL begins to violently ram her fists against the trap door. ASHLY walks by her to LINDA's room.81 IN - L.B. She is still asleep. Quietly, so as not to wake her, ASHLY pulls back her blanket exposing the bandaged leg. He re- moves the wrappings and looks at the wound. As he does this, it infects with a blackened coloration at an in- credible speed. ASHLY looks up to see if LINDA is still sleeping and sees that she has been watching him with white eyes and an evil grimace upon her face. She lets out a low growl.82 IN - M.R. ASHLY jolts backwards out of her room to escape through the front door. He steps outside and stops to look back in. He can see the main room, but finds it difficult to see in LINDA's room, being lost in the shadows. Something ragged and bloody grabs him. It is SCOTT's mutilated body ripped and torn to shreds. He is still alive. ASHLY looks behind him through the door to LINDA's room. He can barely make out LINDA who sits on the bed watching him with glaring white eyes. ASHLY helps SCOTT to the couch so he can sit. SCOTT is in agony and can barely speak. SCOTT Ash, I think I'm dying. Jesus, I can't feel my legs. ASHLY Uh...uh Scotty you're gonna be okay. You're gonna be just fine- you'll see. He throws another log on the fire. ASHLY You'll see. He looks off into LINDA's bedroom again, but she is gone. She is now sitting in the corner of the main room where ASHLY is, watching him. SCOTT begins to cough with hor- rible rasping sounds. SCOTT It's, it's not gonna let us leave... Cheryl...Cheryl was right...we're all gonna die here... ASHLY We're not gonna die! SCOTT ...All gonna die. All of us. ASHLY grabs SCOTT and shakes him violently. ASHLY We're not gonna die! We're not gonna die! We're getting out of here! Now listen to me- is there a way around the chasm. SCOTT passes out. ASHLY Scotty. Scott! ASHLY slaps SCOTT. He stirs awake and mumbles. SCOTT Jesus Ash. I don't want to die. So... so lonely to die like this. You're not gonna leave me are you? Are you Ash? CHERYL (Imitating SCOTT) I don't want to die. So lonely to die like this. You're not gonna leave me are you? Are you Ash? Ha-ha-ha-ha-ha- ASHLY Scott, is there some way around the chasm? SCOTT Ash, I'm scared- I...I can't feel my legs. ASHLY Scott, listen to me please, for God's sake. Is there a way around the chasm? SCOTT There is...one way, the trail...but the trees, they know...don't you see- they're alive!! They're ali-ahhhhhhh! His sentence is cut short as he cries out in sharp pain. Blood dribbles from his nostrils and he doubles over grabbing his stomach. LINDA begins to laugh. ASHLY looks to her, or rather what posesses her with hatred. ASHLY Shut up! She continues to laugh. CHERYL in the cellar joins in the laughter. ASHLY walks to LINDA and slaps her but she continues. He grabs a hunting rifle from a rack on the wall, loads it with shells, flips off the safety and places the barrels against LINDA's head. ASHLY God forgive me Linda. The laughter stops and her eyes return to normal. It is LINDA again. ASHLY puts down the rifle. LINDA Ash, oh Ash, help Me! Please. She hugs him tightly. LINDA Don't let them take me away again, please, please, please. ASHLY (Crying and holding her tightly) I won't, I won't- I promise. CHERYL's voice is heard from the blackness of the cellar. CHERYL Ashly? Ashly, help me. Let me out of here. I'm all right now. ASHLY releases LINDA and moves cautiously to the cellar. LINDA remains behind nervously fumbling with her necklace. CHERYL I'm all right now, Ashly. I'm all right. Come unlock this chain and let me out. ASHLY Cheryl? There is no reply from the cellar. ASHLY looks through the crack but sees only darkness. He reaches for the chain and begins to unlock it, but sensing something wrong, he stops. ASHLY Cheryl? He puts his ear to the floor listening for the slight- est sound. CHERYL's arms rip through the floor boards and grab ASHLY's head. He breaks away and her hand reaches for the chain but cannot quite grasp it. Slowly it withdraws beneath the floor. CHERYL (A little too sweet) Ash, what are you doing? This is your sister Cheryl. Don't you recognize me? Her voice drifts off, and the evil leughter resumes from the celler. ASHLY (Crying and yelling to the cellar) You bastards! Why are you doing this? Why? There is silence for a moment. Laughter from behind him begins again. It is LINDA. Her eyes are white once more, and she laughs at ASHLY. ASHLY Oh...Linda. With newly found courage, ASHLY angrily grabs LINDA by the legs and drags her outside.83 EN - CAB LINDA It's useless, useless, useless. In time we'll come for him, then you ha-ha-ha-ha-ha- ASHLY leaves her in the woods and runs back to the cabin, closing the door behind him.84 IN - M.R. SCOTT is coughing again. SCOTT Ash, Ash, please...I don't want to die- but...but I can't stand this pain. It hurts Ash. Gimme something. Gimme something to put me out. ASHLY Scott, I can't. I- I know it's bad. But I can't be alone now, I can't. I'd lose my mind. SCOTT Please Ash, please. ASHLY You'll get better- you'll see. LINDA's laughter is faintly heard outside. ASHLY moves to the window and pulls back the curtain. LINDA is no longer in the woods but sitting at the edge of the clear- ing, watching ASHLY with her glowing white eyes. ASHLY Yeah, tomorrow, soon, you'll be better and we'll both get out of here tomorrow. SCOTT There is no tomorrow! You- you've got to kill her and cut- cut her up- your sister too. ASHLY No, that was only with Shelly. You had to with Shelly. You- Linda loves me. You're delirious- I...I'll get you some water. ASHLY places a glass to Scott's lips. ASHLY Now, now the sun will be up in an hour or so and we'll get out of here ...together. You, me, Linda, Shelly- n-no not Shelly, she- we'll all go home together. Wouldn't you like to be going home? You'd like that I'd bet, wouldn't ya? There is no answer from SCOTT. The water runs out of his mouth. ASHLY ...Scott. SCOTT is dead. LINDA's laughter is heard again. ASHLY walks to the window and pulls back the curtain. There is nothing there. He turns and she is there! With the Sumarian dagger, LINDA rips into ASHLY's shirt, cutting his arm. He screams and watches in horror as she runs her tongue over the dagger, licking the blood from it. She turns her attention toward ASHLY again but he grabs her and they struggle. LINDA backs ASHLY up against SCOTT, knocking his body to the floor. CHERYL's gnarled arm reaches up through the broken floor boards and grabs at ASHLY's foot. He manages to turn LINDA's arm so the knife is behind her back. Forcefully, ASHLY pushes her over the body of SCOTT and she falls back- ward upon the dagger, impaling herself upon it. The blade tears into her back and rips through her stomach. Lightning flashes, thunder roars, and LINDA screams in a deep growl once, then all is quiet. ASHLY drags LINDA's corpse past the crumpled body of SCOTT, past CHERYL, who watches all of this from below, through the back door and out to the work shed.85 IN - W.S. He lifts her up onto the work bench and secures her body to it with a number of chains which hang from nails along the wall. He rips down a tarp hanging on the wall to reveal a chain saw. He starts it up and moves toward her. Buzzing madly, the saw is lowered to a position several inches above LINDA's neck. ASHLY looks into LINDA's face. Her eyes have gone back to blue. He turns off the saw. ASHLY (In a whisper) Linda... He drops the saw and breaks down crying over LINDA's body.86 EN - CAB An evening mist drifts out of the woods and cloaks the shed as ASHLY carries LINDA's body outside for burial. He lays the body upon the ground and picks up a shovel. Harsh floodlights from the corners of the cabin create strange shadows on the ground as ASHLY digs LINDA's grave. She lies on her back during the digging. One of her eyes opens. It is white. ASHLY drops the shovel and looks at her. She appears to be dead.87 IN - M.R. Inside the cabin, CHERYL begins slamming her fists against the trap door in the cellar again. She wants out. The screws holding the hatch in place begin to loosen.88 EN - CAB ASHLY places LINDA's corpse in the grave, oblivious to CHERYL's pounding. He begins to cover her with dirt.89 IN - M.R. CHERYL has ripped out all but one screw which holds the trap door in tact.90 EN - CAB ASHLY glances to the grave and sees LINDA's necklace on top of the dirt mound. He reaches down to pick it up when LINDA's hand shoots up from beneath the grave and grabs him! She pulls herself up out of the grave scream- ing and clutches ASHLY's leg with a black and bloodied hand. He twists around, trying to free himself, but she will not let go. By now, LINDA is almost completely out of the grave. With her fingernails, she rips into ASHLY's leg, tearing his skin. Screaming, he picks up a large log nearby and swings it roundhouse into her face again and again, breaking the wood into smaller bits. She grabs the log with him clinging to the other end, lifts him up and throws ASHLY log and all, away from her. ASHLY hits the ground with considerable force and for the first time begins to comprehend the power of this thing he is dealing with. Thick black ooze pours from LINDA's nose and mouth as she turns toward ASHLY sprawled on the ground. ASHLY Stay back. His hand gropes for the handle of the spade. LINDA advances toward him, laughing. ASHLY Linda please, if you can still hear me. Keep away. His fingers tighten on the wooden handle. With a scream, she lunges toward him. From the ground, ASHLY swings the spade upward, lopping off her head. The head falls into the mud, but the body falls upon him, grabbing and jerk- ing about spasmatically. Thick black ooze pumps from her neck and ASHLY manages to pull himself out from underneath the body. He backs away in disgust and falls. He picks himself up again and sees LINDA's necklace upon the ground. ASHLY stashes it in his pocket and staggers back to the cabin.91 IN - M.R. Inside, he looks to the main room beyond SCOTT's body. ASHLY Oh..... It is a moan from deep inside him. The trap door is open and CHERYL is gone. ASHLY walks over and kicks it shut. A slight breeze sweeps through the front door causing SHELLY's bedroom door to creak open. ASHLY picks up the rifle again and cautiously moves to the door.92 IN - S.B. He enters. The room is dark and the closet door bangs back and forth because of the breeze. ASHLY moves toward it, grabs the handle and slowly opens the door. Only clothes are inside. He turns toward the other end of the room and CHERYL pops up in the window right by him. He swings and fires, shattering the window. CHERYL backs away and spots the open front door. ASHLY The door... He makes a mad dash through SHELLY's room.93 IN - M.R. In the main room, ASHLY races for the door.94 EN - CAB Outside, CHERYL is almost upon the door.95 IN - MR ASHLY arrives in time, but CHERYL has already started reaching in. He slams the door on her fingers and rams his gun butt down upon them. Horrible screams are heard as CHERYL withdraws her hand. ASHLY is able to slam the door and bolt it. He runs to the back entrance lead- ing to the shed and locks it also. On his way back to the main room, he pumps his rifle in preparation. It is his last shell. ASHLY (To himself) More shells. Where did I see that box of shells?96 IN - C From the basement, the trap door lifts open and ASHLY decends. The bottom step, now rotten, breaks under his weight, and ASHLY sprawls to the floor. Slowly, he picks himself up and walks through the dividing stone doorway beneath the water pipes to a small table. On it, he finds the box of shells and quickly loads them into the gun. He ascends the steps and enters the main room once more.97 IN - M.R. The sound of ticking catches ASHLY's attention. He looks up to see the old grandfather clock slowly winding back- wards. He watches and waits tensely. Turning carefully, ASHLY tries to monitor all the windows. The ticking grows louder. A shadow passes in the window before him and he fires, shattering the glass into a million pieces. Wind whips through the cabin swirling glass and leaves to the floor. ASHLY waits, leaning against the front door for something to happen. He is tense and more determined than ever to survive. He whispers to himself. ASHLY C'mon, c'mon, get it over with, why are you torturing me like this? Placing his hand to his side, ASHLY discovers something in his pocket. He lifts it to his eyes. It is LINDA's necklace. ASHLY ...Linda. (He whispers) The ticking stops. He tilts his head for the slightest sound. All is silent. From behind, two arms rip through the door and grab him. ASHLY tears away and falls to the floor. The necklace is tossed away in the confusion. CHERYL's hands pull away and she looks through a hole in the door. From the floor, ASHLY raises his rifle and fires at her head.98 EN - CAB Clutching at her face and screaming horribly, CHERYL is jolted from the door.99 IN - M.R. ASHLY places a dresser and chair against the holes in the door. Behind ASHLY, SCOTT's corpse sits up and opens its white eyes. It stands and moves toward ASHLY. He turns with the gun, but SCOTT knocks it out of his hands. Desperately, ASHLY grabs a table lamp and shatters it across SCOTT's head, then jams the exposed socket into his face, shocking him. SCOTT staggers back several steps, then continues after ASHLY.100 EN - CAB Outside, Cheryl is now pounding against the front door.101 IN - M.R. ASHLY picks up a small table upon which are the Book Of The Dead, and the professors journal. He throws it at SCOTT. This does not affect him, and he advances closer. The Book Of The Dead lands near the fireplace and edges of the paper darken from the heat. SCOTT picks up ASHLY and begins to throttle him as if he were a rag doll. The front door begins to give under CHERYL's pounding. ASHLY brings his hands to SCOTT's eyes. With a crash, CHERYL breaks through the front door and begins to push the dresser away. Pages from the Book Of The Dead are smolder- ing now. ASHLY jams his fingers into SCOTT's eyes and slips from the grip. SCOTT clutches his eye sockets and his back begins to smolder. ASHLY now sees the book. Its pages burn at the edge. CHERYL topples the dresser and enters the room. Her face is partially torn away from the shot gun blast. ASHLY rushes to throw the book onto the burning logs, but CHERYL, smoldering also, gives him a backhand blow across the head, and he is sent sprawling to the floor. She grabs a fireplace poker with her crushed fingers and turns back to ASHLY who is crawl- ing toward the fireplace. When almost in reach of the book, SCOTT grabs his leg and begins to pull ASHLY back- ward. CHERYL approaches with smoke pouring from her clothes and slams ASHLY across the back with her poker. ASHLY screams. A glitter catches his eye. It is LINDA's necklace. Grabbing it, he tosses the end with a clasp toward the book. It slides off the cover. SCOTT pulls him back once more as ASHLY swings the necklace in a last desperate attempt. CHERYL raises the poker for the final blow. The necklace drapes over the book and as ASHLY is dragged, the clasp hooks the cover and pulls the book with him. With a yank, he seizes the book and tosses it upon the blaze. CHERYL and SCOTT freeze. The Book Of The Dead burns in a bluish green flame. Smoke pours from SCOTT and CHERYL as distant demonical screams are heard from the woods. The fireplace poker slips from CHERYL's hand and sticks into the wood scarcely an inch from ASHLY's head. The bodies of SCOTT and CHERYL then begin to cave inward upon themselves, collapsing to the floor in smoldering heaps. Finally, nothing is left but the burnt clothing and a blackish grey ooze on the floor where their bodies once were. The old clock begins to tick again, normally. ASHLY slowly climbs to his feet to stand above the fuming debris. Open- ing his hand, he looks down at LINDA's necklace. The force retreats from him, out the door, slowly returning to the darkness from which it emerged. Gradually, the natural sounds of the forest swell and trees lose their gloom as Autumn colors return. The first rays of sunlight gleam over the woods beyond the cabin. Daybreak has finally come.